Abstract
It is useful to begin by considering the nature and interrelationships of three music-pedagogical disciplines and the place of Schenker's theoretical work in relation to each. These disciplines are strict counterpoint, figured bass, and harmony. With respect to each discipline, the following two closely related questions are of interest: (1) to what extent is the discipline concrete -that is, to what extent does it comprise rules that are formulated exclusively in terms of tangible musical entities? And (2) to what extent can it be learned and taught without reference to the other two? The answers to these questions suggest that the traditional undergraduate curriculum stands in need of certain modifications if it is to be made fully compatible with the Schenkerian conception of tonal music.
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