Qualifying Schenker’s Theory:

A critical evaluation of the premises of Linear Analysis

Abstract

This study critically evaluates Heinrich Schenker's theory of linear analysis, ("Der Freie Satz" ca. 1935). Schenker's theory aims to derive tonal structure through linear interpretations, diverging from vertical harmonic analysis (Theory of Musical Composition, ca. 1817). However, its limited application to Austro-Germanic works raises concerns about its broader validity. By exploring French and Italian repertoires, I assess Schenker's methodology, particularly examining descending fundamental lines, interruption, and hidden repetition/motivic analysis. This evaluation thus qualifies Schenker's theory and proposes alternative interpretations beyond the Viennese style, expanding its scope and applicability to diverse musical traditions.