Tonal and rhythmic hidden repetition in chopin's prelude, Op.28 no.14

The analytical approach of this paper synthesises recent extensions of Schenkerian theory that make explicit the rhythmic implications of Schenker's theory of pitch structure. While the method may be regarded as an extension of Heinrich Schenker's analytical approach, its specific combination of four aspects distinguishes this synthesis from previous analytical approaches: attention to the rhythms created by pitch events on all structural levels; a detailed account of the musical surface; 'strict use' of analytical notation following guidelines offered by Steve Larson; and a continual concern with what have been called 'strategies' or 'premises'. This approach thus builds on the work of such authors as William Rothstein, Carl Schachter and John Rink, and, like their work, it raises interpretative questions of central interest to performers. This synthesis illuminates Chopin's compositional style, clarifies aspects of his compositional evolution, reveals 'hidden' structures and rhythmic designs, and poses questions useful to performers preparing an interpretation