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Ildar,<br>
<br>
The question concerns the filiation of Schenker, the insertion of
his theories in a Viennese context determined mainly by Sechter's <i>Grundsätze
der musikalischen Komposition</i> and very much opposed to the
German tradition that culminates in Riemann – and to which, I think,
you belong yourself. <br>
Schenker insists on the psychological aspect of his own theory
and writes that, in this particular respect, it better serves than
Sechter's work. This probably is very true, as Sechter seeks no
psychological or perceptual justification for his description of
chord progressions, while Schenker's claims in this particular
respect deserve some consideration. Also, Schenker is speaking of
the generation of musical content, something indeed very special to
his theory, which is both generative and organicist. Sechter had
nothing to say on such points.<br>
<br>
Note that the translation by Rothgeb and Thym that you quote (<i>Counterpoint</i>,
I, p. xxxi), although perfectly correct, does not lay the stress
exactly as Schenker's own formulation, that I would translate as
follows:<br>
<blockquote>One need only compare Sechter's work, for instance, with
my own to see that the psychology of scale degree progression, as
I present it, better serves the practical artistic purpose of
generating and increasing content, and that also in the issues of
chromaticism and alteration, my theory presents far more pure,
unified and deepened points of view, etc.<br>
(Man braucht nur z. B. Sechters Werk mit dem meinen zu
vergleichen, um zu sehn, dass auch die Psychologie des
Stufenganges, wie ich sie darstelle, dem künstlerisch praktischen
Zweck der Inhalts-beschaffung und -mehrung besser dient, dass auch
z. B. in den Fragen der Chromatisierung und Alterierung meine
Lehre um vieles reinere, einheitlichere und vertiefere
Gesichtspunkte bringt, u. s. w.)<br>
</blockquote>
This is somewhat conceited, perhaps, but certainly not "mean".
Schenker was 42 years old when he wrote this: there is little
comparison possible with "one of your students". <br>
<br>
You write "no normal person will claim that his theory is more
compelling than other's". But is not that what you do all the time
on this forum?<br>
<br>
As to Schenker's degree in the Vienna conservatory, do you put such
confidence in degrees? Federhofer writes that the documents
concerning Schenker's studies in the conservatory are now in the
library of the Gesellschaft der Musikfreunde: you should perhaps ask
there?<br>
<br>
Best,<br>
<br>
Nicolas Meeùs<br>
Université Paris-Sorbonne<br>
<br>
<br>
<div class="moz-cite-prefix">Le 5/03/2013 21:07, Ildar Khannanov a
écrit :<br>
</div>
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Dear Nicolas,</div>
<div> </div>
<div>I think that the question here is much more general,
than just the detail of reference and quotation. Still,
if one of my students will write after studying with me
that </div>
<div> </div>
<div>"One need only compare Sechter's work, for instance,
with my own to recognize that the practical artistic
purpose of generating and increasing content is better
served by the psychology of scale degree progression as
I PRESENT IT, and that my theory presents viewpoints on
issues of chromanicism and alteration which are far more
pure, unified, and compelling" </div>
<div> </div>
<div>I would think that as a teacher I have done something
wrong here. </div>
<div> </div>
<div>In general, no normal person will claim that his
theory is more compelling that other's. Compelling, in
fact, requires another person's opinion.</div>
<div> </div>
<div>And I am still looking for a copy of the transcript
of Schenker's degree form Vienna Conservatory.</div>
<div> </div>
<div> </div>
<div>Best,</div>
<div> </div>
<div>Ildar Khannanov</div>
<div>Peabody Insitute</div>
<div><a moz-do-not-send="true"
href="mailto:solfeggio7@yahoo.com">solfeggio7@yahoo.com</a></div>
<div> <br>
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