Hans Keller  Hans (Heinrich) Keller (11 March 19196 November 1985) was an Austrian-born British musician and writer, who made significant contributions to musicology and music criticism, as well as being a commentator on such disparate fields as psychoanalysis and football. In the late 1950s, he invented the method of "wordless functional analysis", in which a musical composition is analysed in musical sound alone, without any words being heard or read. He worked full-time for the BBC between 1959 and 1979. Keller was born into a wealthy and culturally well-connected Jewish family in Vienna, and, as a boy, was taught by the same Oskar Adler who had, decades earlier, been Arnold Schoenberg's boyhood friend and first teacher. He also came to know the composer and performer Franz Schmidt, but was never a formal pupil. In 1938, the Anschluss forced Keller to flee to London (where he had relatives), and, in the years that followed, he became a prominent and influential figure in the UK's musical and music-critical life. Initially active as a violinist and violist, he soon found his niche as a highly prolific and provocative writer on music, as well as an influential teacher, lecturer, broadcaster and coach. An original thinker never afraid of controversy, Keller's passionate support of composers whose work he saw as under-valued or insufficiently understood made him a tireless advocate of Benjamin Britten and Arnold Schoenberg, as well as an illuminating analyst of figures such as Mozart, Haydn, Beethoven and Mendelssohn. Many of Keller's earliest articles appeared in the journals "Music Review" and "Music Survey", the latter of which was co-edited by him after he joined the founding editor Donald Mitchell for the so-called 'New Series' (1949–52). In later years, much of his advocacy was carried out from within the BBC, where he came to hold several senior positions and was a regular contributor to "The Listener" magazine. It was also from within the BBC that Keller (in collaboration with Susan Bradshaw) perpetrated in 1961 the "Piotr Zak" hoax, broadcasting a deliberately nonsensical series of random noises, as a new modernist piece by a fictitious Polish composer. The hoax was designed to demonstrate the poor quality of critical discourse surrounding contemporary music at a problematic stage in its historical development; in this aspect, the hoax was a failure, as no critic expressed any particular enthusiasm for Piotr Zak's piece, with all published reviews being roundly dismissive of the work.