Abstract

At the basis of Schenker's teaching lies the most important possible goal - that of effecting some kind of rapprochement between musical theory and the actual musical thought of the composer. It should be hardly necessary to point out, at this late date, the vital necessity of some such rapprochement. The older theory of harmony, virtually a compilation and standardization of the purely practical teachings of earlier days, consisted in little more than a systematic catalog of "chords"—and what was a chord but the simultaneous sounding of any two or more notes, regardless of their syntactical significance? That the harmony books catalogued only the simplest of such phenomena does not in the slightest alter the fact that fundamentally the conception went no further. While distinctions were made between "harmonic" and "non-harmonic" tones, and the number of possible chords limited by professional fiat, such distinctions and limitations were patently arbitrary and often contrary to the true order beneath what was assumed to be merely conventional, and therefore sanctified by tradition. There even exist harmony books which dogmatically assert the inferiority of certain cadence formulas, on the ground that the masters used them less frequently than others of different structure! Roger Sessions was an American composer who taught at Smith College, Princeton University and the University of California, Berkeley. Sessions received two Pulitzer prizes