The analytical techniques that Heinrich Schenker developed have become increasingly dominant in the analysis of tonal music, and have provided a rich and powerful means of understanding the complexities of great masterworks of the Western tradition. Schenker's method is based on two cardinal concepts-a hierarchy of tones grouped into structural levels, and a recognition of the importance of strict voice-leading at all structural levels. In Analyzing Fugue-A Schenkerian Approach, author William Renwick utilizes Schenkerian techniques to explore the relationship between imitative counterpoint and voice-leading in fugue. He shows that the art of fugal composition as practiced by masters such as Bach and Handel involves a remarkable degree of systematic structural patterning that is not evident on the surface of the music.
Reviews-...Renwick's book offers a penetrating theory of fugue, with telling observations for theorists and composers alike. Heather Platt Notes Sept. 1996
...clearly the fruit of deep study and sophisticated knowledge of fugues (particularly those of bach) and the literature about them. ...many will find it a fount of wisdom and knowledge. Lionel Pike, Music and Letters vol. 77 no. 1
...consummate and meticulous scholarship. Robert Gauldin, Intégral vol. 9
Completed B. Mus, and M. Mus. degrees at the University of British Columbia, following which he took the M. Phil. and Ph.D. degrees in Music Theory at the City University of New York, where he specialized in Schenkerian studies under Carl Schachter, Joel Lester, and Charles Burkhart. He is Professor of Music Theory in the School of the Arts, McMaster University. His research interests encompass studies in tonal counterpoint and analysis and Gregorian chant as well as computer applications in music research. His publications include Analyzing Fugue: A Schenkerian Approach (Pendragon, 1995), and The Langloz Manuscript: Improvising Fugue from Thoroughbass (Oxford, 2001), as well as articles in Journal of Music Theory, Music Theory Spectrum, Music Analysis, Bach Perspectives, Music Theory Online, Theoria, Computers in Music Research, Canadian University Music Review, Journal of Music Theory Pedagogy, and other journals. He is currently working on the first mo!
dern edition of the Music of the Sarum Office. In 2002 he was a Fellow of the Mannes Institute for Advanced Studies in Music Theory. He is a founding member of the Gregorian Institute of Canada, and of the McMaster Institute of Music and the Mind.
William Renwick is also an organist, composer, and choral director. He holds the Associate degree of the American Guild of Organists and the Fellow of the Royal Canadian College of Organists. He has performed concerts and recitals throughout the region. In 1999 he served as co-chair of The Canadian Organ Festival in Hamilton. He is Music Director at Saint Mary the Virgin Church in Hamilton Ontario, and director of the Hamilton Schola Cantorum.