1. How to Be a Formalist (And Love It) The Theories of Heinrich Schenker Heinrich Schenker (1868-1935)

2. I. Schenker’s World A.Writing about music dominated by hermeneutic criticism B. Composition dominated by Late Romanticism C. Study of music as a discipline (in colleges and universities) doesn’t even exist

3. III. Schenkerian Theory: Basic Assumptions A.Tonal music is a projection of the triad, the chord of nature B. Prolongation or composing out

4. Arpeggiation Linear Progressions Passing Tones Neighbor NT

5. III. Schenkerian Theory: Basic Assumptions A.Music is a prolongation of the triad, the chord of nature C. Structural Levels: Musical structure is hierarchical, with Deep Structure vs. Surface Ornament D. Organicism: masterpieces have deep (organic) unity at deep structural levels B. Prolongation or composing out

7. IV. Communicating the Theory A. Increasingly Graphic rather than verbal B. Seems to offer a way of many of the linguistic dilemmas: representation, lack of specificity of language, etc.

8. V. Schenkerian Vocabulary D. Structural Levels: Foreground, Middleground, Background A. Ursatz (Fundamental Structure) B. Bass-Brechung (Bass arpeggiation) C. Urlinie (Fundamental Line) E. Auscomponieren (Composing Out or Prolongation) 1. Great composers compose-out the Ursatz 2. Mortals reduce the surface to reveal the underlying unity

9. VI. Thinking About Music in “Schenkerian Mode” A.Organicism: Great music not a series of discrete events of differing character, but manifestation of deep, organic whole B. Meanings fixed, manifestation of the natural, determined by composer, demonstrable, verifyable D. Schenker’s Critics 1.By analyzing you’ve already designated as worthy, system just proves it 2.Upholds processes as timeless, natural, pre-ordained (absolutes) that are maybe really contingent 4. No place for historical or cultural context (dehistoricizes) 3. Music’s temporal/processive aspects deemphasized C. Provides “road map” to subtle awakening/prolonging thwarting of expectation