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Schenker Documents Online

Published online by Cambridge University Press:  17 November 2016

William M. Marvin
William M. Marvin*
Affiliation:
Eastman School of Music Email: wmarvin@esm.rochester.edu
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Abstract

The unpublished work of Heinrich Schenker (1868–1935) has long fascinated scholars interested in the origins and development of his analytic method. Most of his unpublished papers can be found in two archives: the Oster Collection, housed in the New York Public Library, and the Oswald Jonas Memorial Collection, located at the University of California at Riverside.1.

Type
Digital Resource Review
Information
Nineteenth-Century Music Review , Volume 14 , Issue 2 , August 2017 , pp. 303 - 307
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Copyright
© Cambridge University Press 2016 

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References

1 The Oster Collection is available complete on microfilm at many research libraries, and a descriptive index/finding aid exists. See Kosovsky, Robert, comp., The Oster Collection: Papers of Heinrich Schenker: A Finding List (New York: New York Public Library, 1990)Google Scholar; also available online at http://archives.nypl.org/uploads/collection/pdf_finding_aid/musjob89-25-ZB-2237.pdf. An online guide to the Jonas collection can be found at www.oac.cdlib.org/findaid/ark:/13030/tf4j49n9zc/.

2 While the bibliography of material emanating from these archives is far too extensive to list here, significant representative studies include Schenker, Heinrich, ‘The Decline of the Art of Composition: A Technical-Critical Study’, transcribed and translated with an introduction by William Drabkin, Music Analysis 24/1–2 (2005): 3–232 Google Scholar; Bent, Ian D., ‘“That Bright New Light”: Schenker, Universal Edition, and the Origins of the Erläuterung Series, 1901–1910’, Journal of the American Musicological Society 58/1 (2005): 69–138 CrossRefGoogle Scholar; and Hooper, Jason, ‘Heinrich Schenker’s Early Conception of Form, 1895–1914’, Theory and Practice 36 (2011): 35–64 Google Scholar.

3 The site provides an extensive bibliography of Schenker’s published work and secondary sources related to it; most notable here is the section of this bibliography devoted to research that emanates from materials posted on Schenker Documents Online. See www.schenkerdocumentsonline.org/colloquy/bibliography.html; I counted 46 discrete published items listed as related to, or emanating from, Schenker Documents Online. The vast majority of these are authored by scholars who have contributed to the online project.

4 www.schenkerdocumentsonline.org/editorial_guide/how_to_cite.html.

5 Occasionally my efforts to save documents as .pdfs resulted in garbled formatting.

6 Many of the encyclopedia entries for this section of the site are yet to be written. The search parameters for each term or name, however, are fully functional for all uploaded documents.

7 One caveat regarding the current state of the composition index: some works are listed in the index more than once. As a result, the user must click on ‘Prelude in C Major’, ‘Prelude in C Major (BWV 924)’, and ‘Zwölf kleine Prelüdien, No. 1 in C Major, BWV 924’ to find all of the documents related to J.S. Bach’s well-known composition.

8 Bent, Ian, Bretherton, David and Drabkin, William, eds, Heinrich Schenker: Selected Correspondence (Woodbridge: The Boydell Press, 2014)Google Scholar.

9 For a review of this volume by Jan Miyake, see Music Theory Online 21/4 (2015): www.mtosmt.org/issues/mto.15.21.4/mto.15.21.4.miyake.html.

10 See Music Analysis 34/2 (2015), passim. The articles are by Ian Bent, David Bretherton, Marko Deisinger, Georg Burgstaller, Kirstie Hewlett, Hedi Siegel and Andrea Reiter. Six of the essays were first presented at a special session of the Fifth International Schenker Symposium at Mannes College, The New School in March 2013.

11 See www.schenkerdocumentsonline.org/documents/correspondence/OJ-5-11_1b.html, or Heinrich Schenker, Selected Correspondence, pp. 310–15.

12 The debates over this topic have been quite heated. Two significant sources on either side include Schachter, Carl, ‘Elephants, Crocodiles, and Beethoven: Schenker’s Politics and the Pedagogy of Schenkerian Analysis’, Theory and Practice 26 (2001): 1–20 Google Scholar; and Clark, Suzannah, ‘Review Article: The Politics of the Urlinie in Schenker’s Der Tonwille and Der freie Satz ’, Journal of the Royal Musical Association 132/1 (2007): 141–164 CrossRefGoogle Scholar.

13 See, for example, Drabkin, William, ‘Schenker, the Consonant Passing Note, and the First-Movement Theme of Beethoven’s Sonata Op. 26’, Music Analysis 15/2–3 (1996): 149–189 CrossRefGoogle Scholar; Heinrich Schenker: Selected Correspondence, pp.371–2 (an exchange between Schenker and Moriz Violin regarding the correct analysis of Bach’s Two-Part Invention in C, BWV 772; Violin wistfully replies, ‘I did not understand the voice-leading of your sketch’; and Schenker’s lesson book entry for his work with Hans Weisse on a wide range of nineteenth-century repertoire: www.schenkerdocumentsonline.org/documents/lessonbooks/OC-3-3_1923/r0010.html.