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Schoenberg and Schenker

Published online by Cambridge University Press:  01 January 1973

Carl Dahlhaus
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Extract

The dispute between Arnold Schoenberg and Heinrich Schenker—witnessed in Schoenberg's ironical remarks in the Harmonielehre and Schenker's vigorous polemics in the second volume of Das Meisterwerk in der Musik—was in the first instance a controversy concerning the significance of nonchordal notes (in the German, literally, notes foreign to the harmony), a subject that appears harmless enough. The dispute as such would be hardly worth examining if it revealed nothing beyond each antagonist's lack of understanding of the other and the failure of both to do justice to the subject about which they claimed to be speaking. But beneath the surface of a discussion about technical details is concealed a conflict of fundamental principles concerning modes of musical thought—modes of thought that cannot simply be reduced to the clichés of ‘progressive composer’ and ‘conservative theorist’.

Type
Research Article
Information
Proceedings of the Royal Musical Association , Volume 100 , 1973 , pp. 209 - 215
Copyright
Copyright © 1975 The Royal Musical Association and the Authors

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References

1 Vienna, 1911, pp. 355 f.Google Scholar

2 Munich, 1926, pp. 30 ff.Google Scholar

3 Meisterwerk, pp. 34 f.Google Scholar

4 Ibid., p. 25.Google Scholar

5 Harmonielehre, p. 355.Google Scholar

6 Ibid., pp. 346 f., 385 ff.Google Scholar

7 Ibid., pp. 344 ff.Google Scholar

8 Ibid., pp. 360 ff.Google Scholar

9 Meisierwerk, p. 31.Google Scholar

10 Harmonielehre, p. 356.Google Scholar

11 Meisierwerk, p. 35.Google Scholar

12 Ibid., p. 32.Google Scholar

13 Harmonielehre, p. 354.Google Scholar