内容

目次

Preface; 1. 'Atonality': a revisionist thesis; 2. 'Based on tradition':Four Songs, Op. 2, 1899; 3. The principle of incremental innovation:Verklarte Nacht, 1899; 4. Conservative song-cycle, progressive cantata:Gurrelieder, 1900-1911; 5. Programmatic music and its implications: Pelleasund Melisande Op. 5, 1902-3; 6. Consolidation: Songs, Op. 3, 1903-4; 7.Abstract form, secret program: String Quartet, Op. 7, 1904-5; 8. Referencialcentres? Lieder and Fragments, Fall 1905; 9. Absolute music and itsconsequences: Chamber Symphony, Op. 9, 1905-6; 10. Crisis: Friede auf Erden,Op. 13, Ballades, Op. 12, and the reception of Shoenberg's music, August1906-July 1907; 11. Motivic economy: String Quartet No. 2, Op. 10, movementsone and two, March-December 1907; 12. 'Until then I lacked the strength andconfidence': Two Songs, Op. 14, December 1907-March 1908; 13. Beyond triads:the first layer of Das Buch der hangenden Garten, Op. 15, March-April 1908;14. 'On revient toujours?' Returning to Opp. 10 and 15, June 1908-February1909; 15. The analysis of Schoenberg's post-1908 music: Pieces for piano, Op.11, nos. 1 and 2, February 1909; 16. 'Intoxicated by the enthusiasm': FiveOrchestral Pieces, Op. 16; Piece for Piano, Op. 11, No. 3, May-August 1909;17. The birth (and death) of new music: August 1909 and beyond; Bibliography.