Heinrich Schenker as Theorist, Teacher and Correspondent, 1925-1930

海因里希·申克 (Heinrich Schenker) 作为理论家、教师和通讯员，1925 年至 1930 年

基本信息

批准号：
AH/H037330/1
负责人：
William Drabkin
金额：
$ 99.45万
依托单位：
University of Southampton
依托单位国家：
英国
项目类别：
Research Grant
财政年份：
2010
资助国家：
英国
起止时间：
2010 至无数据
项目状态：
已结题

来源：
https://gtr.ukri.org/projects?ref=AH%2FH037330%2F1
关键词：
Heinrich Schenker Theorist Teacher Correspondent

项目摘要

Working in Vienna, Heinrich Schenker (1868-1935) was the most influential 20th-century theorist and analyst of tonal music. His ideas have had an impact on the teaching of music in almost every major institution of higher education in the United States and Canada, and have significantly influenced that in Britain, mainland Europe, Australasia, and elsewhere. His publications are widely known in German, and have all been translated into English. Schenker was a radical traditionalist: he thought in penetratingly radical ways about the German tradition from Bach to Brahms (although his ideas have since been applied to early music, music since 1900, jazz and ethnic musics). He kept a detailed diary over 40 years, and maintained a huge correspondence over half a century. Yet few biographical studies of him have been made. We know little about his private life and dealings with others, and consequently we cannot cast much light on his intellectual development, or on the genesis and production of his published works. Never occupying an official position, he taught piano, music theory, editing and performance practice privately throughout his career. Although abundant records exist of his teaching over 20 years, including details of pieces taught and notes on the insights he transmitted to his pupils, they remain neglected and no study has yet been made of his pedagogical work. Schenker's most influential writings are the series of analytical volumes 'Der Tonwille' (The Will of the Tone, 1921-24) and 'Das Meisterwerk in der Musik' (The Masterwork in Music, 1925-30), 'Fünf Urlinie-Tafeln' (1932), and his theoretical summation 'Der freie Satz' (Free Composition, 1935). Between them, they provide exemplars of his analytical techniques and the most detailed specification of his theoretical ideas about music. Thus, while Schenker was active as a teacher and writer from 1887 until his death, it is the years 1925-30 that saw the emergence of many of his mature ideas and techniques for conveying them. The programme of research applied for seeks to chart that emergence, drawing on the correspondence, diaries and lessonbooks for 1925-30, and other documents datable to that period. To that end, we propose:1. to edit, translate, interpret, and produce a publicly accessible digital edition of Schenker's diaries, pertinent correspondence, and lessonbooks 1925-30; 2. to use those materials to assess the formulation of his technical and symbolic language for analysing music deployed in 'Das Meisterwerk' and the working out of the theoretical ideas that led to 'Der freie Satz';3. to understand the impact on Schenker of social, economic and political conditions in inter-war Austria (his diaries are rich in contextual information conveying historical events and the texture of everyday life), and the way in which these affected his thought;4. to disseminate the results widely through online and paper publication of documents, journal articles, PhD dissertations, conference papers, an encyclopedia, and through networking with other scholars.

海因里希·申克（Heinrich Schenker）（1868-1935）在维也纳工作，是最具影响力的20世纪理论和音调音乐的分析师。在美国和加拿大，几乎每个主要的高等教育机构中，他的想法都对音乐的教学产生了影响，并显着影响了英国，欧洲大陆，澳大利亚和其他地方。他的出版物在德语中广为人知，都被翻译成英文。申克（Schenker）是一位激进的传统主义者：他以深刻的方式思考了从巴赫（Bach）到婆罗门（Brahms）的德国传统（尽管此后他的想法自1900年以来一直应用于早期音乐，音乐，爵士乐和民族音乐）。他保留了40年的详细日记，并在半个世纪以来保持了巨大的信件。然而，很少有关于他的传记研究。我们对他的私人生活和与他人的打交道一无所知，因此我们无法对他的智力发展或他发表的作品的起源和生产阐明。他从不担任正式职位，在整个职业生涯中教授钢琴，音乐理论，编辑和表演实践。 Although abundant records exist of his teaching over 20 years, including details of pieces taught and notes on the insights he transmitted to his pupils, they remain neglected and no study has yet Schenker's most influential writings are the series of analytical volumes 'Der Tonwille' (The Will of the Tone, 1921-24) and 'Das Meisterwerk in der Musik' (The Masterwork in Music, 1925-30), 'Fünf Urlinie-Tafeln'（1932）和他的理论总结“ der Freie Satz”（Free Composition，1935年）。在他们之间，他们提供了他的分析技术的典范，以及他关于音乐的理论观念的最详细规范。因此，尽管申克（Schenker）从1887年到他去世，但尚克（Schenker）积极担任老师和作家，但正是1925 - 30年才看到了他许多成熟的想法和技术的出现。该研究计划申请了寻求图表，即借鉴了1925 - 30年的信函，日记和课程书以及其他文档数据的出现。为此，我们提出：1。编辑，翻译，解释和制作Schenker的日记，相关通信和课程书1925-30的公开数字版； 2。使用这些材料来评估其技术和象征性语言的公式，用于在“ das Meisterwerk”中部署的音乐，以及导致“ der freie satz''的理论思想中的锻炼； 3。要了解战争奥地利的社会，经济和政治状况的影响（他的日记丰富了上下文信息，传达了历史事件和日常生活的质地），以及这些影响他们的思想的方式； 4。通过在线和纸张出版文档，期刊文章，博士学位论文，会议论文，百科全书以及与其他学者的网络来广泛传播结果。