Biblia Hebraica Quinta: General Introduction And Megilloth

Book Description

A standard text for the teaching of Polish, this revised edition introduces two new features: a grammatical sketch of Polish and an index. Volume Two contains drills for the lessons in Volume One designed specifically for classroom instruction, a survey of Polish grammar, and an index to both volumes.

Customer Reviews:

Good book, but only if you are VERY DEDICATED and FOCUSED on learning Polish.......2007-01-10

Not the best book for beginners. But once you get the basics down online or elsewhere, this book can give you an all-out fully comprehensive overview of the general language designed for intermediate level students. You'll need to be very dedicated to the book if you really want to learn.

not the best for beginning self study.......2001-11-22

I needed to cram some Polish fast and since the reviews here have been raving about this I bought this book for self study. However, I found that I was stuck in the first lesson because it is about pronounciation and it's impossible from the text to figure out the pronounciation from the text alone.

Not wanting to give up, I contacted the Yale Center for Language Study which, according to the book, has a set of tapes you can obtain. After a long and drawn out request that took a month (and maybe would have even taken longer if it hadn't been for a friend in Yale who physically went up to the center to get the tapes and post it for me) I listened to the tapes and found they were actually drills to Volume II (the classroon drill book). Which meant they were useful but not as useful as I had hoped.

I think this book, if you stuck with it, maybe could be a brillant course. I'm going to try it some more. The fact that it has no pictures and is not 'fun' makes it less appealing for me than other self study courses. After surveying a bunch, I think the Pimsleur tapes - expensive as they are - were the best in getting me started.

The best out there!.......2000-08-18

This is without a doubt the most useful and versatile Polish language instruction book I have found. It's not the colorful, cartoon-filled textbook you might remember from high-school or college French class; rather, it's organized in a way that makes it wonderful for independent study for anybody beginning Polish.

Each chapter begins with a large number of mini-dialogues one sentence in length. For example, "Co to jest? To jest pioro." Translations are included with each example, of course. The earlier chapters then proceed with sections describing spelling and phonological rules of the Polish language. Following that is my personal favorite section, grammar! Grammar is explained in a way that may perhaps be a little unclear in the beginning, but as your familiarity with the language improves, it WILL become clear quickly.

Nearly every topic you could want to learn about is covered by Mr. Schenker in this book, including noun and pronoun usage, verb inflection, verbal particles, prepositions, dependent clauses, conditional phrases, and so on. I don't think I would be exaggerating to say that you could pick up this book with no knowledge of Polish whatsoever, and with a reasonable effort become quite capable of conversing, reading, and writing in Polish.

Whether you're looking for a starting point or have studied some and want to improve, this is an invaluable resource.

Wonderful book.......2000-06-21

i have purchased several other books from amazon in order to learn polish in addition to the few that i have picked up on ebay. most of them have been helpful to an extent but NOTHING has come close to helping as much as this book. after reading the other person's review, i purchased this and everything that was mentioned was completely correct. you will learn a tremendous amount in a very short amount of time when studying this book. there are exercises that will test your knowledge and will benefit you greatly. 1000 people could purchase this book and have a money back refund and none would send it back. this book is invaluable. don't spend your money on 12 dollar books because you think it's a better value. just drop the 30 dollars and this is the only book you'll need.

An effective tool for learning a difficult language.......1999-01-15

For some years I have STARTED to learn the Polish language as a mental exercise. Didn't think it would be too difficult, since I had already taught myself German and Italian and used these languages when visiting Germany and Italy: and had used my high school French and Spanish to good effect when visiting France and Mexico. So you can see that I thought of myself as a natural linguist without formal training. Wanted to learn a slavic language, but not Russian because of the cyrillic (sp?) alphabet, so settled on Polish. I started with the Hugo series. Was baffled. Went on to... shall I name them or only count them? FOUR other teach-yourself methods. I think the trick was the organisation. I'd almost given up hope when I ordered Schenker's Beginning Polish. I opened on Page 1 sometime in October 1998, and now, in January 1999 I am starting on Lesson Eight on page 117 and going to the races. Gentlemen, I raise my proverbial hat to a text which is slowly and inexorably opening the mystery of slavic language to me. The complexity and beauty of Polish are evident even at this early stage. The lessons are so subtly organised, so logically presented, that I am only held up by the need to memorize words that used to leave me baffled and upset, but which in this text gain for me an expanding picture of the interrelationships of words that have very little reference in the languages I already know. Am I making sense? Alexander Schenker in a master at putting the puzzle together in logical baby steps. The only possible problem is that the student had better read EVERY WORD of the explanations, because every word is vital. And when we study alone like this, we don't have a professor to answer questions, but the answers are there if you read carefully. My only regret is that I cannot seem to obtain Volume Two, which is no longer in print.

The Bronze Horseman: Falconet's Monument to Peter the Great

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Bravo Dr. Schenker, Boo to Yale University Press
Exceptional Scholarship Produces Masterful Study

The Bronze Horseman: Falconet's Monument to Peter the Great
Alexander M. Schenker
Manufacturer: Yale University Press
ProductGroup: Book
Binding: Hardcover

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ASIN: 0300097123

Book Description

This book is the first comprehensive treatment in any language of the most consequential work of art ever to be executed in Russia-the equestrian monument to Peter the Great, or The Bronze Horseman, as it has come to be known since it appeared in Alexander Pushkin's poem bearing that title. The author deals with the cultural setting that prepared the ground for the monument and provides life stories of those who were involved in its creation: the sculptors Etienne-Maurice Falconet and Marie-Anne Collot, the engineer Marin Carburi, the diplomat Dmitry Golitsyn, and Catherine's "commissar" for culture, Ivan Betskoi. He also touches upon the extraordinary resonance of the monument in Russian culture, which, since the unveiling in 1782, has become the icon of St. Petersburg and has alimented the so-called "St. Petersburg theme" in Russian letters, familiar from the works of such writers as Pushkin, Dostoevsky, Gogol, and Bely.

Customer Reviews:

Bravo Dr. Schenker, Boo to Yale University Press.......2005-03-21

Dr. Alexander M. Schenker, currently professor emeritus of Slavic linguistics at Yale University, has enjoyed a long and distinguished career. I have been fortunate to have been the beneficiary of his considerable talents when, some 20 years ago, he was kind enough to have written a brilliant forward to a two-volume catalogue of my late uncle's vast collection of Russian and Slavic books, the majority of which were eventually donated to the New York Public Library.

"The Bronze Horseman" is a 398 page, (310 pages of text) book on Russia's most revered monument - the equestrian statue honoring Peter the Great (1672-1725) in St. Petersburg executed by the French sculptor Etienne-Maurice Falconet after 12 years of labor and unveiled in 1783. The book came about as an outgrowth of a lecture during a tour arranged for Yale alumni. It is a brilliant book.

The research is meticulous and unlike many books written by university professors, it makes for fascinating reading as Schenker masterfully weaves in the history of St. Petersburg, the development of French statuary art, Falconet's life and career and the tremendous obstacles encountered in creating this magnificent work of art. There is much to glean.

- " Peter's revolution went far deeper than the external manifestations of modernization - changes in the liturgy, calendar, and alphabet, Western garb and shaved-off beards. Following the prescription of every successful revolution, Peter unraveled the threads that made up the tissue of Russian society and replaced them with new ones of his own making. The losers were the ancient boyar families; the gainers were Peter's cronies, yesterday's nobodies, today's powerful princes and counts. Peter's famous Table of Ranks created a quasi-military structure of state functionaries, a pyramid of puppets set in motion by the threads gathered in the hand of the tsar."
- " But when the call came from St. Petersburg, as if with a wave of a magic wand, Falconet's somber world was bathed in all the hues of a rainbow. He found himself the focus of attention in one of the most resplendent courts in the world, received freely by the legendary woman who occupied the throne of All the Russias ..."
- " The incredible saga of the successful search for a natural stone for the pedestal and of its transportation to St. Petersburg caught the fancy of the world and brought Catherine's rule almost as much acclaim as the first sputnik brought to the Khruschev regime."

I could quote the whole book, as much of it is riveting; the problems and controversies of casting such a large statue, the sad ending of Falconet's stay in Russia and the pomp and circumstance of the unveiling.

Unfortunately, Yale University Press has put a $65.00 price on it thereby denying the book a chance to enjoy a general readership, published this book. The reason I presume is the stupid system of covering the cost of printing the book by over-charging the university libraries that purchase university published books irrespective of price. Obviously, Yale University did not have enough faith in Dr. Schenker to allow the book a chance to sell in the open-market place. This is a shame for all those who have a love of history should read this absorbing and well-written book.

Exceptional Scholarship Produces Masterful Study.......2004-11-10

I'll admit that I knew little about the equestrian monument to Peter the Great popularly known as "The Bronze Horseman" before I read this book. Having finished the book, my appreciation for this artistic achievement has greatly increased. This enhanced appreciation is entirely due to Schenker's masterful approach in discussing the statue.

As one would expect in a work of art history, Schenker gives an analysis of the work's artistic merits. However, he saves this examination until the end of the book. Before he provides his analysis, Schenker spends the majority of the book discussing the influences that helped shape Falconet's approach to sculpting the monument. He shows these influences by providing a thorough look at Falconet's career, his personal and professional relationships, and his personality. All of these aspects are substantiated with solid research. By arranging the study in this manner, Schneker gives the reader enough context to appreciate the statue's artistic qualities when they are eventually discussed.

It's rare to find an art history study as informative, entertaining, and engaging as The Bronze Horseman. In fact, The Bronze Horseman reads more like a novel than a study. One cannot make that claim about too many other histories, much less art histories. Consequently, much as the statue is recognized as one of the world's definitive equestrian monuments, this book will be recognized in the future as a standard for all art histories.

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A bizarre yet groundbreaking mix of Music Theory and Natural/Aesthetic Philosophy!
An important work in the writings on an outstanding and important musicologist
Good analytic approach
for the specialist only
A different approach to music theory and composition

Harmony
Heinrich Schenker
Manufacturer: University Of Chicago Press
ProductGroup: Book
Binding: Paperback

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ASIN: 0226737349

Book Description

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.

Customer Reviews:

A bizarre yet groundbreaking mix of Music Theory and Natural/Aesthetic Philosophy!.......2006-08-06

Read this book and find out for once and all what the big deal about a II V I progressions are. According to Schenker all art is deeply rooted in and imitative of "nature" - - though at times he admits that reconciliations with natural law are required. - - Is this true? Well a whole debate about nature vs. artifical society and the whole realm of aesthetic philosophy can arise outside this book, and one can get into a whole lot of hoo-ha that most musicians don't usually think of when we're tapping our feets to the changes. Schenker however thinks and observes a lot. Unlike most theoreticians he was anything but dry... he was actually a creative thinker writing a plea for musicians to be both *creative* and scientific... this book represents the beginings of his efforts to do so... and it is nothing less than engaging, if not provocative.

Over 100 years have past since this book was written. Much of the material on a practical level has been absorbed into mainstream music theory, though in much simpler terms. What makes this book so amazing (besides being "the source") is that Schenker reveals the philosophy underlying musical ideas which we take for granted as "common sense today" (*not to give the wrong impressions, some of his ideas, of course, are debated!) - - Ironically, while much of the practical end theory is definitely modern day common sense, some of the philosophy is - - interesting to say the least, at times a majorly enlightening and different way of looking at things, at other times head scratching "wuh?" or realizing that he definitely was a product of his era. Schenker is also fascinating due to his wry sense of humor as well and ability to draw examples from the most mundane aspects of daily life to the behaviour of the notes (to back his claim that true art imitates nature.)

All in all, I should warn you... today's music theory books have a tendency to "dummy down" - - Musical theoreticians may be "authoritive" but they are rarely original, and even when they are they don't like to be too profound... Schenker however is a German Philosopher with a capital "G" and "P", as a result, if you're a typical musician looking for something move along the lines of a typical "Theory Made Simple" book, move on.... this book definitely requires a lot of thinking and absorbing. In the end, if you can and are willing to deal with it, you will not walk away from the book - - if not a bit confused, definitely seeing LIFE as well as music very differently !

Now on to Schillinger...

An important work in the writings on an outstanding and important musicologist.......2005-11-15

"Schenkerian Analysis" has become a very important technique in understanding tonal music. Heinrich Schenker was an outstanding musicologist. He was born in Austria in 1868 and died there in 1935. During his career he developed several close disciples who became influential apostles of his methods and views. Probably the most influential in the United States were Oswald Jonas and Felix Salzer. This book was edited and annotated by Jonas.

Schenker had some views towards the fundamental harmony and how human beings perceived it that he might have considered scientific, but that are nothing short of mystical to us. There is no doubt that his techniques of analyzing tonal music and viewing the compositions as the horizontalization of a core musical idea is compelling. However, his fundamental ideas of how music came to be are not essential to accepting his analytical methods.

This is an interesting document and has caused all kinds of debate about many things. If you want to learn about Schenker and his ideas at some point you will need to come to terms with this book. It came out in 1906 so it is hardly juvenilia. There also seem to be various differences with what he came to say in later writings. However, this book is about harmony not about counterpoint - that was a later work.

The book is not a theory text suitable for coursework and it has as much musical criticism as it does musical pedagogy. Still, it is eminently worth reading as a kind of poetics of harmony by an important and influential musicologist.

Good analytic approach.......2005-08-22

Indeed very interesting, enhanced with many examples from the masters' works. Schenker's analysis (scale step approach) is very helpful to correctly parse harmonic progressions.

for the specialist only.......1999-04-27

Schenker's special theories were still largely undeveloped when he wrote this. Begin with INTRODUCTION TO SCHENKERIAN ANALYSIS by Allen Forte. Or if you just want to learn basic music theory use Robert Ottman's ELEMENTARY HARMONY and ADVANCED HARMONY or an early edition (unmangled by Mark Devoto) of Walter Piston's HARMONY. Readers interested in music theory will probably also want to look at PENTATONIC SCALES FOR THE JAZZ-ROCK KEYBOARDIST by Jeff Burns.

A different approach to music theory and composition.......1998-07-13

For the studied musician or composer, this book offers a new approach to the way we veiw both music theory and composition. Schenker begins with a detailed description of how we perceive music based on the natural laws of overtones. He then demonstrates how the "old systems", i.e. the church modes no longer, or ever really could be consisdered as independant systems of tonality. The only valid systems are the major and the minor. The first half encompasses his broad yet clarifying theories and the second half demonstrates these theories in practical applications. The concepts of "compositional unfolding" and many others have increased my understanding and comprehension of theory as it should be.....the way Bach, Beethoven, and many of the greats perceived it before Ramaeu. This is definetly worth the time!

Schenker Studies 2 (Cambridge Composer Studies)

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must buy

Schenker Studies 2 (Cambridge Composer Studies)

Manufacturer: Cambridge University Press
ProductGroup: Book
Binding: Paperback

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ASIN: 0521028329

Book Description

This is Cambridge University Press' second volume of studies based on the work of Heinrich Schenker (1868-1935), now recognized as this century's most influential figure in the areas of music theory and analysis. The book contains historical studies that derive from Schenker's unpublished papers, and analytical studies of music from the eighteenth to the twentieth centuries. It aims to apply and further develop Schenker's theories and ideas for the benefit of music scholars, performers, and students.

Customer Reviews:

must buy.......1999-04-19

This is clearly the most original and complete work on this topic - a must buy

The Dawn of Slavic: An Introduction to Slavic Philology (Yale Language Series)

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A fine companion to any Old Church Slavonic primer and more
Interesting but lacking

The Dawn of Slavic: An Introduction to Slavic Philology (Yale Language Series)
Alexander M. Schenker
Manufacturer: Yale University Press
ProductGroup: Book
Binding: Hardcover

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ASIN: 0300058462

Book Description

Weaving linguistic, cultural, and historical themes together, Alexander M. Schenker has created a complete and accessible account of the development of the Slavic languages. In this unique book, he traces the history of the tribes of the Slavic regions from the Late Roman period through the end of the Middle Ages and discusses how their individual languages and writing evolved.

Customer Reviews:

A fine companion to any Old Church Slavonic primer and more.......2006-03-13

Alexander M. Schenker's THE DAWN OF SLAVIC: An Introduction to Slavic Philology is a comprehensive historical background to the first Slavic writings. For anyone learning Old Church Slavonic from a primer like Nandiris & Auty's HANDBOOK OF OLD CHURCH SLAVONIC or Schmalstieg's INTRODUCTION TO OLD CHURCH SLAVIC Schenker's book is a vital overview of archaeology, comparative Indo-European linguistics, and manuscript studies to serve as accompaniment.

THE DAWN OF SLAVIC opens with the historical setting: a hitherto unknown tribe makes it existence known by sweeping into central Europe. Schenker lists the various theories for the Slavic homeland, along with the possibility that peoples reported earlier by ancient historians may be identified with the Slavs. The Slavic expansion is carefully tracked, as well as the intercultural contact of the Slavs in the Balkans. Schenker's history goes up through the Moravian mission--which also tackles the problem of the exact location of Rastislav's kingdom--and the arrival of Slavs in the northwest, and finally ends with Kyiv Rus. This portion of the book contains a rich bibliography, and has spurred this reader onto countless interesting sources.

The section portion of the book is is a brief (100-page) diachronic grammar of Proto-Slavonic, expanded from the author's prior presentation in Routledge's THE SLAVONIC LANGUAGES, ed. Bernard Comrie (1993). While it doesn't compare at all to a real primer, it has some interesting perspectives on several matters, most notably phonology. And the grammar goes all the way back to the beginning: Proto-Indo-European, introducing the reader to concepts like laryngeal theory through a Slavic lense. The final portion of the book deals with Slavic philology in its most limited sense: writing. The two alphabets Glagolitic and Cyrillic, their functioning, and their evolution, along with all the debate over their order of invention is described. Major literary figures like Clement of Ochrid are sketched. The most fascinating part for me, however, was Schenker's description of each of the major manuscripts from the OCS period and their contents. Most OCS primers just give a single selection from any given manuscript, it is nice to know what else is out there.

If you are interested in any topic having to with early Slavs, from comparative Indo-European linguistics to the history of the modern Slavic states, THE DAWN OF SLAVIC is highly recommended. Very rarely do I encounter such an entertaining book.

Interesting but lacking.......2005-06-26

The part about the history of the Early Slavs is very interesting and gives very useful data which I didn't know before. About the samples of early Slavic writing, I was simply delighted with the idea of having such valuable historical monuments before my eyes.

The part about language is also very interesting, but there are some negative points which I feel obliged to comment:

As usual in studies about general Slavic philology made by western scholars, some major languages (first Russian and then Polish and Czech, followed by Bulgarian) seem to receive more attention than others (with western South-Slavic usually in the last place). I believe this is due to the mere fact that most western scholars, for diverse reasons, simply know more about Russian, Polish and Czech than about Serbian/Croatian and Slovene. Of course it seems impossible to master all major Slavic languages, but at least some scholars could be more humble and not pretend that they know everything about them all.

For instance, in the chapter "Early writing", part "3.10 The origin of the terms Glagolitic and Cyrillic", note 201, Schenker says that "The stem glagol- does not occur in South Slavic outside of (Old) Church Slavonic". Well, this is completely wrong! As any Serbian, Montenegrin, Bosnian or Croatian kid knows, when they learn grammar at school they have to cope with terms such as "glagolski pridjev" (verbal adjective, ie participle), "glagolski prilog" (gerund), "glagolski vid" (verbal aspect), etc., because, in fact, the word for 'verb' in Serbian/Croatian is just "glagol".

One has to wonder what would have happened if the eventful circumstances of history had not led the easternmost Slavic dialects (Russian) but, for instance, the westernmost (Polabian) to the position of the most spoken and 'famous' Slavic language. Probably, Slavic philology and even the reconstructed Proto-Slavic forms would look quite different of how they look today.

For example, in the reconstructed verbal conjugation of Proto-Slavic, the 1st person plural ("we") takes the ending -m plus the "hard" jer, which is such a straightforward way of making a "step back" from Russian. Of course, Russian forms end in -m. The posited reconstructed ending could be also suitable (though less clearly) for Polish, whose forms end in -my. But Slovene and Serbian/Croatian end in -mo, while Czech, Slovak and Bulgarian end in -me, and therefore none of them agree with the posited proto-form. Schenker 'resolves' the problem with one simple and short note: "[...]The ending -mo, which appears in some Slavic languages is probably derived from -mos, which is the more common variant of this ending in Proto-Indo-European[...]".

To me, this "some Slavic languages" doesn't look accurate at all, because it seems as if the endings -mo/-me were the exception, while in fact they are more common than the specifically Eastern Slavic -m.

Another point is the posited form *edin (+ "hard" jer) for the numeral 'one'. Only East Slavic and Bulgarian have a form ending in -in (plus Upper Sorbian, ending in -yn). All the other languages (that is, the majority of them) show forms ending in a mobile 'schwa' (jeden or jedan), thus suggesting a Proto-Slavic form like *ed+soft jer+n+hard jer. This would be the most logical and easy conclusion, explaining the -in forms as a (mostly Eastern Slav) "anomaly" caused by the assimilation of the adjective meaning 'only'. But again, the mighty influence of Russian seems to be overwhelming.

In my oppinion, several other Russian influences can be detected in Schenker's (and others) posited reconstruction of the Slavic proto-language. But, quite ironically, there is another big mistake in this book which could have been avoided just by listening to colloquial Russian speech. When talking about the pronoun "c^to" (what), Schenker says that the genitive form "c^'so" replaced the nominative and accusative in West Slavic. Perhaps he didn't find another reason for Polish and Czech "co" (and he forgot Slovak "c^o"), but in fact the explanation is much simpler. The original form "c^to" was metathesized to "tc^o" > "c^o", for easier pronounciation and by analogy to oblique forms, as it often happens in Russian informal conversation. The fact that "c^o" yielded "co" in Czech and Polish involves just a small phonetic change and it shows analogy with other cases in which East/South Slavic "c^" > West Slavic "c". Amazing that Schenker didn't see all that.

Moreover, in the survey of Slavic languages, when talking about the Croatian and Serbian diasystem, Schenker says that "Croatian and Serbian were standardized in the first half of the nineteenth century, chiefly through the efforts of the Hercegovinian Vuk Karadzic and the Croat Ljudevit Gaj". Well, it's true that Vuk Karadzic was born in eastern Hercegovina, which at that time was under the Ottoman rule. But everybody knows that Vuk Karadzic was Serbian, that he was the great reformer of the Serbian literary language and the Serbian Cyrillic alphabet, so I don't understand the use of the term "Hercegovinian" in that context... Ljudevit Gaj, for instance, is correctly called Croat, and not "Zagorjan", even he was born in the Zagorje region. It smells like some kind of intrussion of politics into linguistic and historical topics, and personally I found the aforementioned paragraph quite unfortunate.

Vuk Karadzic, despite his enormous importance in the development of modern day Serbian literary language, is only mentioned (and now correctly as Serb) on a footnote (308) in the section "Linguistic investigations", which mentions several of the most remarkable scholars and investigators of Slavic languages and philology. Karadzic's mentor, the Slovene Jernej Kopitar, is thoroughly commented, and so he receives the good treatment that his figure deserves. But again, I can't understand why Karadzic's figure is treated in such different (I would dare to say nearly offensive) way.

I don't intend to be harsh; the book gives valuable data, but it clearly has some important gaps.

The Earliest Text of the Hebrew Bible: The Relationship Between the Masoretic Text and the Hebrew Base of the Septuagint Reconsidered (Septuagint and Cognate Studies Series)

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The Earliest Text of the Hebrew Bible: The Relationship Between the Masoretic Text and the Hebrew Base of the Septuagint Reconsidered (Septuagint and Cognate Studies Series)
Switzerland) International Organization for Septuagint and Cognate Studies. Congress (2001 : Basel
Manufacturer: Society of Biblical Literature
ProductGroup: Book
Binding: Paperback

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ASIN: 1589830814

Book Description

The essays presented in this volume reflect the present state of research into the latest stages of the literary development of the Hebrew Bible and the earliest period of its textual history. They reassess the relationship between the Septuagint and the Hebrew text of the Bible, and shed new light on the literary history and transmission of biblical books between 300 B.C.E. and 100 C.E., a crucial period for the history of the biblical canon.

Book Description

Heinrich Schenker's The Art of Performance shows this great music theorist in a new light. While his theoretical writings helped transform music theory in the twentieth century, this book draws on his experience as a musician and teacher to propose a sharp reevaluation of how musical compositions are realized in performance. Filled with concrete examples and numerous suggestions, the book will interest both music theorists and practicing performers. Schenker's approach is based on his argument that much of contemporary performance practice is rooted in the nineteenth-century cult of the virtuoso, which has resulted in an overemphasis on technical display. To counter this, he proposes specific ways to reconnect the composer's intentions and the musician's performance. Schenker begins by showing how performers can benefit from understanding the laws of composition. He demonstrates how a literal interpretation of the composer's indications can be self-defeating, and he provides a lively discussion of piano technique, including suggestions for pedal, sound color, orchestral effects, and balance. He devotes separate chapters to non-legato, legato, fingering, dynamics, tempo, and rests. In addition to the examples for pianists, Schenker covers a number of topics, such as bowing technique, that will prove invaluable for other instrumentalists and for conductors. The book concludes with an aphoristic and sometimes lyrical chapter on practicing. After Schenker's death, his student Oswald Jonas prepared the text for publication from Schenker's notes, eventually leaving the manuscript to his stepdaughter, Irene Schreier Scott, who entrusted the work of organizing and editing the disparate material to Jonas's friend and student Heribert Esser. She later translated it into English. This edition is the first publication in any language of this remarkable work.

Customer Reviews:

The Art of Performance.......2000-06-21

This is an extremly important book by the great and most influencial music theorist of the 20th Century, Henrich Schenker. In this book, he speaks about contemporary performance practice and focuses in particularly on the technique of piano playing and piano practicing. There are chapters dedicated to specific techniques such as legato-playing and pedalling, and detailed discussions on dynamics, fingering, and rests. I highly recommend this book to all the musicians out there, it is simply too important to be overlooked.

Der Tonwille: Pamphlets in Witness of the Immutable Laws of Music Volume II

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Der Tonwille: Pamphlets in Witness of the Immutable Laws of Music Volume II
Heinrich Schenker
Manufacturer: Oxford University Press, USA
ProductGroup: Book
Binding: Hardcover

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ASIN: 0195175182

Book Description

This is the second volume of a two-volume translation of Heinrich Schenker's Der Tonwille (1921-24). Among the foremost music theorists of the twentieth century, Schenker's methods of analysis continue to be one of the most important tools of musicology.

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