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TIMOTHY CUTLER 1 Heinrich Schenkers Analytical Conception of Orchestration
An Introspective Exercise
DAVID CARSON BERRY 92 Victor Vaughn Lytle and the Early Proselytism of Schenkerian Ideas in the U
Adagio analytical apparent tonic arrival auxiliary cadence Bach Bach's background structure bassoons Beethoven's Ninth Symphony beginning Brahms C-minor chord C.P.E. Bach Carl Schachter cello chromatic chromaticism composer concepts contrapuntal counterpoint descending development section dissonant dominant chord dominant harmony double bass downbeat essay exposition fifth flute Free Composition function G minor graph Haydn Heinrich Schenker horns Ibid idea initial instruments interpretation J.S. Bach key areas Kontrapunkt Lytle Lytle's Masterwork melodic middleground modulation motion motive movement Mozart Music Theory Oberlin oboe octave opening orchestration passage phrase Piano Sonata piece pitch play Prelude progression prolonged quasi-auxiliary cadence quintuplet recapitulation resolution Schenker's analysis Schenker's theories Schenker's writings Schenkerian analysis Schenkerian theory sense sixth chord Skryabin Snarrenberg sonata form structural tonic thematic theme third tone tonic chord tonic harmony top voice trans triad tritone University Press Urlinie Ursatz violin voice exchanges voice leading voice-leading Wagner Weisse York