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Schoenberg's Musical Imagination
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    RODGERS, STEPHEN 2017. Song and the Music of Poetry. Music Analysis, Vol. 36, Issue. 3, p. 315.

    Whittall, Arnold 2016. Metaphysical Materials: Schoenberg in Our Time. Music Analysis, Vol. 35, Issue. 3, p. 383.

    Salley, Keith 2015. On Duration and Developing Variation. Music Theory Online, Vol. 21, Issue. 4,

    Argentino, Joe R. 2013. Tripartite Structures in Schoenberg’s A Survivor from Warsaw. Music Theory Online, Vol. 19, Issue. 1,

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Book description

No composer was more responsible for changes in the landscape of twentieth-century music than Arnold Schoenberg (1874–1951) and no other composer's music inspired a commensurate quantity and quality of technical description in the second half of the twentieth century. Yet there is still little understanding of the correlations between Schoenberg's musical thought and larger questions of cultural significance in and since his time: the formalistic descriptions of music theory do not generally engage larger questions in the history of ideas and scholars without understanding of the formidable musical technique are ill-equipped to understand the music with any profundity of thought. Schoenberg's Musical Imagination is intended to connect Schoenberg's music and critical writings to a larger world of ideas. While most technical studies of Schoenberg's music are limited to a single compositional period, this book traces changes in his attitudes as a composer and their impact on his ever-changing compositional style over the course of his remarkable career.


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Writings of Arnold Schoenberg
Arnold Schoenberg, Arnold Schoenberg: A Self Portrait. Schoenberg Nono, Nuria, ed. Belmont Music, 1988
Arnold Schoenberg, Ausgewählte Briefe, Stein, Erwin, ed. B. Schott's Söhne, 1958
Schoenberg, Arnold, Fundamentals of Musical Composition, St. Martin's Press, 1967
Arnold Schoenberg, Stil und Gedanke: Aufsätze zur Musik, Vojtech, Ivan, ed. S. Fisher Verlag, 1976
Arnold Schoenberg, Structural Functions of Harmony, Stein, Leonard, ed. W. W. Norton, 1969
Arnold Schoenberg, Theory of Harmony, translated by Carter, Roy E., University of California Press, 1978
Books and Articles about Schoenberg
Bailey, Walter B., Programmatic Elements in the Works of Schoenberg. UMI Research Press, 1984
Berg, Alban, Pelleas und Melisande (nach dem Drama von Maurice Maeterlinck), Symphonische Dichtung für Orchestra von Arnold Schönberg, Op. 5: kurze thematische Analyse. Universal Edition, 1920
Berg, Albanet al., Arnold Schönberg. R. Piper, 1912
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
Brand, Juliane and Hailey, Christopher, editors, Constructive Dissonance: Arnold Schoenberg and the transformations of twentieth-century culture. University of California Press, 1997
Brinkmann, Reinhold, Correspondence. The Journal of the Arnold Schoenberg Institute I/3, 182–5
Brinkmann, Reinhold, “Schoenberg the Contemporary: A View from Behind,” in Constructive Dissonance: Arnold Schoenberg and the transformations of twentieth-century culture. University of California Press, 1997
Brinkmann, Reinhold and Wolff, Christoph, editors, Music of My Future: The Schoenberg Quartets and Trio. Harvard University Press, 2000
Cahn, Steven, “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), 243–71
Campbell, Brian G., Text and Phrase Rhythm in Gurrelieder: Schoenberg's Reception of Tradition. Ph.D. dissertation: University of Minnesota, 1997
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, Cross, Charlotte M. and Berman, Russell A., editors. Garland Publishing, Inc. (2000), 31–63
Cherlin, Michael, “Dialectical Opposition in Schoenberg's Music and Thought.” Music Theory Spectrum 22/2 (Fall 2000), 157–76
Michael, Cherlin, “Dramaturgy and Mirror Imagery in Schönberg's Moses und Aron: Two Paradigmatic Interval Palindromes.” Perspectives of New Music 29/2 (Summer 1991), 50–71
Michael, Cherlin, The Formal and Dramatic Organization of Schoenberg's Moses und Aron. Ph.D. dissertation: Yale University, 1983
Cherlin, Michael, “Memory and Rhetorical Trope in Schoenberg's String Trio.” Journal of the American Musicological Society 51/3 (Fall 1998), 559–602
Michael Cherlin, “Motive and Memory in Schoenberg's First String Quartet,” in The Music of My Future: The Schoenberg Quartets and Trio, Brinkmann, Reinhold and Wolff, Christoph, editors. Harvard University Press (2000), 61–80
Michael, Cherlin, “Schoenberg and das Unheimliche.” The Journal of Musicology 11/3 (Summer 1993), 357–73
Michael, Cherlin, “Schoenberg's Representation of the Divine in Moses und Aron.” Journal of the Arnold Schoenberg Institute IX/2, 210–16
Cohn, Richard, “Uncanny Resemblances: Tonal Signification in the Freudian Age.” Journal of the American Musicological Society, 57/2 (2004), 285–323
Dahlhaus, Carl, Schoenberg and the New Music, translated by Derrick Puffett and Alfred Clayton. Cambridge University Press, 1987
Fleisher, Robert, “Dualism in the Music of Arnold Schoenberg.” Journal of the Arnold Schoenberg Institute XII/1 (June 1989), 22–42
Frisch, Walter, The Early Works of Arnold Schoenberg, 1893–1908. University of California Press, 1993
Frisch, Walter, editor, Schoenberg and his World. Princeton University Press, 1999
Goldstein, Bluma, Reinscribing Moses: Heine, Kafka, Freud, and Schoenberg in a European Wilderness. Harvard University Press, 1992
Glenn Gould, “Schoenberg – A Perspective,” in The Glenn Gould Reader, introduction by Page, Tim, editor. Knopf, 1984, 107–22
Haimo, Ethan, Schoenberg's Serial Odyssey: The evolution of his Twelve-Tone Method, 1914–1928. Oxford University Press, 1990
Hyde, Martha, “Neoclassic and Anachronistic Impulses in Twentieth-Century Music.” Music Theory Spectrum 18/2 (1996), 200–35
Keller, Hans, “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, Brinkmann, Reinhold and Wolff, Christoph, editors. Harvard University Press (2000), 139–60
Kurth, Richard, “Schönberg and the Bilderverbot: Reflections on Unvorstellbarkeit and Verborgenheit.” Journal of the Arnold Schönberg Center 3 (2003), 332–72
Kurth, Richard, “Suspended Tonalities in Schönberg's Twelve-tone Compositions.” Journal of the Arnold Schönberg Center 3 (2001), 239–65
Lacoue-Labarthe, Phillip, Musica Ficta: Figures of Wagner, translated by Felicia McCarren. Stanford University Press, 1994
Lewin, David, “Generalized Interval Systems for Babbitt's Lists, and for Schoenberg's String Trio.” Music Theory Spectrum 17/1, 81–118
Lewin, David, “Inversional Balance as an Organizing Force in Schoenberg's Music and Thought.” Perspectives of New Music 6/2 (1968), 1–21
Lewin, David, “Moses und Aron: Some general remarks and analytic notes for Act I, scene 1.” Perspectives of New Music 6/1, 1–17
Maegaard, Jan, “Schoenberg's Incomplete Works and Fragments,” in Constructive Dissonance: Arnold Schoenberg and Transformations of Twentieth-Century Culture. University of California Press, 1997, 131–45
Milstein, Silvina, Arnold Schoenberg: notes, sets, forms. Cambridge University Press, 1992
Puffett, Derrick, “‘Music that Echoes within one’ for a Lifetime: Berg's Reception of Schoenberg's ‘Pelleas und Melisande.’Music and Letters 76/2 (1995), 209–64
Rauchhaupt, Ursula, editor. Schoenberg, Berg, Webern: The String Quartets; a documentary study. Deutsche Grammophon Gesellschaft, 1971
Reich, Willi, Schoenberg: A Critical Biography. Leo Black, trans. Praeger Publishers, 1971
Ringer, Alexander, Arnold Schoenberg: The Composer as Jew. Oxford University Press, 1990
Rosen, Charles, Arnold Schoenberg. Viking, 1975
Simms, Bryan R., The Atonal Music of Arnold Schoenberg: 1908–1923. Oxford University Press, 2000
Simms, Bryan R. (editor), Schoenberg, Berg, and Webern: A Companion to the Second Viennese School. Greenwood Press, 1999
Stein, Leonard, “Noting the diagram and soliciting responses as to its meaning.”Journal of the Arnold Schoenberg Institute I/1 (1976), 3–5
Stuckenschmidt, H. H., Schoenberg: His Life, World and Work. Humphrey Searle, trans. Schirmer, 1978
Tomlinson, Gary, Metaphysical Song: An Essay on Opera. Princeton University Press, 1999
Wellesz, Egon, Arnold Schoenberg: The Formative Years, translated by W. H. Kerridge. J. M. Dent and Sons, 1925
White, Pamela C., Schoenberg and the God-Idea: The Opera Moses und Aron. UMI Research Press, 1985
Whittall, Arnold, “Schoenberg and the ‘True Tradition’: Theme and Form in the String Trio.” The Musical Times 115, 739–43
Books and Articles by and about Schoenberg's Contemporaries
Alter, Robert, Canon and Creativity. Yale University Press, 2000
Bloom, Harold, “Freud and the Poetic Sublime,” in Poetics of Influence, introduction by John Hollander, edited by Henry R. Schwab, 1988
Harold, Bloom (editor), Modern Critical Views: Franz Kafka. Chelsea House Publishers, 1986
Deleuze, Gilles, Difference and Repetition, translated by Paul Patton. Columbia University Press, 1994
Deleuze, Gilles, Proust and Signs, translated by Richard Howard. University of Minnesota Press, 2000
Deleuze, Gilles and Félix Guattari, , A Thousand Plateaus: Capitalism and Schizophrenia. University of Minnesota Press, 1987
Elon, Amos, The Pity of It All: A History of Jews in Germany, 1743–1933. Metropolitan Books (Henry Holt), 2002
Sigmund Freud, “Beyond the Pleasure Principle,” in The Freud Reader, translated by James Strachey, edited by Gay, Peter. W. W. Norton, 1989
Sigmund Freud, “On Transience,” in Writings on Art and Literature, edited by Hamacher, Werner and Wellbery, David E.. Stanford University Press, 1997
Frieden, Ken, Freud's Dream of Interpretation. State University of New York Press, 1990
Gay, Peter, Freud: A Life for Our Time. W. W. Norton, 1988
Handelman, Susan A., Fragments of Redemption. Indiana University Press, 1991
Janik, Allan and Toulman, Stephen, Wittgenstein's Vienna. Simon and Schuster, 1973
Kafka, Franz, The Castle, translated by Mark Harman. Schocken, 1988
Franz Kafka, Diaries: 1910–1923, edited by Brod, Max, translated by Martin Greenberg, with the cooperation of Hannah Arendt. Schocken, 1976
Franz Kafka, Franz Kafka: Ein Lesebuch mit Bildern, edited by Wagenbach, Klaus. Rowohlt Taschenbuch Verlag, 2003
Kafka, Franz, The Great Short Works of Franz Kafka, translated by Joachim Neugroschel. Simon & Schuster, 2000
Kafka, Franz, Parables and Paradoxes: Bilingual Edition. Schocken, 1975
Kafka, Franz, Das Schloss. Fischer Taschenbuch Verlag, 1981
Kafka, Franz, Tagebücher: 1914–1923. Fischer Taschenbuch Verlag, 1990
McGuinness, Patrick, Maurice Maeterlinck and the Making of Modern Theatre. Oxford University Press, 2000
Mendes-Flohr, Paul, German Jews: A Dual Identity.Yale University Press, 1999
Paddison, Max, Adorno's Aesthetics of Music. Cambridge University Press, 1993
Rieff, PhilipFreud: The Mind of the Moralist, third edition. University of Chicago Press, 1979
Robertson, Ritchie, Kafka: Judaism, Politics, and Literature. Oxford University Press, 1985
Robertson, Ritchie and Timms, Edward, editors, Vienna 1900: from Altenberg to Wittgenstein. Edinburgh University Press, 1990
Rosenzweig, Franz, The Star of Redemption, translated by William W. Hallo, foreword by N. N. Galtzer. Holt, Rinehart, 1970
Sachar, Howard M., Dreamland: Europeans and Jews in the Aftermath of the Great War. Knopf, 2002
Martin Schmidt, Christian, Schönbergs OperMoses und Aron. Schott, 1988
Georg Simmel, Georg Simmel: On Individuality and Social Forms. Introduction by Levine, Donald N., editor. University of Chicago Press, 1971
Anton Webern, The Path to New Music, edited by Reich, Willi, translated by Leo Black. Theodore Presser, 1963
General Background
Aldwell, Edward and Schachter, Carl, Harmony and Voice Leading, second edition. Harcourt Brace, 1989
Alter, Robert, Canon and Creativity. Yale University Press, 2000
Arendt, Hannah, Between Past and Future. The Viking Press, 1961
Auerbach, Erich, Mimesis: The Representation of Reality in Western Literature, translated by Willard R. Trask. Princeton University Press, 1953
Milton Babbitt, The Collected Essays of Milton Babbitt, edited by Peles, Stephenet al. Princeton University Press, 2003
Barker, Andrew, editor, Greek Musical Writings: Harmonic and Acoustic Theory (vol. II). Cambridge University Press, 1989
Bergson, Henri, Matter and Memory, translated by N. M. Paul and W. S. Palmer. Zone Books, 1991
William Blake, The Poetry and Prose of William Blake, edited by Erdman, David V., commentary by Harold Bloom. Doubleday, 1965
Blanchot, Maurice, The Infinite Conversation, translated and with a foreword by Susan Hanson. University of Minnesota Press, 1993
Blanchot, Maurice, The Work of Fire, translated by Charlotte Mandell. Stanford University Press, 1995
Bloom, Harold, A Map of Misreading. Oxford University Press, 1975
Blanchot, Maurice, The Ringers in the Tower: Studies in Romantic Tradition. University of Chicago Press, 1971
Blanchot, Maurice, Ruin the Sacred Texts: Poetry and Belief from the Bible to the Present. Harvard University Press, 1989
Burke, Kenneth, A Grammar of Motives. Prentice-Hall, 1945; repr. University of California Press, 1969
Bywater, I. and Patrick, G. T. W., Heraclitus of Ephesus. Argonaut, 1969
Carson, Anne, Economy of the Unlost (Reading Simonides of Keos with Paul Celan). Princeton University Press, 1999
Carson, Anne, Eros the Bittersweet. Princeton University Press, 1986
Cavell, Stanley, This New Yet Unapproachable America: Lectures after Emerson after Wittgenstein. Living Batch Press, 1989
Cherlin, Michael, “Hauptmann and Schenker: Two Adaptations of Hegelian Dialectics.” Theory and Practice 13 (1988), 115–31
Daverio, John, Nineteenth Century Music and the German Romantic Ideology. Schirmer, 1993
Dodds,, E. R.The Greeks and the Irrational. University of California, 1951
Frisch, Walter, editor, Schubert: Critical and Analytical Studies. University of Nebraska Press, 1986
Hans-Georg Gadamer, , Truth and Method, second edition, translation revised by Joel Weinsheimer and Donald G. Marshall. Continuum, 2003
Gay, Peter, Weimar Culture: The Outsider as Insider. W. W. Norton, 1968
Guthrie, W. K. C., A History of Greek Philosophy: The earlier Presocratics and the Pythagoreans (vol. I). Cambridge University Press, 1962
Hartman, Geoffrey H., The Fateful Question of Culture. Columbia University Press, 1997
Kahn, Charles H., The Art and Thought of Heraclitus. Cambridge University Press, 1979
Lewin, David, Generalized Musical Intervals and Transformations. Yale University Press, 1987
Lewin, David, “Music Theory, Phenomenology, and Modes of Perception.” Music Perception 3/4, 327–92
Lovejoy, Arthur O., Reflections on Human Nature. John Hopkins Press, 1961
Bernhard Marx, Adolph, Theory and Practice of Musical Composition, translated by H. S. Saroni. Huntington, Mason & Law, 1852
Nietzsche, Friedrich, Untimely Meditations: On the uses and disadvantages of history for life, translated by R. J. Holindale. Cambridge University Press, 1983
Paglia, Camille, Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson. Yale University Press, 1990
Schorske, Carl, Fin-de-Siècle Vienna. Knopf, 1980
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Steiner, George, Language and Silence: Essays on Language, Literature, and the Inhuman. Atheneum, 1970
Steiner, George, Grammars of Creation. Yale University Press, 2001


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