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Displays the range and diversity of Schenkerian studies today in fifteen essays covering music from Bach through Debussy and Strauss.
List of contents
Preface
A Letter about the C-Major Fugue from
The Well-Tempered Clavier, Book 1 - Charles Burkhart
The Opening Tonal Complex of Bach's
St. Matthew Passion: A Linear View - Mark Anson-Cartwright
Recurrence and Fantasy in C. P. E. Bach's Rondo in G Major - Frank Samarotto
Voice-Leading Procedures in Galant Expositions - L. Poundie Burstein
The First Movements of Anton Eberl's Symphonies in E-flat Major and D Minor, and Beethoven's Eroica: Toward "New" Sonata Forms? - Timothy Jackson
Schubert's "Unfinished" Symphony: Analytical Observations - David W. Beach
Structural and Form-Functional Ambiguities in the First Movement of Schubert's Octet in F Major, D. 803 - Su Yin Mak
The Form of Chopin's Prelude in B-flat Major, Op. 28, No. 21 - Roger Kamien
"All That Is Solid Melts into Air": Schumann's Overture to
Manfred - William Rothstein
Endings without Resolution: The Slow Movement and Finale of Schumann's Second Symphony - Lauri Suurpää
Half-Diminished-Seventh Openings in Brahms's Lieder - Ryan McClelland
Motivic Enlargement in Dvorák's Symphony Op. 70 - Leslie Kinton
Deliverance and Compositional Design in the "Libera me" of Verdi's
Messa da Requiem - Donald R. McLean
Polyphony and Cacophony? A Schenkerian Reading of Strauss's "Dance of the Seven Veils" - Matthew Brown
A Force of Nature: Debussy and the Chromatically Displaced Dominant - Boyd Pomeroy
Appendix: An Interview with Edward Laufer - Stephen Slottow
About the author
David Beach, Su Yin Mak
Summary
Displays the range and diversity of Schenkerian studies today in fifteen essays covering music from Bach through Debussy and Strauss.
