Analysis of Tonal Music: A Schenkerian Approach

Designed as an introductory text for upper-level undergraduates and beginning graduate students, Analysis of Tonal Music: A Schenkerian Approach, Second Edition, explains the fundamental principles of Schenkerian analysis by focusing on the music itself. Intended for use in one- or two-semester courses on Schenkerian theory, this text will also appeal to individuals interested in Schenker's work. The book assumes no prior knowledge of the subject, but it does require a background in harmony and voice leading; a familiarity with species counterpoint is also desirable. The authors develop Schenkerian techniques through the practical analysis of specific compositions, an approach that parallels the evolution of Schenker's work. The book explains structural principles in actual composition rather than through models and formulas, and teaches students how to think about and critically examine compositions in ways that will inform their understanding and performance of great compositions of Western art music.
The first part of the volume provides the foundation for the analysis of complete pieces and includes discussions of melody, counterpoint, bass-line structures, the Imaginary Continuo, linear techniques, and the essential properties of the Ursatz and its elaborations; the presentation of complete compositions in Part II is organized by formal category. The revised concluding chapter summarizes many of the general tonal patterns that recur throughout the literature. The book includes more than 200 analytical graphs, musical examples--some new to this edition--and a bibliography. Analysis of Tonal Music: A Schenkerian Approach, Second Edition, provides a comprehensive introduction to Schenker's ideas and demonstrates how they can be applied toward a better understanding of tonal music.

Features of the Second Edition

* NEW: An accompanying Student Workbook containing thirty-four exercises with guided analyses
* Adds a primer on graphic notation (as an appendix)
* Places greater emphasis on the Imaginary Continuo as a tool for analysis
* Introduces interruption technique earlier and in more depth
* Provides new examples in Chapter 9 that demonstrate the common middleground plans underlying Baroque binary movements
* Delves more deeply into rhythmic principles
* Features a completely revised Chapter 12, which now presents common tonal patterns (structural "paradigms")
* Includes suggestions for further analysis at chapter ends and refers students to appropriate workbook exercises

Allen Cadwallader is Professor Music Theory at Oberlin Conservatory of Music. David Gagné is Associate Professor at Queens College, CUNY.