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Klappentext This series is designed for those absorbed by the theoretical and intellectual issues of music! whether as historians of ideas! as practical analysts! or as theoreticians. Zusammenfassung Heinrich Schenker's theoretical and analytical method occupies a central (and often troubling) position in modern Anglo-American musical studies. This book rereads Schenker's project as an attempt to reconstruct music theory as a discipline against the background of the empirical musical sciences of the later nineteenth century! such as the psychological and historical investigations of music. Inhaltsverzeichnis Foreword Ian Bent; Preface; Part I. The Appeal to Psychology: 1. A new program for music theory; 2. The psychologistic argument; 3. The contrapuntal laboratory; 4. An epistemological crisis and a plausible solution; 5. A descriptive and analytic psychology; Part II. The Historiological Imperative: 6. The authority of history; 7. The improvisational imagination, editing, execution; 8. The interior performance; 9. The paleographic argument; 10. The philological paradigm; Part III. The Objective Synthesis: 11. The coordination of discourses; 12. System and synthesis; 13. Closure; 14. Representation; 15. A priori and a posteriori theories; 16. Two polemics; 17. The function of ideology; Bibliography; Indexes.
