Schenker's Performance of Chopin's Preludes and the · PDF fileSchenker's Performance of Chopin's Preludes and the Meanings of Interruption Alan Dodson (University of British...

Schenker's Performance of Chopin's Preludes and the Meanings of InterruptionAlan Dodson (University of British Columbia) AMS/SMT Milwaukee, 8 Nov 2014

Example 1. Schenker's harmonic analysis of Chopin, Prelude in B Minor, op. 28/6 (from )Harmony

Example 2. Schenker's annotated score of Chopin, Prelude No. 6 in B minor(from the Jonas Collection)

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Example 4. Further annotations for "intertwined playing" ( ) inChopin's Preludes

Ineinanderspielen

(a) No. 17 in A major, theme: acceleration in m. 10

Example 3. Excerpt from an analytical sketch of Chopin, Prelude No. 6 in B minor(from the Oster Collection)

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Example 4 (continued).

(b) No. 4 in E minor: "Auftakt!" in m. 12

(c) No. 3 in G major: acceleration in m. 11 (with dotted lines for voice leading)

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Example 5. Three excerpts from an analysis by Angelika Elias of Chopin's B-minor Prelude(from the Oster Collection)

(a)

(b)

(c)

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Example 6. Headings from two early drafts of the chapter on interruption in(adapted from Marston 2013)Free Composition

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loosening (Auflockerung) of the Urlinie-Zug through interruptioninterruption in the case of 3

[interruption in the case of 5]

[interruption in the case of 8?]

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: 3- 3-2-1the turning back to 3 does not mean a cadencehalf cadence? divider? partial arpeggiation ( )?with the first stand of 2, the voice leading breaks offthe first 2 is not a neighbor noteinterruption as the root of forminterruption or neighbor note?

at the first level, only the interruption from 5-2 5-1 is a possibility5-2 is a 4-Zugthe turning back to 5 does not mean a cadence5-2 5-1 as the root of form in the foreground

impossibility of an interruption in the case of 8-18-5 5-1 as the root of form in the foreground

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Teilbrechung

Example 7. Schenker's annotated score of Chopin, Prelude No. 1 in C major

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Example 8. Three excerpts from an analysis by Schenker of Chopin's C-major Prelude(from the Oster Collection)

(a)

(b)

(c)

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Example 9. Analytical sketch by Schenker of Chopin, Prelude No. 10 in C-sharp minor(from the Oster Collection)

Example 10. Schenker's annotated score of Chopin, Prelude No. 10 in C-sharp minor

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Example 11. The retained tone in the case of a period (from , vol. 2)The Masterwork in Music

(a) (b)

Example 12. Ursatz and first level from , No. 5: Chopin, Etudein C minor, op. 10/12 (adapted to fit onto one page)

Five Graphic Music Analyses

Example 13. Alternative reading of Chopin, Etude in C minor, op. 10/12, doubling as an analysisof the Mazurka in C minor, op. 30/1 (from the Oster Collection)

Example 14. Schenker's "precise view of the constant control that the Ursatz exerts" overthe interruption in the case of 3 ( , Supplement, Fig. 21b)^ Free Composition

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