Product Details

• Amazon Sales Rank: #820736 in Books
• Published on: 1982-08-17
• Original language: English
• Number of items: 1
• Binding: Paperback
• 416 pages

Customer Reviews

Best when used by a great teacher
Forte's "Introduction to Schenkerian Analysis" is most effective when used by a good teacher. After all, this is a textbook and not a novel. I feel that some of the reviewers of this book are comparing Forte to Ernest Hemingway, or Robert Frost. Writings on music theory are extremely technical; they are almost never going to be eloquent or poetic. Sometimes things are difficult to understand. THAT'S WHY PROFESSORS EARN $90,000 PER YEAR.

This book contains several examples from the tonal literature that define, explain, and illuminate the principles associated with Schenkerian theory in a candid, matter-of-fact way. I recommend this book for anyone interested in music theory.

Excellent Intro to Schenker
I've been looking for a book like this for a long time. I'm using it for self-study of Schenker's theories. I find Schenkers own works to assume that one already understands a lot about his theories. This book starts from the beginning, and leads you through some very complex and worthwhile ideas. I think any serious musician not acquainted with Schenker and interested in more than a superficial understanding of his thought could greatly benefit from reading this book (and working through the exercises).

A nightmare!
I am a student of music and read musical analyses avariciously; I had no problem understanding 'The Art of fugue' or Piston's 'Harmony'. This book, on the other hand, is an abstruse Nightmare! It's odd because Mr. Forte at least pretends to want to explain his subject clearly, and the book has just hundreds of examples; but I'm afraid I hardly understood a single one of them. From the very earlist examples on, Mr. Forte paints full Schenkerian grafts, before you even know what half of those silly lines and phrasing markes mean, and example after example I found my poor self asking: why this way, and not that way? And so I read the entire book, front to cover, various times, trying to see if this or that question would eventually be addressed, but in vain.
Since then I have come to understand Schenkerian thought, partly, through other sources. I have concluded that the reason his theories are so very hard to understand and to put into practice is because a great deal of it is just nonsense for people who wish they were composers but aren't, and so they spend their time painting little complicated grafts (which are often even misleading about the way we hear music). That said, I nevertheless hope that one day a better, clearer book on this historically important subject will soon be writ.