Bruckner's free application of strict Sechterian theory with stimulation from Wagnerian sources: An assessment of the first movement of the Seventh Symphony

Perspectives on Anton Bruckner

Volumn , Issue , 2017, Pages 228-258

  Phipps, Graham H ^a  

^a UNIVERSITY OF NORTH TEXAS   (United States)

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[No Author keywords available]

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EID: 85010299567     PISSN: None     EISSN: None     Source Type: Book    
DOI: None     Document Type: Chapter

References (26)

1. Arnold Schoenberg, Theory of Harmony, trans. Roy E. Carter (Berkeley, 1978), p. 228
2. 'Etwas über mich selbst9, quoted in full in Jordan Markus, Simon Sechter: Biographisches Denkmal (Vienna, 1888), pp. 57-58
3. Simon Sechter, Die Grundsätze der musikalischen Komposition (Leipzig, 1853), I, p. 128
4. Walter Zeleny, Die historischen Grundlagen des Theoriesystems von Simon Sechter (Tutzing, 1979), p. 286
5. Carl Schächter, 'Analysis by Key: Another Look at Modulation', in Music Analysis, 6 (1987), p. 296
6. Helmut Federhofer, 'Heinrich Schenkers Bruckner-Verständnis', in Archiv für Musikwissenschaft, 34 (1982), pp. 198-217
7. Robert Wason, Viennese Harmonie Theory from Albrechtsberger to Schenker and Schoenberg (Ann Arbor, Michigan, 1985), pp. 84 and 119
8. Edward Läufer, 'Some Aspects of Prolongation Procedures in the Ninth Symphony (Scherzo and Adagio)', in Bruckner Studies, ed. Timothy L. Jackson and Paul Hawkshaw (Cambridge, 1997), pp. 222
9. Friedrich Eckstein, Erinnerungen an Anton Bruckner (Vienna, 1923), p. 30
10. Friedrich Eckstein, Erinnerungen an Anton Bruckner (Vienna, 1923)., pp. 42-43
11. Carl Mayrberger, Die Harmonik Richard Wagner's an den Leitmotiven aus Tristan und Isolde' (Chemnitz, 1882)
12. Josef Schalk, 'Das Gesetz der Tonalität', in Bayreuther Blätter, 11 (1888), pp. 192-7 and 381-7, and 12 (1889), pp. 191-8
13. Cyrill Hynais, 'Die Harmonik R. Wagner's in Bezug auf die Fundamentaltheorie Sechter's', in Neue Musikalische Presse, 10 (1901), pp. 50-2
14. Cyrill Hynais, 'Die Harmonik R. Wagner's in Bezug auf die Fundamentaltheorie Sechter's', in Neue Musikalische Presse, 10 (1901)
15. Cyrill Hynais, 'Die Harmonik R. Wagner's in Bezug auf die Fundamentaltheorie Sechter's', in Neue Musikalische Presse, 10 (1901)., p. 123
16. Schoenberg, 'Die Harmonik R. Wagner's in Bezug auf die Fundamentaltheorie Sechter's', in Neue Musikalische Presse, 10 (1901)., p. 119
17. A. C. Howie, 'Traditional and Novel Elements in Bruckner's Sacred Music', in The Musical Quarterly, 69 (1981), pp. 556-8
18. Timothy L. Jackson, 'Bruckner's Metrical Numbers', in 19th-Century Music, 14 (1990-1), p. 104
19. 'Brahms the Progressive', in Style and Idea, ed. Leonard Stein (New York, 1975), p. 425
20. H. C. Koch, Introductory Essay on Composition: The Mechanical Rules of Melody, trans. Nancy Kovaleff Baker (New Haven, 1983), pp. 1-2
21. Christopher Lewis, 'The Mind's Chronology: Narrative Times and Harmonic Disruption in Postromantic Music', in The Second Practice of Nineteenth-Century Tonality, ed. William Kinderman and Harald Krebs (Lincoln, Nebraska, 1996), pp. 124-29
22. Franz Scheder, Anton Bruckner Chronologie (Tutzing, 1996), Textband, p. 127
23. A. B. Marx, Die Lehre von der musikalischen Komposition (Leipzig, 1837), III, pp. 201-300
24. Paul Hawkshaw, 'A Composer Learns His Craft: Anton Bruckner's Lessons in Form and Orchestration, 1861-63', in The Musical Quarterly, 82 (1998), pp. 336-61
25. Leopold Nowak, 'Studien zu den Formverhältnissen in der e-Moll-Messe von Anton Bruckner', in über Anton Bruckner (Vienna, 1985), pp. 43-6
26. Leopold Brauneiss, 'Zahlen und Proportionen in Bruckners Siebenter Symphonie', in Bruckner Jahrbuch (1994-6), pp. 33-46