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(I am familiar with the subject of Schenker analysis, but a newcomer to scholarship about Heinrich Schenker. Perhaps the Schenker scholars on this forum could comment on the following question.)
What was Schenker's general aesthetic view about music? It seems to be something like this:
[a] Musical materials which cannot be related to Ursatz, are of minimal aesthetic value.
So for instance, Schenker would not consider the following to have much aesthetic value: An "atonal" work; a long drum solo in a jazz performance; Cage 4'33" (!!)
Is [a] an accurate statement of Schenker's aesthetic? Is there a better formulation?
Isaac Malitz, Ph.D.
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