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<font size="-1"><font face="Georgia">I had not sent my answer to
Benjamin Ayotte's query to the whole list, as I wondered whether it
would be of general interest – but I am by no means opposed to its
publication here. As Benjamin quotes it, I think better to send it to
the group. Here it is:<br>
<br>
</font></font>
<hr size="2" width="100%"><font size="-1"></font>
<div class="moz-text-html" lang="x-unicode"> <font size="-1"><font
face="Georgia">Benjamin,<br>
<br>
You are not entirely clear about the scope of your query, namely
whether it is restricted to American Schenkerism or adresses European
(or possibly other) Schenkerism as well. I don't know about possible
answers of my German or Dutch colleagues, who would seem to have been
in closer contact with your "second" and "third" generations – I'd be
very much interested by what they say.<br>
<br>
I studied Schenker in his writings. Yet, I have been indirectly
prompted, through complex ways that ultimately root in the United
States, to begin my readings with <i>Der freie Satz</i>. This may not
have been the best choice, as Allen Cadwallader recently mentioned to
one of my students, who reported it to me.<br>
My reading of Schenker was helped by many other readings, <i>Free
Composition</i> to start with (I mean, Oster's translation), and
writings by second- and third-generation students. But I never followed
any class in Schenker analysis or theory (but for a session of Wayne
Alpern's Mannes Academy).<br>
<br>
From the start, I got the impression that the content of <i>Free
Composition </i>was somewhat different from that of <i>freie Satz</i>,
although I would have been unable to say why or how. Everyone knows
today that that has to do with the Americanization of Schenker, which I
partly escaped. Yet, I very much resent having been an autodidact in
all this and I stress to my student that their position too is
different from that of their American colleagues in this respect.<br>
<br>
Yours,<br>
<br>
Nicolas<br>
</font></font>
<hr size="2" width="100%">Let me add that Allen Cadwallader's comment
whether <i>freie Satz</i> was the best choice as the first of
Schenker's writings translated in French struck me as something that I
had not enough put in question. It prompted me to fully reconsider my
position about Schenkerian theory itself – and my translation of some
of its terminology. But that aspect, the transfer of Schenker's
biological metaphors to architectural ones (including "Fundamental
Structure" which stresses fundation instead of origin) already has been
commented upon by Snarrenberg and others. Having translated <i>Ursatz </i>as
<i>Structure fondamentale</i>, I cannot deny my American Schenkerian
lineage.<br>
<br>
NM<br>
</div>
<br>
Dr. Benjamin Ayotte a écrit :
<blockquote
cite="mid:8CBA37694067121-10D4-3F41@webmail-dd12.sysops.aol.com"
type="cite"><wbr>Dear Colleagues,<br>
<br>
Nicolas Meeùs writes:<br>
<br>
<blockquote style="border-left: 2px solid blue; padding-left: 3px;">You
are not entirely clear about the scope of your query, namely whether it
is restricted to American Schenkerism or addresses European (or
possibly other) Schenkerism as well. I don't know about possible
answers of my German or Dutch colleagues, who would seem to have been
in closer contact with your "second" and "third" generations – I'd be
very much interested by what they say.<br>
</blockquote>
<br>
Thank you for pointing this out, Nicolas. I do not wish to limit the
scope of my inquiry to American scholars--there are too many fine
publications from Europe and Asia for this to be tenable. As Schenker
is ascendant in Europe (witness the recent conferences in Utrecht,
Vienna, and Berlin-Mannheim-Sauen), I would appreciate hearing from my
European colleagues how they came to be acquainted with Schenker,
whether through reading, as an auto-didact, or via a conference (e.g.,
that held at the Royal Holloway in 1993; the Estonian conferences on "A
Composition as a Problem" or others). Reception in Eastern Europe and
Asia is of particular interest with the Russian and Chinese
translations of Freie Satz by Boris Plotnikov and Chen Shi-Ben being
available there.<br>
<br>
<div style="clear: both;">____________________________________________________________<br>
<br>
Dr. Benjamin McKay Ayotte, A. B., Ph. D.<br>
Music Theorist and Historian<br>
Greensboro, North Carolina<br>
<a class="moz-txt-link-abbreviated" href="mailto:benaminayotte@aim.com">benaminayotte@aim.com</a><br>
<a class="moz-txt-link-freetext" href="http://">http://</a>
<a class="moz-txt-link-abbreviated" href="http://www.academia.edu/benjaminayotte">www.academia.edu/benjaminayotte</a><br>
____________________________________________________________</div>
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