| SchenkerGuide : Bibliography :
Analyses |
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| Author |
Title |
Publisher |
Cover |
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| Beach | Motif and Structure in the Andante movement of Mozart Piano Sonata K.545 | Music Analysis, Vol. 3/3 (1984), pp. 227-42 | | |
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| Burstein, L. Poundie | Comedy and Structure in Haydn's Symphonies | Schenker Studies 2 (Schachter, Carl; Hedi Siegel eds.) Cambridge: CUP, 1999. | | |
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| Burstein, L. Poundie | Surprising Returns: The VII# in Beethoven's Op. 18, No. 3, and its antecedents in Haydn | Music Analysis, Vol. 17/3 (1998), pp. 295-312. | | |
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| Burstein, L. Poundie | Devil's Castles and Schubert's Strange Tonic Allusions | Theory and Practice, Volume 27 (2002), pp. 87-102 | | |
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| Burstein, L. Poundie | A New View of Tristan: Tonal Unity in the Preludee and Conclusion to Act I | Theory and Practice, Volume 9 (July-December, 1984), pp. 15-42. | | |
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| Cadwallader , Allen | Schenker's Unpublished Graphic Analysis of Brahms's Intermezzo Op. 177, No. 2: tonal Structure and Concealed Motivic Repetitio | Music Theory Spectrum , Volume 6, 1984 | | |
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| Cadwallader, Allen | Foreground Motivic Ambiguity: Its Clarification at the Middleground Levels in Selected Late Piano Pieces of Johannes Brahms | Music Analysis, Vol. 7/1 (1988), pp. 59-92 | | |
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| Cavett-Dunsby, Esther | Schenker's Analysis of the Eroica Finale | Theory and Practice, Vol. XI (1986), pp. 43-51. | | |
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| Cinnamon, Howard | 3rd-Related Harmonies As Elements Of Contrapuntal Prolongation In Some Works By Franz Liszt | In Theory Only, Vol. 12/5-6 (1992), pp. 1-30. | | |
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| Cinnamon, Howard | E Major Tonality as Dominant or Mediant in Chopin's Op. 10/1: Schenker's Graphs from Free Composition Reconsidered | Indiana Theory Review , Volume 15/1, Spring 1994 | | |
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| Drabkin, William | A Lesson in Analysis from Heinrich Schenker: The C-major Prelude from Bach's Well-Tempered Clavier, Book 1 | Music Analysis, Vol. 4/3 (1985), pp. 241-58 | | |
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| Forte, Allen | Motivic design and Structural Levels in the First Movement of Brahms's String Quartet in C minor | Music Quarterly, vol.69 (1983b), pp.471-502 | | |
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| Graybill, Roger | Harmonic Circularity in Brahms's F major Cello Sonata: An Alternative to Schenker's Reading in Free Composition | Music Theory Spectrum , Volume 10, 1988 | | |
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| Krebs, Harald | The Background Level in some Tonally Deviating Works of Franz Schubert | In Theory Only, Vol. VIII/8 (December 1985), pp. 5 - 18 | | |
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| Maisel, Arthur | Talent and Technique: George Gershwin's Rhapsody in Blue | Trends in Schenkerian Research (A. Cadwallader ed.), New York: Schirmer, 1990 | | |
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| McNamee, Ann | The Introduction in Schubert's Lieder | Music Analysis, Vol. 4/1 (1985), pp. 95-106 | | |
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| Nicholas Cook | At the Borders of Musical Identity: Schenker, Corelli and the Graces | Music Analysis, Vol. 18/2 | | |
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| Petty, Wayne | Koch, Schenker, and the Development Section of Sonata Forms by C.P.E. Bach | Music Theory Spectrum, Volume 21, Number 2, Fall 1999 | | |
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| Platt, Heather Anne | Dramatic turning points in Brahms lieder | Indiana Theory Review, Vol. XV/1 (spring, 1994) 69-104 | | |
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| Plotnikov, Boris | On Dialectical Structure Creating Process in Shostakovich's Prelude op 34 No. XX | [forthcoming winter 2000, in Webster Eunomios] | | |
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| Renwick, William | Hidden Fugal Paths: A Schenkerian View of Handel's F major Fugue (Suite II) | Music Analysis, Vol. 14/1 (1995) | | |
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| Renwick, William | Hidden Fugal Paths: A Schenkerian View of Handel's F major Fugue (Suite II) | Music Analysis, Volume 14, Number 1, March 1995 | | |
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| Schachter, Carl | The First Movement of Brahms's Second Symphony: the Opening Theme and its Consequences | Music Analysis, Vol. 2/1 (1983), pp. 55-68 | | |
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| Snyder, John L | Schenker and the first movement of Mozart's sonata K.545: An uninterrupted sonata-form movement? | Theory and Practice, Vol.XVI (1991) 51-78 | | |
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| Sobaskie, James | Precursive Prolongation in the Préludes of Chopin | Journal of the Society for Musicology in Ireland, Vol. 3 (2007/8) | | |
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| Suuroaa, Lauri | The Path from Tonic to Dominant in the Second Movement of Schubert's String Quintet and in Chopin's Fourth Ballade | Journal of Music Theory, 44/2 (2000), 451-485. | | |
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| Williamson, John | on Mahler Introductions | Music Analysis, Vol. 5/1 (1986), pp. | | |
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| Wintle | Kontra-Schenker: Largo e Mesto from Beethoven's Op.10 No.3 | Music Analysis, Vol. 4/1 (1985), pp. 145-182 | | |
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| Wintle, Christopher | "Skin and bones": The C-minor Prelude from J.S. Bach's Well-Tempered Clavier, Book II | Music Analysis, Vol. 5/2-3 (1986), pp. 85-96 | | |
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[Introductions]
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[Historical Development]
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[Bibliographies and Misc]
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