Derrick Puffett on Music Book

	Acknowledgements
	Editor's Introduction
Pt. I	The Analyst Speaks	1
1	Editorial: In Defence of Formalism	3
2	Schenker's 'Eroica'	7
Pt. II	Liner and Programme Notes	27
3	Wagner: Overtures and Orchestral Music	29
4	Richard Strauss: Tod und Verklarung and Don Quixote	32
5	Richard Strauss: Symphonia Domestica and Parergon	35
6	The 'Tawdriness' of Salome	38
Pt. III	English Music	45
7	A Nietzschean Libretto: Delius and the Text for A Mass of Life	47
8	In the Garden of Fand: Arnold Bax and the 'Celtic Twilight'	83
9	The Fugue from Tippett's Second String Quartet	102
10	Tippett and the Retreat from Mythology	138
11	... an Analytical Offering (A. G. 1992) ... On Goehr's Homage to Bach	159
Pt. IV	Russian and French Music	191
12	A Graphic Analysis of Musorgsky's 'Catacombs'	193
13	Eight Bars of Stravinsky: The Septet Revisited	204
14	Debussy's Ostinato Machine	231
Pt. V	Opera	287
15	Siegfried in the Context of Wagner's Operatic Writing	289
16	Schoeck's Operas: A Question of Genre	298
17	Some Reflections on Literaturoper	310
18	Berg and German Opera	314
19	Salome: an Introduction	341
20	Images of Salome	351
21	Strauss's Scenario for the 'Dance of the Seven Veils'	356
22	Salome as Music Drama	362
23	Elektra: Beginnings	398
24	The Music of Elektra: Some Preliminary Thoughts	409
25	An Introduction to Der Rosenkavalier	426
Pt. VI	Vienna	435
26	Transcription and Recomposition: The Strange Case of Zemlinsky's Maeterlinck Songs	437
27	A Notational Peculiarity in Early Webern and its Implications	488
28	Gone with the Summer Wind; or, What Webern Lost	498
29	'Music that Echoes within One' for a Lifetime: Berg's Reception of Schoenberg's Pelleas und Melisande	539
30	Berg, Mahler and the Three Orchestral Pieces Op. 6	616
Pt. VII	German Music	659
31	'Lass er die Musi, wo sie ist': Pitch Specificity in Strauss	661
32	Bruckner's Way: The Adagio of the Ninth Symphony	687
	Sources	791
	Index	793