Tonality and Structure in Schoenberg's Second String Quartet, Op. 10, by Catherine Dale, a recent release from the Garland Publishing series, Outstanding Dissertations inMusic from British Universities, exemplifies two of the most desirable objectives one might hope for and expect in a doctoral dissertation in music theory: it presents an earnest and detailed investigation of an important issue that has persistently vexed music theorists for many years, and, with the exuberance of youthful iconoclasm, it attempts to proffer an original solution to the dilemma by way of analytical demonstration. In this publication, Dale endeavors to account for harmonic structure in Schoenberg's Second String Quartet through a synthesis of certain aspects of Schoenbergian and Schenkerian (or, more precisely, Salzerian) theory--that is, through an integration of motivic and linear processes, which the author believes to provide the most satisfactory analytical approach to so-called hybrid or transitional music that hovers on the tonal/atonal perimeter.The book is composed of three main parts. Part I, consisting of a single extensive chapter entitled "Tonality: Issues, Theories, and Exegesis," exposes the theoretical and compositional issues confronted in the study, and prepares the methodological foundation for the analyses, which follow in Part II. Part II, then, consists of four chapters, each devoted to the analysis of one movement of the quartet, and Part III presents complete foreground and middleground voiceleading graphs for each movement without verbal commen-at Purdue University Libraries ADMN on April 12, 2015 http://mts.oxfordjournals.org/ Downloaded from lArnold Schoenberg, Structural Functions of Harmony, rev. ed., ed. Leonard Stein (New York: