Style and idea: selected writings of Arnold Schoenberg

ARNOLD AUTOR SCHOENBERG

University of California Press, 1975 - Biography & Autobiography - 559 pages

One of the most influential collections of music ever published, Style and Idea includes Schoenberg's writings about himself and his music as well as studies of many other composers and reflections on art and society.

What people are saying

Review: Style and Idea: Selected Writings

User Review  - Carol - Goodreads

This collection of essays by Arnold Schoenberg is not exactly a fun or completely pleasurable read, but it is very illuminating and very worthwhile for anyone interested in modern music. Schoenberg ...

Review: Schoenberg: Style & Idea (Cloth)

User Review  - Drew Edwards - Goodreads

This collection of essays offers enlightening insight into how Schoenberg saw himself, his predecessors, and his contemporaries. I was pleasantly surprised to see how pragmatic and down-to-earth his ...

Contents

• Editors Preface page: 11
• Translators Preface: 17
• On my Fiftieth Birthday 1924: 23
• Honorary Citizenship of Vienna 1949: 29
• Heart and Brain in Music 1946: 53
• A SelfAnalysis 1948: 76
• The Young and I 1923: 92
• New Music Outmoded Music Style and Idea 1946: 113
• Criteria for the Evaluation of Music 1946: 124
• New Music 1923: 137
• This is my Fault 1949: 145
• Reply to a Questionnaire 1930: 147
• SpaceSound Vibrato Radio etc 1931: 148
• Modern Music on the Radio 1933: 151
• Art and the Moving Pictures 1940: 153
• FOLKMUSIC AND NATIONALISM: 159
• Folkloristic Symphonies 1947: 161
• FolkMusic and ArtMusic c 1926: 167
• National Music 1 1931: 169
• National Music 2 1931: 172
• Italian National Music 1927: 175
• Why No Great American Music? 1934: 176
• CRITICS AND CRITICISM: 183
• A Legal Question 1909: 185
• An Artistic Impression 1909: 189
• About Music Criticism 1909: 191
• Sleepwalker 1912: 197
• The Music Critic 1912: 198
• Musical Historians c 1915: 201
• Those who Complain about the Decline 1923: 203
• TWELVETONE COMPOSITION: 205
• TwelveTone Composition 1923: 207
• Hauers Theories 1923: 209
• Schoenbergs ToneRows 1936: 213
• Composition with Twelve Tones 1 1941: 214
• Composition with Twelve Tones 2 c 1948: 245
• Is it Fair? 1947: 249
• THEORY AND COMPOSITION: 251
• Theory of Form 1924: 253
• Tonality and Form 1925: 255
• Opinion or Insight? 1926: 258
• For a Treatise on Composition 1931: 264
• Problems of Harmony 1934: 268
• Connection of Musical Ideas c 1948: 287
• Old and New Counterpoint 1928: 288
• Linear Counterpoint 1931: 289
• Linear Polyphony 1931: 295
• Fugue 1936: 297
• About Ornaments Primitive Rhythms etc and Bird Song 1922: 298
• Ornaments and Construction 1923: 312
• Glosses on the Theories of Others 1929: 313
• PERFORMANCE AND NOTATION: 317
• For a Treatise on Performance 1923 or 1924: 319
• Todays Manner of Performing Classical Music 1948: 320
• The Future of Orchestral Instruments 1924: 322
• Mechanical Musical Instruments 1926: 326
• Instrumentation 1931: 330
• The Future of the Opera 1927: 336
• Aphorisms c 1930: 337
• Performance Indications Dynamics 1923: 340
• Musical Dynamics 1929: 341
• About Metronome Markings 1926: 342
• Transposition 1923: 343
• Vibrato c 1940: 345
• Phrasing 1931: 347
• The Modern Piano Reduction 1923: 348
• On Notation 1923: 350
• Pictorial Notation 1923: 351
• RevolutionEvolution Notation Accidentals 1931: 353
• A New TwelveTone Notation 1924: 354
• TEACHING: 363
• Problems in Teaching Art 1911: 365
• Music fromGuideLines for a Ministry of Art 1919: 369
• On the Question of Modern Composition Teaching 1929: 373
• Teaching and Modern Trends in Music 1938: 376
• Eartraining through Composing 1939: 377
• The Blessing of the Dressing 1948: 382
• Against the Specialist c 1940: 387
• The Task of the Teacher 1950: 388
• COMPOSERS: 391
• Bach 1950: 393
• Brahms the Progressive 1947: 398
• Franz Liszts Work and Being 1911: 442
• In Memoriam 1912: 447
• Gustav Mahler 1912 1948: 449
• Robert Schumann as Critic 1931: 472
• Alban Berg 1 1949: 474
• Alban Berg 2 1930: 475
• George Gershwin 1938: 476
• Kreneks Sprung iiber den Schatten 1923: 477
• Der Restaurateur 1926: 481
• Stravinskys Oedipus 1928: 482
• Foreword to his Six Bagatelles 1924: 483
• Klangfarbenmelodie 1951: 484
• Zemlinsky 1921: 486
• SOCIAL AND POLITICAL MATTERS: 489
• Parsifal and Copyright 1912: 491
• Copyright 1949: 497
• Successthe End of Bohemianism 1928: 499
• Does the World Lack a PeaceHymn? 1928: 500
• Two Speeches on the Jewish Situation 1934 and 1935: 501
• My Attitude toward Politics 1950: 505
• Human Rights 1947: 506
• Sources and Notes: 513
• Appendices: 537
• Index: 553

About the author

An American of Austrian birth, Arnold Schoenberg composed initially in a highly developed romantic style but eventually turned to painting and expressionism. At first he was influenced by Richard Wagner and tried to write in a Wagnerian style. He attracted the attention of Alban Berg and Anton von Webern, with whom he created a new compositional method based on using all 12 half-steps in each octave as an organizing principle, the so-called 12-tone technique. His importance to the development of twentieth-century music is incredible, but the music he composed using this new method is not easily accessible to most concertgoers.

Bibliographic information

• Title: Style and idea: selected writings of Arnold Schoenberg; [David Lewis Crosby collection]
• Author: ARNOLD AUTOR SCHOENBERG
• Editor: Leonard. Stein
• Edition: reprint
• Publisher: University of California Press, 1975
• ISBN: 0520052943, 9780520052949
• Length: 559 pages
• Subjects: Biography & Autobiography / Composers & Musicians; Music / Individual Composer & Musician; Music / Instruction & Study / Composition; Music / Instruction & Study / Theory