From Allen Forte: Schenker’s Conception of Musical Structure, in Journal of Music Theory, III/1
(April, 1959), 7 – 14, 23 – 24.
Reprinted in Norton Critical Scores: Dichterliebe, edited by
Arthur Komar.
1
Note: I have modified Forte’s footnotes in two...
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From Allen Forte: Schenker’s Conception of Musical Structure, in Journal of Music Theory, III/1
(April, 1959), 7 – 14, 23 – 24.
Reprinted in Norton Critical Scores: Dichterliebe, edited by
Arthur Komar.
1
Note: I have modified Forte’s footnotes in two ways: first, I’ve added a number of footnotes of my own,
pointing out where some of the unexamined assumptions of Schenkerian analysis might be fueling some of
Forte’s or Schenker’s statements, and second, where the reference is sufficiently obscure as to be best
omitted.
Those footnotes which present my own commentary are always prefaced with my initials SLF.
(Sometimes I’ve appended my commentary directly to Forte’s footnotes.
)
From time to time I may insert a larger-scale note into the text proper; such notes are formatted as you see
here, in smaller italic text and enclosed in indented paragraphs.
I can think of no more satisfactory way to introduce Schenker’s ideas, along with the terminology
and visual means which express them,
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