Skip to main content Accessibility help
×
Hostname: page-component-8448b6f56d-m8qmq Total loading time: 0 Render date: 2024-04-17T21:58:12.310Z Has data issue: false hasContentIssue false

Bibliography

Published online by Cambridge University Press:  28 June 2019

Jack Boss
Affiliation:
University of Oregon
Get access
Type
Chapter
Information
Schoenberg's Atonal Music
Musical Idea, Basic Image, and Specters of Tonal Function
, pp. 366 - 372
Publisher: Cambridge University Press
Print publication year: 2019

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Adorno, Theodor W. Philosophy of New Music, trans., ed. and with an introduction by Hullot-Kentor, Robert. Minneapolis: University of Minnesota Press, 2006.Google Scholar
Auner, Joseph. “Schoenberg’s Aesthetic Transformations and the Evolution of Form in Die glückliche Hand,” Journal of the Arnold Schoenberg Institute 12/2 (November 1989): 103–28.Google Scholar
Auner, Joseph. A Schoenberg Reader: Documents of a Life. New Haven: Yale University Press, 2003.Google Scholar
Bailey, Kathryn. Composing with Tones: A Musical Analysis of Schoenberg’s Op. 23 Pieces for Piano. London: Royal Musical Association, 2001.Google Scholar
Bailey, Kathryn. “Formal Organization and Structural Imagery in Schoenberg’s Pierrot lunaire,” Studies in Music from the University of Western Ontario 2/1 (1977): 93107.Google Scholar
Bailey Puffett, Kathryn. “Structural Imagery: Pierrot lunaire Revisited,” Tempo 60/237 (2006): 222.CrossRefGoogle Scholar
Barkin, Elaine. “Play it AS it Lays,” Perspectives of New Music 17/2 (Spring-Summer 1979): 1724.Google Scholar
Barkin, Elaine(a song of ing),” In Theory Only 6/1 (November 1981): 40.Google Scholar
Barkin, Elaine Untitled essay (on Schoenberg’s Opus 19, No. 6), In Theory Only 4/8 (February-March 1979): 1826.Google Scholar
Benjamin, William. “Abstract Polyphonies: The Music of Schoenberg’s Nietzschean Moment,” in Political and Religious Ideas in the Works of Arnold Schoenberg, ed. Cross, Charlotte M. and Berman, Russell A.. New York: Garland, 2000, pp. 139.Google Scholar
Berger, Arthur. “Problems of Pitch Organization in Stravinsky,” Perspectives of New Music 2/1 (1963): 1142.Google Scholar
Boge, Claire. “Poetic Analysis as Part of Analysis Pedagogy,” In Theory Only 12/3–4 (1992): 4767.Google Scholar
Boss, Jack. “‘Away with Motivic Working’? Not So Fast: Motivic Processes in Schoenberg’s Op. 11, No. 3,” Music Theory Online 21/3 (September 2015). www.mtosmt.org/issues/mto.15.21.3/mto.15.21.3.boss.html.Google Scholar
Boss, JackThe Musical Idea and the Basic Image in an Atonal Song and Recitation of Arnold Schoenberg,” Gamut 2/1 (2009): 223–66.Google Scholar
Boss, Jack‘Musical Idea’ and Motivic Structure in Schoenberg’s Op. 11, No. 1,” in Musical Currents from the Left Coast, ed. Boss, Jack and Quaglia, Bruce. Newcastle-upon-Tyne: Cambridge Scholars, 2008, pp. 258–83.Google Scholar
Boss, JackSchoenberg’s Op. 22 Radio Talk and Developing Variation in Atonal Music,” Music Theory Spectrum 14/2 (Fall 1992): 125–49.CrossRefGoogle Scholar
Boss, JackSchoenberg on Ornamentation and Structural Levels,” Journal of Music Theory 38/2 (Fall 1994): 187216.CrossRefGoogle Scholar
Boss, Jack Schoenberg’s Twelve-Tone Music: Symmetry and the Musical Idea. Cambridge: Cambridge University Press, 2014.Google Scholar
Brinkmann, Reinhold. Arnold Schönberg, Drei Klavierstücke Op. 11: Studien zur Frühen Atonalität bei Schönberg, vol. 7 of Beihefte zum Archiv für Musikwissenschaft. Wiesbaden: Franz Steiner Verlag, 1969.Google Scholar
Brinkmann, ReinholdThe Fool as Paradigm: Schoenberg’s Pierrot lunaire and the Modern Artist,” in Schoenberg and Kandinsky: An Historic Encounter. Amsterdam: Harwood Academic, 1997, pp. 139–68.Google Scholar
Brinkmann, ReinholdThe Lyric as Paradigm: Poetry and the Foundation of Arnold Schoenberg’s New Music,” in German Literature in Music: An Aesthetic Fusion: 1890–1989, ed. Reschke, Claus and Pollack, Howard. Munich: Wilhelm Fink, 1992, pp. 95129.Google Scholar
Buchanan, Herbert H.A Key to Schoenberg’s Erwartung (op. 17),” Journal of the American Musicological Society 20/3 (Autumn 1967): 434–49.Google Scholar
Burkholder, J. Peter. All Made of Tunes: Charles Ives and the Uses of Musical Borrowing. New Haven: Yale University Press, 1995.Google Scholar
Busoni, Ferruccio. Ferruccio Busoni: Selected Letters, trans., ed., and with an introduction by Beaumont, Antony. New York: Columbia University Press, 1987.Google Scholar
Cherlin, Michael. “Pierrot Lunaire as Lunar Nexus,” Music Analysis 31/2 (2012): 176215.Google Scholar
Cherlin, MichaelSchoenberg and Das Unheimliche: Spectres of Tonality,” Journal of Musicology 11/3 (Summer 1993): 357–73.Google Scholar
Cherlin, Michael Schoenberg’s Musical Imagination. Cambridge: Cambridge University Press, 2007.Google Scholar
Christensen, Thomas. “Schoenberg’s Opus 11, No. 1: A Parody of Pitch Cells from Tristan,” Journal of the Arnold Schoenberg Institute 10/1 (June 1987): 3844.Google Scholar
Cinnamon, Howard. “Tonal Elements and Unfolding Nontriadic Harmonies in the Second of Schoenberg’s Drei Klavierstücke, Op. 11,” Theory and Practice 18/2 (1993): 127–70.Google Scholar
Cogan, Robert and Escot, Pozzi. Sonic Design. Englewood Cliffs, NJ: Prentice-Hall, 1976.Google Scholar
Dahlhaus, Carl. Nineteenth-Century Music, trans. J. Bradford Robinson. Berkeley and Los Angeles: University of California Press, 1989.Google Scholar
DeLio, Thomas. “Language and Form in an Early Atonal Composition: Schoenberg’s Op. 19/2,” Indiana Theory Review 15/2 (Fall 1994): 1740.Google Scholar
Domek, Richard. “Some Aspects of Organization in Schoenberg’s Book of the Hanging Gardens, Opus 15,” College Music Symposium 19/2 (Fall 1979): 111–28.Google Scholar
Dunsby, Jonathan. Schoenberg: Pierrot lunaire. Cambridge: Cambridge University Press, 1992.Google Scholar
Dunsby, Jonathan and Whittall, Arnold. Music Analysis in Theory and Practice. New Haven: Yale University Press, 1988.Google Scholar
Falck, Robert. “‘Fear and Hope’: A Look at Schoenberg’s Op. 15, No. VII,” Canadian Association of University Schools of Music Journal 7 (1977): 91105.Google Scholar
Forte, Allen. “Concepts of Linearity in Schoenberg’s Atonal Music: A Study of the Opus 15 Song Cycle,” Journal of Music Theory 36/2 (1992): 285382.Google Scholar
Forte, AllenContext and Continuity in an Atonal Work,” Perspectives of New Music 1/2 (Spring 1963): 7282.Google Scholar
Forte, AllenThe Magical Kaleidoscope: Schoenberg’s First Atonal Masterwork, Opus 11, Number 1,” Journal of the Arnold Schoenberg Institute 5/2 (1981): 127–68.Google Scholar
Forte, Allen The Structure of Atonal Music. New Haven: Yale University Press, 1973.Google Scholar
Frisch, Walter. The Early Works of Arnold Schoenberg, 1893–1908. Berkeley and Los Angeles: University of California Press, 1993.Google Scholar
George, Stefan. The Works of Stefan George Rendered into English, trans. Olga Marx and Ernst Morwitz. Chapel Hill, NC: University of North Carolina Press, 1949.Google Scholar
Gilbert, Jan. “Schoenberg’s Harmonic Visions: A Study of Text Painting in ‘Die Kreuze’,” Journal of the Arnold Schoenberg Institute 8/2 (1984): 116–30.Google Scholar
Goldsmith, Ulrich K. Stefan George: A Study of His Early Work. Boulder, CO: University of Colorado Press, 1959.Google Scholar
Gostomsky, Dieter. “Tonalität – Atonalität: Zur Harmonik von Schönbergs Klavierstück Op. 11, Nr. 1,” Zeitschrift für Musiktheorie 7/1 (1976): 5471.Google Scholar
Greenbaum, Matthew. “Dialectic in Miniature: Arnold Schoenberg’s Sechs Kleine Klavierstücke Op. 19,” Ex Tempore 14/2 (Spring-Summer 2009): 4259.Google Scholar
Guck, Marion. “A noir – à miroir: Past Senses Reverses Nests (A Priori?),” In Theory Only 2/10 (January 1977): 2934.Google Scholar
Haimo, Ethan. “Atonality, Analysis and the Intentional Fallacy,” Music Theory Spectrum 18/2 (Fall 1996): 167–99.Google Scholar
Haimo, EthanSchoenberg’s Pierrot Lunaire: A Cycle?,” in Pierrot Lunaire: Giraud/Hartleben/Schoenberg, ed. Delaere, Mark and Herman, Jan. Louvain: Peeters, 2014, pp. 145–55.Google Scholar
Haimo, Ethan Schoenberg’s Serial Odyssey: The Evolution of his Twelve-Tone Method. Oxford: Clarendon Press, 1990.Google Scholar
Haimo, Ethan Schoenberg’s Transformation of Musical Language. Cambridge: Cambridge University Press, 2006.Google Scholar
Hamao, Fusako. “On the Origin of the Twelve-Tone Method: Schoenberg’s Sketches for the Unfinished Symphony (1914–1915),” Current Musicology 42 (1986): 3245.Google Scholar
Harrison, Daniel. Pieces of Tradition: An Analysis of Contemporary Tonal Music. New York: Oxford University Press, 2016.Google Scholar
Heneghan, Áine. “Schoenberg’s Compositional Philosophy, the Three Piano Pieces, and his Subsequent Volte-Face,” in Musical Currents from the Left Coast, ed. Boss, Jack and Quaglia, Bruce. Newcastle-upon-Tyne: Cambridge Scholars, 2008, pp. 299314.Google Scholar
Hicken, Kenneth. “Tonal Organization in Schoenberg’s Six Little Piano Pieces, Op. 19,” Canadian University Music Review 1 (1980): 130–46.Google Scholar
Hyde, Martha. “Musical Form and the Development of Schoenberg’s Twelve-Tone Method,” Journal of Music Theory 29/1 (Spring 1985): 85143.Google Scholar
Jenkins, J. Daniel. “Schoenberg’s Concept of ‘ruhende Bewegung’,” Theory and Practice 34 (2009): 87105.Google Scholar
Knight, Russell C. “Operand Set Theory and Schoenberg’s Erwartung, Op. 17,” PhD dissertation, University of California at Santa Barbara, 2008.Google Scholar
Kurth, Richard. “Pierrot lunaire: Persona, Voice, and the Fabric of Allusion,” in The Cambridge Companion to Schoenberg, ed. Shaw, Jennifer and Auner, Joseph. Cambridge: Cambridge University Press, 2010, pp. 120–34.Google Scholar
Kurth, Richard. “Pierrot’s Cave: Representation, Reverberation, Radiance,” in Schoenberg and Words: The Modernist Years, ed. Cross, Charlotte M. and Berman, Russell A.. New York: Garland, 2000, pp. 203–41.Google Scholar
Larson, Steve. “A Tonal Model of an ‘Atonal’ Piece: Schönberg’s Opus 15, Number 2,” Perspectives of New Music 25/1–2 (Winter–Summer 1987): 418–33.Google Scholar
Leichtentritt, Hugo. Musical Form. Cambridge, MA: Harvard University Press, 1951.Google Scholar
Lerdahl, Fred. “Atonal Prolongational Structure,” Contemporary Music Review 4 (1989): 6587.Google Scholar
Lessem, Alan. Music and Text in the Works of Arnold Schoenberg. Ann Arbor: UMI Research Press, 1979.Google Scholar
Lessem, AlanText and Music in Schoenberg’s Pierrot Lunaire,” Current Musicology 19 (1975): 103–12.Google Scholar
Lewandowski, Stephan. “‘A Far Higher Power,’ Gedanken zu ideengeschichtlichen Vorgängermodellen der Pitch-Class Set Theory,” Tijdschrift voor Muziektheorie 15/3 (2010): 190210.Google Scholar
Lewin, David. “Inversional Balance as an Organizing Force in Schoenberg’s Music and Thought,” Perspectives of New Music 6/2 (Spring–Summer 1968): 121.CrossRefGoogle Scholar
Lewin, David. “Klumpenhouwer Networks and Some Isographies that Involve Them,” Music Theory Spectrum 12/1 (Spring 1990): 83120.Google Scholar
Lewin, David. “Re: The Intervallic Content of a Collection of Notes, Intervallic Relations between a Collection of Notes and Its Complement: An Application to Schoenberg’s Hexachordal Pieces,” Journal of Music Theory 4/1 (Spring 1960): 98101.Google Scholar
Lewin, David. “Some Investigations into Foreground Rhythmic and Metric Patterning,” in Music Theory: Special Topics, ed. Browne, Richmond. New York: Academic Press, 1981, pp. 101–37.Google Scholar
Lewin, David. “Some Notes on Pierrot Lunaire,” in Music Theory in Concept and Practice, ed. Baker, James M., Beach, David W., and Bernard, Jonathan W.. Rochester, NY: University of Rochester Press, 1997, pp. 433–57.Google Scholar
Lewin, David. “Some Notes on Schoenberg’s Opus 11,” In Theory Only 3/1 (April 1977): 3–7.Google Scholar
Lewin, David. “Toward the Analysis of a Schoenberg Song (Op. 15, No. XI),” Perspectives of New Music 12/1–2 (1973–74): 4386.CrossRefGoogle Scholar
Lewin, David. “Transformational Techniques in Atonal and Other Music Theories,” Perspectives of New Music 21/1–2 (Autumn 1982–Summer 1983): 312–71.Google Scholar
Lewin, David. “A Tutorial on Klumpenhouwer Networks, Using the Chorale in Schoenberg’s Opus 11, No. 2,” Journal of Music Theory 38/1 (Spring 1994): 79101.CrossRefGoogle Scholar
Lewin, David. “A Way into Schoenberg’s Opus 15, Number 7,” In Theory Only 6/1 (November 1981): 3–24.Google Scholar
Lubet, Alex. “Vestiges of Tonality in a Work of Arnold Schoenberg,” Indiana Theory Review 5/3 (Spring 1982): 1121.Google Scholar
Maegaard, Jan. Studien zur Entwicklung des dodekaphonen Satzes bei Arnold Schönberg, 3 vols. Copenhagen: Wilhelm Hansen, 1972.Google Scholar
Mailman, Joshua Banks. “Schoenberg’s Chordal Experimentalism Revealed through Representional Hierarchy Association (RHA), Contour Motives, and Binary-State Switching,” Music Theory Spectrum 37/2 (Fall 2015): 224–52.Google Scholar
Marsh, Roger. “‘A Multicolored Alphabet’: Rediscovering Albert Giraud’s Pierrot Lunaire,” Twentieth-Century Music 4/1: 97121.Google Scholar
McKee, Eric. “On the Death of Mahler: Schoenberg’s Op. 19, No. 6,” Theory and Practice 30 (2005): 121–51.Google Scholar
Morrison, Charles. “Syncopation as Motive in Schoenberg’s Op. 19, Nos. 2, 3 and 4,” Music Analysis 11/1 (1992): 7593.Google Scholar
Neidhöfer, Christoph. “Atonalität und Transformational Analysis: Zu einigen verborgenen (und nicht so verborgenen) Strukturen in Schönbergs Klavierstück op. 11, 3,” in Jahrbuch 2008/09 des Staatlichen Instituts für Musikforschung Preußischer Kulturbesitz, ed. Hohmaier, Simone. Mainz: Schott, 2009, pp. 5373.Google Scholar
Norton, Robert E. Secret Germany: Stefan George and His Circle. Ithaca: Cornell University Press, 2002.Google Scholar
Ogdon, Will. “How Tonality Functions in Schoenberg’s Opus 11, Number 1,” Journal of the Arnold Schoenberg Institute 5/2 (1981): 169–81.Google Scholar
Payette, Jessica. “Seismographic Screams: Erwartung’s Reverberations through Twentieth-Century Culture,” PhD dissertation, Stanford University, 2008.Google Scholar
Perle, George. Serial Composition and Atonality. Berkeley and Los Angeles: University of California Press, 1962.Google Scholar
Raessler, Daniel M.Schoenberg and Busoni: Aspects of Their Relationship,” Journal of the Arnold Schoenberg Institute 7/1 (1983): 727.Google Scholar
Raff, Christian. Gestaltete Freiheit: Studien zur Analyse der frei atonalen Kompositionen A. Schönbergs – auf der Grundlage seiner Begriffe, Sinefonia, vol. 5. Hofheim: Wolke, 2006.Google Scholar
Reich, Willi. Schoenberg: A Critical Biography, trans. Leo Black. New York: Praeger, 1971.Google Scholar
Roig-Francolí, Miguel A.A Theory of Pitch-Class Set Extension in Atonal Music,” College Music Symposium 41 (2001): 5790.Google Scholar
Schmalfeldt, Janet. Berg’s Wozzeck: Harmonic Language and Dramatic Design. New Haven: Yale University Press, 1983.Google Scholar
Schoenberg, Arnold. “Analysis of the Four Orchestral Songs Op. 22,” trans. Claudio Spies, Perspectives of New Music 3/2 (Spring–Summer 1965): 121.Google Scholar
Schoenberg, Arnold. Arnold Schönberg, Fünfzehn Gedichte aus “Das Buch der hängenden Gärten” von Stefan George, für Gesang und Klavier, with afterword by Theodor W. Adorno. Wiesbaden: Insel-Bücherei no. 683, 1959.Google Scholar
Schoenberg, Arnold. Berliner Tagebuch, ed. Rufer, Josef. Frankfurt: Propyläen, 1974.Google Scholar
Schoenberg, Arnold. Fundamentals of Musical Composition, 2nd edn, ed. Strang, Gerald and Stein, Leonard. London: Faber & Faber, 1970.Google Scholar
Schoenberg, Arnold. Pierrot lunaire, Op. 21, The Book of the Hanging Gardens, Op. 15, with Jan DeGaetani, mezzo-soprano, The Contemporary Chamber Ensemble, Arthur Weisberg, conductor, and Gilbert Kalish, piano, © 1990 by Elektra Nonesuch, Elektra Nonesuch 9–79237-2, compact disc.Google Scholar
Schoenberg, Arnold. Structural Functions of Harmony, rev. ed. Stein, Leonard. New York: Norton, 1969.Google Scholar
Schoenberg, Arnold. Style and Idea: Selected Writings of Arnold Schoenberg, rev. paperback edn, ed. Stein, Leonard, trans. Leo Black. Berkeley and Los Angeles: University of California Press, 1984. Includes: “Composition with Twelve Tones (1)” (1941), “Hauer’s Theories” (1923), “Linear Counterpoint” (1931), “New Music: My Music” (c. 1930), “New Music, Outmoded Music, Style and Idea” (1946), “On revient toujours” (1948), “Problems of Harmony” (1934), “The Relationship to the Text” (1912).Google Scholar
Schoenberg, Arnold. Theory of Harmony, trans. Roy E. Carter. Berkeley and Los Angeles: University of California Press, 1978.Google Scholar
Simms, Bryan. The Atonal Music of Arnold Schoenberg, 1908–1923. New York: Oxford University Press, 2000.Google Scholar
Stein, Deborah. “Schoenberg’s Opus 19, No. 2: Voice-Leading and Overall Structure in an Atonal Work,” In Theory Only 2/7 (October 1976): 2743.Google Scholar
Steuermann, Eduard. “Pierrot Lunaire in Retrospect,” Journal of the Arnold Schoenberg Institute 2/1 (October 1977): 4951.Google Scholar
Straus, Joseph N. Introduction to Post-Tonal Theory, 3rd edn. Upper Saddle River, NJ: Pearson Prentice-Hall, 2004.Google Scholar
Straus, Joseph N. Introduction to Post-Tonal Theory, 4th edn. New York: Norton, 2016.Google Scholar
Straus, Joseph N.Voice Leading in Set-Class Space,” Journal of Music Theory 49/1 (Spring 2005): 45108.CrossRefGoogle Scholar
Stuckenschmidt, Hans Heinz. “Opus 19, Nummer 3: Eine Schönberg-Analyse,” Orbis musicae 1/1 (Summer 1971): 8890.Google Scholar
Stuckenschmidt, Hans Heinz Schoenberg: His Life, World and Work, trans. Humphrey Searle. New York: Schirmer Books, 1978.Google Scholar
Theurich, Jutta. “Der Briefwechsel zwischen Arnold Schönberg und Ferruccio Busoni,” in Arnold Schönberg – 1874 bis 1951: Zum 25. Todestag des Komponisten, ed. Hansen, Mathias and Müller, Christa. Berlin: Akademie der Künste der DDR, 1976, pp. 5558.Google Scholar
Travis, Roy. “Directed Motion in Schoenberg and Webern,” Perspectives of New Music 4/2 (Spring–Summer 1966): 8589.Google Scholar
Tymoczko, Dmitri. A Geometry of Music: Harmony and Counterpoint in the Extended Common Practice. New York: Oxford University Press, 2011.Google Scholar
Väisälä, Olli. “Concepts of Harmony and Prolongation in Schoenberg’s Op. 19/2,” Music Theory Spectrum 21/2 (Fall 1999): 230–59.CrossRefGoogle Scholar
van den Toorn, Pieter. The Music of Igor Stravinsky. New Haven: Yale University Press, 1983.Google Scholar
Vilain, Robert. “Pierrot Lunaire: Cyclic Coherence in Giraud and Schoenberg,” in Pierrot Lunaire: Giraud/Hartleben/Schoenberg, ed. Delaere, Mark and Herman, Jan. Louvain: Peeters, 2014, pp. 127–44.Google Scholar
von Massow, Albrecht. “Abschied und Neuorientierung – Schönbergs Klavierstück op. 19, 6,” Archiv für Musikwissenschaft 50/2 (1993): 187–95.Google Scholar
von der Nüll, Edwin. Moderne Harmonik. Leipzig: F. Kistner & C. F. W. Siegel, 1932.Google Scholar
Wen, Eric. “Bass-Line Articulations of the Urlinie,” in Schenker Studies 2, ed. Schachter, Carl and Siegel, Hedi. Cambridge: Cambridge University Press, 1999, pp. 276–97.Google Scholar
Weytjens, Stephan. “Text as a Crutch in Arnold Schoenberg’s ‘Pierrot lunaire’ Op. 21?” PhD dissertation, University of Leuven, 2003.Google Scholar
Weytjens, StephanText as a Crutch in Schoenberg’s Pierrot Lunaire?” in Pierrot Lunaire: Giraud/Hartleben/Schoenberg, ed. Delaere, Mark and Herman, Jan. Louvain: Peeters, 2014, pp. 109–24.Google Scholar
Whitney, Kathryn. “Schoenberg’s ‘Single Second of Maximum Spiritual Excitement’: Compression and Expansion in ‘Erwartung,’ Op. 17,” Journal of Music Theory 47/1 (Spring, 2003): 155214.Google Scholar
Williams, Edgar Warren Jr.. “A View of Schoenberg’s Op. 19, No. 2,” College Music Symposium 25 (1985): 144–51.Google Scholar
Youens, Susan. “Excavating an Allegory: The Texts of Pierrot Lunaire,” Journal of the Arnold Schoenberg Institute 8/2 (1984): 94115.Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure coreplatform@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

  • Bibliography
  • Jack Boss, University of Oregon
  • Book: Schoenberg's Atonal Music
  • Online publication: 28 June 2019
  • Chapter DOI: https://doi.org/10.1017/9781108296991.008
Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

  • Bibliography
  • Jack Boss, University of Oregon
  • Book: Schoenberg's Atonal Music
  • Online publication: 28 June 2019
  • Chapter DOI: https://doi.org/10.1017/9781108296991.008
Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

  • Bibliography
  • Jack Boss, University of Oregon
  • Book: Schoenberg's Atonal Music
  • Online publication: 28 June 2019
  • Chapter DOI: https://doi.org/10.1017/9781108296991.008
Available formats
×