Schenker's High-Level Motives

Abstract

It is well known that in the final stage of his career, Schenker abandoned the use of the term to describe aspects of the compositional process. What is not well known are the reasons that led to this rejection, and the great extent to which Schenker's thinking about the role of motive in music had changed during the development of his ideas.' In his Harmony (1906), for example, Schenker gives the following definition of motive:

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