Heinrich schenker biography
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Heinrich Schenker
Austrian music theorist (1868–1935)
Heinrich Schenker | |
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Schenker in 1912 | |
| Born | (1868-06-19)19 June 1868 Wiśniowczyk, Austria-Hungary |
| Died | 14 January 1935(1935-01-14) (aged 66) Vienna, Austria |
| Occupation | Music theorist |
| Known for | Schenkerian analysis |
Heinrich Schenker (19 June 1868 – 14 January 1935) was an Austrian music theoristwhose writings have had a profound influence on subsequent musical analysis.[1] His approach, now termed Schenkerian analysis, was most fully explained in a three-volume series, Neue musikalische Theorien und Phantasien (New Musical Theories and Phantasies), which included Harmony (1906), Counterpoint (1910; 1922), and Free Composition (1935).
Born in Wiśniowczyk, Austrian Galicia, he studied law at University of Vienna and music at what is now the University of Music and Performing Arts Vienna where his teachers included Franz Krenn, Ernst Ludwig, Anton Bruckner, and Johann Nepomuk Fuchs. Despite his law degree, he focused primarily on a musical career following graduation, finding minimal success as a composer, conductor, and accompanist. After 1900 Schenker increasingly directed his efforts toward music theory, developing a systemic appro
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Schenker Documents Online
- Heinrich Schenker seated, c. 1919 (OJ 72/14, No. 6)
In the realm of tonal music, Heinrich Schenker was the most penetratingly original thinker of the 20th century. His way of hearing music, developed over a forty-five year career, was embodied in a formalized theory and expressed through a sophisticated method of music analysis by way of treatises, monographs, articles, periodicals, and editions that have had an irrevocable influence on the way the world thinks about music. He was first and foremost a musician. A pianist with professional experience, possessing an exceptionally acute ear, he was a musician's theorist, a musician's analyst: never concerned with dry mechanisms, Schenker worked always with the impact of music on the ear and its effect on the human mind. Moreover, his theory and method have been adopted by those examining medieval and renaissance music, and even music that Schenker himself scorned: impressionist and atonal music, jazz, popular music, and music of non-western traditions.
Early Life : 1868–1901
Schenker was born on June 19, 1868 in Wisniowczyk (in Galicia), of a Jewish family. At least two years younger than his educational cohort, he attended Polish-language schools, first in Lemberg (now L'viv, gra