The first two volumes of Heinrich Schenker's masterwork Neue musikalische Theorien und Phantasien, Harmonielehren (1906), and Kontrapunkt (1910 and 1922), laid the foundations for the harmonic aspect of his theory. The specific voice-leading component was a later development, progressing with brilliance over the last 15 years of his life. It is in Free Composition (Freie Satz, 1935) that the idea of voice-leading receives its most detailed and precise formulation. Pendragon Press is honored to make this distinguished reprint available once again, with a new preface by Carl Schacter.
Originally published in 1938, this book was created to provide exercises in French prose and free composition for school students. The text is divided into four sections: section one contains an outline of French syntax; section two presents prose passages for translation; section three gives exercises for free composition; section four contains a detailed vocabulary. This book will be of value to anyone with an interest in the French language and the history of education.
Fundamentals of Musical Composition represents the culmination of more than forty years in Schoenberg's life devoted to the teaching of musical principles to students and composers in Europe and America. For his classes he developed a manner of presentation in which 'every technical matter is discussed in a very fundamental way, so that at the same time it is both simple and thorough'. This book can be used for analysis as well as for composition. On the one hand, it has the practical objective of introducing students to the process of composing in a systematic way, from the smallest to the largest forms; on the other hand, the author analyses in thorough detail and with numerous illustrations those particular sections in the works of the masters which relate to the compositional problem under discussion.
This book creates a platform for music educators to share their experience and expertise in creative music teaching and learning with the international community. It presents research studies and practices that are original and representative of music education in the Japanese, Asian and international communities. It also collects substantial literature on music education research in Japan and other Asian societies, enabling English-speaking readers to access excellent research and practical experiences in non-English societies.
The first comprehensive history of German youth in the First World War, this book investigates the dawn of the great era of mobilizing teenagers and schoolchildren for experiments in state-building and extreme political movements like fascism and communism. It investigates how German teachers could be legendary for their sarcasm and harsh methods but support the world’s most vigorous school reform movement and most extensive network of youth clubs. As a result of the war mobilization, teachers, club leaders, and authors of youth literature instilled militarism and nationalism more deeply into young people than before 1914 but in a way that, paradoxically, relaxed discipline. In Youth in the Fatherless Land, Andrew Donson details how Germany had far more military youth companies than other nations—as well as the world’s largest Socialist youth organization, which illegally agitated for peace and a proletarian revolution. Mass conscription also empowered female youth, particularly in Germany’s middle-class youth movement, the only one anywhere that fundamentally pitted itself against adults. Donson addresses discourses as well as practices and covers a breadth of topics, including crime, work, sexuality, gender, family, politics, recreation, novels and magazines, social class, and everyday life.
Harmony, Heinrich Schenker's first published work, originally appeared in German in 1906 as "New Musical Theories and Phantasies, by an Artist." Its unusual title indicates what was to be the rationale of Schenker's lifework, that artistic problems call for artistic solutions. Schenker's dedication to the formulation of a complete musical theory above the commonplace theoretical discussions was, in essence, his quest for a pattern in nature for music as art. Schenker's theory draws upon a profound understanding of the works of the masters and every proposition is illustrated by a living musical example.
