David Damschroder is Professor of Music Theory at the University of Minnesota. His current research focuses on harmony in tonal music, a project that began with a careful examination of historical analytical practices, the basis for his Thinking about Harmony: Historical Perspectives on Analysis (Cambridge, 2008). The project continues with focused studies on selected repertoires: Harmony in Schubert (Cambridge, 2010), Harmony in Haydn and Mozart (Cambridge, 2012), Harmony in Chopin (Cambridge, 2015), and the present book. He has written textbooks on music fundamentals and ear-training/sight-singing, and his articles and reviews have appeared in numerous journals.
Preface
Part I. Methodological Orientation: Harmonielehre (The Piano Sonatas): 1. IV as intermediary between I and V
2. II as intermediary between I and V
3. A detailed look at the circle of fifths
4. III on the path from I to V
5. The mediant within the orbit of the tonic
6. Notable linear initiatives
7. Parenthetical passages
Part II. Masterpieces: 8. String Quartet in B¿Major (Op. 18, No. 6), La Malinconia, in response to William J. Mitchell
9. Piano Sonata in D Minor (Op. 31, No. 2, 'Tempest'), movement 1, in response to William E. Caplin
10. Violin Sonata in A Minor (Op. 47, 'Kreutzer'), movement 1, in response to Janet Schmalfeldt
11. Symphony in A Major (Op. 92), movement 3, in response to Robert Gauldin
12. Piano Sonata in E Major (Op. 109), in response to Nicholas Marston
13. String Quartet in A Minor (Op. 132), movement 1, in response to Frank Samarotto
Epilogue.
