During the past fifty years Schenkerian theory has been adopted as
the main method for analysing tonal music. This book questions the
value of Schenker's "tonal analysis" for musical description and
interpretation, and discusses its relations to "generative" theory
and "implicational" analysis - taking into account its links with
linguistic syntax and the perception of tonal closure. It is
observed how auxiliary theoretical concepts transform the music so
as to pave the way for preordained tonal structures. Alternative
readings of the music examples are provided.
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