| Contents |
Preface -- "Atonality": a revisionist thesis -- "Based on tradition": Four Songs, Op. 2, 1899 -- The principle of incremental innovation: Verklärte Nacht, 1899 -- Conservative song-cycle, progressive cantata: Gurrelieder, 1900-11 -- Programmatic music and its implications: Pelleas und Melisande Op. 5, 1902-3 -- Consolidation: Six songs, Op. 3, 1903-4 -- Abstract form, secret program: String Quartet, Op. 7, 1904-5 -- Referential centers? Lieder and Fragments, Fall 1905 -- Absolute music and its consequences: Chamber Symphony, Op. 9, 1905-6 -- Crisis: Friede auf Erden, Op. 13, Ballades, Op. 12, and the reception of Schoenberg's music, August 1906 to July 1907 -- Motivic economy: String Quartet No. 2, Op. 10, movements one and two, March-December 1907 -- "Until then I lacked the strength and confidence": Two Songs, Op. 14, December 1907-March 1908 -- Beyond triads: the first layer of Das Buch der Hängenden Gärten, Op. 15, March-April 1908 -- "On revient toujours?" Returning to Opp. 10 and 15, June 1908-February 1909 -- The analysis of Schoenberg's post-1908 music: Pieces for Piano, Op. 11, nos. 1 and 2, February 1909 -- "Intoxicated by the enthusiasm": Five Orchestral Pieces, Op. 16 -- Piece for Piano, Op. 11, No. 3, May-August 1909 -- The birth (and death) of new music: August 1909 and beyond. |
| Abstract |
Schoenberg is widely regarded as one of the most significant and innovative composers of the twentieth century. It is commonly assumed that his music divides into three periods: tonal, atonal, and serial. It is also assumed that Schoenberg's atonal music made a revolutionary break with the past, particularly in terms of harmonic structure. This book challenges both these popular notions. The author argues that Schoenberg's 'atonal' music does not constitute a distinct unified period. He demonstrates that much of the music commonly described as 'atonal' did not make a complete break with prior practices, even in the harmonic realm, but instead transformed the past by a series of incremental changes. An important and influential contribution to the field, the author's findings help not only to re-evaluate Schoenberg, but also to re-date much of what has been defined as one of the most crucial turning points in music history. |
