ABSTRACT
Critics of the practice of music analysis tend to make their criticism on the grounds that analysis is formalist, is not interested in content. Although it is my contention that form and content are far less easily separated out (as will become clear), the purpose of this chapter is to explore those elements that are normally felt to constitute music’s formalist nature, that is, form itself (the order in which events happen, from small to large scale) and that peculiarly musical domain, most opaque to so many, harmony.
