ABSTRACT
I have always liked to begin my courses on Schenkerian analysis with an overview of his conception of musical structure. There is a danger, of course, in overloading the newcomer with too much information; despite this, I see definite advantages to this approach. First, it has been my experience that some students, even those with some background in the area, have developed strange notions about Schenker and his work, and this overview can help to dispel some of the misconceptions. Second, it provides a glimpse into where this study will take us. And third, it provides a review of basic concepts and terminology for those with some background.
