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<div class="moz-forward-container">Dear colleagues,<br>
<div class="moz-forward-container"> <br>
The organizers of the coming European Conference on Music
Analysis, in Leuven (Belgium), 17-21 September 2014, have
published a call for "pre-organized" sessions (<a
moz-do-not-send="true" class="moz-txt-link-freetext"
href="http://www.euromac2014.eu/call-for-papers/english">http://www.euromac2014.eu/call-for-papers/english</a>),
in the hope to avoid sessions fortuitously built of individual
proposals more or less on the same topic, and to receive instead
proposals for sessions resulting from a discussion and a
planning among participants.<br>
<br>
I would like to propose a session on Schenkerian theory of form,
for which I wrote a first draft that you will find below. Anyone
interested in participating to the construction of this session
is welcome.<br>
<br>
My call is published also on the discussion forum of the EuroMac
website (<a moz-do-not-send="true" class="moz-txt-link-freetext"
href="http://www.euromac2014.eu/euromac-2014-conversations">http://www.euromac2014.eu/euromac-2014-conversations</a>),
where it may be further discussed. (If you want to receive the
messages exchanged on this forum, you have to take a
subscription.) Otherwise write me at my adress below.<br>
<br>
Nicolas Meeùs<br>
Université Paris-Sorbonne (emeritus)<br>
<a moz-do-not-send="true" class="moz-txt-link-abbreviated"
href="mailto:nicolas.meeus@scarlet.be">nicolas.meeus@scarlet.be</a><br>
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<p class="MsoNormal"
style="mso-margin-top-alt:auto;mso-margin-bottom-alt:
auto;text-align:left;text-indent:0cm;mso-outline-level:2"
align="left"><b><span
style="font-size:18.0pt;font-family:Calibri;mso-fareast-font-family:ArialMT;mso-ansi-language:EN-GB;mso-fareast-language:FR-BE"
lang="EN-GB">Call for collaboration</span></b><b><span
style="font-size:18.0pt;font-family:Calibri;mso-ansi-language:EN-GB;
mso-fareast-language:FR-BE" lang="EN-GB"><o:p></o:p></span></b></p>
<p class="MsoNormal" style="text-align:left;text-indent:0cm"
align="left"><i style="mso-bidi-font-style:normal"><span
style="font-family:Calibri;
mso-fareast-font-family:ArialMT;mso-ansi-language:EN-GB;mso-fareast-language:
FR-BE" lang="EN-GB">Free Composition</span></i><span
style="font-family:Calibri;
mso-fareast-font-family:ArialMT;mso-ansi-language:EN-GB;mso-fareast-language:
FR-BE" lang="EN-GB"> ends with a chapter entitled “Form” [<i
style="mso-bidi-font-style: normal">Free Composition</i>,
Part III, Chapter 5, p. 128-145.], presenting the
provisional outcome of an old project, yet surprising by
its brevity. Schenker recognises it himself: “Within the
confines of a book which for the first time seeks to
present the concept of organic coherence, the theory of
form as a manifestation of the fundamental design must not
claim as much space as it would ordinarily find in a
separate treatise on form […]. However briefly I express
myself, I am happy to offer, at least in this manner, the
‘Essay on a New Theory of Form’ which I have promised for
decades.” [<i style="mso-bidi-font-style: normal">Idem</i>,
p. 130, § 306.]</span><span style="font-family:
Calibri;mso-ansi-language:EN-GB;mso-fareast-language:FR-BE"
lang="EN-GB"><br>
</span><span
style="font-family:Calibri;mso-fareast-font-family:
ArialMT;mso-ansi-language:EN-GB;mso-fareast-language:FR-BE"
lang="EN-GB"> Commentators have expressed their
surprise at the brevity of this chapter. According to
Eugen Narmour, form functions “like other non privileged
elements in Schenkerian theory.” [<i
style="mso-bidi-font-style:normal">Beyond Schenkerism</i>,
p. 87.] Allen Cadwallader considers that the chapter in
question “remains essentially an introduction, an
incomplete outline in need of further elaboration and
development.” [Cadwallader (1990), p. 1-2.] But these
criticisms take too little account of the fact, albeit
stressed by Schenker himself, that the earlier chapters of
<i style="mso-bidi-font-style:normal">Free Composition</i>
often mention form “as the ultimate manifestation of that
structural coherence which grows out of background,
middleground, and foreground.” [<i
style="mso-bidi-font-style:normal">Free Composition</i>,
<i style="mso-bidi-font-style: normal">ibid.</i>] Almost
every page in the volume speaks of form, and the whole
work may therefore be considered to a large extent as a
treatise on musical form.</span><span
style="font-family:Calibri;mso-ansi-language:
EN-GB;mso-fareast-language:FR-BE" lang="EN-GB"><o:p></o:p></span></p>
<p class="MsoNormal" style="text-align:left;text-indent:0cm"
align="left"><span
style="font-family:Calibri;mso-fareast-font-family:ArialMT;
mso-ansi-language:EN-GB;mso-fareast-language:FR-BE"
lang="EN-GB"> What remains puzzling, however, is this
original conception that Schenker underlines: “All forms
appear in the ultimate foreground; but all of them have
their origin in, and derive from, the background. This is
the innovative aspect of my explanation of forms.” [<i>Ibid</i>]
But what is the nature of this derivation? How is one to
understand the link that Schenker suggests between “form”
and “structure”? Is it a conflict, a tension,
interdependence? How is it possible, for instance, that
the concept of interruption, presented as generating
binary form, could also produce three-part forms, but that
other three-part forms may not rest on the principle of
interruption?</span><span style="font-family:Calibri;
mso-ansi-language:EN-GB;mso-fareast-language:FR-BE"
lang="EN-GB"><o:p></o:p></span></p>
<p class="MsoNormal" style="text-align:left;text-indent:0cm"
align="left"><big><span
style="font-family:Calibri;mso-fareast-font-family:ArialMT;
mso-ansi-language:EN-GB;mso-fareast-language:FR-BE"
lang="EN-GB"><small> These problems have often been
discussed in recent Schenkerian literature, without
being fully solved. The session proposed here would
like to come back on these questions, to take stock of
them and, if possible, to bring new answers. One may
consider the possibility of devoting part of the time
of the session to a round table devoted to the formal
analysis – Schenkerian or other – of a work to be
chosen in common. I call to anyone interested in
participating to this project, which we will further
discuss together in order to submit it on time to the
Selection committee of Euromac 2014.</small> </span></big><big><span
style="font-family:Calibri;mso-ansi-language:EN-GB;mso-fareast-language:FR-BE"
lang="EN-GB"><o:p></o:p></span></big></p>
<big> </big>
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style="mso-special-character:line-break">
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EN-GB;mso-fareast-language:FR-BE" lang="EN-GB"><o:p></o:p></span></p>
<p class="MsoNormal" style="text-align:left;text-indent:0cm"
align="left"><i><span
style="font-size:13.5pt;font-family:Calibri;mso-fareast-font-family:
ArialMT;mso-ansi-language:EN-GB;mso-fareast-language:FR-BE" lang="EN-GB">Bibliography</span></i><span
style="font-family:Calibri;mso-ansi-language:EN-GB;mso-fareast-language:
FR-BE" lang="EN-GB"> <o:p></o:p></span></p>
<p class="MsoNormal" style="text-align:left;text-indent:0cm"
align="left"><span
style="font-family:Calibri;mso-fareast-font-family:ArialMT;
font-variant:small-caps;mso-ansi-language:EN-GB;mso-fareast-language:FR-BE"
lang="EN-GB">Beach</span><span
style="font-family:Calibri;mso-fareast-font-family:ArialMT;
mso-ansi-language:EN-GB;mso-fareast-language:FR-BE"
lang="EN-GB">, David, « Schubert’s Experiments with Sonata
Form: Formal-Tonal Design versus Underlying Structure », <i
style="mso-bidi-font-style:normal">Music Theory Spectrum</i>
15<span style="font-variant:small-caps"> (1993)</span>, p.
1-18.</span><span
style="font-size:13.5pt;font-family:Calibri;mso-fareast-font-family:
ArialMT;font-variant:small-caps;mso-ansi-language:EN-GB;mso-fareast-language:
FR-BE" lang="EN-GB"><br>
</span><span
style="font-family:Calibri;mso-fareast-font-family:
ArialMT;font-variant:small-caps;mso-ansi-language:EN-GB;mso-fareast-language:
FR-BE" lang="EN-GB">Burnham, </span><span
style="font-family:Calibri;mso-fareast-font-family:
ArialMT;mso-ansi-language:EN-GB;mso-fareast-language:FR-BE"
lang="EN-GB">Scott, « Form », <i
style="mso-bidi-font-style:normal">Cambridge History of
Western Music Theory</i>, Th. Christensen ed.,
Cambridge, CUP, 2001, p. 880-906.<span
style="font-variant:small-caps"><br>
Cadwallader, </span>Allen, « Form and Tonal Process.
The Design of Different Structural Levels », <i
style="mso-bidi-font-style:normal">Trends in Schenkerian
Research</i>, A. Cadwallader ed., </span><st1:state><st1:place><span
style="font-family:Calibri;mso-fareast-font-family:ArialMT;
mso-ansi-language:EN-GB;mso-fareast-language:FR-BE"
lang="EN-GB">New York</span></st1:place></st1:state><span
style="font-family:Calibri;mso-fareast-font-family:ArialMT;
mso-ansi-language:EN-GB;mso-fareast-language:FR-BE"
lang="EN-GB">, etc. Schirmer Books, 1990, p. 1-21.<span
style="font-variant:small-caps"><br>
Hooper</span>, Jason, « Heinrich Schenker’s Early
Conception of Form, 1895-1914 », <i
style="mso-bidi-font-style:normal">Theory and Practice </i>36
(2011), p. 35-64.<span style="font-variant:small-caps"><br>
Laskowski</span>, Larry, « J.S. Bach’s ‘Binary’ Dance
Movements: Form and Voice-Leading », <i
style="mso-bidi-font-style:normal">Schenker Studies</i>,
H. Siegel ed., </span><st1:city><st1:place><span
style="font-family:
Calibri;mso-fareast-font-family:ArialMT;mso-ansi-language:EN-GB;mso-fareast-language:
FR-BE" lang="EN-GB">Cambridge</span></st1:place></st1:city><span
style="font-family:Calibri;mso-fareast-font-family:ArialMT;mso-ansi-language:
EN-GB;mso-fareast-language:FR-BE" lang="EN-GB">, CUP,<span
style="font-variant:small-caps"> 1990</span>, p. 84-93.</span><span
style="font-size:10.0pt;font-family:Calibri;
mso-ansi-language:EN-GB;mso-fareast-language:FR-BE"
lang="EN-GB"> </span><span
style="font-family:Calibri;mso-fareast-font-family:ArialMT;font-variant:small-caps;mso-ansi-language:EN-GB;mso-fareast-language:FR-BE"
lang="EN-GB">Rothstein, </span><span
style="font-family:Calibri;mso-fareast-font-family:ArialMT;
mso-ansi-language:EN-GB;mso-fareast-language:FR-BE"
lang="EN-GB">William, <i
style="mso-bidi-font-style:normal">Phrase Rhythm in
Tonal </i></span><st1:place><st1:city><i
style="mso-bidi-font-style:normal"><span
style="font-family:Calibri;
mso-fareast-font-family:ArialMT;mso-ansi-language:EN-GB;mso-fareast-language:
FR-BE" lang="EN-GB">Music</span></i></st1:city><span
style="font-family:Calibri;
mso-fareast-font-family:ArialMT;mso-ansi-language:EN-GB;mso-fareast-language:
FR-BE" lang="EN-GB">, </span><st1:state><span
style="font-family:Calibri;
mso-fareast-font-family:ArialMT;mso-ansi-language:EN-GB;mso-fareast-language:
FR-BE" lang="EN-GB">New York</span></st1:state><span
style="font-family:Calibri;
mso-fareast-font-family:ArialMT;mso-ansi-language:EN-GB;mso-fareast-language:
FR-BE" lang="EN-GB"> etc.</span></st1:place><span
style="font-family:Calibri;
mso-fareast-font-family:ArialMT;mso-ansi-language:EN-GB;mso-fareast-language:
FR-BE" lang="EN-GB">, Schirmer Books,<span
style="font-variant:small-caps"> 1989.</span><br>
</span><span
style="font-family:Calibri;mso-fareast-font-family:ArialMT;
mso-ansi-language:DE;mso-fareast-language:FR-BE" lang="DE">S<span
style="font-variant: small-caps">chenker</span>,
Heinrich, <i style="mso-bidi-font-style:normal">Der freie
Satz</i>, O. Jonas ed., Wien, Universal Edition, 1956. </span><i
style="mso-bidi-font-style:normal"><span
style="font-family:Calibri;
mso-fareast-font-family:ArialMT;mso-ansi-language:EN-GB;mso-fareast-language:
FR-BE" lang="EN-GB">Free Composition</span></i><span
style="font-family:Calibri;
mso-fareast-font-family:ArialMT;mso-ansi-language:EN-GB;mso-fareast-language:
FR-BE" lang="EN-GB">, transl. E. Oster, </span><st1:state><st1:place><span
style="font-family:Calibri;mso-fareast-font-family:ArialMT;mso-ansi-language:
EN-GB;mso-fareast-language:FR-BE" lang="EN-GB">New
York</span></st1:place></st1:state><span
style="font-family:Calibri;mso-fareast-font-family:ArialMT;
mso-ansi-language:EN-GB;mso-fareast-language:FR-BE"
lang="EN-GB">, </span><st1:city><st1:place><span
style="font-family:Calibri;mso-fareast-font-family:ArialMT;
mso-ansi-language:EN-GB;mso-fareast-language:FR-BE"
lang="EN-GB">London</span></st1:place></st1:city><span
style="font-family:Calibri;mso-fareast-font-family:ArialMT;
mso-ansi-language:EN-GB;mso-fareast-language:FR-BE"
lang="EN-GB">, Longman, 1979. <i
style="mso-bidi-font-style:normal">L’Écriture libre</i>,
trad. N. Meeùs, Liège, Mardaga, 1993.<span
style="font-variant:small-caps"><br>
Schmalfeldt, </span>Janet, « Towards a Reconciliation
of Schenkerian Concepts with Traditional and Recent
Theories of Form », <i style="mso-bidi-font-style:normal">Music
Analysis</i> 10<span style="font-variant: small-caps">
(1991), </span>p. 233-287.</span><span
style="font-size:10.0pt;font-family:Calibri;mso-ansi-language:EN-GB;mso-fareast-language:FR-BE"
lang="EN-GB"> </span><span
style="font-family:Calibri;mso-fareast-font-family:
ArialMT;font-variant:small-caps;mso-ansi-language:EN-GB;mso-fareast-language:
FR-BE" lang="EN-GB"><br>
Schmalfeldt, </span><span
style="font-family:Calibri;mso-fareast-font-family:
ArialMT;mso-ansi-language:EN-GB;mso-fareast-language:FR-BE"
lang="EN-GB">Janet, <i style="mso-bidi-font-style:normal">In
the Process of Becoming: Analytic and Philosophical
Perspectives on Form in Early Nineteenth-Century Music</i>,
</span><st1:state><st1:place><span
style="font-family:Calibri;mso-fareast-font-family:ArialMT;
mso-ansi-language:EN-GB;mso-fareast-language:FR-BE"
lang="EN-GB">New York</span></st1:place></st1:state><span
style="font-family:Calibri;mso-fareast-font-family:ArialMT;
mso-ansi-language:EN-GB;mso-fareast-language:FR-BE"
lang="EN-GB">, </span><st1:place><st1:placename><span
style="font-family:Calibri;mso-fareast-font-family:ArialMT;
mso-ansi-language:EN-GB;mso-fareast-language:FR-BE"
lang="EN-GB">Oxford</span></st1:placename><span
style="font-family:Calibri;mso-fareast-font-family:ArialMT;
mso-ansi-language:EN-GB;mso-fareast-language:FR-BE"
lang="EN-GB"> </span><st1:placetype><span
style="font-family:Calibri;mso-fareast-font-family:ArialMT;
mso-ansi-language:EN-GB;mso-fareast-language:FR-BE"
lang="EN-GB">University</span></st1:placetype></st1:place><span
style="font-family:Calibri;mso-fareast-font-family:ArialMT;
mso-ansi-language:EN-GB;mso-fareast-language:FR-BE"
lang="EN-GB"> Press,<span style="font-variant:small-caps">
2011.</span><br>
S<span style="font-variant:small-caps">mith</span>,
Charles J., « Musical Form and Fundamental Structure: An
Investigation of Schenker’s <i
style="mso-bidi-font-style:normal">Formenlehre</i> », <i
style="mso-bidi-font-style: normal">Music Analysis </i>15
(1996), p. 191-297.<span style="font-variant: small-caps"><br>
Smith, </span>Peter, « Brahms and Schenker: A Mutual
Response to Sonata Form », <i
style="mso-bidi-font-style:normal">Music Theory
-Spectrum</i> 16 (1994), p. 77-103.<span
style="font-variant:small-caps"><br>
Webster</span>, James, « <i
style="mso-bidi-font-style:normal">Formenlehre</i> in
Theory and Practice », <i
style="mso-bidi-font-style:normal">Musical Form, Forms,
and </i>Formenlehre<i
style="mso-bidi-font-style:normal">: Three
Methodological Reflections</i>, P. Bergé ed., </span><st1:place><span
style="font-family:Calibri;mso-fareast-font-family:ArialMT;
mso-ansi-language:EN-GB;mso-fareast-language:FR-BE"
lang="EN-GB">Leuven</span></st1:place><span
style="font-family:Calibri;mso-fareast-font-family:ArialMT;
mso-ansi-language:EN-GB;mso-fareast-language:FR-BE"
lang="EN-GB">, LUP, 2009, p. 123-139.</span><span
style="font-family:Calibri;mso-ansi-language:EN-GB;mso-fareast-language:
FR-BE" lang="EN-GB"><o:p></o:p></span></p>
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