Abbate, Carolyn. Unsung Voices: Opera and Musical Narrative in the Nineteenth Century (Princeton University Press, 1991).
Abrahamsen, David. The Mind and Death of a Genius (New York: Columbia University Press, 1946).
Adamy, Bernhard (ed.). Sämtliche Schriften, Hans Pfitzner (Tutzing: Hans Schneider, 1987), vol. IV.
Adorno, Theodor W. ‘Commitment’, in Notes to Literature, vol. 2, trans. Shierry Weber Nicholsen (New York: Columbia University Press, 1992): 76–94.
Adamy, BernhardMahler: Eine musikalische Physiognomik (Frankfurt am Main: Suhrkamp, 1960); Mahler: A Musical Physiognomy, trans. Edmund Jephcott (University of Chicago Press, 1992).
Adamy, BernhardPhilosophy of Modern Music, trans. Anne G. Mitchell and Wesley V. Blomster (London: Sheed and Ward, 1973).
Adorno, Theodor W. ‘Zu den Georgeliedern’, Afterword in Arnold Schönberg, Fünfzehn Gedichte von Stefan George für Singstimme und Klavier, 1914 (Wiesbaden: Insel-Verlag, 1959).
Anderson, Harriet. Utopian Feminism: Women’s Movements in Fin-de-Siècle Vienna (Yale University Press, 1992).
Applegate, Celia and Pamela Potter (eds.), Music and German National Identity (University of Chicago Press, 2008).
Armitage, Merle (ed.). Schoenberg (Freeport, NY: Books for Libraries Press, 1937).
Arnold Schönberg: In höchster Verehrung (Munich: Piper, 1912).
Arnold Schönberg (1912), trans. Barbara Z. Schoenberg, in Walter Frisch (ed.), Schoenberg and His World: 198–261.
Ashby, Arved. ‘Of Modell-Typen and Reihenformen: Berg, Schoenberg, F. H. Klein, and the Concept of Row Derivation’, Journal of the American Musicological Society 48/1 (Spring, 1995): 67–105.
Ashton, Dore. A Fable of Modern Art (Berkeley: University of California Press, 1991).
Auner, Joseph H. ‘Schoenberg as Moses and Aron’, The Opera Quarterly 23/4 (Autumn 2007): 373–84.
Auner, Joseph. ‘The Second Viennese School as a Historical Concept’, in Bryan R. Simms (ed.), Schoenberg, Berg, and Webern: A Companion to the Second Viennese School: 1–36.
Auner, Joseph. ‘Schoenberg’s Handel Concerto and the Ruins of Tradition’, Journal of the American Musicological Society 49/2 (1996): 264–313.
Auner, Joseph H. (ed.). A Schoenberg Reader: Documents of a Life (New Haven: Yale University Press, 2003).
Bachofen, Johann Jakob. Myth, Religion, and Mother Right, trans. Ralph Mannheim (Princeton University Press, 1967).
Bachofen, Johann Jakob. Urreligion und antike Symbole, ed. Carl Albrecht Bernoulli (Leipzig: Philipp Reclam, 1926).
Bailey, Kathryn. The Life of Webern (Cambridge University Press, 1998).
Bailey, Walter B. ‘Composer versus Critic: The Schoenberg-Schmidt Polemic’, JASI 4 (1980), 118–37.
Bailey, Walter B.Programmatic Elements in the Works of Schoenberg, Studies in Musicology, no. 74 (Ann Arbor: UMI Research Press, 1984).
Balzac, Honoré de. Séraphita (and Other Tales), trans. Clara Bell (Sawtry: Dedalus, 1989).
Balzac, Honoré de. The Unknown Masterpiece (Le Chef-d’oeuvre inconnu) and Other Stories, trans. Ellen Marriage (London: Dent, 1896).
Baring, Anne, and Jules Cashford. The Myth of the Goddess: Evolution of an Image (London: Arkana/Penguin, 1993).
Barnouw, Dagmar. ‘Wiener Moderne and the Tensions of Modernism’, in Bryan R. Simms (ed.), Schoenberg, Berg, and Webern: A Companion to the Second Viennese School: 73–127.
Bauer, Glen Alan. ‘A Contextual Approach to Schoenberg’s Atonal Works: Self-Expression, Religion, and Music Theory’, unpublished PhD thesis, Washington University (1986).
Bekker, Paul. Gustav Mahlers Sinfonien (Berlin: Schuster & Loeffler, 1921; repr. Tutzing: Hans Schneider, 1969).
Beller, Stephen. Vienna and the Jews 1867–1938: A Cultural History (Cambridge University Press, 1989).
Benjamin, William E. ‘Abstract Polyphonies: The Music of Schoenberg’s Nietzschean Moment’, in Charlotte M. Cross and Russell A. Berman (eds.), Political and Religious Ideas in the Works of Arnold Schoenberg: 1–39.
Bent, Ian. Music Analysis in the Nineteenth Century, 2 vols. (Cambridge University Press, 1994).
Berg, Helene (ed.). Alban Berg: Briefe an seine Frau (Munich: Langen, 1965).
Berl, Heinrich. Das Judentum in der Musik (Berlin: Deutsche Verlags-Anstalt, 1926).
Bernstein, Michael André. Foregone Conclusions: Against Apocalyptic History (Berkeley: University of California Press, 1994).
Bernstein, Michael André. ‘Victims-in-Waiting: Backshadowing and the Representation of European Jewry’, New Literary History 29/4 (1998): 625–51.
Birke, Joachim. ‘Richard Dehmel und Arnold Schönberg: Ein Briefwechsel’, Die Musikforschung 11 (1958): 279–85.
Bishop, Paul. ‘Stefan George and the Munich Cosmologists’, in Jens Rieckmann (ed.), A Companion to the Works of Stefan George: 160–87.
Blackshaw, Gemma. ‘The Jewish Christ: Problems of Self-Presentation and Socio-Cultural Assimilation in Richard Gerstl’s Self-Portraiture’, Oxford Art Journal 29/1 (2006): 25–51.
Blaukopf, Herta (ed.). Mahler’s Unknown Letters, trans. Richard Stokes (London: Gollancz, 1986).
Blei, Franz. ‘Kundry: Eine Bemerkung zu einem Buche’, Freistatt 5 (1903): 587–8.
Bloom, Harold. A Map of Misreading (Oxford University Press, 1975).
Bohlman, Philip V. ‘The Transcendent Moment of Jewish Modernism’, in Philip V. Bohlman (ed.), Jewish Musical Modernism, Old and New (University of Chicago Press, 2008): 1–29.
Borchmeyer, Dieter, trans. Stewart Spencer. ‘The Question of Anti-Semitism’, in Ulrich Müller and Peter Wapnewski (eds.), Wagner Handbook: 166–85.
Boss, Jack. ‘Schoenberg’s Op. 22 Radio Talk and Developing Variation in Atonal Music’, Music Theory Spectrum 14/2 (1992): 125–49.
Botstein, Leon. ‘Arnold Schoenberg: Language, Modernism and Jewish Identity’, in Robert S. Wistrich (ed.), Austrians and Jews in the Twentieth Century: From Franz Joseph to Waldheim (New York: St. Martin’s Press, 1992): 162–83.
Boss, Jack. Judentum und Modernität: Essays zur Rolle der Juden in der deutschen und österreichischen Kultur 1848 bis 1938 (Vienna: Böhlau, 1991).
Botstein, Leon. ‘Music and Its Public: Habits of Listening and the Crisis of Musical Modernism in Vienna, 1870–1914’, unpublished PhD thesis, Harvard University (1985).
Botstein, Leon. ‘Schoenberg and the Audience: Modernism, Music, and Politics in the Twentieth Century’, in Walter Frisch (ed.), Schoenberg and His World: 19–54.
Bowie, Malcolm. ‘A Message from Kakania: Freud, Music, Criticism’, in Peter Collier and Judy Davies (eds.), Modernism and the European Unconscious (Oxford: Polity Press, 1990): 3–17.
Brand, Juliane, Christopher Hailey, and Donald Harris (eds.). The Berg–Schoenberg Correspondence: Selected Letters (London: Macmillan, 1987).
Brand, Juliane, Christopher Hailey and Andreas Meyer (eds.). Briefwechsel Arnold Schönberg–Alban Berg, 2 vols. Briefwechsel der Wiener Schule, ed. Thomas Ertelt (Mainz: Schott, 2007), vol. III.
Brinkmann, Reinhold. ‘Reading a Letter’, in Reinhold Brinkmann and Christoph Wolff (eds.), Driven into Paradise: 3–20.
Brinkmann, Reinhold. ‘Schoenberg the Contemporary: A View from Behind’, in Juliane Brand and Christopher Hailey (eds.), Constructive Dissonance: Arnold Schoenberg and the Transformations of Twentieth-Century Culture (Berkeley: University of California Press, 1991): 196–219.
Brinkmann, Reinhold and Christoph Wolff (eds.). Driven into Paradise: The Musical Migration from Nazi Germany to the United States (Berkeley: University of California Press, 1999).
Brown, Julie. ‘Music, History, Trauma: Western Music and Race 1883–1933’, in Julie Brown (ed.), Western Music and Race: xiv–xxii.
Brinkmann, Reinhold and Christoph Wolff, ‘Otto Weininger and Musical Discourse in Turn-of-the-Century Vienna’, in Julie Brown (ed.), Western Music and Race: 84–101.
Brown, Julie. ‘Schoenberg’s Das Buch der hängenden Gärten: Analytical, Cultural and Ideological Perspectives’, unpublished PhD thesis, University of London (1994).
Brown, Julie. ‘Schoenberg’s Early Wagnerisms: Atonality and the Redemption of Ahasuerus’, Cambridge Opera Journal 6/1 (1994): 51–80.
Brown, Julie. ‘Schoenberg’s Musical Prose as Allegory’, Music Analysis 14/2–3 (1995): 157–87.
Brown, Julie. ‘Understanding Schoenberg as Christ’, in Jane Fulcher (ed.), The Oxford Handbook of the New Cultural History of Music (Oxford University Press, 2011): 117–62.
Brown, Julie (ed.). Western Music and Race (Cambridge University Press, 2007).
Buhler, James. ‘“Breakthrough” as Critique of Form: The Finale of Mahler’s First Symphony’, 19th-Century Music 20/2, Special Mahler Issue (Autumn, 1996): 125–43.
Bujić, Bojan. Arnold Schoenberg (London: Phaidon, 2011).
Burnham, Scott. Beethoven Hero (Princeton University Press, 1995).
Burnham, Scott. ‘Criticism, Faith, and the Idee: A. B. Marx’s Early Reception of Beethoven’, 19th-Century Music 13/3 (Spring 1990): 183–192.
Burns, Steven. ‘Sex and Solipsism: Weininger’s On Last Things’, in David G. Stern and Béla Szabados (eds.), Wittgenstein Reads Weininger (Cambridge University Press, 2004): 89–111.
Busch, Regina. ‘On the Horizontal and Vertical Presentation of Musical Ideas and on Musical Space’, Parts 1–3, Tempo: 154 (1985): 2–10; 156 (1986): 7–15; 157 (1986): 21–29.
Busch-Salmen, Gabriele. ‘“Menschenliebe im allerhöchsten Sinne”: Zu den Frauenrollen in Hans Pfitzners Bühnenwerken’, in Carmen Ottner (ed.), Frauengestalten in der Oper des 19. und 20. Jahrhunderts (Vienna: Doblinger, 2003): 116–34.
Cahn, Steven J. ‘Letter to the Editor’, JASI 18–19 (1995–1996): 771–6.
Cahn, Steven J. ‘On the Representation of Jewish Identity and Historical Consciousness in Schönberg’s Religious Thought’, Journal of the Arnold Schönberg Center 5 [Special Issue ‘Arnold Schönberg and His God’] (2003): 93–107.
Carpenter, Patricia. ‘Grundgestalt as Tonal Function’, Music Theory Spectrum 5 (Spring 1983): 15–38.
Carpenter, Patricia. ‘A Problem in Organic Form: Schoenberg’s Tonal Body’, Theory and Practice 13 (1988): 31–63.
Carpenter, Patricia. ‘Schoenberg’s “Tonal Body”’, Theory and Practice 30 (2005): 35–68.
Cernuschi, Claude. ‘Artist as Christ/Artist as Criminal: Oskar Kokoschka’s Self-Portrait for Der Sturm, Myth, and the Construction of Identity in Vienna 1900’, Religion and the Arts 1/2 (Spring 1997): 93–127.
Chamberlain, Houston Stewart. The Foundations of the Nineteenth Century, 2 vols., edited by John Lees (London: John Lane, 1912).
Cherlin, Michael. Schoenberg’s Musical Imagination (Cambridge University Press, 2007).
Cherlin, Michael. ‘Schoenberg’s Representation of the Divine in Moses und Aron’, JASI 9/2 (1986): 210–16.
Cherlin, Michael. ‘Schoenberg and das Unheimliche’, Journal of Musicology 11/3 (Summer 1993): 357–73.
Christensen, Jean. ‘The Spiritual and the Material in Schoenberg’s Thinking’, Music and Letters 65 (1984): 337–44.
Christensen, Jean and Jesper. From Arnold Schoenberg’s Literary Legacy: A Catalog of Neglected Items, Detroit Studies in Music Bibliography 59 (Warren, Mich.: Harmonie Park Press, 1988).
Cicora, Mary A.‘Parsifal’ Reception in the Bayreuther Blätter (New York: Peter Lang, 1987).
Clément, Catherine. Opera, or the Undoing of Women, trans. Betsy Wing (Minneapolis: University of Minnesota Press, 1988).
Coffer, Raymond Charles. ‘Richard Gerstl and Arnold Schönberg: A Reassessment of their Relationship (1906–1908) and its Impact on their Artistic Works’, unpublished PhD thesis, University of London (2011).
Cone, Edward T.The Composer’s Voice (Berkeley: University of California Press, 1974).
Cone, Edward T. ‘Sound and Syntax: An Introduction to Schoenberg’s Harmony’, Perspectives of New Music 13 (1974): 21–40.
Cook, Nicholas. The Schenker Project: Culture, Race, and Music Theory in Fin-de-Siècle Vienna (Oxford University Press, 2007).
Covach, John. ‘Schoenberg and the Occult: Some Reflections on the Musical Idea’, Theory and Practice 17 (1992): 103–18.
Covach, John. ‘The Sources of Schoenberg’s “Aesthetic Theology”’, 19th-Century Music 19/3 (Spring, 1996): 252–62.
Cramer, Alfred William. ‘Music For the Future: Sounds of Early-Twentieth-Century Psychology and Language in Works of Schoenberg, Webern, and Berg, 1908 to the First World War’, unpublished PhD thesis, University of Pennsylvania (1997).
Crawford, Richard. ‘Die glückliche Hand: Further Notes’, JASI 4/1 (June 1980): 68–76.
Crispin, Darla M. ‘Arnold Schoenberg’s Wounded Work: “Litanei” from the String Quartet in F sharp minor, Op. 10’, Austrian Studies 17, Words and Music (2009): 62–74.
Crittenden, Camille. ‘Texts and Contexts of A Survivor from Warsaw, Op. 46’, in Charlotte M. Cross and Russell A. Berman (eds.), Political and Religious Ideas in the Works of Arnold Schoenberg: 231–58.
Cross, Charlotte M. ‘Three Levels of “Idea” in Schoenberg’s Thought and Writings’, Current Musicology 30 (1980): 24–36.
Cross, Charlotte M. and Russell A. Berman (eds.). Political and Religious Ideas in the Works of Arnold Schoenberg (New York: Garland, 2000).
Dahlhaus, Carl. Between Romanticism and Modernism: Four Studies in the Music of the Later Nineteenth Century, trans. Mary Whittall (Berkeley: University of California Press, 1989).
Cross, Charlotte M. and Russell A. BermanNineteenth-Century Music, trans. J. Bradford Robinson (Berkeley: University of California Press, 1989).
Cross, Charlotte M. and Russell A. BermanSchoenberg and the New Music, trans. Derrick Puffett and Alfred Clayton (Cambridge University Press), 1987.
Cross, Charlotte M. and Russell A. BermanZwischen Romantik und Moderne: Vier Studien zur Musikgeschichte des späteren 19. Jahrhunderts (Munich: Emil Katzbichler, 1974).
Dale, Catherine. ‘Schoenberg’s Concept of Variation Form: A Paradigmatic Analysis of Litanei from the Second String Quartet, Op. 10’, Journal of the Royal Musical Association 118/1 (1993): 94–120.
Danuser, Hermann. Musikalische Prosa: Studien zur Musikgeschichte des 19. Jahrhunderts 46 (Regensburg: Gustav Bosse, 1975).
Danuser, Hermann. ‘Musikalische Prosa’, in Hans Heinrich Eggebrecht (ed.), Handwörterbuch der musikalischen Terminologie (Wiesbaden: Franz Steiner, 1978), vol. II.
Delitzsch, Friedrich. Babel and Bible, ed. C. H. W. Johns (London: Williams and Norgate/New York: G. P. Putnam, 1903).
Diettrich, Eva. ‘Otto Weininger und sein Verhältnis zur Musik’, Studien zur Musikwissenschaft 33 (1982): 49–53.
Dijkstra, Bram. Idols of Perversity: Fantasies of Feminine Evil in Fin-de-Siècle Culture (Oxford University Press, 1986).
Dill, Heinz J. ‘Schoenberg’s George-Lieder: The Relationship Between Text and Music in Light of Some Expressionistic Tendencies’, Current Musicology 17 (1974): 91–5.
Dreyfus, Laurence. ‘Hermann Levi’s Shame and Parsifal’s Guilt: A Critique of Essentialism in Biography and Criticism’, Cambridge Opera Journal 6/2 (1994): 125–45.
Dudeque, Norton. Music Theory and Analysis in the Writings of Arnold Schoenberg (1874–1951) (Aldershot: Ashgate, 2005).
Dümling, Albrecht. Die fremden Klänge der hängenden Gärten: Die öffentliche Einsamkeit der Neuen Musik am Beispiel von Arnold Schönberg und Stefan George (Munich: Kindler, 1981).
Dümling, Albrecht. ‘Public Loneliness: Atonality and the Crisis of Subjectivity in Schönberg’s Opus 15’, in Konrad Boehmer (ed.), Schönberg & Kandinsky: An Historic Encounter (Amsterdam: Harwood, 1997): 101–38.
Dümling, Albrecht (ed.). Verteidigung des musikalischen Fortschritts: Brahms und Schönberg (Hamburg: Argument, 1990).
Dunsby, Jonathan M. Review of David Epstein, Beyond Orpheus: Studies in Musical Structure (Cambridge, Mass.: MIT Press, 1979); in JASI 3/2 (October 1979): 194–202.
Dunsby, Jonathan M. ‘Schoenberg on Cadence’, JASI 4/1 (1980), 41–9.
Dunsby, Jonathan and Arnold Whittall. Music Analysis in Theory and Practice (London: Faber, 1988).
Eaglestone, Robert. The Holocaust and the Postmodern (Oxford University Press, 2004).
Ehrenforth, Karl Heinrich. Ausdruck und Form: Arnold Schönbergs Durchbruch zur Atonalität in den George-Liedern, Op. 15 (Bonn: H. Bouvier, 1963).
Eichenauer, Richard. Musik und Rasse (Munich: J. F. Lehmann, 1932).
Elsaesser, Thomas. ‘Postmodernism as Mourning Work’, Screen 42/2 (2001): 193–201.
Ennulat, Egbert M. (ed.). Arnold Schoenberg Correspondence: A Collection of Translated and Annotated Letters Exchanged with Guido Adler, Pablo Casals, Emanuel Feuermann and Olin Downes (Metuchen, N.J.: Scarecrow, 1991).
Epstein, David. Beyond Orpheus: Studies in Musical Structure (Cambridge, Mass.: MIT Press, 1979).
Ermen, Reinhard. ‘Der “Erotiker” und der “Asket”: Befragung zweier Klischees am Beispiel der Gezeichneten und des Palestrina’, in Reinhard Ermen (ed.), Franz Schreker (1878–1934) zum 50. Todestag (Aachen: Rimbaud, 1984), 47–57.
Evans, Richard J.The Feminist Movement in Germany 1894–1933 (London: Sage Publications, 1976).
Evans, Richard J.Rethinking German History: Nineteenth-Century Germany and the Origins of the Third Reich (London: Allen and Unwin, 1987).
Falck, Robert. ‘Emancipation of the Dissonance’, JASI 6/1 (1982): 106–11.
Falck, Robert. ‘Marie Pappenheim, Schoenberg, and the Studien über Hysterie’, in Claus Reschke and Howard Pollack (eds.), German Literature and Music: An Aesthetic Fusion: 1890–1989 (Munich: Wilhelm Fink, 1992): 131–44.
Feisst, Sabine. Schoenberg’s New World: The American Years (Oxford University Press, 2011).
Ferenczi, Sándor. ‘Confusion of Tongues Between Adults and the Child’, in Final Contributions to the Problems and Methods of Psychoanalysis (London: Hogarth Press, 1955): 156–67.
Fisher, George. ‘Text and Music in Song VIII of Das Buch der Hängenden Gärten’, In Theory Only 6/2 (1982): 3–15.
Fleisher, Robert. ‘Dualism in the Music of Arnold Schoenberg’, JASI 12/1 (1989): 22–42.
Floros, Constantin. Alban Berg: Musik als Autobiographie (Wiesbaden: Breitkopf & Härtel, 1992).
Franklin, Peter. ‘Audiences, Critics and the Depurification of Music: Reflections on a 1920s Controversy’, Journal of the Royal Musical Association 114/1 (1989): 80–91.
Franklin, Peter. The Idea of Music: Schoenberg and Others (London: Macmillan, 1985).
Freud, Anna. The Ego and the Mechanisms of Defence, trans. Cecil Baines (Exeter: Karnac, 1993).
Freud, Sigmund. ‘Medusa’s Head’, The Standard Edition of the Complete Psychological Works of Sigmund Freud, trans. and ed. James Strachey (London: Hogarth, 1973), vol. XVIII: 273–4.
Freud, Sigmund and Josef Breuer. Studies in Hysteria, trans. James and Alix Strachey, ed. Angela Richards (London: Penguin, 1991).
Frevert, Ute. Women in German History: From Bourgeois Emancipation to Sexual Liberation, trans. Stuart McKinnon-Evans (Oxford: Berg, 1989).
Friedheim, Philip. ‘Wagner and the Aesthetics of the Scream’, 19th-Century Music 7/1 (Summer, 1983): 63–70.
Frisch, Walter. The Early Works of Arnold Schoenberg, 1893–1908 (Berkeley: University of California Press, 1993).
Friedheim, Philip. ‘Music and Jugendstil’, Critical Inquiry 17/1 (1990): 138–61.
Frisch, Walter. ‘Schoenberg and the Poetry of Richard Dehmel’, JASI 9/2 (1986): 137–80.
Frisch, Walter (ed.). Schoenberg and His World (Princeton University Press, 1999).
Frye, Northrop. The Archetypes of Literature (New York: Harcourt Brace, 1963).
Geehr, Richard S.Karl Lueger: Mayor of Fin de Siècle Vienna (Detroit: Wayne State University Press, 1990).
George, Stefan. Die Bücher der Hirten- und Preisgedichte der Sagen und Sänge und der hängenden Gärten, Sämtliche Werke (Stuttgart: Klett-Cotta, 1991), vol. III.
Gilbert, Shirli. Music in the Holocaust: Confronting Life in the Nazi Ghettos and Camps (Oxford University Press, 2005).
Gilman, Sander L.Difference and Pathology: Stereotypes of Sexuality, Race and Madness, 2nd edn (Ithaca: Cornell University Press, 1986).
Gilbert, Shirli. ‘Foreword: Are Jews Musical? Historical Notes on the Question of Jewish Musical Modernism’, in Philip Bohlman (ed.), Jewish Musical Modernism, Old and New: vii–xvi.
Gilbert, Shirli. Freud, Race and Gender (Princeton University Press, 1993).
Gilbert, Shirli. Inscribing the Other (Lincoln: University of Nebraska Press, 1991).
Gilbert, Shirli. The Jew’s Body (New York: Routledge, Chapman and Hall, 1991).
Gilman, Sander L.Jewish Self-Hatred: Anti-Semitism and the Hidden Language of the Jews (Baltimore: Johns Hopkins University Press, 1986).
Gilbert, Shirli. ‘Strauss and the Pervert’, in Arthur Groos and Roger Parker (eds.), Reading Opera (Princeton University Press, 1988): 306–27.
Glettler, Monika. ‘Minority Culture in a Capital City: The Czechs in Vienna at the Turn of the Century’, in Robert B. Pynsent (ed.), Decadence and Innovation: 49–60.
Goehr, Alexander. ‘Schoenberg’s Gedanke Manuscript’, JASI 2/1 (1977): 4–25.
Goehr, Alexander. ‘Schoenberg and Karl Kraus: The Idea Behind the Music’, Music Analysis 4/1–2 (1985): 59–71.
Goehr, Lydia. ‘Adorno, Schoenberg, and the Totentanz der Prinzipien – in Thirteen Steps’, Journal of the American Musicological Society 56/3 (2003): 595–636.
Goehr, Lydia. The Quest for Voice: On Music, Politics, and the Limits of Philosophy (Oxford: Clarendon, 1998).
Goldsmith, Ulrich K.Stefan George (New York: Columbia University Press, 1970).
Gradenwitz, Peter. The Music of Israel: Its Rise and Growth Through 5000 Years (New York: W. W. Norton, 1949).
Gradenwitz, Peter. Of Music of Modern Israel (New York: National Jewish Music Council, 1940).
Gratzer, Wolfgang. Zur ‘wunderlichen Mystik’ Alban Bergs: Eine Studie (Vienna: Böhlau, 1993).
Greissle, Felix. ‘Interview with George Perle (1970–71)’, typescript in Felix Greissle Satellite Collection, ASC.
Greissle, Felix. Interview with George Perle Arnold Schönberg: Versuch eines Porträts (notes for book on Schoenberg, n.d.), Felix Greissle Satellite Collection, ASC.
Greissle-Schönberg, Arnold. Arnold Schönberg und sein Wiener Kreis: Erinnerungen seines Enkels (Vienna: Böhlau, 1998).
Grey, Thomas. Wagner’s Musical Prose: Texts and Contexts (Cambridge University Press, 1995).
Griffiths, Dai. ‘So Who Are You? Webern’s Op. 3 No. 1’, in Craig Ayrey and Mark Everist (eds.), Analytical Strategies and Musical Interpretation: Essays on Nineteenth- and Twentieth-Century Music (Cambridge University Press, 1996): 301–14.
Grimes, Nicole. ‘The Schoenberg/Brahms Critical Tradition Reconsidered’, Music Analysis 31/2 (2012): 127–75.
Grun, Bernard, ed., trans. and annotated. Alban Berg: Letters to His Wife (London: Faber, 1971).
Grunfeld, Frederic V.Prophets without Honour: A Background to Freud, Kafka, Einstein and Their World (London: Hutchinson, 1979).
Gutteridge, Richard. Open Thy Mouth for the Dumb! The German Evangelical Church and the Jews, 1879–1950 (Oxford: Blackwell, 1976).
HaCohen, Ruth. ‘Between Noise and Harmony: The Oratorical Moment in the Musical Entanglements of Jews and Christians’, Critical Inquiry 32/2 (Winter 2006): 250–77.
HaCohen, Ruth. The Music Libel Against the Jews: Vocal Fictions of Noise and Harmony (New Haven: Yale University Press, 2012).
Hahl-Koch, Jelena (ed.). Arnold Schoenberg/Wassily Kandinsky: Letters, Pictures and Documents, trans. John C. Crawford (London: Faber, 1984).
Haimo, Ethan. Schoenberg’s Serial Odyssey: The Evolution of His Twelve-Tone Method, 1914–1928 (Oxford: Clarendon, 1990).
Haimo, Ethan. Schoenberg’s Transformation of Musical Language (Oxford University Press, 2006).
Hanisch, Ernst, trans. Paul Knight. ‘The Political Influence and Appropriation of Wagner’, in Ulrich Müller and Peter Wapnewski (eds.), Wagner Handbook: 186–201.
Harrowitz, Nancy A. and Barbara Hyams (eds.). Jews and Gender: Responses to Otto Weininger (Philadelphia: Temple University Press, 1995).
Hartman, Geoffrey H.Minor Prophecies: The Literary Essay in the Culture Wars (Cambridge, Mass.: Harvard University Press, 1991).
Hauer, Karl. ‘Weib und Kultur’, Die Fackel 213 (11 December 1906): 5–10.
Heister, Hanns-Werner. ‘Politik, Kunst, Religion: Gewalt bei Schönberg’, Journal of the Arnold Schönberg Center 5, Special Issue ‘Arnold Schönberg and His God’ (2005): 31–63.
Hertz, David Michael. The Tuning of the Word: The Musico-Literary Poetics of the Symbolist Movement (Carbondale: Southern Illinois University Press, 1987).
Heskes, Irene. ‘Shapers of American Jewish Music: Mailamm and the Jewish Music Forum, 1931–62’, American Music 15/3 (1997): 305–20.
Hilmar, Ernst. ‘Arnold Schönberg an Anton Webern: Eine Auswahl unbekannter Briefe’, in Hilmar (ed.), Arnold Schönberg Gedenkausstellung (Vienna: Universal Edition, 1974): 44–67.
Hoberman, John M. ‘Otto Weininger and the Critique of Jewish Masculinity’, in Nancy A. Harrowitz and Barbara Hyams (eds.), Jews and Gender: 141–53.
Hofmannsthal, Hugo von. ‘A Letter’, in The Lord Chandos Letter and Other Writings, selected and trans. Joel Rotenberg (New York Review of Books, 2005): 117–28.
Hough, Bonny. ‘Schoenberg’s Herzgewächse and the Blaue Reiter Almanac’, JASI 7/2 (1983): 197–221.
Huffmon, Herbert B. ‘Babel und Bibel: The Encounter Between Babylon and the Bible’, in Michael Patrick O’Connor and David Noel Freedman (eds.), Backgrounds for the Bible (Winona Lake, Ind.: Eisenbrauns, 1987): 125–36.
Hyams, Barbara. ‘Weininger and Nazi Ideology’, in Nancy A. Harrowitz and Barbara Hyams (eds.), Jews and Gender: 155–68.
Janik, Allan. Essays on Wittgenstein and Weininger (Amsterdam: Rodopi, 1985).
Janik, Allen. ‘Weininger and the Science of Sexuality: Prolegomena to Any Further Study’, in Robert B. Pynsent (ed.), Decadence and Innovation: 24–32.
Johanning, Klaus. Der Bibel-Babel-Streit: Eine forschungsgeschichtliche Studie (Frankfurt am Main: Lang, 1988).
Johnson, Julian. ‘Karl Kraus and the Schönberg School’, Journal of the Arnold Schönberg Center 2, Special Issue ‘Arnold Schönberg’s Viennese Circle’ (2000): 179–89.
Johnson, Julian. ‘Schoenberg, Modernism and Metaphysics’, in Joseph Auner and Jennifer Shaw (eds.), The Cambridge Companion to Schoenberg (Cambridge University Press, 2010): 108–19.
Kallir, Jane. Arnold Schoenberg’s Vienna (New York: Gallerie St. Etienne/Rizzoli, 1984).
Kallir, Otto. ‘Richard Gerstl (1883–1908): Beiträge zur Dokumentation seines Lebens und Werkes’, Mitteilungen der Österreichischen Galerie 18/62 (1974): 125–93.
Kansteiner, Wulf. ‘Finding Meaning in Memory: A Methodological Critique of Collective Memory Studies’, History and Theory 41 (May 2002): 179–97.
Kaplan, Marion A.The Jewish Feminist Movement in Germany: The Campaigns of the ‘Jüdischer Frauenbund’, 1904–1938 (Westport, Conn.: Greenwood Press, 1979).
Keathley, Elizabeth L. ‘Marie Pappenheim and “die Frauenfrage” in Schönberg’s Viennese Circle’, Journal of the Arnold Schönberg Center 2, Special Issue ‘Arnold Schönberg’s Viennese Circle’ (2000): 212–27.
Keathley, Elizabeth L. ‘Revisioning Musical Modernism: Arnold Schoenberg, Marie Pappenheim, and Erwartung’s New Woman’, unpublished PhD thesis, State University of New York at Stony Brook (1999).
Keilson-Lauritz, Marita. ‘Stefan George’s Concept of Love and the Gay Emancipation Movement’, in Jens Rieckmann (ed.), A Companion to the Works of Stefan George: 206–29.
Keller, Hans. ‘Schoenberg’s Return to Tonality’, JASI 5/1 (June 1981): 2–21.
Klages, Ludwig. Stefan George (Berlin: Georg Bondi, 1902).
Klaren, Georg C.Otto Weininger: Der Mensch, sein Werk und sein Leben (Vienna: Wilhelm Braumüller, 1924).
Knittel, K. M.Seeing Mahler: Music and the Language of Antisemitism in Fin-de-Siècle Vienna (Aldershot: Ashgate, 2010).
Kochen, Lionel. Jews, Idols and Messiahs: The Challenge from History (Oxford University Press, 1990).
Kramer, Lawrence. ‘Fin-de-Siècle Fantasies: Elektra, Degeneration and Sexual Science’, Cambridge Opera Journal 5/2 (1993): 141–65.
Kochen, Lionel. Music and Poetry: The Nineteenth Century and After (Berkeley: University of California Press, 1984).
Kramer, Lawrence.‘Schorske’s Ring Cycle, Schoenberg’s Liebestod.’ Review of Carl Schorske, Fin-de-Siècle Vienna: Politics and Culture, 19th-Century Music 5/1 (1981): 76–81.
Kraus, Karl. ‘Aphorisms’, Die Fackel 229 (2 July 1907): 2–10.
Kühnel, Jürgen, trans. Simon Nye. ‘The Prose Writings’, in Ulrich Müller and Peter Wapnewski (eds.), Wagner Handbook: 565–651.
LaCapra, Dominick. Representing the Holocaust: History, Theory, Trauma (Ithaca: Cornell University Press, 1994).
Lazar, Moshe. ‘Schoenberg and His Doubles: A Psychodramatic Journey to His Roots’, JASI 17/1–2 (June & November 1994): 9–150.
Le Rider, Jacques. Le cas Otto Weininger: Racines de l’antiféminisme et de l’antisémitisme (Paris: Presses Universitaires de France, 1982).
Lessem, Alan Philip. Music and Text in the Works of Arnold Schoenberg: The Critical Years, 1908–1922, Studies in Musicology 8 (Ann Arbor: UMI Research Press, 1979).
Lessing, Theodor. Der jüdische Selbsthaß (Berlin: Jüdischer Verlag, 1930).
Levi, Erik. ‘Anti-Semitic Discourse in German Writing on Music, 1900–1933’, in Brown (ed.), Western Music and Race: 168–81.
Levi, Erik. Music in the Third Reich (London: Macmillan, 1994).
Lewis, Christopher. ‘Mirrors and Metaphors: Reflections on Schoenberg and Nineteenth-Century Tonality’, 19th-Century Music 11/1 (1987): 26–42.
Leys, Ruth. Trauma: A Genealogy (University of Chicago Press, 2000).
Lichtenhahn, Ernst (ed.), Anton Webern: Briefe an Heinrich Jalowetz (Mainz: Schott, 1999).
Lonitz, Henri (ed.), Theodor W. Adorno and Alban Berg: Correspondence 1925–1935, trans. Wieland Hoban (Cambridge: Polity, 2005).
Lorenz, Alfred. Der musikalische Aufbau von Richard Wagners ‘Die Meistersinger von Nürnberg’ (Berlin: Hesse, 1931).
Love, John. ‘Max Weber’s Ancient Judaism’, in Stephen Turner (ed.), The Cambridge Companion to Weber (Cambridge University Press, 2000): 200–20.
Lucka, Emil. Otto Weininger: Sein Werk und seine Persönlichkeit (Vienna: W. Braumüller, 1905; Berlin: Wilhelm Braumüller, 1921).
Lucka, Emil. ‘Zur Symbolik in Wagners “Parsifal”’, Wiener Rundschau (15 August 1901): 313–16.
MacDonald, Malcolm. Schoenberg (London: Dent, 1976).
Mäckelmann, Michael. Arnold Schönberg und das Judentum: Der Komponist und sein religiöses, nationales und politisches Selbstverständnis nach 1921, Hamburger Beiträge zur Musikwissenschaft 28 (Hamburg: Karl Dieter Wagner, 1984).
Mäckelmann, Michael. ‘Ein Gebet für Israel, als die Synagogen brannten. Über Schönbergs “Kol nidre” – zum Gedenken an den Pogrom der Kristallnacht 1938’, Neue Zeitschrift für Musik 11 (November 1988): 8.
Maegaard, Jan. Studien zur Entwicklung des dodekaphonen Satzes bei Arnold Schönberg (Copenhagen: Wilhelm Hansen, 1972).
Mahler, Alma. Gustav Mahler: Memories and Letters, 4th edn, trans. Basil Creighton, ed. Donald Mitchell and Knud Martner (London: Cardinal, 1990).
Martin, Biddy. Woman and Modernity: The (Life)Styles of Lou Andreas-Salomé (Ithaca: Cornell University Press, 1991).
Mayne, Ellen. Otto Weininger on the Character of Man, Twenty-first Foundation Lecture 1981 (Ditchling, Sussex: New Atlantic Foundation, 1982).
McCall, Henrietta. Mesopotamian Myths (London: British Museum Publications, 1990).
McClary, Susan. Feminine Endings (Minnesota: University of Minneapolis Press, 1991).
McColl, Sandra. ‘Karl Kraus and Music Criticism: The Case of Max Kalbeck’, Musical Quarterly 82/2 (Summer 1998): 279–308.
McGeary, Thomas. ‘Schoenberg’s Brahms Lecture of 1933’, JASI 15/2, Special Issue: ‘Schoenberg’s Brahms Lecture’ (November 1992): 1–21.
McGrath, William. Dionysian Art and Populist Politics in Austria (New Haven: Yale University Press, 1974).
Mehlman, Jeffrey. ‘Weininger in a Poem by Apollinaire’, in Nancy A. Harrowitz and Barbara Hyams (eds.), Jews and Gender, 183–94.
Metzger, Michael M. and ErikaA.Stefan George (New York: Twayne, 1972).
Meyer, Christian (ed.). Schönberg und Wagner. 3. Wagner Tage in Graz: Bericht zum Symposium, 3. Oktober 1998 (Vienna: Arnold Schönberg Center, 2000).
Meyer, Christian and Therese Muxeneder (eds.). Arnold Schönberg: Catalogue raisonné, 2 vols. (Vienna: Arnold Schönberg Center, 2005).
Millington, Barry. ‘Nuremberg Trial: Is There Anti-Semitism in Die Meistersinger?’ Cambridge Opera Journal 3 (1991): 247–60.
Millington, Barry. ‘Wagner and the Jews’, in Barry Millington (ed.), The Wagner Compendium: A Guide to Wagner’s Life and Music (London: Thames and Hudson, 1992).
Moldenhauer, Hans, with Rosaleen Moldenhauer. Anton von Webern: A Chronicle of His Life and Work (London: Victor Gollancz, 1978).
Morazzoni, Anna Maria. ‘Schönberg’s Plural Concepts of Faith and Reason’, Journal of the Arnold Schönberg Center 5, Special Issue ‘Arnold Schönberg and His God’ (2003): 79–92.
Móricz, Klára. Jewish Identities: Nationalism, Racism, and Utopianism in Twentieth-Century Music (Berkeley: University of California Press, 2008).
Morwitz, Ernst. Kommentar zu dem Werk Stefan Georges (Düsseldorf: Helmut Küpper vormals Georg Bondi, 1969).
Mosse, George. Nationalism and Sexuality: Middle-Class Morality and Sexual Norms in Modern Europe (Madison: University of Wisconsin Press, 1985).
Müller, Ulrich and Peter Wapnewski (eds.). Wagner Handbook, translation ed. John Deathridge (Cambridge, Mass.: Harvard University Press, 1992).
Musgrave, Michael. ‘Schoenberg and Theory’, JASI 4/1 (1980): 34–40.
Namenwirth, Simon Michael. ‘Twenty Years of Schoenberg Criticism: Changes in the Evaluation of Once Unfamiliar Music’, unpublished PhD thesis, University of Minnesota (1965), 3 volumes.
Neff, Severine (ed.). Arnold Schönberg: The Second String Quartet in F-sharp minor, Opus 10 (New York: W. W. Norton & Company, 2006).
Neuhouser, Frederick. ‘Desire, Recognition, and the Relation between Bondsman and Lord’, in Kenneth R. Westphal (ed.), The Blackwell Guide to Hegel’s Phenomenology of Spirit (Oxford: Wiley Blackwell, 2009): 37–54.
Newlin, Dika. Schoenberg Remembered: Diaries and Recollections (1938–76) (New York: Pendragon Press, 1980).
Newlin, Dika. ‘Self-Revelation and the Law: Arnold Schoenberg in his Religious Works’, Yuval, Studies of the Jewish Music Research Centre, ed. Israël Adler (Jerusalem: Magnes Press, The Hebrew University, 1968): 204–20.
Nono-Schoenberg, Nuria (ed.). Arnold Schoenberg Self-Portrait: A Collection of Articles, Program Notes, and Letters by the Composer about His Own Works (Pacific Palisades, Calif.: Belmont Music Publishers, 1988).
Nono-Schoenberg, NuriaArnold Schönberg 1874–1951: Lebensgeschichte in Begegnung (Klagenfurt: Ritter Klagenfurt, 1992).
Norton, Robert E.Secret Germany: Stefan George and His Circle (Ithaca: Cornell University Press, 2002).
Notley, Margaret. ‘Brahms as Liberal: Genre, Style, and Politics in Late Nineteenth-Century Vienna’ 19th-Century Music 17/2 (Autumn 1993): 107–23.
Notley, Margaret. ‘Bruckner and Viennese Wagnerism’, in Timothy L. Jackson and Paul Hawkshaw (eds.), Bruckner Studies (Cambridge University Press): 54–71.
Notley, Margaret. ‘Musical Culture in Vienna at the Turn of the Twentieth Century’, in Bryan R. Simms (ed.), Schoenberg, Berg, and Webern: A Companion to the Second Viennese School: 37–71.
Nykrog, Per. La Pensée de Balzac dans La Comédie Humaine: Esquisse de quelques concepts-clé (Copenhagen: Munksgaard, 1965).
Paglia, Camille. Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (London: Penguin, 1991).
Painter, Karen. ‘Contested Counterpoint: “Jewish” Appropriation and Polyphonic Liberation’, Archiv für Musikwissenschaft 58/3 (2001): 201–30.
Painter, Karen. ‘Polyphony and Racial Identity: Schoenberg, Heinrich Berl, and Richard Eichenauer’, Music & Politics 5/2 (Summer 2011): 1–15.
Pfitzner, Hans. ‘‘Glosse zum II. Weltkrieg’, in Bernhard Adamy (ed.), Sämtliche Schriften, Hans Pfitzner, vol. IV: 327–43.
Poizat, Michel. The Angel’s Cry: Beyond the Pleasure Principle in Opera, trans. Arthur Denner (Ithaca: Cornell University Press, 1992).
Pollak, Michael. ‘Cultural Innovation and Social Identity in Fin-de-Siècle Vienna’, in Ivar Oxaal, Michael Pollak and Gerhard Botz (eds.), Jews, Antisemitism and Culture in Vienna (London: Routledge and Kegan Paul, 1987): 59–74.
Porter, James I. ‘“Don’t Quote Me on That!”: Wilamowitz Contra Nietzsche in 1872 and 1873’, Journal of Nietzsche Studies 42 (Autumn 2011): 73–99.
Potter, Pamela M. ‘The Concept of Race in German Musical Discourse’, in Julie Brown (ed.), Western Music and Race: 49–62.
Potter, Pamela M.Most German of the Arts: Musicology and Society from the Weimar Republic to the End of Hitler’s Reich (New Haven: Yale University Press, 1998).
Probst, Ferdinand. Der Fall Otto Weininger: Eine Psychiatrische Studie (Wiesbaden: J. F. Bergman, 1904).
Pynsent, Robert B. ‘Conclusory Essay: Decadence, Decay and Innovation’, in Robert B. Pynsent (ed.), Decadence and Innovation: 111–248.
Pynsent, Robert B. (ed.). Decadence and Innovation: Austro-Hungarian Life and Art at the Turn of the Century (London: Weidenfeld and Nicolson, 1989).
Quataert, Jean H.Reluctant Feminists in German Social Democracy, 1885–1917 (Princeton University Press, 1979).
Racek, Fritz. ‘Wo wurde Arnold Schönberg geboren?’, Österreichische Musikzeitschrift 28 (1973): 76–80.
Radstone, Susannah. ‘Trauma Theory: Contexts, Politics, Ethics’, Paragraph 30/1 (March 2007): 9–29.
Rauchhaupt, Ursula von (ed.). Schoenberg, Berg, Webern. Die Streichquartette. Eine Dokumentation (Munich: Deutsche Grammophon, 1971).
Reich, Willi. Schoenberg: A Critical Biography, trans. Leo Black (London: Longman, 1971).
Reitter, Paul. On the Origins of Jewish Self-Hatred (Princeton University Press, 2012).
Reti, Rudolph. The Thematic Process in Music (New York: Macmillan, 1951).
Reti, Rudolph. Tonality, Atonality, Pantonality: A Study of Some Trends in Twentieth Century Music (London: Rockliff, 1958).
Richards, Angela (ed.). Studies in Hysteria, trans. James and Alix Strachey (London: Penguin, 1991).
Rieckmann, Jens. ‘Introduction’, in Jens Rieckmann (ed.), A Companion to the Works of Stefan George: 1–22.
Rieckmann, Jens (ed.). A Companion to the Works of Stefan George (Woodbridge, Suffolk: Camden House, 2005).
Ringer, Alexander L.Arnold Schoenberg: The Composer as Jew (Oxford: Clarendon, 1990).
Robertson, Ritchie. The ‘Jewish Question’ in German Literature, 1749–1939: Emancipation and Its Discontents (Oxford University Press, 1999).
Robertson, Ritchie. ‘“Jewish Self-Hatred”? The Cases of Schnitzler and Canetti’, in Robert S. Wistrich (ed.), Austrians and Jews in the Twentieth Century: From Franz Joseph to Waldheim (New York: St. Martin’s Press, 1992): 82–96.
Rode, Susanne. Alban Berg und Karl Kraus: Zur geistigen Biographie des Komponisten der ‘Lulu’ (Frankfurt am Main: Peter Lang, 1988).
Rode-Breymann, Susanne. ‘. . .gathering the divine from the earthly. . .’: Ferdinand Avenarius and his Significance for Anton Webern’s Early Settings of Lyric Poetry’, trans. Mary Whittall, in Kathryn Bailey (ed.), Webern Studies (Cambridge University Press, 1996): 1–31.
Rodlauer, Hannelore (ed.). Otto Weininger: Eros und Psyche; Studien und Briefe 1899–1902 (Vienna: Verlag der Österreichischen Akademie der Wissenschaften, 1990).
Rognoni, Luigi. The Second Vienna School: Expressionism and Dodecaphony, trans. Robert W. Mann (London: John Calder, 1977).
Rohde, Erwin. Afterphilologie: Zur Beleuchtung des von dem Dr. Phil. Ulrich von Wilamowitz-Möllendorff herausgegebenen Pamphlets: ‘Zukunftsphilologie!’ Sendschreiben eines Philologen an Richard Wagner (Leipzig: E. W. Fritzsch, 1872); reprinted in Karlfried Gründer (ed.), Der Streit um Nietzsches ‘Geburt der Tragödie’ (Hildesheim: Georg Olms, 1968): 65–111.
Roman, Zoltan. Anton von Webern: An Annotated Bibliography (Detroit: Information Coordinators, Inc., 1983).
Rose, Paul Lawrence. German Question/Jewish Question: Revolutionary Antisemitism from Kant to Wagner (Princeton University Press, 1990).
Rose, Paul Lawrence. Wagner: Race and Revolution (New Haven: Yale University Press, 1992).
Rosen, Charles. Schoenberg (Glasgow: Fontana, 1976).
Rozenblit, Marsha L.The Jews of Vienna, 1867–1914: Assimilation and Identity (Albany, NY: State University of New York Press, 1983).
Rubsamen, Walter. ‘Schoenberg in America’, Musical Quarterly 37/4 (1951): 469–88.
Rufer, Josef. ‘Hommage à Schoenberg’, trans. Egbert M. Ennulat, in Arnold Schoenberg Correspondence, ed. Egbert M. Ennulat: 1–50.
Rufer, Josef. The Works of Arnold Schoenberg: A Catalogue of his Compositions, Writings and Paintings, trans. Dika Newlin (London: Faber, 1962).
Rychner, Max. Zur europäischen Literatur zwischen zwei Weltkriegen (Zurich: Atlantis, 1943).
Schiff, David. ‘Jewish and Musical Tradition in the Music of Mahler and Schoenberg’, JASI 9/2 (1986): 217–31.
Schiller, David M.Bloch, Schoenberg, and Bernstein: Assimilating Jewish Music (Oxford University Press, 2003).
Schlegel, Friedrich von. Dialogue on Poetry and Literary Aphorisms, trans. and ed. Ernst Behler and Roman Struc (University Park, PA: Pennsylvania State University Press, 1968).
Schoenberg, Arnold. ‘Aphorismen’, Die Musik 9/4, no. 21 (1909): 159–63.
Schlegel, Friedrich von. ‘Aphorismen’, Konzert-Taschenbuch für die Saison 4 (1911–12): 104–6.
Schlegel, Friedrich von. ‘Aphorismen’, Der Ruf (February 1912): 46–7.
Schlegel, Friedrich von. Arnold Schoenberg Letters, ed. Erwin Stein, trans. Eithne Wilkins and Ernst Kaiser (London: Faber, 1987).
Schlegel, Friedrich von. ‘Attempt at a Diary’, trans. Anita M. Luginbühl, JASI 9/1 (1986): 7–51.
Schlegel, Friedrich von. Der biblische Weg [The Biblical Way], in JASI 17/1–2 (June & November 1994): 162–329.
Schoenberg, Arnold. Das Buch der hängenden Gärten (Vienna: Universal, 1941).
Schoenberg, Arnold. Coherence, Counterpoint, Instrumentation, Instruction in Form (Zusammenhang, Kontrapunkt, Instrumentation, Formenlehre), ed. and intro. Severine Neff, trans. Charlotte M. Cross and Severine Neff (Lincoln: University of Nebraska Press, 1994).
Schoenberg, Arnold. Fundamentals of Musical Composition, 1967, ed. Gerald Strong and Leonard Stein (London: Faber, 1970).
Schoenberg, Arnold. Harmonielehre (Vienna: Universal, 1911).
Schoenberg, Arnold. Harmonielehre, 3rd edn (Vienna: Universal, 1922).
Schoenberg, Arnold. ‘Jeder junge Jude’, JASI 17/1&2 (June & November 1994): 451–5.
Schoenberg, Arnold. Das Magische Quadrat, eine Annäherung an den Visionär Arnold Schönberg, multimedia book box with 10 printed objects and games, a CD and a Vexier-Etui by and about Arnold Schönberg; also original contributions by Ch. Meyer, M. Roth, M. Böggemann, U. P. Jauch, C. Emmenegger, A. Jacob and E. Fess and a foreword by Nuria Schönberg-Nono (Poschiavo/Lucerne: Edizioni Periferia, 2006).
Schoenberg, Arnold. The Musical Idea and the Logic, Technique, and Art of Its Presentation, ed., trans. and with a commentary by Patricia Carpenter and Severine Neff (New York: Columbia University Press, 1995).
Schoenberg, Arnold. The Second String Quartet in F-Sharp Minor, Opus 10, ed. Severine Neff (New York: Norton, 2006).
Schoenberg, Arnold. Stil und Gedanke. Aufsätze zur Musik, ed. Ivan Vojtěch. Arnold Schönberg. Gesammelte Schriften 1 (Frankfurt am Main: Fischer, 1976).
Schoenberg, Arnold. Structural Functions of Harmony (1948), ed. Leonard Stein, first published 1954 (London: Faber, 1983).
Schoenberg, Arnold. Style and Idea, ed. Dika Newlin (London: Williams & Norgate, 1951).
Schoenberg, Arnold. Style and Idea: Selected Writings of Arnold Schoenberg, ed. Leonard Stein, trans. Leo Black, 1975 (Berkeley: University of California Press, 1984).
Schoenberg, Arnold. Texte (Vienna: Universal, 1926).
Schoenberg, Arnold. Theory of Harmony, trans. Roy E. Carter (London: Faber, 1978).
Schoenberg, Arnold. ‘Vortrag, zu halten in Frankfurt am Main am 12. II. 1933’, trans. Thomas McGeary, JASI 15/2 (1992): 22–99.
Schoenberg, E. Randol. ‘Arnold Schoenberg and Albert Einstein: Their Relationship and Views on Zionism’, JASI 10/2 (November 1987): 134–87.
Schoenberg, E. Randol. ‘The Most Famous Thing He Never Said’, Journal of the Arnold Schönberg Center 5, Special Issue ‘Arnold Schönberg and His God’ (2005): 27–30.
Schopenhauer, Arthur. Parerga und Paralipomena, vol. II, Sämtliche Werke (Leipzig: Philipp Reclam, [1895?]).
Schopenhauer, Arthur. Parerga and Paralipomena: Short Philosophical Essays, trans. E. F. J. Payne (Oxford: Clarendon, 1974), vol. II.
Schorske, Carl E.Fin-de-Siècle Vienna: Politics and Culture (Cambridge University Press, 1981).
Schreker-Bures, Haidy. ‘Franz Schreker und seine Zeit’, in Haidy Schreker-Bures, H. H. Stuckenschmidt and Werner Oehlmann (eds.), Franz Schreker (Vienna: Elisabeth Lafite, 1970): 9–38.
Schröder, Klaus Albrecht. Richard Gerstl 1883–1908 (Vienna: Kunstforum der Bank Austria, 1993).
Schüler, Winfried. Der Bayreuther Kreis: Wagnerkult und Kulturreform im Geiste völkischer Weltanschauung (Münster: Aschendorff, 1971).
Sengoopta, Chandak. Otto Weininger: Sex, Science, and Self in Imperial Vienna (University of Chicago Press, 2000).
Shaw, Jennifer Robin. ‘Androgyny and the Eternal Feminine in Schoenberg’s Oratorio Die Jakobsleiter’, in Charlotte M. Cross and Russell A. Berman (eds.), Political and Religious Ideas in the Works of Arnold Schoenberg (New York: Garland, 2000): 61–83.
Shaw, Jennifer Robin. ‘Rethinking Schoenberg’s Composition of Die Jakobsleiter’, Theory and Practice 18 (1993): 87–108.
Shaw, Jennifer Robin. ‘Schoenberg’s Choral Symphony, Die Jakobsleiter and Other Wartime Fragments’, unpublished PhD thesis, State University of New York at Stony Brook (2002).
Shoaf, R. Wayne. The Schoenberg Discography (Berkeley: Fallen Leaf Press, 1986).
Showalter, Elaine. The Female Malady: Women, Madness and English Culture, 1830–1980 (London: Virago, 1985).
Showalter, Elaine. Sexual Anarchy: Gender and Culture at the Fin de Siècle (London: Virago, 1992).
Shreffler, Anne C. ‘Anton Webern’, in Bryan R. Simms (ed.), Schoenberg, Berg, and Webern: 251–314.
Simms, Bryan R. ‘Review of Theory of Harmony by Arnold Schoenberg’, Music Theory Spectrum 4 (Spring, 1982): 155–62.
Simms, Bryan R. (ed.). Schoenberg, Berg, and Webern: A Companion to the Second Viennese School (Westport, Conn.: Greenwood Press, 1999).
Smith, Joan Allen. Schoenberg and His Circle: A Viennese Portrait (New York: Schirmer, 1986).
Stefan, Paul. Arnold Schönberg: Wandlung, Legende, Erscheinung, Bedeutung (Vienna: Zeitkunst-Verlag, 1924).
Stein, Leonard. ‘Schoenberg: Five Statements’, Perspectives of New Music 14 (Fall/Winter, 1975): 168–71.
Stephan, Rudolf. ‘Aussermusikalischer Inhalt: Musikalischer Gehalt: Gedanken zur Musik der Jahrhundertwende’, in Rainer Damm and Andreas Traub (eds.), Vom musikalischen Denken: Gesammelte Vorträge (Mainz: B. Schott’s Söhne, 1985): 309–20.
Stephan, Rudolf. ‘Schönbergs Entwurf über “Das Komponieren mit selbstständigen Stimmen”’, Archiv für Musikwissenschaft 29/4 (1972): 239–56.
Street, Alan. ‘ “The Ear of the Other”: Style and Identity in Schoenberg’s Eight Songs, Op. 6’, in Charlotte M. Cross and Russell A. Berman (eds.), Schoenberg and Words (New York: Garland, 2000): 103–37.
Stuckenschmidt, H. H.Schoenberg: His Life, World and Work, trans. Humphrey Searle (London: John Calder, 1977).
Subotnik, Rose Rosengard. Deconstructive Variations: Music and Reason in Western Society (Minneapolis: University of Minnesota Press, 1996).
Swoboda, Hermann. Otto Weiningers Tod (Vienna: Franz Deuticke, 1911).
Tal, Uriel. Christians and Jews in Germany: Religion, Politics, and Ideology in the Second Reich, 1870–1914, trans. Noah Jonathan Jacobs (Ithaca: Cornell University Press, 1975).
Taylor-Jay, Claire. The Artist-Operas of Pfitzner, Krenek and Hindemith (Aldershot: Ashgate, 2004).
Theurich, Jutta (ed.). ‘Briefwechsel zwischen Arnold Schönberg und Ferruccio Busoni 1903–1919 (1927)’, Beiträge zur Musikwissenschaft 3 (1977): 163–211.
Thiel, Friedrich. Vier sonntägliche Straßen: A Study of the Ida Coblenz Problem in the Works of Stefan George (New York: Peter Lang, 1988).
Thomson, William. Schoenberg’s Error (Philadelphia: University of Pennsylvania Press, 1991).
Timms, Edward. ‘Archetypal Patterns in the Satire of Karl Kraus’, in Sigurd Paul Scheichl and Edward Timms (eds.), Karl Kraus in neuer Sicht: Londoner Kraus Symposium (Munich: Sonderband der Kraus-Hefte, 1986): 92–108.
Timms, Edward. Karl Kraus, Apocalyptic Satirist: Culture and Catastrophe in Habsburg Vienna (New Haven: Yale University Press, 1986).
Tomlinson, Gary. Music in Renaissance Magic: Toward a Historiography of Others (Chicago University Press, 1993).
Türcke, Berthold. ‘Felix Greissle (1894–1982)’, JASI 6/1 (June 1982): 4–7.
Vetter, Isolde, trans. Stewart Spencer. ‘Wagner in the History of Psychology’, in Ulrich Müller and Peter Wapnewski (eds.), Wagner Handbook:118–55.
Vogel, Martin. Schönberg und die Folgen: Die Irrwege der Neuen Musik (Bonn: Verlag für systematische Musikwissenschaft, 1984).
Wagner, Nike. ‘Parsifal et l’antisémitisme juif à Vienne, dans les anneés 1900’, L’Infini 3 (Summer 1983): 22–32.
Wagner, Nike. The Wagners: The Dramas of a Musical Dynasty, trans. Ewald Osers and Michael Downes (London: Weidenfeld and Nicolson, 2000).
Wagner, Richard. Richard Wagner’s Prose Works, trans. William Ashton Ellis, 8 vols. (London: Kegan Paul, Trench, Trübner, 1894; rep. University of Nebraska Press, 1995).
Wagner, Richard. Judaism in Music, trans. Edwin Evans [Snr.] (London: William Reeves, 1910).
Waitzbauer, Harald. ‘Arnold Schönberg und das Mattsee-Ereignis’, Journal of the Arnold Schönberg Center 5, Special Issue ‘Arnold Schönberg and His God’ (2005): 14–26.
Watkins, Holly. ‘Schoenberg’s Interior Designs’, Journal of the American Musicological Society 61/1 (Spring 2008): 123–206.
Weininger, Otto. Geschlecht und Charakter: Eine prinzipielle Untersuchung (Vienna: Wilhelm Braumüller, 1903).
Weininger, Otto.
Otto Weininger: Collected Aphorisms, Notebook and Letters to a Friend, trans.
Martin Dudaniec and
Kevin Solway, edition 1.12 (Weininger Resources: private publication,
[email protected]).
Weininger, Otto. Otto Weininger: Taschenbuch und Briefe an einen Freund (Leipzig: E. P. Tal, 1919).
Weininger, Otto. Sex and Character: An Investigation of Fundamental Principles, trans. Ladislaus Löb, ed. Daniel Steuer with Laura Marcus, intro. by Daniel Steuer (Bloomington, IN.: Indiana University Press, 2005).
Weininger, Otto. A Translation of Weininger’s ‘Über die letzten Dinge’ (1904/1907)/On Last Things, trans. and with an introduction by Steven Burns (Lewiston, Queenston, Lampeter: Edwin Mellen Press, 2001).
Weininger, Otto. Über die letzten Dinge, with a biographical preface by Moritz Rappaport (Vienna: W. Braumüller, 1904).
Wellesz, Egon. Arnold Schönberg, trans. W. H. Kerridge, 1925, rep. with new chapter (London: Galliard, 1971).
Westphal, Kenneth R. (ed.). The Blackwell Guide to Hegel’s Phenomenology of Spirit (Oxford: Wiley Blackwell, 2009).
White, Pamela C.Schoenberg and the God-Idea: The Opera ‘Moses und Aron’, Studies in Musicology 83 (Ann Arbor: UMI Research Press, 1985).
White, Pamela C. ‘Schoenberg and Schopenhauer’, JASI 8/1 (1984): 39–57.
Winkler, Michael. ‘Master and Disciples: The George Circle’, in Jens Rieckmann (ed.), A Companion to the Works of Stefan George: 144–59.
Wintle, Christopher W. ‘Schoenberg’s Harmony: Theory and Practice’, JASI 4/1 (1980): 50–67.
Wolters, Friedrich. Herrschaft und Dienst (Berlin: Einhorn-Presse im Verlag Otto von Holten, 1909).
Wolters, Friedrich. Stefan George und die Blätter für die Kunst: Deutsche Geistesgeschichte seit 1890 (Berlin: Georg Bondi, 1930).
Zakim, Eric. ‘Arnold Schönberg and the Aporia of Holocaust Representation’, Journal of the Arnold Schönberg Center 5, Special Issue ‘Arnold Schönberg and His God’ (2003): 257–75.
Zakim, Eric. ‘The Dialectics of Nerves and Muscles: Schoenberg’s Moses as the New Jew’, The Opera Quarterly 23/4 (2009): 455–77.
Zelinsky, Hartmut. ‘Anmerkung zur Beziehung zwischen Schönberg und Kandinsky’, in Schönberg Gespräch (Vienna: Hochschule für Angewandte Kunst in Wien, 1984): 25–49.
Zakim, Eric. ‘Arnold Schönberg – der Wagner Gottes: Anmerkung zum Lebensweg eines deutschen Juden aus Wien’, Neue Zeitschrift für Musik 4 (1986): 7–19.
Zelinsky, Hartmut.‘Der “Weg” der “Blauen Reiter”: Zu Schönbergs Widmung an Kandinsky in die “Harmonielehre”’, in Jelena Hahl-Koch (ed.), Arnold Schönberg / Wassily Kandinsky: Briefe, Bilder und Dokumente einer außergewöhnlichen Begegnung (Salzburg: Residenz Verlag, 1980): 222–70.
Žižek, Slavoj. ‘Otto Weininger, or, “Woman Doesn’t Exist”’, in The Metastases of Enjoyment: Six Essays of Enjoyment (London: Verso, 1994).
Zukofsky, Paul R. et al. JASI, Special Issue ‘Preliminary Inventory of Schoenberg Correspondence’, 17/1–2 (June and November 1995) and 19/1–2 (June and November 1996).
