This paper intends to introduce the Greek reader to what the author considers to be the essence of Schenkerian theory and methodology. The opening two parts present in brief the high level of the musicological and music-theoretical research in the U.S.A., cite and compare a few arguments for or against the work of H. Schenker, and also track down misunderstandings discernible in Greek bibliography, caused by the absence of almost any discussion or even information about the Austrian theorist in this country.The rest of the paper, by examining the passage in mm. 1-2 of the third movement of Bach’s Brandenburg Concerto No. 6, presents and explains the concepts of Scale-step (Stufe) and Chord-prolongation, discusses the fundamental Schenkerian premises of Ursatz and Urlinie, as well as the contribution of Schenkerian theory to the perception and understanding of the structural rhythm of a tonal work, and finishes by encouraging Greek theorists to read and speculate on the work of Heinrich Schenker.
© Musicology