内容

目次

Translators' introduction; 1. 'New Music' as historical category; 2.Progress and the avant garde; 3. Avant garde and popularity; 4. New Music andthe problem of musical genre; 5. Problems of rhythm in the New Music; 6.Tonality: structure or process?; 7. Schoenberg's poetics of music; 8.Schoenberg's aesthetic theology; 9. Schoenberg and programme music; 10.Musical prose; 11. Emancipation of the dissonance; 12. What is 'developingvariation'?; 13. Schoenberg and Schenker; 14. Schoenberg's Orchestral PieceOp. 16, No. 3 and the concept of Klangfarbenmelodie; 15. 'The ObbligatoRecitative'; 16. Expressive principle and orchestral polyphony inSchoenberg's Erwartung; 17. Schoenberg's late works; 18. The fugue asprelude: Schoenberg's Genesis composition, Op. 44; 19. Rhythmic structures inWebern's Orchestral Pieces, Op. 6; 20. Analytical instrumentation: Bach'ssix-part ricercar as orchestrated by Anton Webern; 21. Schreker andmodernism: on the dramaturgy of Der ferne Klang; 22. Structure and expressionin the music of Scriabin; 23. Plea for a Romantic category: the concept ofthe work of art in the newest music; 24. On the decline of the concept of themusical work; 25. The musical work of art as a subject of sociology; 26. FormTranslated by Stephen Hinton; 27. Composition and improvisation; 28. Arejection of material thinking?; Notes; List of sources; Index.