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| | Untitled Document (Site not responding. Last check: 2007-10-22) |
 | | Though interested in a multi-level approach to music analysis, and (ostensibly) less obsessed with the vertical element of music than those two predecessors, Heinrich Schenker’s theories, too, involve the reduction of seemingly non-isomorphic musical surfaces to structural/formal prototypes built around a limited set of harmonic pillars. |
 | | Schenker’s frequently vitriolic Germanocentrism and musical exclusivity are, of course, legendary. |
 | | It has been shown that Riemann’s theory, despite his interest, late in life especially, in non-Western music, is similarly biased. |
| www-personal.umich.edu /~torrella/Johnston/html/Part1_1.html (598 words) |
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