Errata list and Reviews for works by William Renwick
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"Bach and the `Old' Musicology", Music Analysis 16 (1997), p. 255.
p. 265: the print failed to include the staff lines in Ex. 3. It should be clear that the starting pitch in the treble is A and in the bass D.
Five Chorales for Organ, Canadian Computer Printing, 1997. (first printing)
Available from Canadian Computer Printing, 2-334 Wilson Street, Ancaster, Ontario, CANADA L9G 1N5. Tel: 1-905-648-5607. CCP publications are marketed through Hysen's Music in London, Ontario, Music Plus in Kitchener, Leslie Music in Oakville, and Canadian Choral Centre in Winnipeg.
p. 1, m. 12, second staff: second note should be g, not e.
p. 10, m. 44: both e-flats should be f-flats.
p. 11, m. 67: both b-flats should be c-flats.
p. 11, m. 69: both b-flats should be c-flats.
p. 11, m. 73: final chord in l.h. should have b-flat, not c.
p. 12, m. 6: first note in upper part is tied from previous measure.
p. 14, m.24: bass b-flats should be tied.
Analyzing Fugue: A Schenkerian Approach, Pendragon Press, 1995.
Music and Letters
From Notes, Septermber, 1996.
Analyzing Fugue explores the relationship between the polyphonic procedures and tonal structures of fugues. . . . Despite the title, Renwick's book offers a penetrating theory of fugue, with telling observations for theorists and composers alike. . . . His intelligent and easily comprehensible emphasis on tonal structures, without ignoring the role of the subjects, is an important comtributino to the understanding of fugue. -- Heather Platt, Ball State University
From Music Analysis, 1997.
"Renwick's work in this area is far more comprehensive than that of earlier writers and the first to be carried out so thoroughly in terms of Schenkerian theory. . . . Analyzing Fugue is a thoughtful and deeply probing work that amply repays the effort of reading it. . . . Considering the vast bibliography on fugue, and on Das wholtemperirte Clavier in particular, it is remarkable that Renwick has found so many new and insightful things to say. His ideas, beyond focussing on the music in terms of structure, are offered as an attempt to come closer to the mind that produced it. The reader cannot but come away with deepened awe before Bach's astounding creative power. -- Charles Burkhart, CUNY
"Hidden Fugal Paths: A Schenkerian View of Handel's F Major Fugue (Suite II)", Music Analysis, XIV-1 (March, 1995): 53-71.
CD-Brahms: an interactive CD-ROM program in music analysis (with David Walker). (based on my translation of Heinrich Schenker, "Brahms: Variations and Fugue on a Theme of Handel, Op. 24," Der Tonwille, IV Jahrgang, Heft 2/3 (Heft 8/9 der Gesamtfolge) (April-September, 1924): 3-46, with added introduction, commentary, notes, MIDI and CD-ROM performances, and glossary.) (Marketed directly through McMaster University, 1993).
"Brackets and Beams in Schenker's Graphic Notation," Theoria: Historical Aspects of Music Theory, III (1988) (published in 1989): 73-85.
p. 77: In Example 1, the articulated bracket should include a vertical line descending from the middle of the horizontal line. (This marks the articulation.)
"Modal Structure and Formal Design in Iso Chidori," Hogaku, II-1 (Winter, 1985): 21-63.