Abstract
For a composer who is so well represented in the concert halls and opera houses of the world, and whose career is so thoroughly documented in biographies and special studies, Richard Strauss has suffered unaccountable neglect in the analytical literature. One finds only brief comments in analytical books by Felix Salzer, Wallace Berry, Horace Reisberg, Ernst Kurth, Heinrich Schenker, and Arnold Schoenberg.' Even special studies of Strauss's music contain little elucidation of his harmonic language. In a lengthy discussion of Don Juan, Ein Heldenleben, and Eine Alpensinphonie, Edward Murphy merely lists the different categories of chords, tabulating frequencies of usage and of various modulations.2 Richard E. Thurston, Reinhard
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