Constructive Dissonance

  INTRODUCTION
 expand sectionSOURCE NOTE

 collapse sectionCONTEXTS
 expand sectionOne  Music and the Critique of Culture:  Arnold Schoenberg, Heinrich Schenker, and the Emergence of Modernism in Fin de Siècle Vienna
 Two  Assimilation and the Emancipation of Historical Dissonance
 Three  Evolving Perceptions of Kandinsky and Schoenberg:  Toward the Ethnic Roots of the "Outsider"
 Four  The Émigré Experience:  Schoenberg in America

 collapse sectionCREATIONS
 Five  Schoenberg and the Origins of Atonality
 expand sectionSix  The Refractory Masterpiece:  Toward an Interpretation of Schoenberg's Chamber Symphony, op. 9
 Seven  Whose Idea Was Erwartung?
 Eight  "Heart and Brain in Music:"  The Genesis of Schoenberg's Die glückliche Hand
 Nine  Schoenberg's Incomplete Works and Fragments
 expand sectionTen  Schoenberg's Philosophy of Composition:  Thoughts on the "Musical Idea and Its Presentation"

 collapse sectionCONNECTIONS
 Eleven  Schoenberg and the Canon:  An Evolving Heritage
 expand sectionTwelve  Schoenberg's Concept of Art in Twentieth-Century Music History
 Thirteen  Schoenberg and Present-Day Theory and Practice
 expand sectionFourteen  Schoenberg the Contemporary:  A View from Behind

 expand sectionNotes
  CONTRIBUTORS
 expand sectionINDEX OF NAMES AND WORKS

collapse section Collapse All | Expand All expand section