[1] In recent years music theorists have devoted considerable attention to the analysis of chromatic harmony, delving especially into the complex works of Schubert, Brahms, Wagner, and other nineteenth-century composers. The music of Anton Bruckner, however, presents a special challenge to analysts in that he constantly revised his works—so much so that his scores arguably epitomize the notion of the artwork as an entity in flux. Dermot Gault’s The New Bruckner is a valuable addition to the analyst’s library since it sheds new light on the Brucknerian process of composition and revision. After an overview of the book, I will turn to matters of particular relevance to Bruckner analysts raised by Gault’s volume.