Theoretical and analytical formulations of musical process arise more frequently in studies of pitch . Schenker's concern for the unfolding of a tonic triad through various ornamental procedures is of particular significance in this regard; and while the stylistic goal - the achievement of a root position tonic in the con text of common practice tonality - drives the temporal unfolding in Schenker's theory, it is the temporal process of tonal change that has proved influential for recent developments in theory and analYSis .! Inspired by these developments, I shall suggest here how concepts of temporal process may apply to the analysis of musical form .2