Preface; Part I. Historical Studies: 1. Introduction; 2. Schenkerian theory and manuscript studies: modes of interaction John Rothgeb; 3. A source for Schenker's study of thorough bass: his annotated copy of J. S. Bach's Generalbassbuchlein Hedi Siegel; 4. Music and morphology: Goethe's influence on Schenker's thought William Pastille; 5. Schenkerian theory and the analysis of Renaissance music David Stern; 6. Foreground, middleground and background: their significance in the history of tonality Saul Novack; Part II. Analytical Studies: 7. Introduction; 8. Dual-key movements David Loeb; 9. J. S. Bach's 'binary' dance movements: form and voice leading Larry Laskowski; 10. Aspects of the Neapolitan sixth chord in Mozart's music Roger Kamien; 11. Enharmonic transformation in the first movement of Mozart's Piano Concerto in C minor, K. 491 Eric Wen; 12. Schenker and chromatic tonicisation: a reappraisal Patrick McCreless; 13. Departures from the norm in two songs from Schumann's Charles Burkhart; 14. Either/or Carl Schachter; Part III. Schenker Studies Today: 15. Introduction; 16. Schenkerian theory in Great Britain: developments and responses Jonathan Dunsby and John Rink; 17. The Americanisation of Heinrich Schenker William Rothstein; Index.