Explorations in Schenkerian Analysis

Matthew Brown is Professor of Music Theory at the Eastman School of Music.

• PrefaceA Letter about the C-Major Fugue from The Well-Tempered Clavier, Book 1 - Charles BurkhartThe Opening Tonal Complex of Bach's St. Matthew Passion: A Linear View - Mark Anson-CartwrightRecurrence and Fantasy in C. P. E. Bach's Rondo in G Major - Frank SamarottoVoice-Leading Procedures in Galant Expositions - L. Poundie BursteinThe First Movements of Anton Eberl's Symphonies in E-flat Major and D Minor, and Beethoven's Eroica: Toward "New" Sonata Forms? - Timothy JacksonSchubert's "Unfinished" Symphony: Analytical Observations - David W. BeachStructural and Form-Functional Ambiguities in the First Movement of Schubert's Octet in F Major, D. 803 - Su Yin MakThe 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 RothsteinEndings without Resolution: The Slow Movement and Finale of Schumann's Second Symphony - Lauri SuurpääHalf-Diminished-Seventh Openings in Brahms's Lieder - Ryan McClellandMotivic Enlargement in Dvorák's Symphony Op. 70 - Leslie KintonDeliverance and Compositional Design in the "Libera me" of Verdi's Messa da Requiem - Donald R. McLeanPolyphony and Cacophony? A Schenkerian Reading of Strauss's "Dance of the Seven Veils" - Matthew BrownA Force of Nature: Debussy and the Chromatically Displaced Dominant - Boyd PomeroyAppendix: An Interview with Edward Laufer - Stephen Slottow

[E]xpands the literature on Schenker studies in important and fascinating ways. It belongs on the bookshelf of any Schenkerian but would also be a wonderful resource for intermediate and advanced classes in Schenkerian analysis.