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<font face="Calibri">The name of Adele Katz has been mentioned
before. <br>
<br>
Paul Henry Lang's derogatory comments of 1946 explicitly were
directed against her</font> <i>Challenge to Musical Tradition</i>
of 1945, but his only specific criticism points at her 1935 <i>MQ</i>
paper ("Heinrich Schenker's method of analysis"), which itself was
based on Schenker's <i>Erläuterungen</i> (<i>Tonwille</i> 9 &
10 and <i>Meisterwerk</i> I & II), at a time when <i>Der freie
Satz</i> was not yet available.<br>
<br>
Even in <i>Challenge to Musical Tradition</i>, it is not obvious
that Adele Katz had read <i>Der freie Satz</i>; at least,she does
not appear to have assimilated the idea of the <i>Ursatz</i> and <i>Urlinie</i>
in their canonic form (descending line above a single arpeggiation).
On the other hand, her book includes several terms and concepts that
reappear in Salzer's <i>Structural Hearing</i> (such as harmonic <i>vs</i>
contrapuntal, or structural <i>vs</i> prolongation chords).<br>
<br>
David Carson Berry's paper in Current Musicology 2002 (which I only
cursorily reread just now) does discuss some of this, specifically
Katz' and Salzer's reciprocal indebtedness, but I think that some
more work may be useful, confronting Adele Katz' works and their
theoretical foundation with <i>Erläuterungen</i>, <i>freie Satz</i>,<i>
Structural Hearing</i>, etc. I, at least, would very much like to
read such a study.<br>
<br>
Nicolas Meeùs<br>
Université Paris-Sorbonne<br>
<br>
<br>
<br>
<br>
Le 17/10/2011 05:21, <a class="moz-txt-link-abbreviated" href="mailto:kos@panix.com">kos@panix.com</a> a écrit :
<blockquote
cite="mid:Pine.NEB.4.64.1110162308280.26988@panix2.panix.com"
type="cite">Those who know the history of Schenkerian Analysis in
the United States will be keenly aware of the extremely derogatory
comments by musicologists such as Paul Henry Lang, which was then
followed by years of deliberate silence on the part of
musicologists (described by Ernst Oster in a 1961 JMT article).
<br>
<br>
So too, it could be that more intensive examination of the history
of music theory will not only recognize more female music
theorists, but might also contribute to a greater understanding of
why certain theories or theorists dominated their times to the
exclusion of other theorists - including women.
<br>
<br>
<br>
Bob Kosovsky, Ph.D. -- Curator, Rare Books and Manuscripts,
<br>
Music Division, The New York Public Library for the Performing
Arts
<br>
blog: <a class="moz-txt-link-freetext" href="http://www.nypl.org/blog/author/44">http://www.nypl.org/blog/author/44</a> Twitter: @kos2
<br>
Listowner: OPERA-L ; SMT-TALK ; SMT-ANNOUNCE ; SoundForge-users
<br>
--- My opinions do not necessarily represent those of my
institutions ---
<br>
<br>
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</blockquote>
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