Book contents
- Frontmatter
- Contents
- List of music examples and figures
- Acknowledgements
- Introduction
- 1 A passing of worlds: Gurrelieder as Schoenberg's reluctant farewell to the nineteenth century
- 2 Dialectical opposition in Schoenberg's music and thought
- 3 Dramatic conflict in Pelleas und Melisande
- 4 Motive and memory in Schoenberg's First String Quartet
- 5 Uncanny expressions of time in the music of Arnold Schoenberg
- 6 The tone row as the source of dramatic conflict in Moses und Aron
- 7 The String Trio: metaleptic Schoenberg
- Notes
- Bibliography
- General index – names and topics
- Index of Schoenberg's works and writings
- References
Bibliography
Published online by Cambridge University Press: 22 September 2009
Book contents
- Frontmatter
- Contents
- List of music examples and figures
- Acknowledgements
- Introduction
- 1 A passing of worlds: Gurrelieder as Schoenberg's reluctant farewell to the nineteenth century
- 2 Dialectical opposition in Schoenberg's music and thought
- 3 Dramatic conflict in Pelleas und Melisande
- 4 Motive and memory in Schoenberg's First String Quartet
- 5 Uncanny expressions of time in the music of Arnold Schoenberg
- 6 The tone row as the source of dramatic conflict in Moses und Aron
- 7 The String Trio: metaleptic Schoenberg
- Notes
- Bibliography
- General index – names and topics
- Index of Schoenberg's works and writings
- References
Summary
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- Information
- Schoenberg's Musical Imagination , pp. 384 - 389Publisher: Cambridge University PressPrint publication year: 2007
References
Arnold Schoenberg, Theory of Harmony, translated by , University of California Press, 1978Google Scholar
, Pelleas und Melisande (nach dem Drama von Maurice Maeterlinck), Symphonische Dichtung für Orchestra von Arnold Schönberg, Op. 5: kurze thematische Analyse. Universal Edition, 1920Google Scholar
Leon Botstein, “Schoenberg and the Audience: Modernism, Music, and Politics in the Twentieth Century,” in Schoenberg and His World, Walter Frisch, ed. Princeton University Press, 1999
and , editors, Constructive Dissonance: Arnold Schoenberg and the transformations of twentieth-century culture. University of California Press, 1997Google Scholar
, Correspondence. The Journal of the Arnold Schoenberg Institute I/3, 182–5
, “Schoenberg the Contemporary: A View from Behind,” in Constructive Dissonance: Arnold Schoenberg and the transformations of twentieth-century culture. University of California Press, 1997Google Scholar
and , editors, Music of My Future: The Schoenberg Quartets and Trio. Harvard University Press, 2000Google Scholar
, “The Artist as Modern Prophet: A Study of Historical Consciousness and its Expression in Schoenberg's ‘Vorgefühle, op. 22, no. 4’,” in Schoenberg and Words: The Modernist Years. Garland Publishing (2000), 243–71Google Scholar
, Text and Phrase Rhythm in Gurrelieder: Schoenberg's Reception of Tradition. Ph.D. dissertation: University of Minnesota, 1997Google Scholar
Brian G. Campbell, “Gurrelieder and the Fall of the Gods: Schoenberg's Struggle with the legacy of Wagner,” in Schoenberg and Words: The Modernist Years, and , editors. Garland Publishing, Inc. (2000), 31–63Google Scholar
, “Dialectical Opposition in Schoenberg's Music and Thought.” Music Theory Spectrum 22/2 (Fall 2000), 157–76CrossRefGoogle Scholar
, “Dramaturgy and Mirror Imagery in Schönberg's Moses und Aron: Two Paradigmatic Interval Palindromes.” Perspectives of New Music 29/2 (Summer 1991), 50–71Google Scholar
, The Formal and Dramatic Organization of Schoenberg's Moses und Aron. Ph.D. dissertation: Yale University, 1983Google Scholar
, “Memory and Rhetorical Trope in Schoenberg's String Trio.” Journal of the American Musicological Society 51/3 (Fall 1998), 559–602Google Scholar
Michael Cherlin, “Motive and Memory in Schoenberg's First String Quartet,” in The Music of My Future: The Schoenberg Quartets and Trio, and , editors. Harvard University Press (2000), 61–80Google Scholar
, “Schoenberg and das Unheimliche.” The Journal of Musicology 11/3 (Summer 1993), 357–73Google Scholar
, “Schoenberg's Representation of the Divine in Moses und Aron.” Journal of the Arnold Schoenberg Institute IX/2, 210–16
, “Uncanny Resemblances: Tonal Signification in the Freudian Age.” Journal of the American Musicological Society, 57/2 (2004), 285–323CrossRefGoogle Scholar
, Schoenberg and the New Music, translated by Derrick Puffett and Alfred Clayton. Cambridge University Press, 1987Google Scholar
, “Dualism in the Music of Arnold Schoenberg.” Journal of the Arnold Schoenberg Institute XII/1 (June 1989), 22–42Google Scholar
, The Early Works of Arnold Schoenberg, 1893–1908. University of California Press, 1993Google Scholar
, Reinscribing Moses: Heine, Kafka, Freud, and Schoenberg in a European Wilderness. Harvard University Press, 1992CrossRefGoogle Scholar
Glenn Gould, “Schoenberg – A Perspective,” in The Glenn Gould Reader, introduction by , editor. Knopf, 1984, 107–22Google Scholar
, Schoenberg's Serial Odyssey: The evolution of his Twelve-Tone Method, 1914–1928. Oxford University Press, 1990Google Scholar
, “Neoclassic and Anachronistic Impulses in Twentieth-Century Music.” Music Theory Spectrum 18/2 (1996), 200–35CrossRefGoogle Scholar
, “Schoenberg's Return to Tonality.” Journal of the Arnold Schoenberg Institute V/1, 2–21
Richard Kurth, “Moments of Closure: Thoughts on the Suspension of Tonality in Schoenberg's Fourth Quartet and Trio,” in Music of My Future: The Schoenberg Quartets and Trio, and , editors. Harvard University Press (2000), 139–60Google Scholar
, “Schönberg and the Bilderverbot: Reflections on Unvorstellbarkeit and Verborgenheit.” Journal of the Arnold Schönberg Center 3 (2003), 332–72Google Scholar
, “Suspended Tonalities in Schönberg's Twelve-tone Compositions.” Journal of the Arnold Schönberg Center 3 (2001), 239–65Google Scholar
, Musica Ficta: Figures of Wagner, translated by Felicia McCarren. Stanford University Press, 1994Google Scholar
, “Generalized Interval Systems for Babbitt's Lists, and for Schoenberg's String Trio.” Music Theory Spectrum 17/1, 81–118
, “Inversional Balance as an Organizing Force in Schoenberg's Music and Thought.” Perspectives of New Music 6/2 (1968), 1–21CrossRefGoogle Scholar
, “Moses und Aron: Some general remarks and analytic notes for Act I, scene 1.” Perspectives of New Music 6/1, 1–17
, “Schoenberg's Incomplete Works and Fragments,” in Constructive Dissonance: Arnold Schoenberg and Transformations of Twentieth-Century Culture. University of California Press, 1997, 131–45
, “‘Music that Echoes within one’ for a Lifetime: Berg's Reception of Schoenberg's ‘Pelleas und Melisande.’” Music and Letters 76/2 (1995), 209–64CrossRefGoogle Scholar
, editor. Schoenberg, Berg, Webern: The String Quartets; a documentary study. Deutsche Grammophon Gesellschaft, 1971Google Scholar
, The Atonal Music of Arnold Schoenberg: 1908–1923. Oxford University Press, 2000CrossRefGoogle Scholar
(editor), Schoenberg, Berg, and Webern: A Companion to the Second Viennese School. Greenwood Press, 1999Google Scholar
, “Noting the diagram and soliciting responses as to its meaning.”Journal of the Arnold Schoenberg Institute I/1 (1976), 3–5Google Scholar
, Arnold Schoenberg: The Formative Years, translated by W. H. Kerridge. J. M. Dent and Sons, 1925Google Scholar
, “Schoenberg and the ‘True Tradition’: Theme and Form in the String Trio.” The Musical Times 115, 739–43CrossRef
, “Freud and the Poetic Sublime,” in Poetics of Influence, introduction by John Hollander, edited by Henry R. Schwab, 1988Google Scholar
, Difference and Repetition, translated by Paul Patton. Columbia University Press, 1994Google Scholar
and , A Thousand Plateaus: Capitalism and Schizophrenia. University of Minnesota Press, 1987Google Scholar
, The Pity of It All: A History of Jews in Germany, 1743–1933. Metropolitan Books (Henry Holt), 2002Google Scholar
Sigmund Freud, “Beyond the Pleasure Principle,” in The Freud Reader, translated by James Strachey, edited by . W. W. Norton, 1989Google Scholar
Sigmund Freud, “On Transience,” in Writings on Art and Literature, edited by and . Stanford University Press, 1997Google Scholar
Franz Kafka, Diaries: 1910–1923, edited by , translated by Martin Greenberg, with the cooperation of Hannah Arendt. Schocken, 1976Google Scholar
Franz Kafka, Franz Kafka: Ein Lesebuch mit Bildern, edited by . Rowohlt Taschenbuch Verlag, 2003Google Scholar
, The Great Short Works of Franz Kafka, translated by Joachim Neugroschel. Simon & Schuster, 2000Google Scholar
and , editors, Vienna 1900: from Altenberg to Wittgenstein. Edinburgh University Press, 1990Google Scholar
, The Star of Redemption, translated by William W. Hallo, foreword by N. N. Galtzer. Holt, Rinehart, 1970Google Scholar
Georg Simmel, Georg Simmel: On Individuality and Social Forms. Introduction by , editor. University of Chicago Press, 1971CrossRefGoogle Scholar
Anton Webern, The Path to New Music, edited by , translated by Leo Black. Theodore Presser, 1963Google Scholar
, Mimesis: The Representation of Reality in Western Literature, translated by Willard R. Trask. Princeton University Press, 1953Google Scholar
Milton Babbitt, The Collected Essays of Milton Babbitt, edited by et al. Princeton University Press, 2003Google Scholar
, editor, Greek Musical Writings: Harmonic and Acoustic Theory (vol. II). Cambridge University Press, 1989Google Scholar
William Blake, The Poetry and Prose of William Blake, edited by , commentary by Harold Bloom. Doubleday, 1965Google Scholar
, The Infinite Conversation, translated and with a foreword by Susan Hanson. University of Minnesota Press, 1993Google Scholar
, The Ringers in the Tower: Studies in Romantic Tradition. University of Chicago Press, 1971Google Scholar
, Ruin the Sacred Texts: Poetry and Belief from the Bible to the Present. Harvard University Press, 1989Google Scholar
, A Grammar of Motives. Prentice-Hall, 1945; repr. University of California Press, 1969Google Scholar
, Economy of the Unlost (Reading Simonides of Keos with Paul Celan). Princeton University Press, 1999Google Scholar
, This New Yet Unapproachable America: Lectures after Emerson after Wittgenstein. Living Batch Press, 1989Google Scholar
, “Hauptmann and Schenker: Two Adaptations of Hegelian Dialectics.” Theory and Practice 13 (1988), 115–31Google Scholar
, editor, Schubert: Critical and Analytical Studies. University of Nebraska Press, 1986Google Scholar
, Truth and Method, second edition, translation revised by Joel Weinsheimer and Donald G. Marshall. Continuum, 2003Google Scholar
, A History of Greek Philosophy: The earlier Presocratics and the Pythagoreans (vol. I). Cambridge University Press, 1962Google Scholar
, “Music Theory, Phenomenology, and Modes of Perception.” Music Perception 3/4, 327–92
, Theory and Practice of Musical Composition, translated by H. S. Saroni. Huntington, Mason & Law, 1852Google Scholar
, Untimely Meditations: On the uses and disadvantages of history for life, translated by R. J. Holindale. Cambridge University Press, 1983Google Scholar
, Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson. Yale University Press, 1990Google Scholar
, Language and Silence: Essays on Language, Literature, and the Inhuman. Atheneum, 1970Google Scholar
Arnold Schoenberg, Theory of Harmony, translated by , University of California Press, 1978Google Scholar
, Pelleas und Melisande (nach dem Drama von Maurice Maeterlinck), Symphonische Dichtung für Orchestra von Arnold Schönberg, Op. 5: kurze thematische Analyse. Universal Edition, 1920Google Scholar
Leon Botstein, “Schoenberg and the Audience: Modernism, Music, and Politics in the Twentieth Century,” in Schoenberg and His World, Walter Frisch, ed. Princeton University Press, 1999
and , editors, Constructive Dissonance: Arnold Schoenberg and the transformations of twentieth-century culture. University of California Press, 1997Google Scholar
, Correspondence. The Journal of the Arnold Schoenberg Institute I/3, 182–5
, “Schoenberg the Contemporary: A View from Behind,” in Constructive Dissonance: Arnold Schoenberg and the transformations of twentieth-century culture. University of California Press, 1997Google Scholar
and , editors, Music of My Future: The Schoenberg Quartets and Trio. Harvard University Press, 2000Google Scholar
, “The Artist as Modern Prophet: A Study of Historical Consciousness and its Expression in Schoenberg's ‘Vorgefühle, op. 22, no. 4’,” in Schoenberg and Words: The Modernist Years. Garland Publishing (2000), 243–71Google Scholar
, Text and Phrase Rhythm in Gurrelieder: Schoenberg's Reception of Tradition. Ph.D. dissertation: University of Minnesota, 1997Google Scholar
Brian G. Campbell, “Gurrelieder and the Fall of the Gods: Schoenberg's Struggle with the legacy of Wagner,” in Schoenberg and Words: The Modernist Years, and , editors. Garland Publishing, Inc. (2000), 31–63Google Scholar
, “Dialectical Opposition in Schoenberg's Music and Thought.” Music Theory Spectrum 22/2 (Fall 2000), 157–76CrossRefGoogle Scholar
, “Dramaturgy and Mirror Imagery in Schönberg's Moses und Aron: Two Paradigmatic Interval Palindromes.” Perspectives of New Music 29/2 (Summer 1991), 50–71Google Scholar
, The Formal and Dramatic Organization of Schoenberg's Moses und Aron. Ph.D. dissertation: Yale University, 1983Google Scholar
, “Memory and Rhetorical Trope in Schoenberg's String Trio.” Journal of the American Musicological Society 51/3 (Fall 1998), 559–602Google Scholar
Michael Cherlin, “Motive and Memory in Schoenberg's First String Quartet,” in The Music of My Future: The Schoenberg Quartets and Trio, and , editors. Harvard University Press (2000), 61–80Google Scholar
, “Schoenberg and das Unheimliche.” The Journal of Musicology 11/3 (Summer 1993), 357–73Google Scholar
, “Schoenberg's Representation of the Divine in Moses und Aron.” Journal of the Arnold Schoenberg Institute IX/2, 210–16
, “Uncanny Resemblances: Tonal Signification in the Freudian Age.” Journal of the American Musicological Society, 57/2 (2004), 285–323CrossRefGoogle Scholar
, Schoenberg and the New Music, translated by Derrick Puffett and Alfred Clayton. Cambridge University Press, 1987Google Scholar
, “Dualism in the Music of Arnold Schoenberg.” Journal of the Arnold Schoenberg Institute XII/1 (June 1989), 22–42Google Scholar
, The Early Works of Arnold Schoenberg, 1893–1908. University of California Press, 1993Google Scholar
, Reinscribing Moses: Heine, Kafka, Freud, and Schoenberg in a European Wilderness. Harvard University Press, 1992CrossRefGoogle Scholar
Glenn Gould, “Schoenberg – A Perspective,” in The Glenn Gould Reader, introduction by , editor. Knopf, 1984, 107–22Google Scholar
, Schoenberg's Serial Odyssey: The evolution of his Twelve-Tone Method, 1914–1928. Oxford University Press, 1990Google Scholar
, “Neoclassic and Anachronistic Impulses in Twentieth-Century Music.” Music Theory Spectrum 18/2 (1996), 200–35CrossRefGoogle Scholar
, “Schoenberg's Return to Tonality.” Journal of the Arnold Schoenberg Institute V/1, 2–21
Richard Kurth, “Moments of Closure: Thoughts on the Suspension of Tonality in Schoenberg's Fourth Quartet and Trio,” in Music of My Future: The Schoenberg Quartets and Trio, and , editors. Harvard University Press (2000), 139–60Google Scholar
, “Schönberg and the Bilderverbot: Reflections on Unvorstellbarkeit and Verborgenheit.” Journal of the Arnold Schönberg Center 3 (2003), 332–72Google Scholar
, “Suspended Tonalities in Schönberg's Twelve-tone Compositions.” Journal of the Arnold Schönberg Center 3 (2001), 239–65Google Scholar
, Musica Ficta: Figures of Wagner, translated by Felicia McCarren. Stanford University Press, 1994Google Scholar
, “Generalized Interval Systems for Babbitt's Lists, and for Schoenberg's String Trio.” Music Theory Spectrum 17/1, 81–118
, “Inversional Balance as an Organizing Force in Schoenberg's Music and Thought.” Perspectives of New Music 6/2 (1968), 1–21CrossRefGoogle Scholar
, “Moses und Aron: Some general remarks and analytic notes for Act I, scene 1.” Perspectives of New Music 6/1, 1–17
, “Schoenberg's Incomplete Works and Fragments,” in Constructive Dissonance: Arnold Schoenberg and Transformations of Twentieth-Century Culture. University of California Press, 1997, 131–45
, “‘Music that Echoes within one’ for a Lifetime: Berg's Reception of Schoenberg's ‘Pelleas und Melisande.’” Music and Letters 76/2 (1995), 209–64CrossRefGoogle Scholar
, editor. Schoenberg, Berg, Webern: The String Quartets; a documentary study. Deutsche Grammophon Gesellschaft, 1971Google Scholar
, The Atonal Music of Arnold Schoenberg: 1908–1923. Oxford University Press, 2000CrossRefGoogle Scholar
(editor), Schoenberg, Berg, and Webern: A Companion to the Second Viennese School. Greenwood Press, 1999Google Scholar
, “Noting the diagram and soliciting responses as to its meaning.”Journal of the Arnold Schoenberg Institute I/1 (1976), 3–5Google Scholar
, Arnold Schoenberg: The Formative Years, translated by W. H. Kerridge. J. M. Dent and Sons, 1925Google Scholar
, “Schoenberg and the ‘True Tradition’: Theme and Form in the String Trio.” The Musical Times 115, 739–43CrossRef
, “Freud and the Poetic Sublime,” in Poetics of Influence, introduction by John Hollander, edited by Henry R. Schwab, 1988Google Scholar
, Difference and Repetition, translated by Paul Patton. Columbia University Press, 1994Google Scholar
and , A Thousand Plateaus: Capitalism and Schizophrenia. University of Minnesota Press, 1987Google Scholar
, The Pity of It All: A History of Jews in Germany, 1743–1933. Metropolitan Books (Henry Holt), 2002Google Scholar
Sigmund Freud, “Beyond the Pleasure Principle,” in The Freud Reader, translated by James Strachey, edited by . W. W. Norton, 1989Google Scholar
Sigmund Freud, “On Transience,” in Writings on Art and Literature, edited by and . Stanford University Press, 1997Google Scholar
Franz Kafka, Diaries: 1910–1923, edited by , translated by Martin Greenberg, with the cooperation of Hannah Arendt. Schocken, 1976Google Scholar
Franz Kafka, Franz Kafka: Ein Lesebuch mit Bildern, edited by . Rowohlt Taschenbuch Verlag, 2003Google Scholar
, The Great Short Works of Franz Kafka, translated by Joachim Neugroschel. Simon & Schuster, 2000Google Scholar
and , editors, Vienna 1900: from Altenberg to Wittgenstein. Edinburgh University Press, 1990Google Scholar
, The Star of Redemption, translated by William W. Hallo, foreword by N. N. Galtzer. Holt, Rinehart, 1970Google Scholar
Georg Simmel, Georg Simmel: On Individuality and Social Forms. Introduction by , editor. University of Chicago Press, 1971CrossRefGoogle Scholar
Anton Webern, The Path to New Music, edited by , translated by Leo Black. Theodore Presser, 1963Google Scholar
, Mimesis: The Representation of Reality in Western Literature, translated by Willard R. Trask. Princeton University Press, 1953Google Scholar
Milton Babbitt, The Collected Essays of Milton Babbitt, edited by et al. Princeton University Press, 2003Google Scholar
, editor, Greek Musical Writings: Harmonic and Acoustic Theory (vol. II). Cambridge University Press, 1989Google Scholar
William Blake, The Poetry and Prose of William Blake, edited by , commentary by Harold Bloom. Doubleday, 1965Google Scholar
, The Infinite Conversation, translated and with a foreword by Susan Hanson. University of Minnesota Press, 1993Google Scholar
, The Ringers in the Tower: Studies in Romantic Tradition. University of Chicago Press, 1971Google Scholar
, Ruin the Sacred Texts: Poetry and Belief from the Bible to the Present. Harvard University Press, 1989Google Scholar
, A Grammar of Motives. Prentice-Hall, 1945; repr. University of California Press, 1969Google Scholar
, Economy of the Unlost (Reading Simonides of Keos with Paul Celan). Princeton University Press, 1999Google Scholar
, This New Yet Unapproachable America: Lectures after Emerson after Wittgenstein. Living Batch Press, 1989Google Scholar
, “Hauptmann and Schenker: Two Adaptations of Hegelian Dialectics.” Theory and Practice 13 (1988), 115–31Google Scholar
, editor, Schubert: Critical and Analytical Studies. University of Nebraska Press, 1986Google Scholar
, Truth and Method, second edition, translation revised by Joel Weinsheimer and Donald G. Marshall. Continuum, 2003Google Scholar
, A History of Greek Philosophy: The earlier Presocratics and the Pythagoreans (vol. I). Cambridge University Press, 1962Google Scholar
, “Music Theory, Phenomenology, and Modes of Perception.” Music Perception 3/4, 327–92
, Theory and Practice of Musical Composition, translated by H. S. Saroni. Huntington, Mason & Law, 1852Google Scholar
, Untimely Meditations: On the uses and disadvantages of history for life, translated by R. J. Holindale. Cambridge University Press, 1983Google Scholar
, Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson. Yale University Press, 1990Google Scholar
, Language and Silence: Essays on Language, Literature, and the Inhuman. Atheneum, 1970Google Scholar