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Explaining Tonality
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Table of Contents

Schenker and the Quest for Accuracy
Semper idem sed non eodem modo
What Price Consistency?
Schenker and 'The Myth of Scales'
"Pleasure is the Law"
Renaturalizing Schenkerian Theory

About the Author

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

Reviews

The question that Matthew Brown has set himself to answer is, basically, just how fundamental Schekerian analysis actually is. . . He seeks nothing less than a rigorous examination of the theory to see if it is logically consistent, sufficiently explanatory without being unneccessarily complex, and ultimately useful. . . . His range is enormous, and one cannot do adequate justice to what has been achieved here without detailed musical exemplification. The musical repertory ranges from early Baroque to the twentieth century.
*MUSIC AND LETTERS, May 2008*

Explaining Tonality is a cogent, concise, and eminently readable study of one of music theory's most important subjects. Matthew Brown traces the philosophical and psychological contexts within which Schenkerian theory can be placed, and considers other relevant topics, such as strict counterpoint and nineteenth-century chromaticism, by way of a wealth of freshly observed compositional examples. Technically expert and critically evenhanded, this absorbing exploration of tonality in theory and practice sets new standards in its scope and authority.
*Arnold Whittall, King's College, London*

Matthew Brown's Explaining Tonality: Schenkerian Theory and Beyond carefully sets out a well-reasoned and convincing case for the scientific viability and logical foundations of Heinrich Schenker's extraordinary approach to analyzing tonal music, revealing the solidity of its foundations. His work should be read by anyone who has an interest in the epistemology of music theory.
*Frank Samarotto, Indiana University*

I . . . heartily recommend the book, for I know of none better in its field. It offers dozens of 'ear-engaging' analyses of important musical works, including an entire chapter on the music of Debussy. These analyses alone make it a must-read for anyone seriously interested in contemporary music theory.
*MUSIC EDUCATORS JOURNAL*

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