Jason Eckardt, is an American composer, he began his musical life playing guitar in heavy metal and jazz bands and abruptly moved to composing after discovering the music of Anton Webern, was an Austrian composer and conductor, and was at the core among those within, and more peripheral to the circle of what?
Anton Webern Anton Friedrich Wilhelm (von) Webern (] ; 3 December 188315 September 1945) was an Austrian composer and conductor. Along with his mentor Arnold Schoenberg and his colleague Alban Berg, Webern was at the core among those within and more peripheral to the circle of the Second Viennese School, including Ernst Krenek and Theodor W. Adorno. As an exponent of atonality and twelve-tone technique, Webern exerted influence on contemporaries Luigi Dallapiccola, Křenek, and even Schoenberg himself. As a tutor, Webern guided and variously influenced Arnold Elston, Frederick Dorian (Friederich Deutsch), Matty Niël, Fré Focke, Karl Amadeus Hartmann, Philipp Herschkowitz, René Leibowitz, Humphrey Searle, Leopold Spinner, and Stefan Wolpe.
Schenkerian analysis Schenkerian analysis is a method of musical analysis of tonal music based on the theories of Heinrich Schenker (1868–1935). The goal is to extract the underlying structure of a tonal movement. The basic tenets of the supporing theory can be viewed as a way of defining the way tonality is articulated. A Schenkerian analysis shows hierarchical relationships among pitches, and draws conclusions about the structure of the passage from this hierarchy. The analysis uses a specialized symbolic form of musical notation that Schenker devised to indicate structural status and "prolongation", by which tones that are not contiguous on the surface can nevertheless be connected, and separated by musical material that arises through elaboration on lower structural levels. A key theoretical concept is that of "tonal space"; The intervals between the notes of the tonic triad form a "tonal space" that is filled with passing and neighbour notes, producing new triads and new tonal spaces, open for further elaborations until the surface of the work (the score) is reached.