ABSTRACT
Harmonic and formal analysis of Heinrich Schenker's published and unpublished music shows that it embodies the same processes as Arnold Schoenberg's contemporaneous music. In his unpublished Madchenlied No. 1, Schenker solves a similar problem: the ground tone of a six-four chord, which is later strengthened. The unrest in Schenker's unpublished song Mir traumte von einem Myrtenbaum expresses a particular interpretation of the text. The music perhaps illustrates the contrast between the myrtle blossoms and the real flowers with two problematic dissonances: B–F and G–A♭. Schenker also has a special fondness for rhythmic figuration that produces the Viennese trichord and other dissonances. Sometimes, Schenker makes the verticalizing of the horizontal as such a focus of the music, more specifically the verticalizing of scales. Schenker thus uses the ambiguous hexatonic poles as a symbol of the two lovers lost in each other's gaze.
