Byron Almen proposes an original synthesis of approaches to musical narrative from literary criticism, semiotics, historiography, musicology, and music theory, resulting in a significant critical reorientation of the field. This volume includes an extensive survey of traditional approaches to musical narrative illustrated by a wide variety of musical examples that highlight the range and applicability of the theoretical apparatus. Almen provides a careful delineation of the essential elements and preconditions of musical narrative organization, an eclectic analytical model applicable to a wide range of musical styles and repertoires, a classification scheme of narrative types and subtypes reflecting conceptually distinct narrative strategies, a wide array of interpretive categories, and a sensitivity to the dependence of narrative interpretation on the cultural milieu of the work, its various audiences, and the analyst. A Theory of Musical Narrative provides both an excellent introduction to an increasingly important conceptual domain and a complex reassessment of its possibilities and characteristics.

Contents
Preface
Acknowledgments

Part 1. A Theory of Musical Narrative
1. An Introduction to Narrative Analysis: Chopin's Prelude in G Major, Op. 28, No. 3
2. Perspectives and Critiques
3. A Theory of Musical Narrative: Conceptual Considerations
4. A Theory of Musical Narrative: Analytical Considerations
5. Narrative and Topic
Part 2. Archetypal Narratives and Phases
6. Romance Narratives and Micznik's Degrees of Narrativity
7. Tragic Narratives: An Extended Analysis of Schubert, Piano Sonata in B-flat Major, D. 960, First Movement
8. Ironic Narratives: Subtypes and Phases
9. Comic Narratives and Discursive Strategies
10. Summary and Conclusion

Glossary
Notes
Bibliography
Index