Tools

LEADER 07851cam a2200445 i 4500

001 ocm01429831;

003 OCoLC;

005 20230725093236.0;

008 750917s1975 enkg b 001 0 eng ;

010 a| 75324564;

019 a| 1087174360;

020 a| 0571097227;

020 a| 9780571097227;

035 a| (Sirsi) o01429831;

035 a| (OCoLC)1429831z| (OCoLC)1087174360;

041 1 a| engh| ger;

049 a| EREM;

050 00 a| ML60b| .S374 1975b;

050 4 a| ML60.S374b| S7 1975;

082 00 a| 780/.8;

100 1 a| Schoenberg, Arnold,d| 1874-1951.=| ^A18534;

245 10 a| Style and idea :b| selected writings of Arnold Schoenberg /c| edited by Leonard Stein ; with translations [from the German] by Leo Black.;

260 a| London :b| Faber,c| 1975.;

300 a| 559 pages :b| music ;c| 26 cm;

336 a| textb| txt2| rdacontent;

337 a| unmediatedb| n2| rdamedia;

338 a| volumeb| nc2| rdacarrier;

500 a| Includes index.;

504 a| Includes bibliographical references (pages 537-540) and index.;

505 00 g| Part I:t| Personal evaluation and retrospect.g| On my fiftieth birthday (1924) ;g| Circular to my friends on my sixtieth birthday (1934) ;g| Honorary citizenship of Vienna (1949) ;g| How one becomes lonely (1937) ;g| Heart and brain in music (1946) ;g| A self-analysis (1948) ;g| My evolutiong| (1949) ;g| The young and I (1923) ;g| My blind alley (1926) ;g| My publicg| (1930) ;t| New music: my musicg| (c. 1930) (t| Ideas ;t| Melody ;t| Repetition ;t| Opera) ;t| Constructed musicg| (c. 1931) ;g| On revient toujours (1948) ;t| My technique and styleg| (c. 1950) --g| Part II:t| Modern music.t| New music, outmoded music, style and ideag| (1946) ;t| Criteria for the evaluation of musicg| (1946) ;t| New musicg| (1923) ;t| Turn of timeg| (1948) ;t| The relationship to the textg| (1912) ;g| This is my fault (1949) ;t| The radio: reply to a questionnaireg| (1930) ;t| 'Space-sound', vibrato, radio, etc.g| (1931) ;t| Modern music on the radiog| (1933) ;t| Art and the moving picturesg| (1940) --g| Part III:t| Folk-music and nationalism.t| Folkloristic symphoniesg| (1947) ;t| Folk-music and art-musicg| (c. 1926) ;t| National music (1)g| (1931) ;t| National music (2)g| (1931) ;t| Italian national musicg| (1927) ;t| Why no great American music?g| (1934) --g| Part IV:t| Critics and criticism.t| A legal questiong| (1909) ;t| An artistic impressiong| (1909) ;t| About music criticismg| (1909) ;t| Sleepwalkerg| (1912) ;t| The music criticg| (1912) ;t| Musical historiansg| (c. 1915) ;t| Those who complain about the declineg| (1923) --g| Part V:t| Twelve-tone composition.t| Twelve-tone compositiong| (1923) ;t| Hauer's theoriesg| (1923) ;t| 'Schoenberg's tone-rows'g| (1936) ;t| Composition with twelve tones (1)g| (1941) ;t| Composition with twelve tones (2)g| (c. 1948) ;t| Is it fair?g| (1947) --g| Part VI:t| Theory and composition.t| Theory of formg| (1924) ;t| Tonality and formg| (1925) ;t| Opinion or insight?g| (1926) ;t| For a treatise on compositiong| (1931) ;t| Problems of harmonyg| (1934) ;t| Connection of musical ideasg| (c. 1948) ;t| Old and new counterpointg| (1928) ;t| Linear counterpointg| (1931) ;t| Linear counterpoint: linear polyphonyg| (1931) ;t| Fugueg| (1936) ;t| About ornaments, primitive rhythms, etc. and bird songg| (1922) ;t| Ornaments and constructiong| (1923) ;t| Glosses on the theories of othersg| (1929) --g| Part VII:t| Performance and notation.t| For a treatise on performanceg| (1923 or 1924) ;t| Today's manner of performing classical musicg| (1948) ;t| The future of orchestral instrumentsg| (1924) ;t| Mechanical musical instrumentsg| (1926) ;t| Instrumentationg| (1931) ;t| The future of the operag| (1927) ;t| Opera: aphorismsg| (c. 1930) ;t| Performance indicationsg| (dynamics)g| (1923) ;t| Musical dynamicsg| (1929) ;t| About metronome markingsg| (1926) ;t| Transpositiong| (1923) ;t| Vibratog| (c. 1940) ;t| Phrasingg| (1931) ;t| The modern piano reductiong| (1923) ;t| On notationg| (1923) ;t| Pictorial notationg| (1923) ;t| Revolution: evolution, notationg| (accidentals)g| (1931) ;t| A new twelve-tone notationg| (1924) --g| Part VIII:t| Teaching.t| Problems in teaching artg| (1911) ;t| Music (from 'Guide-lines for a ministry of art')g| (1919) ;t| On the question of modern composition teachingg| (1929) ;t| Teaching and modern trends in musicg| (1938) ;t| Eartraining through composingg| (1939) ;t| The blessing of the dressingg| (1948) ;t| Against the specialistg| (c. 1940) ;t| The task of the teacherg| (1950) --g| Part IX:t| Composers.t| Bachg| (1950) ;t| Brahms the progressiveg| (1947) ;t| Franz Liszt's work and beingg| (1911) ;t| Gustav Mahler: In memoriamg| (1912) ;t| Gustav Mahlerg| (1912, 1948) ;t| 'Robert Schumann as critic'g| (1931) ;t| Alban Berg (1)g| (1949) ;t| Alban Berg (2)g| (1930) ;t| George Gershwing| (1938) ;t| Krenek's Sprung über den Schatteng| (1923) ;t| Igor Stravinsky: Der Restaurateurg| (1926) ;t| Stravinsky's Oedipusg| (1928) ;t| Anton Webern: Foreword to his Six Bagatellesg| (1924) ;t| Anton Webern: Klangfarbenmelodieg| (1951) ;t| Zemlinskyg| (1921) --g| Part X:t| Social and political matters.t| Parsifal and copyrightg| (1912) ;t| Copyrightg| (1949) ;t| Success: the end of Bohemianismg| (1928) ;t| Does the world lack a peace-hymn?g| (1928) ;t| Two speeches on the Jewish situationg| (1934 and 1935) ;t| My attitude toward politicsg| (1950) ;t| Human rightsg| (1947) --g| Appendices.;

520 a| "Schoenberg's Style and Idea, one of the most influential collections of musical essays ever published, has long been out of print. When it first appeared, the volume consisted of a handful of essays, which represented only a small part of Schoenberg's literary output. For this new edition, Leonard Stein, who was Schoenberg's assistant and editor of his books on theory and composition, scrutinized the whole of Schoenberg's literary legacy and chose a very large number of essays to accompany the re-issue of the original papers. This new Style and Idea comprises over a hundred essays, most of them published or made accessible for the first time. The numerous articles in German have been translated by Leo Black. The book falls into ten main groups: personal evaluation and retrospect; modern music; folk-music and nationalism; critics and criticism; twelve-tone composition; theory and composition; performance and notation; teaching; composers; and social and political matters. Those familiar with the original edition of Style and Idea will not need to be reminded of the importance of such documents as 'New music, outmoded music, style and idea', 'Composition with twelve tones', or 'Criteria for the evaluation of music', while it is self-evident that the new material incorporated in this edition vastly extends our knowledge of Schoenberg and our understanding of the century in which he was a dominating musical influence. Among the new essay are his thoughts on 'The future of the opera', and 'Pictorial notation', on 'Teaching and modern trends in music', 'Instrumentation', 'Stravinsky's Oedipus', and 'Copyright', as well as hitherto unpublished material on twelve-tone composition. The extraordinary scope of Schoenberg's intelligence and the often prophetic character of his insights make this an indispensable source book for anyone interested in the complex history of twentieth-century music and the remarkable contribution made to it by Schoenberg in his writings.;

650 0 a| Musicx| History and criticism.=| ^A18818;

700 1 a| Stein, Leonard,e| editor.=| ^A58069;

700 1 a| Black, Leo,e| translator.=| ^A603605;

949 a| ML60.S374 S7 1975w| LCh| JMUSIC53i| 30372017608651o| jjam;

994 a| C0b| ERE;

596 a| 3;

998 a| 6178384;

999 a| ML60.S374 S7 1975w| LCc| 1i| 30372017608651f| 2/20/2024g| 1l| MSTm| JMUSICr| Ys| Yt| MGESBKu| 7/17/2023x| BOOKz| MCIRCo| .STAFF. jjam; gift;

Style and idea : selected writings of Arnold Schoenberg / edited by Leonard Stein ; with translations [from the German] by Leo Black.

Author/creator	Schoenberg, Arnold
Other author	Stein, Leonard, editor.
Other author	Black, Leo, translator.
Format	Book
Publication Info	London : Faber, 1975.
Description	559 pages : music ; 26 cm
Subjects	Music--History and criticism.

Contents	Part I: Personal evaluation and retrospect. On my fiftieth birthday (1924) ; Circular to my friends on my sixtieth birthday (1934) ; Honorary citizenship of Vienna (1949) ; How one becomes lonely (1937) ; Heart and brain in music (1946) ; A self-analysis (1948) ; My evolution (1949) ; The young and I (1923) ; My blind alley (1926) ; My public (1930) ; New music: my music (c. 1930) ( Ideas ; Melody ; Repetition ; Opera) ; Constructed music (c. 1931) ; On revient toujours (1948) ; My technique and style (c. 1950) -- Part II: Modern music. New music, outmoded music, style and idea (1946) ; Criteria for the evaluation of music (1946) ; New music (1923) ; Turn of time (1948) ; The relationship to the text (1912) ; This is my fault (1949) ; The radio: reply to a questionnaire (1930) ; 'Space-sound', vibrato, radio, etc. (1931) ; Modern music on the radio (1933) ; Art and the moving pictures (1940) -- Part III: Folk-music and nationalism. Folkloristic symphonies (1947) ; Folk-music and art-music (c. 1926) ; National music (1) (1931) ; National music (2) (1931) ; Italian national music (1927) ; Why no great American music? (1934) -- Part IV: Critics and criticism. A legal question (1909) ; An artistic impression (1909) ; About music criticism (1909) ; Sleepwalker (1912) ; The music critic (1912) ; Musical historians (c. 1915) ; Those who complain about the decline (1923) -- Part V: Twelve-tone composition. Twelve-tone composition (1923) ; Hauer's theories (1923) ; 'Schoenberg's tone-rows' (1936) ; Composition with twelve tones (1) (1941) ; Composition with twelve tones (2) (c. 1948) ; Is it fair? (1947) -- Part VI: Theory and composition. Theory of form (1924) ; Tonality and form (1925) ; Opinion or insight? (1926) ; For a treatise on composition (1931) ; Problems of harmony (1934) ; Connection of musical ideas (c. 1948) ; Old and new counterpoint (1928) ; Linear counterpoint (1931) ; Linear counterpoint: linear polyphony (1931) ; Fugue (1936) ; About ornaments, primitive rhythms, etc. and bird song (1922) ; Ornaments and construction (1923) ; Glosses on the theories of others (1929) -- Part VII: Performance and notation. For a treatise on performance (1923 or 1924) ; Today's manner of performing classical music (1948) ; The future of orchestral instruments (1924) ; Mechanical musical instruments (1926) ; Instrumentation (1931) ; The future of the opera (1927) ; Opera: aphorisms (c. 1930) ; Performance indications (dynamics) (1923) ; Musical dynamics (1929) ; About metronome markings (1926) ; Transposition (1923) ; Vibrato (c. 1940) ; Phrasing (1931) ; The modern piano reduction (1923) ; On notation (1923) ; Pictorial notation (1923) ; Revolution: evolution, notation (accidentals) (1931) ; A new twelve-tone notation (1924) -- Part VIII: Teaching. Problems in teaching art (1911) ; Music (from 'Guide-lines for a ministry of art') (1919) ; On the question of modern composition teaching (1929) ; Teaching and modern trends in music (1938) ; Eartraining through composing (1939) ; The blessing of the dressing (1948) ; Against the specialist (c. 1940) ; The task of the teacher (1950) -- Part IX: Composers. Bach (1950) ; Brahms the progressive (1947) ; Franz Liszt's work and being (1911) ; Gustav Mahler: In memoriam (1912) ; Gustav Mahler (1912, 1948) ; 'Robert Schumann as critic' (1931) ; Alban Berg (1) (1949) ; Alban Berg (2) (1930) ; George Gershwin (1938) ; Krenek's Sprung über den Schatten (1923) ; Igor Stravinsky: Der Restaurateur (1926) ; Stravinsky's Oedipus (1928) ; Anton Webern: Foreword to his Six Bagatelles (1924) ; Anton Webern: Klangfarbenmelodie (1951) ; Zemlinsky (1921) -- Part X: Social and political matters. Parsifal and copyright (1912) ; Copyright (1949) ; Success: the end of Bohemianism (1928) ; Does the world lack a peace-hymn? (1928) ; Two speeches on the Jewish situation (1934 and 1935) ; My attitude toward politics (1950) ; Human rights (1947) -- Appendices.
Abstract	"Schoenberg's Style and Idea, one of the most influential collections of musical essays ever published, has long been out of print. When it first appeared, the volume consisted of a handful of essays, which represented only a small part of Schoenberg's literary output. For this new edition, Leonard Stein, who was Schoenberg's assistant and editor of his books on theory and composition, scrutinized the whole of Schoenberg's literary legacy and chose a very large number of essays to accompany the re-issue of the original papers. This new Style and Idea comprises over a hundred essays, most of them published or made accessible for the first time. The numerous articles in German have been translated by Leo Black. The book falls into ten main groups: personal evaluation and retrospect; modern music; folk-music and nationalism; critics and criticism; twelve-tone composition; theory and composition; performance and notation; teaching; composers; and social and political matters. Those familiar with the original edition of Style and Idea will not need to be reminded of the importance of such documents as 'New music, outmoded music, style and idea', 'Composition with twelve tones', or 'Criteria for the evaluation of music', while it is self-evident that the new material incorporated in this edition vastly extends our knowledge of Schoenberg and our understanding of the century in which he was a dominating musical influence. Among the new essay are his thoughts on 'The future of the opera', and 'Pictorial notation', on 'Teaching and modern trends in music', 'Instrumentation', 'Stravinsky's Oedipus', and 'Copyright', as well as hitherto unpublished material on twelve-tone composition. The extraordinary scope of Schoenberg's intelligence and the often prophetic character of his insights make this an indispensable source book for anyone interested in the complex history of twentieth-century music and the remarkable contribution made to it by Schoenberg in his writings.
General note	Includes index.
Bibliography note	Includes bibliographical references (pages 537-540) and index.
LCCN	75324564
ISBN	0571097227
ISBN	9780571097227

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Style and idea : selected writings of Arnold Schoenberg / edited by Leonard Stein ; with translations [from the German] by Leo Black.

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