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Schoenberg's Musical Imagination
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  • Cited by 4
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    This book has been cited by the following publications. This list is generated based on data provided by CrossRef.

    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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Bibliography
Bibliography
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
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Arnold Schoenberg, Theory of Harmony, translated by Carter, Roy E., University of California Press, 1978
Books and Articles about Schoenberg
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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
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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
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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
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Simms, Bryan R., The Atonal Music of Arnold Schoenberg: 1908–1923. Oxford University Press, 2000
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Stein, Leonard, “Noting the diagram and soliciting responses as to its meaning.”Journal of the Arnold Schoenberg Institute I/1 (1976), 3–5
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Books and Articles by and about Schoenberg's Contemporaries
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McGuinness, Patrick, Maurice Maeterlinck and the Making of Modern Theatre. Oxford University Press, 2000
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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
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General Background
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William Blake, The Poetry and Prose of William Blake, edited by Erdman, David V., commentary by Harold Bloom. Doubleday, 1965
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Blanchot, Maurice, The Work of Fire, translated by Charlotte Mandell. Stanford University Press, 1995
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Blanchot, Maurice, Ruin the Sacred Texts: Poetry and Belief from the Bible to the Present. Harvard University Press, 1989
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Carson, Anne, Eros the Bittersweet. Princeton University Press, 1986
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Cherlin, Michael, “Hauptmann and Schenker: Two Adaptations of Hegelian Dialectics.” Theory and Practice 13 (1988), 115–31
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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
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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
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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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