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The Atonal Music of Arnold Schoenberg 1908–1923$

Bryan R. Simms

Print publication date: 2000

Print ISBN-13: 9780195128260

Published to Oxford Scholarship Online: October 2011

DOI: 10.1093/acprof:oso/9780195128260.001.0001

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(p.247) Bibliography

(p.247) Bibliography

Source:
The Atonal Music of Arnold Schoenberg 1908–1923
Publisher:
Oxford University Press

Bibliography references:

Adorno, Theodor W. “Arnold Schönberg: Fünfzehn Gedichte aus ‘Das Buch der hängenden Garten’ von Stefan George, Op. 15; Anton Webern: Fünf Lieder nach Gedichten von Stefan George, Op. 4.” Liner notes to the recording Fünfzehn Gedichte aus “Das Buch der hängenden Gärten …”, Bärenreiter Musicaphon BM 30 SL 1523 (1963). Reprinted in Gesammelte Schriften, vol. 18: 418–21. Edited by Rolf Tiedemann and Klaus Schultz. Frankfurt: Suhrkamp, 1984.

———. “Atonales Intermezzo?” (1929). In Gesammelte Schriften, vol. 18: 88–97. Edited by Rolf Tiedemann and Klaus Schultz. Frankfurt: Suhrkamp, 1984. Defends Schoenbergian atonality against Alfredo Casella's theory of Neoclassicism.

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In Gesammelte Schriften, vol. 18: 385–93. Edited by Rolf Tiedemann and Klaus Schultz. Frankfurt: Suhrkamp, 1984. Deals primarily with Erwartung and Die glückliche Hand.

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———. “Arnold Schönbergs Fünf Orchesterstücke Op. 16.” In Komponisten des 20. Jahrhunderts, 63–70. Basel: Paul Sacher Stiftung, 1986.

———. “Ausdruck und Spiel: Zwei Ansichten eines Stückes” [Op. 11/2]. In Bericht über den 2. Kongreß der Internationalen Schönberg-Gesellschaft: “Die Wiener Schule in der Musikgeschichte des 20. Jahrhunderts,” 31–41. Edited by Rudolf Stephan and Sigrid Wiesmann. Vienna: Elisabeth Lafite, 1984.

———. “The Lyric as Paradigm: Poetry and the Foundation of Arnold Schoenberg's New Music.” In German Literature and Music: An Aesthetic Fusion, 1890–1989, 95–129. Edited by Claus Reschke and Howard Pollack. Houston German Studies, 8. Munich: Wilhelm Fink, 1992. Concerns Op. 15, No. 14, and Pierrot lunaire, among other works.

———. “On Pierrot's Trail.” Translated by Paul A. Pisk. Journal of the Arnold Schoenberg Institute 2 (1977): 42–48.

———. “Schönbergs und George: Interpretation eines Liedes [Op. 15, No. 14].” Archiv für Musikwissenschaft 26 (1969): 1–28.

———. “What the Sources Tell Us …: A Chapter of Pierrot Philology.” Translated by Evan Bonds. Journal of the Arnold Schoenberg Institute 10 (1987): 11–27.

———, editor. Arnold Schönbergs Sämtliche Werke, section 6, series B, vol. 24, part 1. Mainz: Schott; Vienna: Universal Edition, 1995. Documents concerning Pierrot lunaire.

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Busoni, Ferruccio. Ferrucio Busoni Selected Letters. Translated, edited and with an introduction by Antony Beaumont. New York: Columbia University Press, 1987. Contains the complete letter exchange between Schoenberg and Busoni, pp. 381–423.

Christensen, Jean Marie. “Arnold Schoenberg's Oratorio Die Jakobsleiter.” 2 vols. Ph. D. dissertation, University of California, Los Angeles, 1979.

———. “Schoenberg's Sketches for Die Jakobsleiter: A Study of a Special Case.” Journal of the Arnold Schoenberg Institute 2 (1978): 112–21.

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———. “Schoenberg's Opus 11, No. 1: A Parody of Pitch Cells from Tristan.” Journal of the Arnold Schoenberg Institute 10 (1987): 38–44.

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(p.250) ———. “Die glückliche Hand: Schoenberg's Gesamtkunstwerk.” Musical Quarterly 60 (1974): 583–601.

———. “Schoenberg's Artistic Development to 1911.” In Arnold Schoenberg, Wassily Kandinsky: Letters, Pictures and Documents, 171–86. Edited by Jelena Hahl-Koch. London: Faber and Faber, 1984.

Dahlhaus. Carl. “Expressive Principle and Orchestral Polyphony in Schoenberg's Erwartung” (1974). In Schoenberg and the New Music, 149–55. Translated by Derrick Puffett and Alfred Clayton. Cambridge: Cambridge University Press, 1987.

———. “Schönbergs Lied ‘Streng ist uns das Glück und spröde.’” In Neue Wege der musikalischen Analyse, 45–52. Veröffentlichungen des Institut für Neue Musik und Musikerziehung, 257. Berlin: Merseburger, 1967.

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 (1993): 94–120.

———. Tonality and Structure in Schoenberg's Second String Quartet, Op. 10 (New York: Garland, 1993).

Deutsch, Max. “Das dritte der ‘Fünf Orchesterstücke’ opus 16 ist eine Fuge.” In Musik-Konzepte: Sonderband Arnold Schönbergs, 20–28. Edited by Heinz-Klaus Metzger and Rainer Riehn. Munich: edition text + kritik, 1980.

De Zeeuw, Anne Marie. “A Numerical Metaphor in a Schoenberg Song, Op. 15, No. XL” Journal of Musicology 11 (1993): 396–410.

Dick, Marcel, and Anne Trenkamp. “Reminiscences of Schoenberg as Conductor.” Journal of the Arnold Schoenberg Institute 2 (1978): 107–10.

Diettrich, Eva. “Schönbergs Herzgewächse.” In Festschrift Othmar Wessely zum 60. Geburtstag, 103–11. Edited by Manfred Angerer et al. Tutzing: Hans Schneider, 1982.

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———. “Schönbergs Opus 16 Nr. 3: Der Mythos der Klangfarbenmelodie.” Melos 36 (1969): 203–5.

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Dossier de presse de “Pierrot lunaire” d'Arnold Schönbergs. Edited by François Lesure. Anthologie de la Critique Musicale: Dossiers de Presse, 2. Geneva: Editions Minkoff, n. d. (ca. 1985).

Dümling, Albrecht. Die fremden Klänge der hängenden Gärten: Die öffentliche Einsamkeit der neuen Musik am Beispiel von Arnold Schönbergs und Stefan George. Munich: Kindler, 1981.

———. “öffentliche Einsamkeit: Atonalität und Krise der Subjektivität in Schönbergs Op. 15.” In Stil oder Gedanke? Zur Schönberg-Rezeption in Amerika und Europa, 10–23. Edited by Stefan Litwin and Klaus Velten. Schriftenreihe der Hochschule des Saarlandes für Musik und Theater, 3. Saarbrücken: PFAU, 1995.

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———. Schoenberg: “Pierrot lunaire.” Cambridge Music Handbooks. Cambridge: Cambridge University Press, 1992.

(p.251) ———. “Schoenberg's Premonition, Op. 22, No. 4, in Retrospect.” Journal of the Arnold Schoenberg Institute 1 (1977): 137–49.

Ehrenforth, Karl Heinrich. Ausdruck und Form: Schönbergs Durchbruch zur Atonalität in den George-Liedern Op. 15. Bonn: Bouvier, 1963. Concerns the String Quartet No. 2.

———. “Schönbergs und Webern: Das XIV. Lied aus Schönbergs Georgeliedern Op. 15.” Neue Zeitschrift für Musik 126 (1965): 102–5.

Falck, Robert. “Marie Pappenheim, Schoenberg, and the Studien über Hysterie” In German Literature and Music: An Aesthetic Fusion, 1890–1989, 131–44. Edited by Claus Reschke and Howard Pollack. Houston German Studies, 8. Munich: Wilhelm Fink, 1992.

———. “Schoenberg's (and Rilke's) ‘Alle, welche dich suchen.’” Perspectives of New Music 12 (1973–74): 87–98.

Forte, Allen. “Concepts of Linearity in Schoenberg's Atonal Music: A Study of the Opus 15 Song Cycle.” Journal of Music Theory 36 (1992): 285–382.

———. “The Magical Kaleidoscope: Schoenberg's First Atonal Master work, Opus 11, No. 1.” Journal of the Arnold Schoenberg Institute 5 (1981): 127–68.

———. “Schoenberg's Creative Evolution: The Path to Atonality.” Musical Quarterly 64 (1978): 133–76.

———. “Sets and Nonsets in Schoenberg's Atonal Music.” Perspectives of New Music 11 (1972–73): 43–64.

———. The Structure of Atonal Music. New Haven: Yale University Press, 1973.

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Friedheim, Philip. “Rhythmic Structure in Schoenberg's Atonal Compositions.” Journal of the American Musicological Society 19 (1966): 59–72.

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Gilbert, Jan. “Schoenberg's Harmonic Visions: A Study of Text Painting in ‘Die Kreuze.’” Journal of the Arnold Schoenberg Institute 8 (1984): 116–30.

Gostomsky, Dieter. “Tonalität—Atonalität: Zur Harmonik von Schönbergs Klavier-stück Op. 11, Nr. 1.” Zeitschrift für Musiktheorie 7 (1976): 54–71.

Graziano, John. “Serial Procedures in Schoenberg's Opus 23.” Current Musicology 13 (1972): 58–63. Deals mainly with Piece No. 1.

Haimo, Ethan. “Atonality, Analysis, and the Intentional Falacy.” Music Theory Spectrum 18 (1996): 167–99.

———. “The Evolution of the Twelve-Tone Method.” In The Arnold Schoenberg Companion, 101–28. Edited by Walter B. Bailey. Westport, Conn.: Greenwood, 1998.

———. “Schoenberg and the Origins of Atonality.” In Constructive Dissonance: Arnold Schoenberg and the Transformations of Twentieth-Century Culture, 71–86. Edited by Juliane Brand and Christopher Hailey. Berkeley: University of California Press, 1997.

———. Schoenberg's Serial Odyssey: The Evolution of His Twelve-Tone Method, 1914–1928. Oxford: Clarendon, 1990.

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(p.252) ———. “The Origin and Development of Schoenberg's Twelve-Tone Method.” Ph. D. dissertation, Yale University, 1988.

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———. “Schoenberg's Herzgewächse, Op. 20: An Integrated Approach to Atonality through Complementary Analyses.” Ph. D. dissertation, Washington University, 1982.

Hyde, Martha M. “Musical Form and the Development of Schoenberg's Twelve-Tone Method.” Journal of Music Theory 29 (1985): 85–139. Deals mainly with Op. 23, No. 4.

Kaufmann, Harald. “Struktur in Schönbergs Georgeliedern” In Musik-Konzepte: Sonderband Arnold Schönbergs, 82–92. Edited by Heinz-Klaus Metzger and Rainer Riehn. Munich: edition text + kritik, 1980.

Keathley, Elizabeth L. “Schoenberg's Opus 16/IV: An Examination of the Sketches.” Theory and Practice: Journal of the Music Theory Society of New York State 17 (1992): 67–84.

Kirchmeyer, Helmut. Liner notes to the recording Erwartung, Wergo 50 001 (1963).

Klemm, Eberhardt. “Der Briefwechsel zwischen Arnold Schönbergs und dem Verlag C. F. Peters.” Deutsches Jahrbuch der Musikwissenschaft 14 (1970): 5–66.

Konold, Wulf. “Struktur und Klangfarbe: Bemerkungen zu Original und Bearbeitung von Schönbergs Fünf Orchesterstücken Op. 16.” In Musik-Konzepte: Schönbergs Verein für musikalische Privataufführungen, 43–64. Edited by Heinz-Klaus Metzger and Rainer Riehn. Munich: edition text + kritik, 1984.

Kopfermann, Michael. “über Schönbergs Klavierstück Op. 19, Nr. 2.” In Musik-Konzepte: Sonderband Arnold Schönbergs, 35–50. Edited by Heinz-Klaus Metzger and Rainer Riehn. Munich: edition text + kritik, 1980.

Kramer, Lawrence. Music and Poetry: The Nineteenth Century and After. Berkeley: University of California Press, 1984. Schoenberg's Op. 15 is discussed on pp. 161–68.

Kravitt, Edward F. “The Joining of Words and Music in Late Romantic Melodrama.” Musical Quarterly 62 (1976): 571–90.

Krebs, Harald. “The ‘Color Crescendo’ from Die glückliche Hand: A Comparison of Sketch and Final Version.” Journal of the Arnold Schoenberg Institute 12 (1989): 61–67.

———. “New Light on the Source Materials of Schoenberg's Die glückliche Hand.” Journal of the Arnold Schoenberg Institute 11 (1988): 123–41

———. “Three Versions of Schoenberg's Op. 15 No. 14: Obvious Differences and Hidden Similarities.” Journal of the Arnold Schoenberg Institute 8 (1984): 131–40.

———. “Tonalität in Schönbergs ‘atonaler’ Musik.” Musiktheorie 4 (1989): 223–34.

Krenek, Ernst. “Atonality” (1936). In Music Here and Now, 141–65. Translated by Barthold Fles. New York: Norton, 1939.

Laborda, José Maria Garica. Studien zu Schönbergs MonodramaErwartungop. 17. Laaber: Laaber, 1981.

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.

Lester, Joel. “Pitch Structure Articulation in the Variations of Schoenberg's Serenade.” Perspectives of New Music 6 (1967–68): 22–34.

(p.253) ———. “A Theory of Atonal Prolongations As Used in an Analysis of the Serenade, Op. 24, by Arnold Schoenberg.” 2 vols. Ph. D. dissertation, Princeton University, 1970.

Lewin, David. “Inversional Balance as an Organizing Force in Schoenberg's Music and Thought.” Perspectives of New Music 6 (1967–68): 1–21.

———. “Some Notes on Schoenberg's Opus 11.” In Theory Only 3/1 (1977): 3–7.

———. “Toward the Analysis of a Schoenberg Song (Op. 15, No. XI).” Perspectives of New Music 12 (1973–74): 43–86.

———. “Vocal Meter in Schoenberg's Atonal Music, with a Note on a Serial Hauptstimme.” In Theory Only 6/4 (1981–82): 12–25. Deals with Op. 20, Op. 21/2, and Op. 15/5.

———. “A Way into Schoenberg's Opus 15, Number 7.” In Theory Only 6/1 (1981): 3–24.

———. “Women's Voices and the Fundamental Bass.” Journal of Musicology 10 (1992): 464–82.

Mack, Dana. “Schoenberg and the Battles of Modern Music” (1988). Reprinted in German translation (“Der französische ‘Pierrot’: Ein Kapitel aus Schönbergs Kampf um die moderne Musik”) in österreichische Musikzeitschrift 44 (1989): 25–32.

Mäckelmann, Michael. Arnold Schönbergs: Fünf Orchesterstücke Op. 16. Munich: Wilhelm Fink, 1987.

———. “Auf der Suche nach dem Gottesgedanken: Zum geistigen Hintergrund von Arnold Schönbergs unvollendetem Oratorium Die Jakobsleiter.” In Musikkulturgeschichte: Festschrift für Constantin Flows zum 60. Geburtstag, 399–413. Edited by Peter Petersen. Wiesbaden: Breitkopf und Härtel, 1990.

———.“‘Die glückliche Hand’: Eine Studie zu Musik und Inhalt von Arnold Schönbergs ‘Drama mit Musik.’” In Musiktheater im 20. Jahrhundert, 7–34. Edited by Constantin Floros, Hans Joachim Marx, and Peter Petersen. Hamburger Jahrbuch für Musikwissenschaft, 10. Laaber: Laaber, 1988.

Maegaard, Jan. “Om den kronologiske Placering af Arnold Schönbergs Klaverstykke Op. 23 Nr. 3.” Musik undforskning 3 (1977): 5–10.

———. Studien zur Entwicklung des dodekaphonen Satzes bei Arnold Schönbergs. 3 vols. Copenhagen: Wilhelm Hansen, 1972.

———. “A Study in the Chronology of Op. 23–26 by Arnold Schoenberg.” Dansk aarbog for musikforskning 2 (1962): 93–115.

Massow, Albrecht von. “Abschied und Neuorientierung-Schönbergs Klavierstück Op. 19, 6.” Archiv für Musikwissenschaft 50 (1993): 187–95.

Mauser, Siegfried. “Arnold Schönbergs Erwartung und Alban Bergs Wozzeck.” In Alban Berg Symposion, 91–96. Alban Berg Studien, 1. Vienna: Universal Edition, 1980.

———. Das expressionistische Musiktheater der Wiener Schule. Regensburg: Gustav Bosse, 1982.

Metzger, Heinz-Klaus. “Zu Schönbergs Orchesterliedern Op. 22.” In Musik-Konzepte: Sonderband Arnold Schönbergs, 51–5 7. Edited by Heinz-Klaus Metzger and Rainer Riehn. Munich: edition text + kritik, 1980.

Morris, Robert D. “Modes of Coherence and Continuity in Schoenberg's Piano Piece, Opus 23, No. 1.” Theory and Practice: Journal of the Music Theory Society of New York State 17 (1992): 5–34.

Morrison, Charles D. “Syncopation as Motive in Schoenberg's Op. 19, Nos 2, 3 and 4.” Music Analysis 11 (1992): 75–93.

Naumann, Peter. “Untersuchungen zum Wort-Ton-Verhältnis in den Einaktern Arnold Schönbergs.” 2 vols. Ph. D. dissertation, University of Cologne, 1988.

(p.254) Nelson, Robert U. “Schoenberg's Variation Seminar.” Musical Quarterly 50 (1964): 141–63. Contains an analysis of the third movement of Op. 24.

Neuwirth, Gösta. “Schönbergs George-Lieder Op. 15: Die Entwürfe zum XIV. Lied.” In Bericht über den 1. Kongreß der International Schönbergs-Gesellschaft, 147–58. Edited by Rudolf Stephan. Vienna: Elisabeth Lafite, 1974.

Nono-Schoenberg, Nuria, editor. Arnold Schönbergs, 1874–1951: Lebensgeschichte in Begegnungen. Klagenfurt: Ritter, 1992.

Oesch, Hans. “Schönbergs im Vorfeld der Dodekaphonie: Zur Bedeutung des dritten Satzes aus opus 23 für die Herausbildung der Zwölfton-Technik.” Zeitschrift für Musiktheorie 5 (1974): 2–10.

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Penney, Diane Holloway. “Schoenberg's Janus-Work Erwartung: Its Musico-Dra-matic Structure and Relationship to the Melodrama and Lied Traditions.” Ph. D. dissertation, University of North Texas, 1989.

Perle, George. “Pierrot lunaire.” In The Commonwealth of Music, 307–12. Edited by Gustave Reese and Rose Brandel. New York: Free Press, 1965.

———. Serial Composition and Atonality: An Introduction to the Music of Schoenberg, Berg, and Webern, 3d ed., revised and enlarged. Berkeley: University of California Press, 1972.

Pfisterer, Manfred. Studien zur Kompositionstechnik in den frühen atonalen Werken von Arnold Schönbergs. Tübinger Beitrage zur Musikwissenschaft, 5. Neuhausen-Stuttgart: Hänssler, 1978.

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