David Lewin taught composition at UC Berkeley and at SUNY Stony Brook, and later taught music theory at Yale and Harvard Universities. His music-theoretic writings include many articles and two previous books: Generalized Musical Intervals and Transformations (1987), and Musical Form and Transformation (1993). He was the recipient of honorary degrees from the University of Chicago and from the New England Conservatory of Music for his work in music theory.

bound to be one of the most important publications in any musicological field this year, and probably this decade.

• IntroductionSection IIntroduction.1. Figaro's Mistakes2. Musical analysis as stage direction3. Crudel! perchè finora . . .Postscript.Section IIIntroduction.4. Music Theory, Phenomenology, and Modes of Perception5. Auf dem Flusse: Image and Background in a Schubert Song6. Ihr BildSection IIIIntroduction7. Clara Schumann's Setting of "Ich stand"8. R. Schumann's Anfangs wollt' ich: A study in Phrygian and modern minor9. Auf einer Burg (In a fortress)Section IVIntroduction10. Amfortas's Prayer to Titurel and the Role of D in Parsifal: The Tonal Spaces of the Drama and the Enharmonic Cb/B11. Some Notes on Analyzing Wagner: The Ring and Parsifal12. Tristan-well-made-play and theater of passion; the teleology of functional tonality and the self-propagation of transformational atonalitySection V13. Die SchwesternSection VIIntroduction.14. Women's Voices and the Fundamental Bass15. Toward the Analysis of a Schoenberg Song (Op. 15, No. XI)16. A Way into Schoenberg's Opus 15, Number 717. Vocal Meter in Schoenberg's Atonal Music, with a Note on a Serial Haupstimme18. Moses und Aron: Some General Remarks, and Analytic Notes for Act I, Scene 1Section VIIIntroduction.19. Some Problems and Resources of Music Theory4. Contributors: Not applicable

David Lewin taught composition at UC Berkeley and at SUNY Stony Brook, and later taught music theory at Yale and Harvard Universities. His music-theoretic writings include many articles and two previous books: Generalized Musical Intervals and Transformations (1987), and Musical Form and Transformation (1993). He was the recipient of honorary degrees from the University of Chicago and from the New England Conservatory of Music for his work in music theory.

bound to be one of the most important publications in any musicological field this year, and probably this decade.

• IntroductionSection IIntroduction.1. Figaro's Mistakes2. Musical analysis as stage direction3. Crudel! perchè finora . . .Postscript.Section IIIntroduction.4. Music Theory, Phenomenology, and Modes of Perception5. Auf dem Flusse: Image and Background in a Schubert Song6. Ihr BildSection IIIIntroduction7. Clara Schumann's Setting of "Ich stand"8. R. Schumann's Anfangs wollt' ich: A study in Phrygian and modern minor9. Auf einer Burg (In a fortress)Section IVIntroduction10. Amfortas's Prayer to Titurel and the Role of D in Parsifal: The Tonal Spaces of the Drama and the Enharmonic Cb/B11. Some Notes on Analyzing Wagner: The Ring and Parsifal12. Tristan-well-made-play and theater of passion; the teleology of functional tonality and the self-propagation of transformational atonalitySection V13. Die SchwesternSection VIIntroduction.14. Women's Voices and the Fundamental Bass15. Toward the Analysis of a Schoenberg Song (Op. 15, No. XI)16. A Way into Schoenberg's Opus 15, Number 717. Vocal Meter in Schoenberg's Atonal Music, with a Note on a Serial Haupstimme18. Moses und Aron: Some General Remarks, and Analytic Notes for Act I, Scene 1Section VIIIntroduction.19. Some Problems and Resources of Music Theory4. Contributors: Not applicable

David Lewin taught composition at UC Berkeley and at SUNY Stony Brook, and later taught music theory at Yale and Harvard Universities. His music-theoretic writings include many articles and two previous books: Generalized Musical Intervals and Transformations (1987), and Musical Form and Transformation (1993). He was the recipient of honorary degrees from the University of Chicago and from the New England Conservatory of Music for his work in music theory.

bound to be one of the most important publications in any musicological field this year, and probably this decade.

• IntroductionSection IIntroduction.1. Figaro's Mistakes2. Musical analysis as stage direction3. Crudel! perchè finora . . .Postscript.Section IIIntroduction.4. Music Theory, Phenomenology, and Modes of Perception5. Auf dem Flusse: Image and Background in a Schubert Song6. Ihr BildSection IIIIntroduction7. Clara Schumann's Setting of "Ich stand"8. R. Schumann's Anfangs wollt' ich: A study in Phrygian and modern minor9. Auf einer Burg (In a fortress)Section IVIntroduction10. Amfortas's Prayer to Titurel and the Role of D in Parsifal: The Tonal Spaces of the Drama and the Enharmonic Cb/B11. Some Notes on Analyzing Wagner: The Ring and Parsifal12. Tristan-well-made-play and theater of passion; the teleology of functional tonality and the self-propagation of transformational atonalitySection V13. Die SchwesternSection VIIntroduction.14. Women's Voices and the Fundamental Bass15. Toward the Analysis of a Schoenberg Song (Op. 15, No. XI)16. A Way into Schoenberg's Opus 15, Number 717. Vocal Meter in Schoenberg's Atonal Music, with a Note on a Serial Haupstimme18. Moses und Aron: Some General Remarks, and Analytic Notes for Act I, Scene 1Section VIIIntroduction.19. Some Problems and Resources of Music Theory4. Contributors: Not applicable