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Graphic Music Analysis


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Table of Contents

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 Epilogue

About the Author

Eric Wen is recognized as one of today's preeminent experts in Schenkerian analysis. He has published numerous academic articles, and presented papers at many universities and conferences, including all five International Schenker Symposiums. A member of the faculty at The Curtis Institute of Music in Philadelphia since 1999, Wen has also taught in the doctoral program at The Graduate Center (CUNY), as well as at the Juilliard School and Mannes College of Music in New York. Before then he taught at the University of London, as well as the Guildhall School and Royal Academy of Music in London, where he also served as editor of The Strad magazine and The Musical Times.


Eric Wen has long been known as a leading Schenkerian scholar and a dynamic, inspirational teacher of tonal analysis. Both of these traits are fully on display in this wonderful book-an engrossing and welcoming introduction to the deeper meanings of the great works of the classical, tonal tradition. -- Joseph Straus, distinguished professor, CUNY Graduate Center, former president, Society for Music Theory
Wen underlines the close connection between analysis and writing. He explains analytical terms on the basis of their graphic representation and from the beginning applies them to fine examples from well-known and remarkable works of Western tonal music. The book presents a rich variety of compositional possibilities in a balanced mixture of simple and rather complex examples, explained clearly and in detail. Further, Wen offers short and instructive historical information on the pieces and repeatedly highlights the contrapuntal fundamentals of tonal music -- Martin Eybl, University of Music and Performing Arts Vienna
The synthesis of artistic intuition and intellectual rigor in Heinrich Schenker's theory of structural levels has always presented conundrums for any pedagogy; the transmission of his method has usually depended on an oral tradition in which students develop their analytical insights in dialogue with recognized experts. Although no textbook will ever replace this process of apprenticeship, Eric Wen's imaginative new book comes closer than any text I have seen. Professor Wen, who is one of our most creative analysts, manages to explain the technical complexities of the theory in lucid detail while showing students how analysis can respond to the unique sound world of each musical composition. I would use this book in my classes in Schenkerian analysis and encourage others to do so as well. -- Kevin Korsyn, professor, University of Michigan
Richly illustrated, comprehensive in scope, and scrupulous in its attention to musical detail, Graphic Music Analysis lays out paths to understanding the hierarchic nature of common-practice music. Drawing on years of expert teaching, Eric Wen provides students with tools for performing linear analyses of tonal music. The book sets new standards in the domestication of Schenker's thought for the twenty-first century American classroom. -- Kofi Agawu, Princeton University, author of Music as Discourse: Semiotic Adventures in Romantic Music
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. -- R. Larry Todd, Arts & Sciences Professor, Duke University
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. -- William Rothstein, professor, CUNY Graduate Center
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. -- Michael Baker, associate professor of music theory, School of Music, University of Kentucky

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