Der Dreiklang - Monatschrift für Musik (Oswald Jonas, Felix Salzer)

Der Dreiklang was an Austrian monthly periodical devoted to issues in Schenkerian theory, edited by Oswald Jonas and Felix Salzer, consisting of nine issues, four of them bound as two double issues, thus seven publications in all, spanning April 1937 to February 1938. Those are significant dates. The first volume appeared two years and three months after Schenker's death. It ended as Hitler's troops marched through the streets of Vienna.

The periodical includes six items under Schenker's own name, these drawn in part from his early published critical work, in part from more recently published works, and in part from his unpublished papers, to which Jeanette gave Jonas privileged access. The most frequent contributor was Oswald Jonas. Others were pupils of Schenker: Carl Bamberger, Angi Elias, Felix Salzer, Otto Vrieslander, Hans Wolf, Viktor Zuckerkandl, writing as Victor Zauner); others were pupils of Schenker's pupils (Paul Berl, Hans Heimler, Ernst Oster).

The structure of the periodical bears more than a passing resemblance to that of Der Tonwille and Das Meisterwerk in der Musik. Like them, it contains a mixture of analytical, theoretical, source-study and bibliographical articles. Several volumes conclude with aphorisms and miscellaneous materials directly comparable to Schenker's "Miscellanea" (Vermischtes). Most specifically, Salzer's lead article in volume 1, "Schenker's Historic Mission," acts as a strategic counterpart to Schenker's in issue 1 of Tonwille, "The Mission of German Genius"; and in the same volume Jonas extends Schenker's series of analyses of J. S. Bach Short Preludes by examining the F major Short Prelude, its title, "A Bach Prelude," mirroring that of a section in the "Miscellanea" of Tonwille 5, "A J. S. Bach Prelude."

Notable departures from the Tonwille/Meisterwerk model are the inclusion of book reviews, Jonas's attempt to relate Schenkerian theory to "new music," and Zuckerkandl's applications to opera ‒ bolstered by inclusion of extracts from Schenker's own critical observations about operas by Mozart, Verdi and Smetana from 1893‒96.