ABSTRACT
One was the remark quoted by Heinrich Schenker in his Harmonielehre of 1906, a remark which has been discussed at length by Edward Laufer in his study of two movements of the Ninth Symphony. Many, indeed, are tempted to interpret Schenker’s system as tonality made incarnate. As a result, an analysis which involves a departure from Schenker’s models is often regarded as demonstrating a problem in the music rather than a problem in the theory. This was also a time when scholars sought, more adventurously and to a large extent more efficaciously than before, to ‘apply’ Schenker’s methods to works outside the common-practice repertoire that was Schenker’s main concern. Notes in parentheses, according to Schenker, are notes that are not stated but only implied.
