Section 1 – Graphic Music Analysis
Chapter 1: Highlighting Notes and Making Connections between Them
Chapter 2: Figuration
Chapter 3: The Linear Progression
Chapter 4: The 5–6 succession
Chapter 5: Structural Levels
Chapter 6: The Introduction to Mozart’s “Dissonance” Quartet
Section 2 – Semper idem, sed non eodem modo
Chapter 7: The Fundamental Structure (Ursatz)
Chapter 8: Urlinie Descents from 3
Chapter 9: Urlinie Descents from 5
Section 3 – Techniques of Elaborating the Ursatz
Chapter 10: Substitution
Chapter 11: Delaying the Initial Tone of the Urlinie
Chapter 12: Boundary Play and the Obligatory Register
Chapter 13: Sequences
Chapter 14: Non-Structural Harmonies
Chapter 15: Implied Tones
Chapter 16: Mixture
Chapter 17: Relocating the Urlinie
Chapter 18: The Phrygian 2
Chapter 19: The Auxiliary Cadence
Chapter 20: Non-Tonic Expansions
Section 4 – Tonal Structure and Musical Form
Chapter 21: The Parallel Period (A A´)
Chapter 22: Variants of the Parallel Period
Chapter 23: A B A Form
Chapter 24: A B A' Form (with simple A)
Chapter 25: A B A' Form (with compound A)
Chapter 26: Sonata Form in the Major Mode
Chapter 27: Sonata Form in the Minor Mode
Wen is to be commended and congratulated on having offered the music analysis community so many penetrating musical insights… A valuable resource for scholars, pedagogues, students and musicians alike. Having published a textbook, a workbook, an extensive instructor’s manual, a supplementary commentary on the C major Prelude (which requires a separate study of its own) and a stand-alone analytical monograph, all within the space of just a few years, Wen has brought together years of teaching experience and graphic-analytical work of exceptional quantity and quality.
Eric Wen’s Graphic Music Analysis: An Introduction to Schenkerian Theory and Practice offers a level of depth unusual for an introductory textbook and presents analyses that will be stimulating to anyone involved in Schenkerian studies. . . . the rigor of Wen’s demonstrations is remarkable, and students will benefit by returning to already-read sections of GMA after some time has passed, and periodically. . . .The star quality of GMA is without a doubt the rare analytical discernment Wen demonstrates, which. . . should be evident to anyone who explores his graphs deeply.
In Graphic Music Analysis Eric Wen draws upon decades of experience to elucidate the layered patterns and underlying linear structures of common-practice period tonal music, all engagingly explained through the analytic system of reduction developed by Heinrich Schenker early in the twentieth century. Clearly written and generously appointed with elegantly executed examples, Graphic Music Analysis offers not just a powerful method of analyzing tonal music, but also a rewarding way of hearing that music, which should be of compelling interest to theorists and practitioners alike.
Eric Wen’s Graphic Music Analysis leads gently, but authoritatively, from very simple analytical decisions to nuanced readings of complete pieces. The repertoire, which emphasizes chamber and symphonic works, is a joy. The method is Schenkerian, but the humane approach of Donald Francis Tovey helped to inspire this remarkable text.
Drawing upon his extensive experiences teaching the concepts to students, Eric Wen presents a view of Schenkerian analytical techniques in clear and engaging language, with attention to the irreducible significance of the performer’s role in expressing these concepts in performance. The book will be beneficial to students new to Schenkerian analysis, seasoned scholars, and performers alike.