Der Tonwille

“Yet it is unfortunate that, in this context, so little attention has been given to Schenker's earlier analytic practices, particularly those operative in Der Tonwille. It is there that Schenker's own attempts to incorporate his graphs of pitch structure into a broader analytic approach can be found. Many of the analyses illustrate fruitful ways to expand Schenkerian practice, and point out the shortcomings of any analytic approach that maintains too much of the strictness of later Schenker. When he published the essays and graphs in the ten issues of Der Tonwille (1921-24), Schenker practiced a type of analysis which accounted for a broad spectrum of musical parameters, and which allowed for interaction between musical structures at the deepest levels. To be sure, he emphasized demonstrations of the ways in which voice-leading levels were derived from a single Urlinie or Ursatz, and elevated the ripening methodology for presenting a single contrapuntal background as the structural underpinning for all layers of a musical artwork. Still, one of the central goals of the Tonwille essays was the elucidation of the artistic interpenetration of many different parameters of musical structure and process.” 

Joseph Lubben, “Schenker the Progressive: Analytic Practice in Der Tonwille” Music Theory Spectrum 15, no. 1 (Spring 1993): 60.