| SchenkerGuide : Bibliography :
Specific Technical Points |
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| Author |
Title |
Publisher |
Cover |
Buy from Amazon |
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| Beach, David | The Cadential Six-four as Support for Scale-degree Three of the Fundamental Line | Journal of Music Theory 34, 81-99 | | |
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| Beach, David | The fundamental line from scale degree 8: Criteria for evaluation | Journal of Music Theory, USA, Vol. XXXII/2 (fall 1988) pp. 271-94 | | |
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| Beach, David | Phrase Expansion: Three Analytical Studies | Music Analysis, 14/1 (1995), 27-47 | | |
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| Burkhardt, Charles | Schenker's Motivic Parallelisms | Journal of Music Theory, 22/2 (1978), 145-75 | | |
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| Cadwallader, Allen | More on Scale Degree Three and the Cadential Six-Four | Journal of Music Theory, Vol. XXXVI/1 (spring, 1992), pp. 187-198. | | |
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| Drabkin, William | Schenker, the Consonant Passing Note, and the First-Movement Theme of Beethoven's Sonata op. 26 | Music Analysis, Vol. 15/2-3 (1996), pp. 149-189 | | |
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| Jan, Steven B. | X Marks the Spot: Schenkerian Perspectives on the Minor-Key Classical Development Section | Music Analysis, Vol. 11/1 (1992), pp. 37-54 | | |
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| Larson, Steve | Questions about the Ursatz: A Response to Neumeyer | In Theory Only, Vol. X/4 (December 1987), pp. 11 - 31 | | |
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| Laufer, Edward | Voice-Leading Procedures in Development Sections | Studies in Music from the University of Western Ontario 13 (1991), pp. 69-120 | | |
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| Neumeyer, David | Fragile Octaves, Broken Lines: On Some Limitations of Schenkerian Theory and Practice | In Theory Only, Vol. XI/3 (July, 1989), pp. 13 - 30. | | |
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| Neumeyer, David | The Ascending Urlinie | Journal of Music Theory, Vol. XXXI/2 (fall 1987) 275-303 | | |
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| Neumeyer, David | The Three-Part Ursatz | In Theory Only, Vol. X/1-2 (August 1987), pp. 3 - 29 | | |
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| Neumeyer, David | The Urlinie from 8 as a middleground phenomenon | In Theory Only, USA, Vol. IX/5-6 (January 1987), pp. 3-25 | | |
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| Riggins, Herbert L | Change of Register in Schenker's Late Theoretical Works | Indiana Theory Review, Vol. VI/1-2 (fall-winter 1982-83), pp. 63-75. | | |
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| Smith, Charles J. | Musical Form and Fundamental Structure: An Investigation of Schenker's Formenlehre | Music Analysis, Vol. 15/2-3 (1996), pp. 191-297 | | |
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| Smith, P.H. | Brahms and motivic 6/3 chords | Music Analysis, Vol. 16/2 (1997), pp. 175-2?? | | |
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| Smith, Peter | Structural or Apparent Tonic: Parametric Conflict, Temporal Perspective, and a Continuum of Articulative Possibilities | Journal of Music Theory, Vol. 39:2 (1995), pp. 245-83 | | |
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| Smyth, D. | Schenker's octave lines reconsidered | Journal of Music Theory, Vol 43 (1999) | | |
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| Smyth, David H. | "Balanced Interruption" and the Formal Repeat | Music Theory Spectrum, Vol. 15/1 (1993), pp. 76-88 | | |
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| Wagner, Naphtali | No Crossing Branches? The Overlapping Technique in Schenkerian Analysis | Theory and Practice, Volume 20, 1995 | | |
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| Wason, Robert | Schenker's Notion of Scale-Step in Historical Perspective: Non-Essential Harmonies in Viennese Fundamental Bass Theory | Journal of Music Theory, Volume 27, Number 1, Spring 1983 | | |
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[Introductions]
[Essays]
[Writings]
[Specific Technical Points]
[Analyses]
[Philosophy]
[General Clarifications]
[Suggestions for Substantial Revisions]
[Extensions of Theory]
[Historical Development]
[Semiotic Approaches]
[Bibliographies and Misc]
[All Books]
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