Serial Music: A Classified Bibliography of Writings on Twelve-Tone and Electronic Music [Reprint 2019 ed.] 9780520320734

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U N I V E R S I T Y OF C A L I F O R N I A BIBLIOGRAPHIC GUIDES

SERIAL

MUSIC

A Classified Bibliography of Writings on Twelve-Tone and Electronic Music

by A N N

PHILLIPS

BASART

1961 UNIVERSITY

OF C A L I F O R N I A

BERKELEY

AND

LOS

ANGELES

PRESS

University of California P r e s s Berkeley and Los Angeles, California Cambridge University P r e s s London, England C 1961 by The Regents of the University of California Library of Congress Catalog Card Number: 61-7538 Manufactured la the United States of America

In Memoriam E.S.S.

PREFACE The twelve-tone technique, once thought to be the private and unintelligible musical language of a small group of composers, is today one of the most important influences in European and American music. Although it still c r e a t e s a great deal of controversy, and although it has not yet been widely accepted by the general public, dodecaphony has achieved a permanent status in the history of music. "SchOnberg is not yet in 'Grove' (1910), and the notices in other works of reference are infinitesimal," wrote Charles Maclean in an early article on Schoenberg. Today the situation has changed so much that not only is Schoenberg in Grove's Dictionary, but articles and books about him, the twelve-tone technique, and other composers who use the technique continue to be written at an ever-increasing rate. Because of this great body of writing, it is difficult for anyone interested in s e r i a l music to know where to begin. A few related bibliographies have appeared to date, but none so far with the purpose and scope of the present work. The most extensive bibliographies on Schoenberg, Berg, and Webern have appeared in René Leibowitz's Schoenberg and his school (1949), Luigi Rognoni's Espressionismo e dodecafonia (1954), Josef R u f e r ' s Composition with twelve notes (1954), and George P e r l e ' s dissertation, Serial composition and atonality (1956; revised edition. University of California P r e s s , 1961). Rognoni and Rufer list unpublished writings by these composers on a variety of topics—important information that is outside the scope of the present work. Donald Mitchell has compiled a selective bibliography that lists writings on twelve-tone music and composers (Hinrichsen's Musical yearbook. 1952), but he does not indicate the contents of these writings. Since his list is taken from secondary sources, the bibliographical information offered v a r i e s widely and is in many c a s e s quite scanty. Helmut Kirchmeyer's book, Igor Strawinsky (1958), contains a lengthy bibliography on contemporary music which includes some entries on s e r i a l music and composers. Appearing too late for inclusion in the present work is a bibliography of books and articles on experimental music, compiled by Célestin Delifege and printed in the Revue Belge de musicologie [Special issue on experimental music], 8:136-148 (1959). It is preceded (p. 132-136) by an excellent discussion of the writings of the most important authors in the field. The bibliography is alphabetically arranged within each of the following categories: "Ouvrages," "Articles," "Témoignages d'écrivains," "Divers," and "Ouvrages et articles relatifs à l'électroacoustique musicale." It is principally concerned with the European avant-garde. Other lists have appeared f r o m time to time in periodical articles and in chapters of specialized books. Most of these are quite brief, and none indicates contents. [ vii ]

viii

Preface

The present work is an attempt to gather together a large number of the significant writings—philosophical, historical, and analytical—which have appeared on s e r i a l music, and to a r r a n g e them by subject. "Serial music" is used in a wide sense here, because this bibliography includes not only twelve-tone music and electronic music (a very recent development, growing out of s e r i a l techniques), but also touches upon such r e lated fields as musical expressionism, pre-dodecaphonic atonality, musique c oner fete, and "chance" music. The bibliography is arranged in a classified manner, with e n t r i e s under each topic subarranged chronologically. There a r e an author index and a subject index. Almost every entry is followed by a brief annotation, indicating the contents, scope, a n d / o r general idea of the book or article The present work is not, however, a critical bibliography, and, although an attempt has been made to guide the r e a d e r by means of the annotations, the quality of the material listed v a r i e s r a t h e r widely. Ann P. B a s a r t

CONTENTS Introduction Abbreviations

Page xi xiii

.

Entry no. I. TWELVE-TONE MUSIC Philosophy and criticism l-73b History 74-118b Analysis and theory 119-221 Compositional techniques 119-175c Introductory articles addressed to the layman 119-125 Technical and specialized w o r k s . . . . 126-175c Harmony 176-204a Melody. 205-207 Rhythm 208 Counterpoint 209-215 Notation 217-221 II. ELECTRONIC MUSIC Philosophy and c r i t i c i s m Description and history Compositional techniques

222-233 234-272 273-283a

III. THE VIENNESE SCHOOL Arnold Schoenberg General Philosophy and c r i t i c i s m Biography Correspondence Compositional techniques General descriptions of works Individual works

284-306a 307-354 355-372 373-379 380-394 395-413 414-490

Alban Berg General Philosophy and c r i t i c i s m Biography Correspondence General descriptions of works Individual works

491-498a 499-505 506-510 511-514 515-519 520-563

I ix ]

284-490

491-563

x Anton Webern General Philosophy and c r i t i c i s m Biography Correspondence Compositional techniques G e n e r a l d e s c r i p t i o n s of works Individual works IV. OTHER COMPOSERS Milton Babbitt Luciano B e r i o P i e r r e Boulez General Compositional techniques Individual works John Cage Luigi Dallapiccola General G e n e r a l d e s c r i p t i o n s of works Individual works Wolfgang F o r t n e r Roberto Gerhard J o s e f Matthias H a u e r Hans W e r n e r Henze Hanns J e l i n e k G i s e l h e r Klebe E r n s t Krenek General G e n e r a l d e s c r i p t i o n s of works Individual works René Leibowitz Bruno Maderna Luigi Nono Henri P o u s s e u r Humphrey S e a r l e Mâtyâs Seiber Karlheinz Stockhausen Igor Stravinsky General Serial works AUTHOR INDEX SUBJECT INDEX

Contents 564-601

564-572 573-579 580 581-582 583-586 587-592 593-601

602-604 605-609 610-631 610-616 617-618 619-631 632-637 638-674 638-643 644-654 655-674 675-684a 685-692 693-702 703-710 711-715 716-719 720-747 720-727 728-739a 740-747 748 749 750-752 753-754 755-758 759-767 768-777 778-823 778-788 789-823 Page 129 147

INTRODUCTION ARRANGEMENT The bibliography is divided into four main sections: 1. Twelve-tone music 2. Electronic music 3. The Viennese school (Schoenberg, Berg, Webern) These three sections have a classified arrangement. 4. Other composers who use serial techniques This section is arranged alphabetically by composer. The topics into which each section is divided are listed in the table of contents. All the entries under each topic are arranged chronologically. Where books and periodicals have the same year of publication, the books are listed first and the periodicals follow by months. Each entry is given in full only once, under the topic it most closely fits. C r o s s - r e f e r e n c e s r e f e r the user to related entries under other topics; they are arranged chronologically in with the entries.

FORM OF ENTRY Articles Entry for an article in a periodical: 491

Mantelli, Alberto. "Note su Alban Berg," Rass mus 9:117-132 (Apr 1936). Mus.

This article by Mantelli will be found in the periodical Rassegna musicale (see the list of abbreviations, p. xiii) in volume 9, pages 117-132, for April 1936. There are musical examples. Entry for an article in a book: 296

Stefan, Paul. "Arnold Schoenberg" m Thompson, Oscar, ed. Great modern composers. New York, Dodd, Mead, 1941, p. 267-277.

Stefan's article is one of several in Thompson's book, and will be found on pages 267-277.

xii

Introduction

Booka Monographs 448a W f l r n e r , K a r l H. G o t t e s w o r t und Magie: d i e O p e r ' M o s e s und A r o n ' von Arnold S c h ö n b e r g . H e i d e l b e r g , L a m b e r t S c h n e i d e r , 1959. 93 p. Mus., p o r t . W ö r n e r ' s book, G o t t e s w o r t und Magie: die O p e r ' M o s e s und A r o n ' von Arnold S c h ö n b e r g , w a s p u b l i s h e d in H e i d e l b e r g by S c h n e i d e r in 1959, h a s 93 p a g e s and i n c l u d e s s o m e m u s i c a l e x a m p l e s and a p o r t r a i t (of S c h o e n b e r g ) . Collections 168

J u n g e K o m p o n i s t e n . Wien, U n i v e r s a l Edition [ c l 9 5 8 ] . 133 p. D i a g r s . , m u s . , t a b l e s . (Die Reihe: I n f o r m a t i o n ü b e r s e r i e l l e Musik, 4.)

The t i t l e of t h i s book i s J u n g e K o m p o n i s t e n , p u b l i s h e d in 1958 by U n i v e r s a l Edition in Vienna. It h a s 133 p a g e s and c o n t a i n s d i a g r a m s , m u s i c a l e x a m p l e s , and t a b l e s . It i s the f o u r t h publication in the s e r i e s , Die R e i h e . ( B e c a u s e a l l the a r t i c l e s in t h e c o l l e c t i o n a r e r e l e v a n t to the s u b j e c t of t h i s b i b l i o g r a p h y , they a r e l i s t e d in d e t a i l a f t e r t h e e n t r y , and a l s o will b e found in the a u t h o r index.) C r OSB-references See no. 89 (Reich, Willi. " V e r s u c h e i n e r G e s c h i c h t e d e r Z w ö l f t o n m u s i k " in Alte und neue Musik. 1952). T h i s p a r t i c u l a r c r o s s - r e f e r e n c e , found u n d e r the g e n e r a l w o r k s on Arnold S c h o e n b e r g , r e f e r s t h e u s e r b a c k t o R e i c h ' s a r t i c l e , which i s l i s t e d in full u n d e r the h i s t o r y of t w e l v e - t o n e m u s i c . F o r a g e n e r a l explanation of the c r o s s - r e f e r e n c e s y s t e m , s e e " A r r a n g e m e n t , " above. TO USE THE BIBLIOGRAPHY If you wish to find all t h e w r i t i n g s on one topic: Consult the t a b l e of c o n t e n t s (p. i x - x ) if the topic i s a b r o a d one (such aB " h i s t o r y of t w e l v e - t o n e music," " B o u l e z — c o m p o s i t i o n a l t e c h n i q u e s , " or "Schoenberg—biography"). Consult t h e s u b j e c t index (p. 147-151) if the topic i s m o r e s p e c i a l i z e d (e.g., " I t a l y — t w e l v e - t o n e composition," " I n d e t e r m i n a c y in m u s i c a l c o m p o s i t i o n , " " M a r x i s t c r i t i c i s m s of t w e l v e - t o n e m u s i c , " " P e r m u t a tion of s e r i a l e l e m e n t s , " o r " C o m b i n a t o r i a l i t y n ) . If you wish to l o c a t e all t h e w r i t i n g s by one a u t h o r that a r e included in t h i s b i b l i o g r a p h y , u s e t h e a u t h o r index (p. 129-146). If you want a n a l y s e s and d i s c u s s i o n s of a p a r t i c u l a r c o m p o s i t i o n , look up t h e c o m p o s e r in the t a b l e of c o n t e n t s ; h i s w o r k s will be l i s t e d in a l p h a b e t i c a l o r d e r at the end of h i s s e c t i o n . Individual c o m p o s i t i o n s a r e not included in t h e s u b j e c t index. If you know the t i t l e of a book that h a s no a u t h o r (e.g., D e r b l a u e R e i t e r ) , but do not know what s u b j e c t t o look u n d e r , u s e t h e a u t h o r index; s o m e t i t l e e n t r i e s a r e included t h e r e . Note: An a s t e r i s k (*) i n d i c a t e s an i t e m not s e e n ; b i b l i o g r a p h i c a l i n f o r m a tion f o r t h e s e i t e m s h a s b e e n taken f r o m t h e Union Catalog at the L i b r a r y of t h e U n i v e r s i t y of C a l i f o r n i a , B e r k e l e y .

ABBREVIATIONS BAMS diagr. Dt Univ Zt I.S.C.M. JAMS 1. M it L M. G. G. Mo mus rec MQ ms. MT mus. Mus rev Mus sur Notes NZfM OMZ op. PPAMS port. Rass mus Rev mus Riv mus ital RMA Proc Schw MZ Score v. ZfM

American Musicological Society Bulletin diagram Deutsche Universitfttszeitung [Göttingen] International Society for Contemporary Music American Musicological Society Journal leaf, leaves (i.e., typewritten pages) Music and letters Die Musik in Geschichte und Gegenwart Monthly musical record Musical quarterly measure, measures Musical times musical example(s) included in the text The music review Music survey Music Library Association Notes Neue Zeltschrift fQr Musik [formerly ZfM] öesterreichische Musik Zeitschrift opus, opera page, pages American Musicological Society Papers portrait Rassegna musicale Revue musicale Rivista musicale italiana Royal Musical Association Proceedings Schweizerische Musikzeitung The score and I. M. A. magazine volume, volumes Zeitschrift für Musik [now NZfM]

[ *iü 1

I

TWELVE-TONE PHILOSOPHY 1

AND

MUSIC

CRITICISM

Busoni, F e r r u c c i o Benvenuto. Entwurf e i n e r neuen Ästhetik d e r Tonkunst. 2., e r w e i t e r t e Ausg. L e i p z i g , I n s e l - v e r l a g [1916]. 48 p. P o s t - W a g n e r i a n a e s t h e t i c s . D i s c u s s i o n of new s u b d i v i s i o n s of the octave.

See no. 128

(Eimert, Herbert.

Atonale M u s i k l e h r e ,

1924).

2

T i e s s e n , Heinz. Z u r G e s c h i c h t e d e r j ü n g s t e n Musik (1913-1928). Mainz, Schotts Söhne [ c l 9 2 8 ] . 91 p. P a r t i a l c o n t e n t s : " E x p r e s s i o n i s m u s , " p. 39-42; "Schönberg," p. 4446, et p a s s i m . A e s t h e t i c s of t h e m u s i c of 1913-1928.

3

Adorno, Theodor W i e s e n g r u n d . " Z u r Zwölftontechnik," Anbruch 11: 290-294 (Sept/Oct 1929). G e n e r a l c o n s i d e r a t i o n s of the t w e l v e - t o n e technique: i t s audibility; whether it i s m a t h e m a t i c a l . L a r g e l y a d i s c u s s i o n of Schoenberg.

4

B e r g , Alban. "What i s a t o n a l i t y ? " in Slonimsky, N i c o l a s . Music s i n c e 1900. 3d ed., r e v . and enl. New York, C o l e m a n - R o s s , 1949, p. 671-677. A t r a n s l a t i o n by M. D. H. Norton f r o m a r a d i o talk given by B e r g on the Vienna Rundfunk, A p r i l 23, 1930. Italian t r a n s l a t i o n in Rognoni, p. 290-303 (see no. 94). F i r s t published a s " W a s i s t Atonal?" in 23, eine w i e n e r Musikz e i t s c h r i f t , no. 2 6 / 2 7 (June 8, 1936).

5

P a c q u e , D é s i r é . " L ' a t o n a l i t é , ou m o d e c h r o m a t i q u e unique," Rev m u s 11:135-140 (Aug/Sept 1930). The n a t u r e of "atonality"; not a new concept.

6

Reich, Willi. " G r e n z g e b i e t e d e r neuen Töne," Die Musik 25:120-123 (Nov 1932). " D e r Weg z u r Komposition in zwölf Tönen," p. 122-123.

7

S e s s i o n s , R o g e r . "Music in c r i s i s : s o m e n o t e s on r e c e n t m u s i c history," Modern m u s i c 10:63-78 ( J a n / F e b 1933). D i s c u s s i o n of the a e s t h e t i c s of the t w e l v e - t o n e s y s t e m , p. 70-73. Also a p p e a r s in no. 295 ( A r m i t a g e , ed., p. 9-39).

8

L i s s a , Z o f j a . " G e s c h i c h t l i c h e V o r f o r m d e r Zwölftontechnik," Acta m u s i c o l o g i c a 7:15-21 ( J a n / M a r 1935). S c r i a b i n e ' s m u s i c a s a f o r e r u n n e r of 12-tone p r i n c i p l e s .

[1 ]

2 9

T w e l v e - T o n e Music

Gray, Cecil. " A t o n a l i s m " in his P r e d i c a m e n t s : o r m u s i c and t h e f u t u r e . London, Oxford University P r e s s , 1936, p. 168-195. G e n e r a l e s s a y d i s c u s s i n g Schoenberg, B e r g , and Webern.

10

Krenek, E r n s t . Über neue Musik: s e c h s V e r l e s u n g e n z u r E i n f ü h r u n g in die t h e o r e t i s c h e n Grundlagen. Wien, Ringbuchhandlung, 1937. 108 p. Mus. Six l e c t u r e s given by Krenek in Vienna in 1936. P a r t i a l contents: "Zwölftontechnik," p. 51-70; "Musik und Mathematik," p. 71-89 ( d i s c u s s e s v a r i o u s t y p e s of r o w s , including a l l - i n t e r v a l r o w s ) . I m p o r t a n t and lengthy r e v i e w by R o g e r S e s s i o n s in Modern Music 15:123-128 ( J a n / F e b 1938).

11

Krenek, E r n s t . Music h e r e and now. T r . by Barthold F l e e s . New York, Norton [cl939]. 306 p. An English t r a n s l a t i o n of no. 10, with added m a t e r i a l . T r i e s to show that atonality and the t w e l v e - t o n e technique w e r e inevitable d e v e l o p m e n t s of W e s t e r n m u s i c , and a r e the only " m u s i c of t h e future."

12

Sackville-We8t, E d w a r d . "Atonalism: second thoughts," New s t a t e s man and nation [ s e r . 2] 23:192 (Mar 21, 1942). A r e - e v a l u a t i o n of the i m p o r t a n c e of atonality and the t w e l v e - t o n e technique.

See no. 317

( T a y l o r , Noel H. "Arnold Schoenberg," autumn 1944).

See no. 137

( E s c h m a n , K a r l . Changing f o r m s in m o d e r n m u s i c ,

1945).

13

Adorno, Theodor Wiesegrund. Philosophie d e r neuen Musik. T ü b i n gen, J . C. B. Mohr, 1949, vii + 144 p. "Schönberg und d e r F o r t s c h r i t t , " p. 19-88. Discusses expressionism, form, rhythm, harmony, instrumentation, counterpoint in r e l a t i o n to the t w e l v e - t o n e technique. C i t e s w o r k s of B e r g , Schoenberg, and Webern. No m u s i c a l e x a m p l e s . (See no. 342.)

14

Koechlin, C h a r l e s . "Quelques r é f l e x i o n s au s u j e t de la m u s i q u e atonale," Music today [Journal of the I. S . C . M.] 1:26-33 (1949). R é s u m e in English, p. 33-35. C o n t r a s t s atonality, which he finds a c c e p t a b l e , with the t w e l v e tone technique, which he c a l l s u n m u s i c a l and a c a d e m i c .

See no. 84 15

"Open f o r u m : v a r i a t i o n s on a t h e m e . M u s i c ' s f u t u r e : tonal o r a t o n a l ? " Music today [Journal of the I . S . C . M . ] 1:132-152 (1949). S t a t e m e n t s a n s w e r i n g "Why do you believe o r not b e l i e v e that atonal m u s i c will be the m u s i c of the f u t u r e ? " by Schoenberg, B e r g , Milhaud, Poulenc, Leibowitz, S e a r l e , and o t h e r c o m p o s e r s .

See no. 325 See no. 86 16

(Leibowitz, René. Schoenberg and his school, 1949).

(Salazar, Adolfo. "Arnold Schoenberg p o s t - m o r t e m , "

1951).

(Stuckenschmidt, Hans Heinz. Neue Musik, 1951).

B u r n i e r , Lucien. "Réflexions s u r la dodécaphonie," Schw MZ 91:1417 (Jan 1951). Mus. On dodecaphony a s a m e a n s of composition r a t h e r than a s an intellectual e x e r c i s e .

Philosophy and C r i t i c i s m

3

17

Krenek. E r n s t . "Die Zwölftonmusik a l s Lehre," Melos 18:141-143 (May 1951). A d i s c u s s i o n of the l i t e r a t u r e on t w e l v e - t o n e t h e o r y , p a r t i c u l a r l y E i m e r t ' s L e h r b u c h d e r ZwOlftontechnik (see no. 142).

18

E i m e r t , H e r b e r t . "Ist Zwölftonmusik l e h r b a r ? " Melos 18:249-251 (Sept 1951). On the d i f f i c u l t i e s of teaching the twelve-tone technique.

19

K r ü g e r , Walther. "Zwölftonmusik und Gegenwart," Musica 5:503-505 (Dec 1951). The t w e l v e - t o n e technique a s a positive phenomenon. C o m m e n t s on E i m e r t ' s L e h r b u c h ( s e e no. 142).

20

Hall, R i c h a r d . " T w e l v e - t o n e m u s i c and tradition," H i n r i c h s e n ' s Musical yearbook 7:128-134 (1952). Mus. G e n e r a l c o n s i d e r a t i o n s of tonality and atonality. Dodecaphony a s a p r i m a r i l y contrapuntal technique.

21

S c h m i d t - G a r r e , Helmut. nicht Neubeginn," Melos Twelve-tone technique r a t h e r than a s a new

22

Vlad, Roman. " P o e t i c a e t e c n i c a d e l l a dodecafonia," R a s s m u s 22:23-31 (Jan 1952). Expanded v e r s i o n in h i s Modernità e t r a d i z i o n e ( s e e no. 35). On the scope of dodecaphony. C u r r e n t l i t e r a t u r e on twelve-tone theory discussed.

23

Chailley, J a c q u e s . "Malentendus s u r le mot ' a t o n a l i t é ' et quelques autres," Vie m u s i c a l e 2:8 (Feb 1952). Toward a definition of the t e r m s "atonality," "dodecaphony," and others.

"Zwölftonmusik—Ende e i n e r Entwicklung, 19:10-13 (Jan 1952). Mus. seen a s the end point of a development a p p r o a c h to m u s i c .

See no. 221 (KOhler, S i e g f r i e d . "Was ist Z w ö l f t o n m u s i k ? " Apr 1952). 24

Thomson, Virgil. "Reflections." Score, no. 6:11-14 (May 1952). Reworked f r o m s e v e r a l a r t i c l e s in his The a r t of judging m u s i c . New York, Knopf. 1948. G e n e r a l evaluation of the twelve-tone s y s t e m ; i t s contrapuntal n a t u r e and its a t t r a c t i v e n e s s f o r c o m p o s e r s .

25

II diapason: r i v i s t a di m u s i c a c o n t e m p o r a n e a , v. 3, no. 7 / 8 (July/Aug 1952), 38 p. [Twelve-tone i s s u e . ] "Questo n u m e r o è dedicato a l l e implicazioni ideali e filosofiche della poetica dodecafonica." P a r t i a l contents: R e s u m e s in F r e n c h and English, p. 5-8; Mila, M a s s i m o , " L a dodecafonia e la sua offensiva," p. 9-15; Rondi, Brunello, " L a dodecafonia e il m e s s a g g i o d e l l ' o r d i n e nello s p i r i t o contemporaneo," p. 16-18; K a e f e r , J o h a n n e s , " E s s e n z a della dodecafonia," p. 19-21; Vlad, Roman, " E l e m e n t i m e t a f i s i c i nella p o e t i c a dodecafonia," p. 22-26 ( r e p r i n t e d in h i s Storia della dodecafonia; s e e no. 116); Magnani, Luigi, "SchOnberg e il simbolismo," p. 27-32.

26

Engelmann, Hans Ulrich. "Dodekaphonie und Musikgeschichte," Melos 19:273-276 (Oct 1952). Twelve-tone technique and the philosophy of m u s i c h i s t o r y .

4 See no. 339 (Adorno, Theodor Wiesengrund.

T w e l v e - T o n e Music

"Arnold Schönberg,"

1953).

27

P f r o g n e r , H e r m a n n . Oie Zwölfordnung d e r Töne. Z ü r i c h , Amalthea [1953], 280 p. Development of the twelve-tone technique not a r e s u l t of growing c h r o m a t i c i s m , but of individual psychological concepts, such as S c h o e n b e r g ' s idea of the unity of m u s i c a l space, d e r i v e d f r o m Swedenborg and B a l z a c .

28

[Keller, Hans]. " F i r s t p e r f o r m a n c e s and t h e i r reviews," Mus r e v 14: 55-59 (Feb 1953). Mus. On the audibility of the twelve-tone technique. A d i a t r i b e against George P e r l e , E r i c Blom, and o t h e r s . Musical e x a m p l e s f r o m S c h o e n b e r g ' s op. 33A and S e a r l e ' s Shadow of Cain.

29

Goléa, Antoine. Esthétique de l a musique c o n t e m p o r a i n e . P a r i s , P r e s s e s u n i v e r s i t a i r e s de F r a n c e , 1954, xix + ' 2 0 5 p. "Ce l i v r e n ' e s t p a s une h i s t o i r e de la m u s i q u e , m a i s une c o n s i d é r a t i o n esthétique d e s principaux c o u r a n t s de la m u s i q u e contemporaine." P a r t i a l contents: "Le dodécaphonisme," p. 48-71; Alban B e r g , p. 52-56, 66-71; P i e r r e Boulez, p. 176-189, 193; John Cage, p. 183184; Luigi Dallapiccola, p. 143-147; René Leibowitz, p. 179-180; Bruno Maderna, p. 187; Luigi Nono, p. 186-189; Arnold Schoenberg, p. 48-52, 56-63; Humphrey S e a r l e , p. 186; Karlheinz Stockhausen, p. 195; Anton Webern, p. 63-66.

30

L a musique et s e s p r o b l è m e s c o n t e m p o r a i n s . P a r i s , J u l l i a r d , 1954, 127 p. ( C a h i e r s de la Compagnie Madeleine R e n a u d - J e a n Louis B a r r a u l t . Année 2, Cah. 3.) Illus., m u s . Contents: B a r r a u l t , J e a n Louis, " P i e r r e Boulez," p. 3-6; Boulez, P i e r r e , ". . . A u p r è s et au loin," p. 7-24; Fano, Michel, " P o u v o i r s t r a n s m i s , " p. 38-51; Philippot, Michel, "Musique et acoustique, ou à p r o p o s de l ' a r t de c o m b i n e r l e s sons," p. 52-65; Martenot, Maurice, " L u t h e r i e électronique," p. 69-75; P o u s s e u r , Henri, "Domaines k venir," p. 76-80; Stockhausen, Karlheinz, "Une exp é r i e n c e é l e c t r o n i q u e [his Composition 1953, no. 2]," p. 82-93; Goléa, Antoine, "Deux p o r t r a i t s : Luigi Nono-Karlheinz Stockhausen," p. 112-114.

31

B u r k h a r d , Willy. " V e r s u c h e i n e r k r i t i s c h e n A u s e i n a n d e r s e t z u n g mit d e r Zwölftontechnik," Schw MZ 94:85-93 (Mar 1954). Mus. Audibility of i n v e r s i o n , augmentation, and o t h e r contrapuntal d e v i c e s in t w e l v e - t o n e m u s i c . E x a m p l e s f r o m K r e n e k ' s Invention for flute and c l a r i n e t .

32

T u r c h i , Guido. " C r i t i c a , e s e g e s i e dodecafonia," Riv m u s ital 56:173180 ( A p r / J u n 1954). On the multiplicity and n a t u r e of c r i t i c a l writings on twelve-tone m u s i c . C o n t e m p o r a r y c u l t u r e and m u s i c a l c r i t i c i s m .

33

Krenek, E r n s t . "Ein Brief z u r Zwölftontechnik," Schw MZ 94:173-174 (May 1954). Mus. A r e p l y to B u r k h a r d ' s a r t i c l e (see no. 31).

See no. 97 (Pannain, Guido.

"Origine e significato," Sept 1954).

Philosophy and C r i t i c i s m

5

34

P i z z e t t i , Ildebrando. " I n t e r n a t i o n a l e Musik?" Z f M 115:513-515 (Sept 1954). On whether the t w e l v e - t o n e technique i s an i n t e r n a t i o n a l s t y l e .

35

Vlad, Roman. Modernità e t r a d i z i o n e nella m u s i c a c o n t e m p o r a n e a . Milano, Einaudi, 1955. Mus. A collection of e s s a y s , mostly derived f r o m e a r l i e r a r t i c l e s . P a r t i a l contents: " L ' u l t i m o Schönberg," p. 158-173; "Note s u l l a dodecafonia," p. 174-184; " E l e m e n t i m e t a f i s i c i nella p o e t i c a schönberghiana," p. 185-196; "Dallapiccola," p. 197-211; "'Il P r i g i o n i e r o 1 [di Dallapiccola]," p. 212-216.

36

Adorno, Theodor Wiesengrund. "Das Altern d e r neuen Musik," D e r Monat 7:150-158 (May 1955). Italian t r a n s l a t i o n , by Giacomo Manzoni: "Invecchiamento della m u s i c a nuova," R a s s m u s 27:1-22 (Mar 1957). Musical r a d i c a l i s m f o r its own sake no longer meaningful.

37

Adorno, Theodor Wiesengrund. " Z u m V e r s t ä n d n i s Schönbergs," F r a n k f u r t e r Hefte 10:418-429 (Jun 1955). S c h o e n b e r g ' s development of the t w e l v e - t o n e technique; i t s philosophical i m p l i c a t i o n s and i t s i m p o r t a n c e .

38

Boulez, P i e r r e . " E i n s i c h t e n und Aussichten," Melos 22:161-164 (Jun 1955), t r . f r o m t h e F r e n c h by Hilde Strobel. Mus. A d i s c u s s i o n of the e s t h e t i c s of the " p o i n t i l l i s t " school.

39

Xénakis, Yannis. "La c r i s e de la musique s é r i e l l e , " G r a v e s a n e r B l a t t e r , Heft 1:2-4 (Jul 1955). S u m m a r i e s a r e in G e r m a n and English. Philosophy of "totally c o n t r o l l e d " s e r i a l m u s i c .

40

K e l l e r , Hans. "The audibility of s e r i a l technique," Mo m u s r e e 85:231-234 (Nov 1955). S e r i a l m u s i c m u s t be l i s t e n e d to with a "contrapuntal ear."

41

K e l l e r , Hans. "Dodecaphoneys," Mus r e v 16:323-329 (Nov 1955). Mus. S a t i r i c a l a r t i c l e on " T w e l v e - t o n e s m a n s h i p " among t h e p o s t - W e b e r n ites ( s e e no. 44).

42

Myhill, John. "Musical t h e o r y and m u s i c p r a c t i c e , " J o u r n a l of a e s t h e t i c s and a r t c r i t i c i s m 14:191-200 (Dec 1955). Atonality, p. 191-194. T w e l v e - t o n e t h e o r y does not c o r r e s p o n d with t w e l v e - t o n e p r a c t i c e : c i t e s a s an e x a m p l e K r e n e k ' s Studies in counterpoint (see no. 209).

43

Rochberg, George. " T r a d i t i o n and 12-tone music," Mandala [ P h i l a delphia] 1:49-70 ([Dec 1955?]). Brief bibliography, p. 70. The r e l a t i o n s h i p of m u s i c a l f o r m to the twelve-tone technique; the n a t u r e of t w e l v e - t o n e m a t e r i a l ; h e x a c h o r d a l row techniques of Schoenberg and Webern.

44

Mason, Colin. "Dodecaphoneys: a reply," Mus r e v 17:90-94 (Feb 1956). A r e p l y to Hans Keller (see no. 41).

45

Milner, Anthony. "The vocal e l e m e n t in melody." MT 97:128-131 (Mar 1956). Mus. The "unvocal" c h a r a c t e r of melodic l i n e s in s o m e t w e l v e - t o n e m u s i c .

6

Twelve-tone Music

46

Kelterborn, Rudolf. "Stilistisch gegensätzliche Entwicklungen auf der Basis der Zwölftontechnik." Schw MZ 96:162-166 (Apr 1956). Mus. Rhythmic problems in "pointillist" music; total and relative atonality; electronic music as a consequence of totally controlled s e r i a l music.

47

Thilman, Johannes Paul. "Die Kompositionsweise mit zwölf Tönen," Musik und Gesellschaft [E. Berlin] 6:247-251 (Jul 1956) and 6:288-292 (Aug 1956). Mus. Development of the twelve-tone technique. "Rules" of composition, as codified f r o m Krenek and Jelinek; philosophical implications.

48

Sessions, Roger. "Song and pattern in music today," Score, no. 17:7384 (Sept 1956). Consequences of total control in music.

49

Milner. Anthony. "The lunatic fringe combed," MT 97:516-518 (Oct 1956). Do "extreme" composers think musically? Audibility of s e r i a l techniques and effects on the audience.

50

Krenek, Ernst. "Alle spalle dei giovani," Incontri musicali 1:51-54 (Dee 1956). On the aesthetics of "totally controlled" s e r i a l music. English translation in Electronic music (Die Reihe, 1 ). (See no. 275.)

See no. 166 (Eimert, Herbert. "Von der Entscheidungsfreiheit des komponisten" in Musikalisches Handwerk [Die Reihe, 3]). 51

Goldbeck, F r e d . "Séries et hérésies," Schw MZ 97:4-8 (Jan 1957). Mus. Discussion, in dialogue form, of the various styles of twelve-note music.

52

Rössler, Ernst Karl. "Zeitgenössische Kirchenmusik und christliche Gemeinde," Musik und Kirche 27:12-22 (Jan/Feb 1957). The religious music of Webern and Schoenberg is mentioned. Twelve-tone technique in church music. Appended is a brief r e view of Krenek's Lamentatio J e r e m i a e Prophetae.

53

Rostand, Claude. "Zwölfton-Manierismus," Melos 24:39-42 (Feb 1957), t r . f r o m the French by Helga Böhme. On the Post-Webern, experimentalist school.

54

Dansk Muslktidsskrift [K^benhavn], v. 32, no. 2 (May 1957). Mus., port. "Dette nummer . . . e r hovedsagelig helliget tolvtone- og elektronmusik." Contents: Thybo, Le if, "Menneske-Maskine," p. 29-30; Krenek, Ernst, "Lydteorier: Betragtninger over electron-musik, p. 31-33 (Chapter 9 of his book, De rebus prius factis); Maegaard, Jan, "Dodekafoni—et resumé," p. 34-37 (mus.); Pade, Else Marie, "Lydprofetier?" p. 38-41 (on electronic music; examples of s c o r e s by Messiaen and Stockhausen); Bentzon, Johan, "Musik e r m e r e end musik," p. 42-43; also reviews of some twelve-tone and electronic recordings and s c o r e s .

Philosophy and Criticism

7

55 Santi, Piero. "Conseguenze e inconseguenze delle ' e s t r e m e conseguenze,'" Ricordiana 3:342-345 (Jul 1957). On totally controlled s e r i a l music. See no. 170 (Adorno, Theodor Wiesengrund. "Kritieren" in Darmstädter Beiträge, 1958, p. 7-16). See no. 168 (Junge Komponisten, 1958; esp. a r t i c l e s by Metzger and Eimert). 56

Melichar, Alois. Musik in der Zwangsjacke: die deutsche Musik zwischen Orff und SchOnberg. [Wien], Wancura [1958], 280 p. Mus. A lengthy attack on modern music, especially s e r i a l music; J . M. Hauer and Schoenberg a r e discussed at some length. The lack of a table of contents and an index makes this book difficult to use. For a commentary upon and extension of Melichar's viewpoint, see Korn, P e t e r Jena. Apropos Zwangsjacke: eine Analyse der Angriffstaktik gegen Alois Melichar. Wien, Wancura, 1959. 33 p.

57 Stadien, P e t e r . "Serialism reconsidered," Score, no. 22:12-27 (Feb 1958). Mus. German translation: "Kritik am Seriellen," Musica 13:89-98 (Feb 1959). On the question of the audibility of s e r i a l technique. Basic fallacies of twelve-tone p r e m i s e s , such as the equivalence of octave transpositions. P e r f o r m a n c e problems of Webern 1 s Piano v a r i a tions, op. 27. [See nos. 59 (Gerhard), 61 (Sessions), 66 (Stadien), and 69 (Perle).] 58 Castiglione, Niccolò. "Il valore del silenzio e della durata nel linguaggio musicale contemporaneo," Aut aut [Milano], no. 46:196-202 (Jul 1958). The function of silence and durations in s e r i a l music. 59 Gerhard, Roberto. "Apropos Mr. Stadien," Score, no. 23:50-57 (Jul 1958). Mus. An answer to Stadlen's attacks on s e r i a l i s m ; some discussion of Webern's Piano variations. [See nos. 57 (Stadien), 61 (Sessions), 66 (Stadien), and 69 (Perle).] 60 Piston, Walter. "More views on serialism," Score, no. 23:46-49 (July 1958). Problems, e.g., that of harmonic rhythm, arising f r o m the d i s placement of tonal means of organization by s e r i a l means. 61 Sessions, Roger. "To the editor," Score, no. 23:58-64 (July 1958). A reply to P e t e r Stadlen's article (no. 57). [See also nos. 59 (Gerhard), 66 (Stadien), and 69 (Perle).] 62 Smith, Robert. "Nichtsmusik," Mus rev 19:222-225 (Aug 1958). A s a t i r e on pointillism. 63 Porena, Boris. "L'avanguardia musicale di Darmstadt," Rass mus 28:208-214 (Sept 1958). Discusses particularly the works and aesthetics of Cage, Stockhausen, and Nono.

8

Twelve-Tone Music

64

Walter, F r a n z . "A l'écoute des musiciens d'avant-garde," Schw MZ 98:342-345 (Sept 1958). General description of the aesthetics and techniques of the "experimental" group: Boulez, Stockhausen, Berio, etc.

65

Lang, Paul Henry. "Editorial," MQ 44:503-510 (Oct 1958). An evaluation of dodecaphony at mid-century.

66

Stadien, P e t e r . "No r e a l casualties?" Score, no. 24:65-68 (Nov 1958). A reply and self-justification. [See nos. 57 (Stadien), 59 (Gerhard), 61 (Sessions), and 69 (Perle).] Metzger, Heinz-Klaus. "Gescheiterte Begriffe in Theorie und Kritik der Musik" in Berichte/Analysen. Wien, Universal Edition [cl959], p. 41-49 (Die Reihe, 5). Terminology and (mis)conceptions in c r i t i c a l writings on new music.

67

See no. 775 (Scherchen, Hermann. "Stockhausen und die Zeit," 1959). 68

Middleton, Robert E. "Abt," Mus rev 20:52-55 (Feb 1959). Mus. A s a t i r e on totally controlled s e r i a l music.

69

P e r l e , George. "Theory and practice in twelve-tone music (Stadien reconsidered)," Score, no. 25:58-64 (Jun 1959). F u r t h e r comments on b a s i c problems of s e r i a l i s m . C o r r e c t s some e r r o r s in previous analyses of B e r g ' s Lulu and Lyric Suite, and of Schoenberg's P i e r r o t . [See nos. 57 (Stadien), 59 (Gerhard), 61 (Sessions), and 66 (Stadien).]

70

Ordini: studi sulla nuova musica [Roma], no. 1 (Jul 1959), 115 p. English translations by Robert W. Mann and William Weaver. Contents: Adorno, Theodor Wiesengrund, "Musica e tecnica oggi"/"Technique, Technology, and music today"; Macchi, Egisto, "Produzione e consumo della nuova m u s i c a " / " T h e composer, the listener, and the new music"; Gukccero, Domenico, "Problemi di s i n t a s s i m u s i c a l e " / " P r o b l e m s of musical syntax"; Titone, Antonio, "Ordine e quadridimensionalità"/"Order and quadridimensionality"; Evangelisti, Franco, "Verso una composizione e l e t t r o n i c a " / " T o wards electronic composition"; Masullo, Aldo, "La ' s t r u t t u r a ' nell'evoluzione dei linguaggi scientifici" (not translated); Letture, corrispondenze.

71

Eco, Umberto. " L ' o p e r a in movimento e la coscienza dell'epoca," Incontri musicali, no. 3:32-54 (Aug 1959). F r e e d o m of choice on the part of the i n t e r p r e t e r in such recent works a s Stockhausen 1 s Klavierstücke XI, B e r i o ' s Sequenza per flauto solo, and P o u s s e u r ' s Scambi. P r o b l e m s of such compositionally "open" works.

72

Ruwet, Nicolas. "Contraddizioni del linguaggio seriale," Incontri musicali, no. 3:55-69 (Aug 1959), t r . by Umberto Eco. Mus. Contradictions between theory and practice in post-Webern serial music (see no. 73).

73

Pousseur, Henri. " F o r m a e p r a t i c a musicale," Incontri musicali, no. 3:70-91 (Aug 1959), t r . by Umberto Eco. A reply to Nicolas Ruwet's article (see no. 72).

History

9

73a R o c h b e r g , George. " I n d e t e r m i n a c y in t h e new music," S c o r e , no. 26: 9 - 1 9 (Jan 1960). The p a r a d o x c r e a t e d by the s i m i l a r i t y b e t w e e n "totally c o n t r o l l e d " s e r i a l m u s i c and "chance" m u s i c . 73b Nono, Luigi. " G i t t e r s t a b e a m H i m m e l d e r F r e i h e i t , " Melos 27:69-75 (Mar 1950). P o r t . Originally given a s a s p e e c h at t h e 1959 D a r m s t a d t F e s t i v a l . D i s c u s s e s the a e s t h e t i c p r o b l e m s r a i s e d by " c h a n c e " e l e m e n t s in m u s i c . English t r a n s l a t i o n : " T h e h i s t o r i c a l r e a l i t y of m u s i c t o day," Score, no. 27:41-45 (Jul 1960).

HISTORY 74

D e r blaue R e i t e r . H r s g . [Wassily] Kandinsky [und] F r a n z M a r c . 2. Auflage. München, P i p e r , 1914. 140 p. I l l u s . , m u s . One of the chief e x p r e s s i o n i s t m a n i f e s t o s . P a r t i a l contents: Schoenberg, Arnold, " D a s V e r h ä l t n i s z u m Text," p. 27-32; H a r t m a n n , T h o m a s von, " Ü b e r A n a r c h i e in d e r Musik," p. 43-47; Kulbin, N., "Die f r e i e Musik," p. 69-73; Kandinsky, Wassily, "Über die F o r m f r a g e , " p. 74-102. The appendix c o n t a i n s a f a c s i m i l e of t h e e n t i r e H e r z g e w ä c h s e of Schoenberg; B e r g ' s song, op. 2, no. 4; and W e b e r n ' s song, " I h r t r a t e t zu d e m Herde."

75

Steinhard, E r i c h . " B e m e r k u n g e n z u m E x p r e s s i o n i s m u s , " Die Musik 15:49-50 (Oct 1922). Brief d e s c r i p t i o n of e x p r e s s i o n i s m in m u s i c .

See no. 128 ( E i m e r t , H e r b e r t . Atonale M u s i k l e h r e , 76

Schoenberg, Arnold. "Gesinnung o d e r E r k e n n t n i s ? " in 25 J a h r e neue Musik; J a h r b u c h 1926 d e r U n i v e r s a l - E d i t i o n . Wien, U n i v e r s a l Edition, 1926, p. 21-30. On tonality v s . atonality; s u m m a r y of h a r m o n i c d e v e l o p m e n t s , 1900-1925.

See no. 7 (Sessions, R o g e r . 77

1924).

"Music in c r i s i s , " J a n / F e b 1933).

Stuckenschmidt, Heins Heinz. "Das Z w ö l f t o n s y s t e m , " Die neue Rundschau 45:301-311 (Sept 1934). Changing concepts of h a r m o n y and tonality in D e b u s s y , R e g e r , S t r a u s s , Schoenberg, B e r g , Hauer, and K r e n e k .

78 *Wind, Hans E. Die E n d k r i s e d e r b ü r g e r l i c h e n Musik und die Rolle Arnold S c h ö n b e r g s . Wien, K r y s t a l l - V e r l a g [1935], 71 p. See no. 386 (Hill, R i c h a r d S. " S c h o e n b e r g ' s t o n e - r o w s and the tonal s y s t e m of the future," J a n 1936). 79

Magni Dufflocq, E n r i c o . La m u s i c a c o n t e m p o r a n e a . Milano, Societa e d i t r i c e l i b r a r i a , 1937. Mus., p o r t . Brief and p o p u l a r i z e d s u r v e y . P a r t i a l contents: " P o l i t o n a l i s m o e atonalismo," p. 48-56; "Arnold

10

Twelve-Tone Music

SchOnberg," p. 142-147; "Anton von Webern," p. 148-149; Krenek," p. 152-153; "Alban Berg," p. 156-157. 80

"Ernest

F l e i s c h e r , Herbert. La musica contemporanea. Milano, Hoepli, 1938. ["Tr. di A. Hermet in collaborazione con l'autore."! P a r t i a l contents: "SchOnberg," p. 111-134; "Dallapiccola," p. 218222; "Anton Webern e Alban Berg." p. 224-229; "Krenek," p. 230233. All a r e surveys, except the Schoenberg article, which is more detailed; these a r t i c l e s discuss expressionism and the twelvetone technique.

81 *Hijman, Julius. Nieuwe oostenrijkse musiek (SchOnberg, Berg, Webern). Amsterdam, Bigot en van Rossum [1938]. 129 p. Illus., mus. "Synchronologie: SchOnberg, Alban Berg, andere componisten," p. 130-133; "Discographie," p. 134; "Litteratur," p. 135-136. See no. 136 (Krenek, E r n s t . "New developments of the twelve-tone technique," Feb 1943). 82

Salazar, Adolfo. Music in our time: trends in music since the r o mantic e r a . T r . by Isabel Pope. New York, Norton [cl946]. Mus. P a r t i a l contents: "The road towards atonality," p. 200-210; "Expressionism," p. 211-220; "Expressionism in the theatre," p. 221230; "The twelve-tone technique: Berg, Webern, Krenek, Hauer," p. 231-247. Discussion of some works with musical examples.

83

Schlee, Alfred. "Vienna since the Anschluss," Mod mus 23:95-99 (Spring 1946). P r i m a r i l y on Hauer and Webern.

84

Leibowitz, René. Schoenberg et son école: l'étape contemporaine du language musical. P a r i s , Janin, 1947. . Schoenberg and his school: The contemporary stage of the language of music. T r . by Dika Newlin. New York, Philosophical L i b r a r y [cl949]. xxvi + 305 p. Mus. Contents: "Prolegomena to contemporary music," p. 1-39; "Arnold Schoenberg," p. 41-134; "Alban Berg," p. 135-186; "Anton Webern," p. 187-255; "The structure of contemporary musical speech," p. 256-290; Bibliography and discography, p. 298-305. The f i r s t important book on the history of the twelve-tone technique, this work s u f f e r s f r o m bias and inadequate analyses, but nevertheless is helpful if used with c a r e . Lengthy reviews: Luigi Magnani in Rass mus 18:29-37 (Jan 1948); Milton Babbitt in JAMS 3:57-60 (1950).

See no. 484 (Leibowitz, René. 1949. P r e m i e r e partie).

Introduction à la musique de douze sons,

See no. 142 (Eimert, Herbert.

Lehrbuch der ZwOlftontechnik, 1950).

85

Almeyda, Renato. "Atonalistas brasileños," Revista musicale Chilena 6:37-42 (Autumn 1950). Mus. History of twelve-tone music in Brazil.

History

11

86

Stuckenschmidt, Hans Heinz. Neue Musik. [Berlin], Suhrkamp Verlag, 1951, 479 p. Mus. (Zwischen den beiden Kriegen, v. 2.) A collection of essays, with an appendix of writings by various composers and c r i t i c s . Has an excellent index; extensive musical examples, p. 401-424; list of works of 21 20th-century composers, p. 425-434; bibliography, p. 435-437; discography, p. 438-460. P a r t i a l contents: "Der Radikalismus der Jüngeren," p. 13-38 (music in the f i r s t decades of the 20th century); "Das Jahrzehnt des Experiments," p. 64-92 (Stravinsky, Schoenberg, Der blaue Reiter, Webern, etc.); "Zwölf-töne-technik," p. 144-163 (broad theoretical and historical discussion).

87

Thomson, Virgil. "Atonality today," Etude 69:18-19, 64 (Nov 1951). Mus. [Reprinted f r o m his Music right and left. New York, Holt, 1951.J A general article, discussing the international situation in twelvetone composition after Schoenberg's death.

88

Mitchell, Donald. "The emancipation of the dissonance: a selected bibliography of the writings of composers, theorists, and critics," Hinrichsen's musical yearbook 7:141-152 (1952). Lists of twelve-tone composers and of some of their works, and a bibliography of writings on atonality and the twelve-tone technique. The bibliographical information v a r i e s widely in style and coverage; evidently compiled f r o m secondary sources. Contents: European composers, p. 142-143; British composers, p. 144; "Critics and t h e o r i s t s " (i.e., a bibliography of their writings), p. 144-152.

89

Reich, Willi. "Versuch einer Geschichte der Zwölftonmusik" in Alte und neue Musik: das Basler K a m m e r o r c h e s t e r . . . 1926-1951. Zürich, Atlantis [1952], p. 106-132. Bibliography, p. 131-132. History and theory: Hauer's twelve-tone technique and system of notation; Schoenberg, Berg, Webern, Krenek, and some younger composers.

90

Rostand, Claude. La musique f r a n ç a i s e contemporaine. [Paris], P r e s s e s Universitaires de France, 1952, 126 p. Mus. "Les dodécaphonistes," p. 105-120: discusses basic s e r i a l technique. P i e r r e Boulez, p. 115-116. . French music today. T r . by Henry Marx. New York, Merlin P r e s s [1957], 147 p. An abridged translation without musical examples. "The dodekaphonists" [sic], p. 127-141.

91

Meilers, Wilfred. "Recent trends in British music," MQ 38:198-199 (Apr 1952). Short article on British twelve-tone school.

See no. 123 (Seiber, Mâtyâs. "Composition with twelve notes," Jun 1952). 92 Ackere, Jules van. "Schönberg en de atonale school" in his Muziek van onze eeuw, 1900-1950: een inleiding tot de hedendaagse toonkunst. Antwerpen, De Sikkel, 1954, p. 163-194. Illus. A survey.

12

Twelve-Tone Music

See no. 29 (Goléa, Antoine. Esthétique de la musique contemporaine, 1954). 93

Herzfeld, F r i e d r i c h . Musica nova: die Tonwelt u n s e r e s J a h r h u n d e r t s . [Berlin], Ullstein [cl954], 334 p. Illus., m u s . "Angst . . . Angst . . . Angst" (chapter on the h i s t o r y of t h e twelvetone technique), p. 51-102: "Arnold SchOnbergs F r ü h w e r k e ; die Luft von anderen Planeten; Wendung z u r Atonalit&t; die Angst und d a s E s ; d a s Gesetz d e r Zwölftontechnik; v e r s c h i e d e n e Reihen; d e r s c h w e r e Weg zu Arnold SchOnberg; von der Macht der Zahl; Anton von Webern und Alban Berg."

94

Rognoni, Luigi. E s p r e s s i o n i s m o e dodecafonia: in appendice s c r i t t i di Arnold SchOnberg, Alban B e r g , Wassily Kandinsky. [Torino], Einaudi, 1954, 395 p. Mus., p o r t . Schoenberg and his school, and t h e i r relation to the e x p r e s s i o n i s t movement in a r t and m u s i c . Appendix 1: writings of Schoenberg, p. 231-274; of B e r g , p . 2 7 7 303; of Kandinsky, p. 307-311. Appendix 2, p a r t 1: bibliographies, l i s t s of works, d i s c o g r a p h i e s . Schoenberg, p. 315-335 (includes previously unpublished a r t i c l e s ) ; Berg, p. 336-344; Webern, p. 345-351. p a r t 2: g e n e r a l bibliographies. E x p r e s s i o n i s m , p. 355363; music, p. 367-384. Extensive review by M a s s i m o Mila in R a s s m u s 24:121-128 ( A p r / J u n 1954).

See no. 153 (Searle, Humphrey. "Twelve note m u s i c " in G r o v e ' s Dictionary of music and musicians, 1954). 95

Wfirner, Karl H. Neue Musik in d e r Entscheidung. Mainz, Schott [1954], 347 p. Mus., p o r t . P a r t i a l contents: Bibliography, p. 311-329; "Reihenprinzip," p. 220232 (twelve-tone theory); Alban Berg, p. 90-93; P i e r r e Boulez, p. 147; John Cage, p. 181; Luigi Dallapiccola, p. 153-154; Wolfgang F o r t n e r , p. 101-104; Josef Hauer, p. 99; Hanns Jelinek, p. 101; E r n s t Krenek, p. 99-100; René Leibowitz, p. 147; Luigi Nono, p. 155; Henri P o u s s e u r , p. 147; Arnold Schoenberg, p. 56-67; K a r l heinz Stockhausen, p. 107-108; Anton Webern, p. 94-98.

96

Wörner, K a r l H. [and others], " E x p r e s s i o n i s m u s " in Die Musik in Geschichte und Gegenwart. K a s s e l , B f t r e n r e i t e r , 1954, v. 3, col. 1655-1675. Mus. A history of m u s i c a l e x p r e s s i o n i s m . Bibliography, col. 1762-1763.

97

Pannain, Guido. "Origine e significato della m u s i c a dodecafonica," Nuova antologia [Roma] 462:79-86 (Sept 1954). A brief history of the development of the c l a s s i c a l twelve-tone technique.

98

Myers, Rollo H. "Music in F r a n c e in the p o s t - w a r decade," RMA P r o c 81:93-106 (1954/55). The twelve-tone group, p. 97-100; electronic music, p. 102-104.

99

Neighbor, Oliver. "The evolution of twelve-note music," RMA P r o c 81:49-61 (1954/55). Concise and c l e a r l y written p r e s e n t a t i o n of the h i s t o r y of the

History

13

twelve-tone technique: early dodecaphonic procedures in Hauer and Schoenberg; q u a s i - s e r i a l treatment in Bartók, Debussy, Stravinsky, and Scriabine; mention of the Russian twelve-tone composer. Lev Golyshev. 99a Chase, Gilbert. "Twelve-tone composers" in his A m e r i c a ' s f r o m the P i l g r i m s to the present. New York, McGraw-Hill p. 597-616. Brief discussion of Schoenberg's and Krenek's American and of the compositions of Stefan Wolpe, Adolph Weiss, ford Riegger, Kurt Liszt, George P e r l e , Milton Babbitt, Weber, and other American s e r i a l c o m p o s e r s .

music, [c 1955], works, WallingBen

100

Collaer, Paul. La musique moderne, 1905-1955. P a r i s , Elsevier, 1955, iv + 304 p. Mus., port. "134 exemples musicaux sous plaquette séparée." P a r t i a l contents: "Arnold Schoenberg, Anton Webern, Alban Berg, e x p r e s s i o n i s m e , atonalité, dodécaphonisme," p. 35-77; John Cage, p. 287; Luigi Dallapiccola, p. 272-274; E r n s t Krenek, p. 238; Bruno Maderna, p. 277; Karlheinz Stockhausen, p. 289.

101

Wiedman, Robert William. Expressionism in music; an i n t e r p r e t a tion and analysis of the expressionistic style in modern music. [Ann Arbor, Mich., University Microfilms], 1955, 487 p. (University m i c r o f i l m s , no. 12,248.) (Thesis, P h . D . , education. New York University.) Not seen; a b s t r a c t in Dissertation Abstracts 15:1189-1190 (Jul 1955).

102

C a r s a l a d e du Pont, Henri de. "La musique dodécaphoniste," Etudes [ P a r i s ] , no. 287:363-365 (Dec 1955). A history of the development of the twelve-tone school and of its most important c o m p o s e r s .

103

Gottschalk, Nathan. Twelve note music as developed by Arnold Schoenberg, with an analysis of two representative works for violin. 68 1. Mus. (Thesis, D. M. A., Boston University, 1956.) P a r t i a l contents: "The dissolution of the modal and tonal s y s tems," p. 7-13; "The twelve note music of Schoenberg," p. 14-25; "Analysis of T r i p a r t i t a of Richard Hoffmann," p. 26-32; "Analysis of Phantasy for violin with piano accompaniment, op. 47, by Arnold Schoenberg," p. 33-40; " P e r f o r m a n c e of contemporary music," p. 41-42; appendices (tone-row analyses); bibliography, p. 67-68. The h i s t o r i c a l r é s u m é s e e m s to be patterned largely a f t e r Leibowitz (see no. 84); the analyses are p r i m a r i l y row and thematic analyses. Useful but somewhat superficial.

104

Smith Brindle, Reginald. "The origins of Italian dodecaphony," MT 97:75-76 (Feb 1956). A brief history of the adoption of the twelve-tone technique in Italy.

105

Hartog, Howard, ed. European music in the twentieth century. London, Routledge and Kegan Paul [1957], viii + 341 p. P a r t i a l contents: Goehr, Walter, and Goehr, Alexander, "Arnold

14

Twelve-Tone Music

Schoenberg's development towards the twelve-note system," p. 7693; Hamilton, Iain, "Alban Berg and Anton Webern," p. 94-117; White, Eric Walter, "Stravinsky" (twelve-tone works), p. 54 et passim; Milner, Anthony, "English contemporary music" (Roberto Gerhard, p. 146; Mityàs Seiber, p. 146; Humphrey Searle, p. 146147); Smith Brindle, Reginald, "Italian contemporary music" (Luigi Dallapiccola, p. 176-181; Bruno Maderna, p. 184, 185-186; Luigi Nono, p. 184, 186-187); Hartog, Howard, "German contemporary music" (Wolfgang F o r t n e r , p. 197); Drew, David, "Modern French music" ( P i e r r e Boulez, p. 292-294). See no. 496 (Redlich, Hans Ferdinand. "The second Viennese school," in his Alban Berg, 1957, p. 13-18). 106

Pestalozza, Luigi. "I compositori milanesi del dopoguerra," R a s s mus 27:27-43 (Mar 1957). The younger Milanese composers, including Luciano Berio and Bruno Maderna. Short biographical sketches, p. 41-43.

107

Stuckenschmidt, Hans Heinz. "German musical life: patterns of conservatism and experiment," Atlantic monthly 199:167-171 (Mar 1957). The German twelve-tone school, p. 170-171. A very general article.

108

Searle, Humphrey. "A new kind of music," Twentieth century [London] 161:480-483 (May 1957). The post-Webern composers; a brief summary.

See no. 614 (Hodier, Andre. "The young French muBic," May 25, 1957). 109

Rostand, Claude. "L'Italie musicale actuelle," Table ronde, no. 117:79 (Sept 1957). A very brief survey of Italian contemporary music, especially the s e r i a l composers: Dallapiccola, Peragallo, Maderna, Vlad, Nono, Berio, P r o s p e r i , and others.

110

Schatz, Hilmar. "Theoretiker des Zufalls: junge Komponisten dozieren bei den Darmst&dter Ferienkursen," Melos 24:298-300 (Oct 1957). Port, [of Luigi Nono]. One of the better of the many articles written about the D a r m stadt Summer School; clearly s u m m a r i z e s the general activities t h e r e and the trend of the post-Webern composers who p a r t i c i pate.

111

Gradenwitz, P e t e r . "Reihenkomposition im Orient" in Bericht Qber den Internationalen Musikwissenschaftlichen Kongress, Wien; Mozartjahr 1956. Hrsg. von Erich Schenk. Graz, Hermann Böhlaus, 1958, p. 238-241. A brief r é s u m é of twelve-tone activities in the Middle and F a r East, especially in I s r a e l and Japan.

See no. 786 (Kirchmeyer, Helmut. Igor Strawinsky, 1958). 112

P r i e b e r g , Fred K. Lexikon d e r neuen Musik. F r e i b e r g , Karl Alber, 1958, x + 495 p. Illus., mus. Entries related to s e r i a l music include: Hans E r i c h Apostel,

HiBtory

15

p. 10-11; Atonalität, p. 13-16; Henk Badings, p. 21-22; Alban Berg, p. 36-41; Luciano Berio, p. 42; P i e r r e Boulez, p. 53-55; John Cage, p. 67-68; Luigi Dallapiccola, p. 87-90; Hanna E i s l e r , p. 110-112; Elektronische Musik, p. 116-121; Hans Ulrich Engelmann, p. 122; Wolfgang F o r t n e r , p. 139-142; Jef Golyschew [Lev Golyshev], p. 167; Josef Matthias Hauer, p. 185; Hans Werner Henze, p. 187189; Hanns Jelinek, p. 221-222; Giselher Klebe, p. 228-229; E r n s t Krenek, p. 234-238; René Leibowitz, p. 254-255; Elizabeth Lutyens, p. 262-263; Bruno Maderna, p. 263; Jan Maegaard, p. 263; Riccardo Malipiero, p. 268; Riccardo Nielsen, p. 318; Luigi Nono, p. 318320; Mario Peragallo, p. 331-332; Henri Pousseur, p. 344-345; Wallingford Riegger, p. 365-366; Giacento Scelsi, p. 376; Arnold Schoenberg, p. 381-392; Humphrey Searle, p. 398-399; Màtyis Selber, p. 399-401; Igor Strawinsky, p. 405-416; Camillo Togni, p. 429; Roman Vlad, p. 440; Anton Webern, p. 446-449; Zwölftonmusik, p. 458-462. 113

Searle, Humphrey. "Atonal and s e r i a l music" in Simpson, Robert Wilfred, ed. Guide to modern music on r e c o r d s (1958). [London], Anthony Blond [cl958], p. 151-172. A general discussion of twelve-tone composers and of the r e cordings to date of twelve-tone and electronic music. LiBt of r e c o r d s , p. 170-172.

114

Simbriger, Heinrich. "Die heutige Situation der Zwölftonmusik" in Bericht Ober den Internationalen Musikwissenschaftlichen Kongress, Wien; Mozartjahr 1956. Hrsg. von E r i c h Schenk. Graz, Hermann Böhlaus. 1958, p. 593-598. Post-Schoenbergian concepts of s e r i a l technique.

115

Stuckenschmidt, Hans Heinz. Schöpfer der neuen Musik: P o r t r a i t s und Studien. [Frankfort am Main], Suhrkamp Verlag, 1958. 301 p. Biographical and stylistic discussions. P a r t i a l contents: "Igor Strawinsky," p. 128-161; "Stil und Ästhetik Schönbergs," p. 162-179 (from Schw MZ, Mar 1958; s e e no. 306); "Alban Berg," p. 180-191; "Anton von Webern," p. 192-203; "Luigi Dallapiccola," p. 228-240; "Hans Werner Henze," p. 290-301.

116

Vlad, Roman. Storia della dodecafonia. Milano, Suvini Zerboni [1958]. 395 p. Mus. The most comprehensive history of the twelve-tone technique published to date; broad but r a t h e r superficial. Contents: "Acquisizione dello spazio dei dodici suoni," p. 13-21; " P r e m e s s e dei nuovi principi strutturali," p. 23-32; "Applicazioni parziali del metodo dodecafonico," p. 45-58; " P r i m e musiche dodecafoniche p e r orchestra," p. 59-70; " P r i m e opere t e a t r a l i dodecafoniche," p. 71-84; "Aspetti metafisici della poetica dodecafonica," p. 85-94; "Ricupero di elementi tradizionali nell'ultimo p e r i odo creativo di Schönberg," p. 95-114; "Berg e la libera a r t i c o lazione della dodecafonia," p. 115-124; "I traguardi del r a d i c a l i s mo di Webern," p. 125-130; "Diffusione della dodecafonia," p. 131160; "Strawinsky e la dodecafonia," p. 161-174; "Influsso della dodecafonia su compositori che non ne adottano integralmente il metodo," p. 175-192; "La dodecafonia in Italia," p. 193-254; "La

16

T w e l v e - T o n e Music

s e r i a l i t à i n t e g r a l e e l a m u s i c a elettronica," p. 255-274; "Luigi Dallapiccola," p. 275-314; " L e o p e r e p o s t u m e di Schönberg," p. 315-328; "'Agon* di Strawinsky," p. 329-338. See no. 393 (Wellesz, Egon. The o r i g i n s of S c h ö n b e r g ' s t w e l v e - t o n e s y s t e m ; 1958). 117

Henderson, R o b e r t L . "Schönberg and ' e x p r e s s i o n i s m , ' " Mus r e v 19:125-129 (May 1958). D i s c u s s i o n of the l i t e r a t u r e on Schoenberg and the V i e n n e s e school; t h e s i s i s that most w r i t i n g s i g n o r e the s o c i a l and c u l t u r a l background of Vienna at the t u r n of the c e n t u r y .

118

Stuckenschmidt, Hans Heinz. "Sitten und Gebräuche d e r Neutöner," D e r Monat 11:51-57 (Dec 1958). A h i s t o r y of the I. S. C . M . and a d i s c u s s i o n of the younger gene r a t i o n of c o m p o s e r s .

See no. 306a (Adorno, Theodor Wiesengrund. " Z u r V o r g e s c h i c h t e d e r Reihenkomposition" m h i s Klangfiguren, 1959, p. 95-120). See no. 174 (Cage, John. " Z u r Geschichte d e r e x p e r i m e n t e l l e n Musik in d e r V e r e i n i g t e n Staaten" iji D a r m s t ä d t e r B e i t r ä g e , v. 2, 1959). See no. 174 (Wörner, K a r l H. "Neue Musik 1946-1958: V e r s u c h e i n e s h i s t o r i s c h e n U b e r b l i c k s " iii D a r m s t ä d t e r B e i t r ä g e , v. 2, 1959). 118a Zillig, Winfried. Variationen ü b e r neue Musik. [MUnchen], N y m p h e n b u r g e r Verlagshandlung [c 1959]. 283 p. Illus. P a r t i a l contents: "Die Antipoden: Arnold Schönberg und Igor Strawinsky," p. 11-12; "Strawinsky und d a s Z w ö l f t o n s y s t e m , " p. 50-59; "Schönberg und sein Weg von d e r Tonalität z u m Z w ö l f tonsystem," p. 61-107; "Alban B e r g und die Wiener Schule," p. 140-148; "Die E r n e u e r u n g d e r i t a l i e n i s c h e n Musik von M a l i p i e r o b i s Dallapiccola," p. 165-173; "Anton Webern, A u s s e n s e i t e r und Vorbild," p. 181-190; "Die Jungen: Stockhausen, Boulez, Nono, Berio," p. 190-199; "Krenek, d e r Sucher," p. 236-239; "Neue Musik in Deutschland: Pepping, G e n z m e r , F o r t n e r , Henze, Klebe," p. 254-263; " Z u s a m m e n f a s s u n g und Ausblick," p. 263-270; L i t e r a t u r v e r z e i c h n i s , p. 283. 118b P e r l e , George. "Atonality and the t w e l v e - n o t e s y s t e m in the United States," Score, no. 27:51-66 (Jul 1960). Mus. An h i s t o r i c a l s u r v e y .

ANALYSIS

AND

THEORY

COMPOSITIONAL TECHNIQUES Introductory A r t i c l e s 119

A d d r e s s e d to the L a y m a n

C o s t a r e l l i , Nicola. "Nota sulla dodecafonia," R a s s m u s 15:267-271 (Sept/Oct 1942). Mus. A s i m p l e a r t i c l e on the p r i n c i p l e s of the twelve-tone technique.

Theory—Compositional Techniques

17

120

C a r n e r , Mosco. "Technique of twelve-note music," The Listener 41:1040 (June 16, 1949). A general and brief description of the use of the row.

121

Symkins, L. O. "Arnold Schoenberg's new world of dodecaphonic music," Etude 68:12-14 (Sept 1950). Illus., mus. Includes a very brief description of the row treatment in Schoenb e r g ' s piano piece, op. 33a.

See no. 325 (Salazar, Adolfo. "Arnold Schoenberg post-mortem," 1951). 122

Rostand, Claude. "Dodécaphonisme," L a r o u s s e mensuel 12:712-713 (Sept 1951). Mus. A simple explanation.

123

Seiber, Mâtyâs. "Composing with twelve notes," Mus sur 4:472-489 (Jun 1952). Mus. ". . . script . . . originally prepared for a 30-minutes' broadcast." A clear and excellent a r t i c l e for the layman. Examples f r o m Schoenberg's 3rd and 4th Quartets, B e r g ' s Violin Concerto, Webern's Three songs, op. 23, and other works.

See no. 301 (Rostand, Claude. "Note sommaire sur le système dodécaphonique et la méthode s é r i e l l e " in Stuckenschmidt, Hans Heinz, Arnold Schoenberg, 1956, p. 139-143). 124

Fiebig, Kurt. "Was ist Zwölftonmusik?" Der Kirchenchor [Kassel] 16:66-69 (Sept/Oct 1956). Mus. Somewhat more penetrating than most introductory articles.

125

Cecchi, C é s a r . "Qué es la dodecafonia," Revista musical Chilena 11:8-15 (Apr/May 1957). Elementary article on the theory of dodec aphony. Technical and Specialized Works

126 »Hauer, Josef Matthias. Vom Wesen des Musikalischen: ein L e h r buch der atonalen Musik. Berlin, Schlesinger [cl923]. 6 1 p . Diagrs., mus. An enlarged edition of his Über die Klangfarben, 1919. 127

Hauer, Josef Matthias. "Atonale Musik," Die Musik 16:103-106 (Nov 1923). Elaborate system of comparison of tonal and atonal music. P e r mutations of the arrangement of the twelve tones.

128

Eimert, Herbert. Atonale Musiklehre. Leipzig, Breitkopf und Härtel, 1924, iv + 36 p. Mus., tables. P a r t 1: theory and practice; atonality and the twelve-tone technique (melody, harmony, f o r m , etc.). P a r t 2: historical and aesthetic discussions. One chapter f r o m this book was published as "Zum Kapitel: atonale Musik," Die Musik 16:899-904 (Sept 1924). A comment on this chapter, by Josef Matthias Hauer: "Offener Brief [an Herbert Eimert]," Die Musik 17:157 (Nov 1924).

18 129

Twelve-Tone Music

Hauer, J o s e f Matthias. Von Melos zur Pauke: eine Einführung in die Zwölftonmusik. Wien, Universal Edition [1925]. 21 p. (His Theoretische Schriften, Bd. 1.) Mus., tables. A little manual of twelve-tone technique, with brief discussions of harmony, melody, rhythm, etc. Tables of tropes.

130 »Hauer, J o s e f Matthias. Zwölftontechnik, die Lehre von den Tropen. Wien, New York, Universal Edition [1926]. xii + 23 p. (His Theoretische Schriften, Bd. 2.) Mus. 131

Mersmann, Hans. Die Tonsprache der neuen Musik. Mainz, Melosverlag/Schotts Söhne [c 1928], Mus. On theoretical problems of 20th-century music. Examples drawn from Schoenberg, Krenek, Berg, Webern.

See no. 6 (Reich, Willi. "Grenzgebiete der neuen Töne," Nov 1932). See no. 10 (Krenek, Ernst.

Über neue Musik, 1937).

See no. 295 (Weiss, Adolph. "The twelve-tone s e r i e s " in Armitage, Merle (ed.), Schoenberg, 1937, p. 75-77). 132

Nathan, Hans. "The Viennese Lied, 1910-37," Modern music 14:136142 (Mar/Apr 1937). Mus. Technique of song composition, from Mahler to Schoenberg, Berg, Webern, and Hauer. Melody, rhythm, accompaniment, relation of text and music.

133

Slonimsky, Nicolas. "The plurality of melodic and harmonic systems," PAMS 3:16-24 (1938). Mus. "Twelve-tone system," p. 17-24. Principle of nonrepetition of tones; division of the row into hexachords.

134

Perle, George. "Evolution of the tone row: the twelve-tone modal system," MUB rev 2:273-287 (Nov 1941). Mus., tables. The nonmotivic function of the row: its modal application.

135

Krenek, Ernst. "Cadential formations in twelve-tone music," BAMS, no. 6:5 (Aug 1942). An abstract only. The modality concept of the row; three cadential types.

136

Krenek, Ernst. "New developments of the twelve-tone technique," Mus rev 4:81-97 (Feb 1943). Mus. Secondary s e r i e s derivations; hexachords; modality.

137

Eschman, Karl. Changing forms in modern music. Boston, E. C. Schirmer [cl945]. xii + 180 p. Mus. The twelve-tone systems of Hauer and Schoenberg, p. 83-110. Discusses the changes that have occured in the 20th century in musical aesthetics and in the elements of music (phrase structure, harmony, variation technique, etc.).

138

Babbitt, Milton. The function of set structure in the twelve-tone system. [Unpublished MS. Princeton, N . J . ? 1946.] Not seen. Undoubtedly highly technical. (Reference taken from Perle, no. 196.)

Theory—Compositional Techniques 139 *Jachino, C a r l o . T e c n i c a dodecafonica, t r a t t a t o p r a t i c o . C u r c i [1948], 19 p. Mus. See no. 13 (Adorno, Theodor Wiesengrund. 1949). 140

19

Milano,

Philosophie d e r neuen Musik,

H e i s s , Hermann. E l e m e n t e d e r m u s i k a l i s c h e n Komposition (Tonbewegungslehre). Heidelberg, Hochstein [1949]. 207 p. Mus. Most of the m u s i c a l e x a m p l e s s e e m to be f r o m the a u t h o r ' s own compositions. P a r t i a l contents: " D e r Zwölftonsatz," p. 145-205: " A b s t r a k t e Darstellung," p. 145-153; "Die k o m p o s i t o r i s c h e Handhabung," p. 154-173; "Die Trope." p. 174-180; "Das Kontinuum (Formbildung)." p. 181-205.

See no. 484 (Leibowitz, René. Introduction k la musique de douze s o n s , 1949. P r e m i e r e p a r t i e ) . 141

L e s y s t è m e dodécaphonique. P a r i s , R i c h a r d - M a s s e [1949], 83 p. Mus. (Polyphonie, c a h i e r 4.) Contents: "Résolution du p r e m i e r C o n g r è s international pour l a musique dodécaphonique," p. 5-6; Schoenberg, Arnold, " L a c o m p o sition à douze sons," t r . by René Leibowitz, p. 7-31; Leibowitz, René, " A s p e c t s r é c e n t s de la technique de douze sons," p. 32-53; Saby, B e r n a r d , "Un a s p e c t des p r o b l è m e s de la thématique s é r i elle," p. 54-63; Krenek, E r n s t , "Technique de douze sons et c l a s s i cisme," p. 64-67; M a r t i n , F r a n k , "Schoenberg et nous," p. 68-71; Dallapiccola, Luigi, "A p r o p o s d'un t r a i t ' e x p r e s s i o n n i s t e ' de Mozart," p. 72-79; "Un m u s i c i e n d ' a u j o u r d ' h u i : ené Leibowitz," p. 80-83 ( p o r t r a i t and l i s t of works). Review by Milton Babbitt in JAMS 3:264-267 (Fall 1950); p r i m a r i l y a d i s c u s s i o n of S c h o e n b e r g ' s a r t i c l e , "La composition k douze sons" (see no. 143).

142

E i m e r t , H e r b e r t . L e h r b u c h d e r Zwölftontechnik. Wiesbaden, B r e i t kopf und H ä r t e l , 1950, 61 p. Mus., t a b l e s . *

2. v e r m . Aufl.

*

3. Aufl.

*

143

1952.

1954 [cl952].

64 p. 64 p.

. Manuale di t e c n i c a dodecafonica. P r e f a z i o n e e note di Luigi Rognoni. [ T r . di M a r i a n g e l a Dona.] Milano, C a r i s c h , 1954, 84 p. P a r t 1: T h e o r y of the t w e l v e - t o n e technique, including i n t e r v a l l i c i n v e r s i o n s ; tonal e l e m e n t s in twelve-tone m u s i c ; row s y s t e m s (e.g., a l l - i n t e r v a l r o w s ) ; s t a t i s t i c s . P a r t 2: F o r m in t w e l v e - t o n e m u s i c . P a r t 3: History of the t w e l v e - t o n e technique (see nos. 17, 19).

Schoenberg, Arnold. "Composition with twelve t o n e s " iji h i s Style and idea. New York, P h i l o s o p h i c a l L i b r a r y [cl950], p. 102-143. Mus. "Delivered a s a l e c t u r e at U. C . L . A . , March 26, 1941." S c h o e n b e r g ' s exposition of his development and u s e of the t w e l v e tone technique. Use of the four f o r m s of the row; manipulation of the b a s i c set in composition. F r e n c h t r a n s l a t i o n , a s " L a composition à douze sons," in no. 141.

20

T w e l v e - T o n e Music

I m p o r t a n t r e v i e w s : Dean, Winton, " S c h o e n b e r g ' s ideas," M 31:295-304 (Oct 1950); Babbitt, Milton ( s e e no. 141).

L

144

B r a i n a r d , P a u l . A study of the t w e l v e - t o n e technique. ( T h e s i s , M. A., U n i v e r s i t y of R o c h e s t e r , 1951.) 74 1., m u s . C o n t e n t s : Atonality and the development of the row; g e n e r a l c h a r a c t e r i s t i c s ; technique of the row; [ B e r g ' s ] L y r i c Suite; f u n c t i o n s of the tone row; bibliography.

145

Chailley, J a c q u e s . T r a i t é h i s t o r i q u e d ' a n a l y s e m u s i c a l e . P a r i s , A. Leduc [19511. v + 130 p. Mus. " L a m u s i q u e atonale," p. 77-87 (includes s e r i a l m u s i c ) . Definition of atonal and s e r i a l m u s i c ; e x a m p l e s of " c l a s s i c a l " s e r i a l t e c h n i q u e s f r o m Schoenberg and Webern.

See no. 86 (Stuckenschmidt, Hans Heinz. Neue Musik, 1951, p. 144-163).

" Z w ö l f - t ö n e - t e c h n i k " in h i s

See no. 89 (Reich, Willi. " V e r s u c h e i n e r Geschichte d e r Zwölftonmusik," 1952). 146

Boulez, P i e r r e . "Eventuellement," Rev m u s , no. 212:117-148 (Apr 1952). D i a g r s . , m u s . T e c h n i c a l a r t i c l e on s e r i a l o r g a n i z a t i o n of r h y t h m and o t h e r nonp i t c h e l e m e n t s . F u t u r e of "totally c o n t r o l l e d " s e r i a l m u s i c .

See no. 392 ( P e r l e , George.

" S c h ö n b e r g ' s late style," Nov 1952).

147 *Bentzon, Niels Viggo. Tolvtoneteknik. K^benliavn, W. Hansen, 82 p. I l l u s . Review in N o r d i s k Musikkultur 4:129-130 (Dec 1953).

1953.

148

[omitted]

149

M a l i p i e r o , R i c c a r d o . " L a dodecafonia c o m e tecnica," Riv m u s it al 55:277-300 ( J u l / S e p t 1953). Mus. Q u e s t i o n s d i s c u s s e d at the P r i m o C o n g r e s s o p e r la M u s i c a Dodecafonica, Milano, 1949. R a t h e r g e n e r a l a r t i c l e , dealing with tonality, atonality, and t h e c h a r a c t e r i s t i c s of dodecaphony.

150

Krenek, Ernst. 29:513-527 (Oct A discussion chords, row music.

"Is the t w e l v e - t o n e technique on the d e c l i n e ? " MQ 1953). Mus. of p o s t - S c h o e n b e r g i a n dodecaphony; the u s e of h e x a p e r m u t a t i o n and rotation; "totally o r g a n i z e d " s e r i a l

See no. 93 ( H e r z f e l d , F r i e d r i c h . 151

Musica nova, 1954).

R u f e r , J o s e f . Composition with twelve notes r e l a t e d only to one a n o t h e r . T r . by Humphrey S e a r l e . London, Rockliff [c 1954]. xiv + 218 p. Mus. (24 p. of m u s i c a l e x a m p l e s i n s e r t e d between p. 214215.) Appendix 1: " C o n t e m p o r a r y c o m p o s e r s on t h e i r e x p e r i e n c e s of c o m p o s i t i o n with twelve n o t e s " : B o r i s B l a c h e r , p. 177-178; Luigi D a l l a p i c c o l a , p. 178-181; Wolfgang F o r t n e r , p. 181-183; R o b e r t o G e r h a r d , p. 183-185; Hans W e r n e r Henze, p. 185; R i c h a r d Hoff-

Theory—Compositional T e c h n i q u e s

21

mann, p. 185-186; Hanns J e l i n e k , p. 186-188; E r n s t K r e n e k , p. 188191; Rolf L i e b e r m a n n , p. 191-193; Humphrey S e a r l e , p. 193-195; Matyas S e i b e r , p. 196-198; Rudolf W a g n e r - R e g e n y , p. 198-200; Winfried Z i l l i g , p. 200-201. Appendix 2: "Arnold Schoenberg: s k e t c h f o r a s e r i e s of l e c t u r e s [on composition]," p. 202-204; "Complete l i s t of A r n o l d Schoenb e r g ' s m u s i c a l and l i t e r a r y works," p. 205-214. A textbook of t w e l v e - t o n e composition, with S c h o e n b e r g a s a m o d e l . I m p o r t a n t r e v i e w by R i c h a r d S. Hill in Notes 12:223-225 (Mar 1955). 152

Schoenberg, Arnold. "Apollonian evaluation of a D i o n y s i a n epoch" in h i s S t r u c t u r a l functions of h a r m o n y . London, W i l l i a m s and N o r g a t e [1954], p. 192-196. B r i e f d e s c r i p t i o n of t h e method of composing with twelve t o n e s , and c r i t i c i s m of s o m e compositional p r o c e d u r e s in c o n t e m p o r a r y music.

153

S e a r l e , Humphrey. "Twelve-note m u s i c " in G r o v e ' s D i c t i o n a r y of m u s i c and m u s i c i a n s . 5th ed. London, Macmillan, 1954, v. 8:617623. Mus. Includes a s h o r t bibliography. Some e x a m p l e s of H a u e r ' s s y s t e m of notation.

See no. 95 (Wftrner, K a r l H. Neue Musik in d e r Entscheidung,

1954).

154

E r i c k s o n , R o b e r t . The s t r u c t u r e of m u s i c : a l i s t e n e r ' s guide; a study of m u s i c in t e r m s of melody and counterpoint. New York, Noonday P r e s s , 1955. xi + 208 p. Mus. Many e x a m p l e s drawn f r o m Schoenberg, B e r g , and W e b e r n .

155

Ogdon, Wilbur L e e . S e r i e s and s t r u c t u r e : an i n v e s t i g a t i o n into the p u r p o s e of the t w e l v e - n o t e row in s e l e c t e d w o r k s of S c h o e n b e r g , Webern, K r e n e k and Leibowitz. [Ann A r b o r , Mich., U n i v e r s i t y M i c r o f i l m s ] , 1955. 341 p., m u s . (University m i c r o f i l m s , no. 14,663.) ( T h e s i s , P h . D . , Indiana University.) P r i m a r i l y a row a n a l y s i s of S c h o e n b e r g ' s Op. 33a, Webern 1 s V a r i a t i o n s f o r piano, K r e n e k ' s Symphonic elegy, L e i b o w i t z ' s T h i r d Q u a r t e t , and other works by t h e s e c o m p o s e r s .

156

R o c h b e r g , G e o r g e . The hexachord and its r e l a t i o n to t h e t w e l v e tone r o w . B r y n Mawr, P a . , P r e s s e r [c 1955]. viii + 40 p. Mus., tables. A manual on s y m m e t r i c a l r o w construction: h e x a c h o r d s r e l a t e d by m i r r o r i n v e r s i o n ; i n t e r c h a n g e a b l e h e x a c h o r d s . I m p o r t a n t r e v i e w s by R i c h a r d S. Hill in Notes 12:223-225 (Mar 1955) and by George P e r l e in JAMS 10:55-59 (Spring 1957) [Discusses "combinatoriality"].

157

Babbitt, Milton. "Some a s p e c t s of t w e l v e - t o n e composition," S c o r e 12:53-61 (Jun 1955). Mus. Highly technical and i m p o r t a n t a r t i c l e , on h i s t h e o r y of c o m b i n a t o r i a l i t y and on m u s i c totally controlled by s e r i a l p r i n c i p l e s . D i s c u s s e s developments in the U. S.

158

K e l l e r , Hans. "Strict s e r i a l technique in c l a s s i c a l music," T e m p o [ s e r . 2], no. 37:12-24 (Autumn 1955). Mus.

22

Twelve-Tone Music

"The present essay . . . proposes to demonstrate that two great 18th-century composers [Beethoven and Mozart] did in fact [use] the method of composing with tone rows." 159

Ballif, Claude. Introduction à la métatonalité: vers une solution tonale et polymodale du problème atonal. Paris, Richard-Masse [c 1956], 116 p. Tables. (Polyphonie, cahier 11/12.) "Tonalité et atonalité," a comparison of tonal and atonal melody, counterpoint, harmony, and form, p. 69-76; "Tonal analysis" of Schoenberg's Piano piece, op. 19, no. 25, p. 111.

See no. 103 (Gottschalk, Nathan. Twelve-note music as developed by Arnold Schoenberg, 1956). 160

Perle, George. Serial composition and atonality. [Ann Arbor, Mich. University Microfilms], 1956 [cl959], 211 p. Mus. (Thesis, Ph.D., New York University, Graduate school of arts and sciences.) Contents: "Tonality, atonality, dodecaphony," p. 1-12; "'Free 1 atonality," p. 13-48; "Non-dodecaphonic serial composition," p. 4979; "Motivic functions of the set," p. 80-110; "Simultaneity," p. 111-160; "Structural functions of the set," p. 161-199; Index to basic definitions, p. 200; Bibliography, p. 201-211. Includes a discussion of the technical procedures employed in the nonserial and atonal and in the twelve-tone compositions of Schoenberg, Berg, and Webern, and a description of non-dodecaphonic serial procedures in some of the works of Debussy, Scriabine, Roslavetz, Bartôk, Stravinsky, and in Schoenberg's op. 23 and 24.

161

Smith Brindle, Reginald. "The lunatic fringe: III, computational composition," MT 97:354-356 (Jul 1956). Mus. Serial organization of rhythmic and other non-tone elements; examples from Dallapiccola, Donatoni, Togni, and Maderna.

See no. 47 (Thilman, Johannes Paul. "Die Kompositionsweise mit zwölf Tönen," Jul 1956; Aug 1956). Milhaud, Darius. "Konstruierte Musik," Gravesaner Blätter, Heft 5:14-15 (Aug 1956). Musical examples, p. 9-13. A brief description of Milhaud's experience with the technique of total control. 163

Gerhard, Roberto. "Developments in twelve-tone technique," Score, no. 17:61-72 (Sept 1956). Gerhard's use of the twelve-tone technique. Combinatoriality; derivation of rhythmic series from tone row.

164

Simbriger, Heinrich. "Die Situation der Zwölftonmusik," Musik und Kirche 26:209-223 (Sept/Oct 1956). Mus. An explanation of Hauer's and Schoenberg's twelve-tone principles; the twelve-tone technique in church music.

165

Dallin, Leon. Techniques of twentieth century composition. Dubuque, Iowa, W. C. Brown [cl957], xix + 223 p. Mus. "The twelve-tone technique," p. 180-194. A textbook which summarizes the techniques of contemporary

Theory—Compositional Techniques

23

composition. Examples in this chapter a r e taken f r o m Schoenberg and Krenek; Webern is relegated, along with the postWebern composers, to a chapter on "special effects." 166

Musikalisches Handwerk. Wien, Universal Edition [cl957], 88 p. Diagrs., mus. (Die Reihe: Information Ober serielle Musik, 3.) Musical craftmanship. Bryn Mawr, Pa., Theodore P r e s s e r [cl959], 88 p. Diagrs., mus. (Die Reihe: a periodical devoted to developments in contemporary music, 3.) Contents of American edition: Eimert, Herbert, "The c o m p o s e r ' s freedom of choice," t r . by Leo Black, p. 1-9; Stockhausen, Karlheinz, " . . . how time p a s s e s . . .," t r . by Cornelius Cardew, p. 10-40; Cage, John, "To describe the p r o c e s s of composition used in 'Music for piano 21-52,'" p. 41-43; Pousseur, Henri, "Outline of a method: introduction [p. 44-47], Quintet in memory of Webern [p. 48-55], Impromptu [p. 56-63], Variations I [p. 6481], Variations II [p. 82-88]," t r . by Leo Black.

See no. 496 (Redlich, Hans Ferdinand. "The problem of tonality" in his Alban Berg, 1957, p. 19-31). 166a Rufer, Josef. "Was ist Zwölftonmusik?" NZfM 118:11-13 (Jan 1957); 118:552-553 (Oct 1957); and 119:14-16 (Jan 1958). Mus. The f i r s t two articles deal with the technique in general; the third shows its treatment in Schoenberg's Fourth Quartet. See no. 110 (Schatz, Hilmar. "Theoretiker des Zufalls," Oct 1957). 167

Kelterborn, Rudolf. "Gegensätzliche Formprinzipien in der zeitgenössischen Musik," Schw MZ 97:472-474 (Dec 1957). Permutational principle in s e r i a l music.

168

Junge Komponisten. Wien, Universal Edition [cl958]. 133 p. Diagrs., mus., tables. (Die Reihe: Information Ober s e r i e l l e Musik, 4.) Contents: Lewinsky, Wolf-Eberhard von, "Junge Komponisten," p. 5-8; Unger, Udo, "Luigi Nono," p. 9-17; Koenig, Gottfried Michael, "Henri Pousseur," p. 18-31; Stephan, Rudolf, "Hans Werner Henze," p. 32-37; Ligeti, György, " P i e r r e Boulez," p. 3863; Metzger, Heinz-Klaus, "Intermezzo I: das Alten der Philosophie der neuen Musik," p. 64-80; [Eimert, Herbert], "Intermezzo II: Adorno und Kotschenreuther," p. 81-83; Koenig, Gottfried Michael, "Bo Nilsson," p. 85-88; Lewinsky, Wolf-Eberhard von, "Giselher Klebe," p. 89-97; Santi, Piero, "Luciano Berio," p. 98102; Schubert, Reinhold, "Bernd Alois Zimmermann," p. 103-112; Manzoni, Giacomo, "Bruno Maderna," p. 113-118; Schnebel, Diet e r , "Karlheinz Stockhausen," p. 119-133.

169

Reti, Rudolf Richard. Tonality, atonality, pantonality: a study of some trends in twentieth century music. London, Rockliff [cl958]. xii + 166 p. Mus. P a r t two, atonality: Schoenberg's s e a r c h for a new style, p. 3341; Composition with twelve tones, p. 42-48; Twelve-tone technique in evolution, p. 49-55.

170

Steinecke, Wolfgang, ed. Darmstädter Beiträge zur neuen Musik. [V. 1.] Mainz, Schott [cl958]. 100 p. Diagrs., mus., ports.

24

T w e l v e - T o n e Music

Contents: S c h o e n b e r g , Arnold [a b r i e f untitled a r t i c l e f r o m h i s unpublished w r i t i n g s ] , p. 5 - 6 ; Adorno, T h e o d o r Wiesengrund, " K r i t i e r e n , " p. 7-16; K r e n e k , E r n s t , " B e r i c h t Qber V e r s u c h e in total d e t e r m i n i e r t e r Musik," p. 17-21; F o r t n e r , Wolfgang, " K r a n i c h s t e i n e r Aspekte," p. 22-24; Nono, Luigi, "Die Entwicklung d e r Reihentechnik," t r . by Willi Reich, p. 25-37 (technical a r t i c l e , with a n a l y s e s of r o w t r e a t m e n t in t h e t h e m e of S c h o e n b e r g ' s V a r i a t i o n s f o r O r c h e s t r a , op. 31, in Webern 1 s V a r i a t i o n s f o r O r c h e s t r a , op. 30, and in Boulez 1 S t r u c t u r e s ; S t o c k h a u s e n ' s K o m position N r . 2 f ü r Sinustöne, and Z e i t m a s s e a r e a l s o d i s c u s s e d ; d e s c r i b e s and i l l u s t r a t e d the t e c h n i q u e of r o w p e r m u t a t i o n ) ; P o u s s e u r , H e n r i , " W e b e r n und die T h e o r i e , " p. 38-43; Boulez, P i e r r e , "Alea," t r . by H e i n z - K l a u s M e t z g e r , - p . 44-56 [Italian t r . in I n c o n t r i m u s i c a l i , no. 3:3-15 (Aug 1959); d i s c u s s e s function of c h a n c e in composition]; Stockhausen, K a r l h e i n z , " S p r a c h e und Musik," p. 57-81 (detailed d i s c u s s i o n of the v o c a l and s e r i a l t e c h n i q u e s in B o u l e z ' s L e m a r t e a u s a n s m a i t r e , Nono's II canto s o s p e s o , and S t o c k h a u s e n ' s G e s a n g d e r Jünglinge); Henze, Hans W e r n e r , "Wo s t e h e n wir Heute?" p. 82-83; Kolisch, Rudolf, "Über die K r i s e d e r S t r e i c h e r , " p. 84-90; S t u c k e n s c h m i d t , Hans Heinz, " E n t wicklung o d e r E x p e r i m e n t ? " p. 91-93; "Zwölf J a h r e K r a n i c h s t e i n , C h r o n i k 1946-1958," p. 94-100. 170a Stephan, Rudolf. Neue Musik: V e r s u c h e i n e r k r i t i s c h e n Einführung. Göttingen, Vandenhoeck &. R u p r e c h t [ c l 9 5 8 ] . 74 p. Mus. T h e c o m p o s i t i o n a l t e c h n i q u e s of Schoenberg, B e r g , Webern, and Stockhausen a r e d i s c u s s e d on p. 36-67. 171

P a y n e , E l s i e . " T h e t h e m e and v a r i a t i o n in m o d e r n music," Mus r e v 19:112-124 (May 1958). Mus. V a r i a t i o n t e c h n i q u e in s e r i a l m u s i c , p. 115-117; e x a m p l e s f r o m S c h o e n b e r g and W e b e r n .

172

K r e n e k , E r n s t . "Was i s t R e i h e n m u s i k ? " NZfM 119:278-281 (May 1958) and 119:428-430 (Aug 1958). T h e c o n c e p t s of s e r i a l i s m and the t w e l v e - t o n e technique; the s e r i a l i z a t i o n of n o n - p i t c h e l e m e n t s . An a n s w e r to questions r a i s e d by R u f e r ( s e e no. 166).

173

Kagel, M a u r i c i o . " T o n - C l u s t e r , A n s c h ä g e , U b e r g ä n g e " in B e r i c h t e / A n a l y s e n . Wien, U n i v e r s a l Edition [cl959], p. 23-37. D i a g r s . (Die Reihe: I n f o r m a t i o n ü b e r s e r i e l l e Musik, 5.) Tone c l u s t e r s and s i m i l a r p r o c e d u r e s a s c o m p o s i t i o n a l r e s o u r c e s u s e d in s e r i a l c o m p o s i t i o n .

174

Steinecke, Wolfgang, ed. D a r m s t ä d t e r B e i t r ä g e z u r neuen Musik, v. 2. Mainz, Schott [ c l 9 5 9 ] , 94 p. Contents: W ö r n e r , K a r l H., "Neue Musik 1946-1958: V e r s u c h e i n e s h i s t o r i s c h e n Überblicks," p. 7-14; P o u s s e u r , Henri, " T h e o r i e und P r a x i s in d e r n e u e s t e n Musik," p. 15-29; Stockhausen, K a r l heinz, "Musik i m Raum," p. 30-35 ( s e e no. 772); B e r i o , Luciano, "Musik und Dichtung: eine E r f a h r u n g , " p. 36-45 ( s e e no. 609); Cage, J o h n , " Z u r G e s c h i c h t e d e r e x p e r i m e n t e l l e n Musik in den V e r e i n i g t e n Staaten," p. 46-53; M e t z g e r , Heinz Klaus, "Hommage

Theory—Har mony

25

a Ed g a r d V a r e s e , " p. 54-66; Nono, Luigi, "Vorword zum Kranichs t e i n e r Kompositions-Studio 1958," p. 67-68; " K r a n i c h s t e i n e r Chronik, 1958," p. 69-74; "Neue Musik in D a r m s t a d t 1946-1958," p. 75-94. 175

C l a r k e , Henry Leland. " T h e a b u s e of the s e m i t o n e in twelve-tone music," MQ 45:295-301 (Jul 1959). Tonal i m p l i c a t i o n s of the h a l f - s t e p . Suggests u s e of a l l - i n t e r v a l rows and o t h e r solutions.

*175a Spinner, Leopold. tone composition.

A s h o r t introduction to the technique of twelveNew York, Boosey & Hawkes, 1960. 37 p. Mus.

175b Babbitt, Milton. " T w e l v e - t o n e i n v a r i a n t s a s compositional d e t e r m i nants," MQ [ s p e c i a l i s s u e on the P r i n c e t o n S e m i n a r in Advanced Musical Studies] 46:246-259 (Apr 1960). D i a g r s . Technical a r t i c l e on s e t s t r u c t u r e . See no. 739a (Krenek, E r n s t . Apr 1960).

"Extents and l i m i t s of s e r i a l techniques,"

175c Walker, Alan. "Back to SchOnberg," Mus r e v 21:140-147 (May 1960). Mus. Audibility of s e r i a l d e r i v a t i o n s , a s d e t e r m i n e d by e x p e r i m e n t s with l i s t e n e r s .

HARMONY 176

Alaleona, Domenico. "I m o d e r n i o r i z z o n t i della t e c n i c a musicale; t e o r i a della divisione d e l l ' o t t a v a in p a r t i ugali," Riv m u s ital 18: 382-420 ([Apr/Jun] 1911). Mus. P r e - t w e l v e - t o n e t h e o r i e s on the h a r m o n i c i m p l i c a t i o n s of the equal division of the octave into twelve p a r t s . P u r e l y theoretical article.

177

Alaleona, Domenico. " L ' a r m o n i a m o d e r n i s s i m a : le tonalità neutre e l ' a r t e di stupore," Riv m u s ital 18:769-838 ([Oct/Dec] 1911). Mus. C h r o m a t i c tonal h a r m o n y at the point of its change to atonality; a theory of m u s i c a l e x p r e s s i o n i s m . An i m p o r t a n t and littleknown a r t i c l e .

178

Hauer, Josef Matthias. "Die T r o p e n und i h r e Spannungen zum D r e i klang," Die Musik 17:257-258 (Jan 1925). Mus. Resolutions of s i x - n o t e c h o r d s (tropes) to t r i a d s .

179

Klein, F r i t z Heinrich. "Die G r e n z e d e r Halbtonwelt," Die Musik 17:281-286 (Jan 1925). Mus., t a b l e s . On atonal harmony: n u m b e r of p o s s i b l e c h o r d s , etc.

180

P i s k , P a u l . " T h e tonal e r a d r a w s to a close," Modern music 3:3-7 ( M a r / A p r 1926). A s u m m a r y of H a u e r ' s and S c h o e n b e r g ' s new h a r m o n i c principles.

181

E r p f , H e r m a n n R o b e r t . Studien z u r H a r m o n i e - und Klangtechnik d e r n e u e r e n Musik. Leipzig, Breitkopf und Härtel, 1927. 235 p. Mus.

26

Twelve-Tone Music

General discussion of twelve-tone music, p. 83-86; examples from works of Schoenberg. 182

Häbä, Alois. Neue Harmonielehre des diatonischen, chromatischen, v i e r t e l - , drittel-, sechstel- und zwölftel-Tonsystems. Leipzig, Kistner fc Siegel, 1927. xviii + 251 p. Mus., tables. No index; difficult to use. A manual of all the possible chord combinations and scale patterns in each of these harmonic systems.

183

Deutsch, Leonhard. "Das Problem der Atonalität und des Zwölftonprinzip," Melos 6:108-118 (Mar 1927). " T r i e s to prove that all possible combinations of the twelve tones may be r e f e r r e d back to altered diatonic chords, t h e r e f o r e the twelve-tone system as such . . . has no justification" (Richard Hill, "Schoenberg's tone-rows and the tonal system of the future," p. 16-17). (See no. 386.)

184

Schoenberg, Arnold. " P r o b l e m s of harmony," Modern music 11:167187 (May/Jun 1934). T r . by Adolph Weiss. Mus. " F i r s t presented as a lecture during Mr. Schoenberg's recent professorship at the Berlin Akademie der Künste." Also appears in Armitage, ed., Schoenberg. 1937 (see no. 295). Weakening of tonality by means of chromaticism; twelve-tone technique as another means of organizing music; new concepts of dissonance (see no. 192).

See no. 77 (Stuckenschmidt, Hans Heinz. "Das Zwölftonsystem," Sept 1934). 185

Schoenberg, Arnold. "Tonality and form," Pacific Coast musician [Los Angeles] 24:3 (May 4, 1935). A refutation of the concept that musical form is impossible without tonality.

186

Taylor, Noel Heath. "The Schoenberg concept," M & L 20:183-188 (Apr 1939). Schoenberg's theory of harmony.

187

Kessler, Hubert. "Some problems of tonality in relation to Schönb e r g ' s twelve-tone technique," JAMS 1:49-50 (Fall 1948). Abstract only. Does the twelve-tone technique exclude tonality? "Laws" of twelve-tone music related to those of tonal music.

188 *Brauner, Rudolph F r a n z . Vom Dreiklang zum Zwölftonakkord: ein Rückblick auf die Entwicklung des Tonsatzes von Bach bis Hindemith. Wien, Verlag für Jugend und Volk, 1949. 284 p. Mus., diagr. 189

Jelinek, Hanns. "Versuch über der Sinn der Verwendung von Zwölftonreihen," Melos 18:252-255 (Sept 1951). P o r t . Harmonie problems and overtone bases of the twelve-tone technique.

190

Jelinek, Hanns. Anleitung zur Zwölftonkomposition nebst allerlei Paralipomena. Appendix zu [Jelineks] "Zwölftonwerk," op. 15. E r s t e r Teil: Allgemeiner und vertikale Dodekaphonik. Wien, Universal Edition, cl952. 106 p. Mus.

Theory—Harmony

27

. Anhang zu Anleitung zur Zwölftonkomposition. Tabellen und Kompositionsbeispiele von Schoenberg, Webern und Jelinek. [Wien] Universal Edition [1952], Unpaged. Mus. A manual of composition. This f i r s t part deals only with h a r mony; a second part t r e a t s of counterpoint (see no. 215); and a future third part is to cover "broken" dodecaphony. Almost all the examples a r e f r o m the author's composition, "ZwOlftonwerk." [See Roland T e n s c h e r t ' s article, "Hanns Jelinek: zu seinem 'ZwOlftonwerk,' op. 15" (no. 715).) An important review by Ernst Krenek is in MQ 40:250-256 (Apr 1954). (See no. 712.) 191

Gerhard, Roberto. "Tonality in twelve-tone music," Score, no. 6:2335 (May 1952). Mus. The twelve-note technique as a new principle of tonality. "Classical" row treatment and permutational treatment. Possible chords in dodecaphonic harmony.

192

Y a s s e r , Joseph. "A letter f r o m Arnold Schoenberg," JAMS 6:53-62 (Spring 1953). Mus. A reply f r o m Schoenberg to a letter f r o m Yasser on Schoenberg's article in Modern music (see no. 184). Twelve-tone technique and problems of equal temperament; consonance and dissonance; small and large intervals.

193

Costère, Edmond. "Entre l'harmonie classique et les harmonies contemporaines, y a - t - i l rupture, ou continuité?" Revue de musicologie 36:55-65 (Jul 1954). Mus. "Nous examinerons successivement l'incidence des relations cardinales: 1* sur l'accord dit de septième de dominante; 2* s u r l'échelonnement diatonique; 3* sur un example de musique dite primitive; 4* sur un exemple de musique sérielle; 5* sur un exemple de musique contemporaine par superpositions de sons fixes."

194

P e r l e , George. "The possible chords in twelve-tone music," Score, no. 9:54-58 (Sept 1954). Tables. The number of different chord combinations possible in twelvetone music. C o r r e c t s figures in G e r h a r d ' s article (see no. 191).

195

Gerhard, Roberto. "Reply to George Perle," Score, no. 9:59-60 (Sept 1954). Mus. Further corrections of e r r o r s in chord tables in G e r h a r d ' s article of May, 1952 (see nos. 191, 194).

196

P e r l e , George. "The harmonic problem in twelve-tone music," Mus rev 15:257-267 (Nov 1954). Mus. How the row governs the vertical ordering of sound. Discusses Babbitt's theory of combinatoriality (see no. 157).

197 »Neumann, Friedrich. Tonalität und Atonalität: Versuch einer Klärung. Landsberg a. Lech, H. Hohler, 1955. 30 p. Mus. (Beiträge zu Gegenwartsfragen der Musik, 1.) 198

Keller, Hans. "Serial octave transpositions," Mo mus r e c 86:139143 (Jul/Aug 1956); and 86:172-177 (Sept/Nov 1956). Mus.

28

T w e l v e - T o n e Music

P r o b l e m s c r e a t e d by the identity of c o m p l e m e n t a r y i n t e r v a l s in "classical" twelve-tone music. 199

Gould, Glenn. "The d o d e c a p h o n i s t ' s dilemma," Canadian m u s i c j o u r n a l 1:20-29 (Autumn 1956). Mus. Harmonic p r o b l e m s of the p o s t - W e b e r n c o m p o s e r s ; division of the row into h e x a c h o r d s and t h r e e - n o t e g r o u p s .

200

F o r n e b e r g , E r i c h . D e r Geist d e r neuen Musik: d e r neue Klang i m Spiegel d e r t r a d i t i o n e l l e n H a r m o n i e l e h r e . Würzburg, T r i l t s c h , 1957, xxvi + 130 p.; Anhang [ m u s . and i l l u s . ] 42 p. ( L i t e r a r - h i s t o r i s c h m u s i k w i s s e n s c h a f t l i c h e Abhandlungen, 15.) Contents: bibliography, p. xviii-xxvi; "Der Geist d e r neuen Musik," p. 22-78; "Das 'Neue' in d e r z e i t g e n ö s s i s c h e n Musik," p. 79-113 ("Die Komposition mit zwölf Tönen," p. 98-113).

201

P r o s p e r i , C a r l o . L ' a t o n a l i t à nella m u s i c a c o n t e m p o r a n e a . C a l t a n i s s e t t a [Sicily], S. S c i a s c i a [1957], 47 p. Mus. (Lo S m e r a l d o , 7.) A brief g e n e r a l d i s c u s s i o n .

202

F r i d , Géza. "Twaalf c o n t r a twaalf," Mens en melodie 12:366-369 (Dec 1957). Mus. The author s u g g e s t s another t w e l v e - t o n e " s y s t e m " (originated by a t h e o r i s t named E r n ö Landvai), based on functional tonal r e l a tions (see no. 203).

203

"Twaalf c o n t r a twaalf; melodie 13:16-19 (Jan A r t i c l e s by Hendrik further commentary

204

T r u s c o t t , Harold. "The r e a l atonalism," C h e s t e r i a n 33:35-44 (Autumn 1958). "Atonality" only an e x t r e m e f o r m of c h r o m a t i c tonality; tonality " n o r m a l " but atonality "abnormal."

standpunten inzake de dodecafonie," Mens en 1958). A n d r i e s s e n , Géza F r i d , and H a r r y M a y e r ; on F r i d ' s a r t i c l e (see no. 202).

204a R o c h b e r g , George. "The h a r m o n i c tendency of the hexachord," J o u r n a l of m u s i c t h e o r y 3:208-230 (Nov 1959). Mus. S e r i a l s t r u c t u r e b a s e d on s y m m e t r i c a l l y a r r a n g e d h e x a c h o r d s p r o d u c e s a new type of h a r m o n i c o r d e r . D i s c u s s e s H a u e r ' s t r o p e s and B a b b i t t ' s s o u r c e s e t s . Hexachordal a n a l y s i s of S c h o e n b e r g ' s op. 45 and 50b.

MELODY 205

Stuckenschmidt, Hans Heinz. "Vocal style in the twentieth century," Modern m u s i c 13:3-13 (Mar 1936). Mus. Schoe.iberg, Krenek, and B e r g , p. 5-8; a b r i e f d i s c u s s i o n , not a melodic a n a l y s i s .

See no. 388 (Jalowetz, Heinrich. music," Oct 1944).

"On the spontaneity of S c h o e n b e r g ' s

See no. 141 (Saby, B e r n a r d . "Un a s p e c t d e s p r o b l è m e s de la t h é m a t i q u e s e r i e l l e " in L e s y s t è m e dodécaphonique, 1949).

Theory—Rhythm

29

206

Johnson, M a r t h a . A study of l i n e a r design in G r e g o r i a n chant and m u s i c written in the t w e l v e - t o n e technique. Minneapolis, B u r g e s s , 1954, p. 69-99. Mus. (Hamline s t u d i e s in musicology, ed. by E r n s t Krenek, v. 1.) Melodic a n a l y s e s of W e b e r n ' s String q u a r t e t , op. 28, S c h o e n b e r g ' s F o u r t h s t r i n g q u a r t e t , and K r e n e k ' s L a m e n t a t i o J e r e m i a e .

207

Scriabine, M a r i n a . " A t h é m a t i s m e et fonction thématique d a n s la musique c o n t e m p o r a i n e " in I n v e n t a i r e d e s techniques r é d a c t i o n n e l l e s . P a r i s , R i c h a r d - M a s s e [1954], p. 35-46. (Polyphonie, 9 e / 1 0 e c a h i e r . ) R é s u m é of the l a s t c h a p t e r s of a "work in p r e p a r a t i o n , " L e s p e r s p e c t i v e s de la musique c o n t e m p o r a i n e . So-called a t h e m a t i c i s m a s an " u l t r a - t h e m a t i c i s m " ; the c h a r a c t e r i s t i c s of t h e m e s .

See no. 154 ( E r i c k s o n , R o b e r t . See no. 45 (Milner, Anthony.

The s t r u c t u r e of m u s i c ,

1955).

"The vocal e l e m e n t in melody," Mar 1956).

See no. 351 (Skrebkow, S. "Gegen die Atonalität Schönbergs," May 1957). See no. 215 (Jelinke, Hanns. Anleitung z u r Zwölftonkomposition. Teil, 1958).

Zweiter

RHYTHM 208

Boulez, P i e r r e . " P r o p o s i t i o n s " in L e r y t h m e m u s i c a l . P a r i s , R i c h a r d - M a s s e [1948], p. 65-72. Mus. (Polyphonie, 2 e c a h i e r . ) Rhythmic t r e a t m e n t in Stravinsky and Boulez.

See no. 146 (Boulez, P i e r r e .

"Eventuellement," Apr 1952).

See no. 618 ( B a r r a q u é , J e a n .

"Rythme et développement,"

1954).

See no. 157 (Babbitt, Milton. "Some a s p e c t s of twelve-tone composition," J u n 1955). See no. 46 ( K e l t e r b o r n , Rudolf. " S t i l i s t i s c h g e g e n s ä t z l i c h e auf d e r B a s i s d e r Zwölftontechnik," Apr 1956). See no. 599 (Eiston, Arnold. music," J u l 1956).

Entwicklungen

"Some rhythmic p r a c t i c e s in c o n t e m p o r a r y

See no. 161 (Smith Brindle, Reginald. See no. 163 ( G e r h a r d , Roberto. Sept 1956). See no. 58 (Castiglione, Niccolb. J u l 1958).

" T h e lunatic f r i n g e , III," J u l 1956).

"Developments in twelve-tone technique," "II v a l o r e del silenzio e della durata,"

See no. 166 (Stockhausen, K a r l h e i n z . " . . . How t i m e p a s s e s . . . " m Musical c r a f t s m a n s h i p , 1959, p. 10-40). Detailed and technical a n a l y s i s of his s e r i a l t r e a t m e n t of r h y t h mic e l e m e n t s ; the r e l a t i o n of p i t c h e s to f r e q u e n c i e s , and f r e quencies to t e m p i .

30

Twelve-Tone Music

COUNTERPOINT 209

Krenek, E r n s t . Studies in counterpoint based on the twelve-tone technique. New York, Schirmer [cl940]. ix + 37 p. Mus. Zwölfton-Kontrapunkt-Studien. T r . by Heinz Klaus Metzger. Mainz, Schott, 1952, 51 p. Mus. Textbook of the twelve-tone technique approached through counterpoint (see no. 42).

210

Thilman, Johannes Paul. P r o b l e m s der neuen Polyphonie. Dresden, Dresdener Verlagsgesellschaft [1949?]. I l l p. Contains much discussion of twelve-tone music. No music examples; no analyses; no index. Contents: "Einleitung," p. 7-18; "Melodik," p. 19-37; "Harmonik," p. 38-55; " P o l y p h o n i e p . 56-75; "Form," p. 76-87; "Rhythmus," p. 88-98; "Klangverwirklichung," p. 99-102; "Sinn," p. 103-109.

See no. 20 (Hall, Richard. "Twelve-tone music and tradition," 1952). See no. 24 (Thomson, Virgil. "Reflections," May 1952). 211

Searle, Humphrey. Twentieth century counterpoint. London, Williams and Norgate [1954], ix + 158 p. Mus. P a r t i a l contents: "The development of chromatic counterpoint," p. 7-21; "Schoenberg and twelve-note composition," p. 71-117; "Postscript" (includes some comments on recent twelve-tone composers), p. 47-150.

See no. 31 (Burkhard, Willy. "Versuch einer kritischen Auseinandersetzung mit der Zwölftontechnik," Mar 1954). See no. 154 (Erickson, Robert. The structure of music, 1955). 212

Herzfeld, Friedrich. "Der Reiz des Krebses: Bedeutungswandel einer Kompositionsform," NZfM 11:71-74 (Nov 1955). Mus. On the contrapuntal device of r e t r o g r a d e motion; some discussion of its use in s e r i a l music.

See no. 40 (Keller, Hans. "The audibility of serial technique," Nov 1955). 213

Unger, Udo. Die Klavierfuge im zwanzigsten Jahrhundert. Regensburg, Gustav Bosse, 1956. 147 p. Mus., tables. (Kölner Beiträge zur Musikforschung, 11.) P a r t i a l contents: "Fuge und ZwOlftontechnik," p. 107; "Fuge und s e r i e l l e Technik," p. 108; "Analyse von W[olfgang] F o r t n e r s Fuge aus 'Kammermusik,' komp. 1943," p. 91-92.

214

Adorno, Theodor Wiesengrund. Die Funktion des Kontrapunkts in der neuen Musik. [Berlin-Dahlem, Akademie der Künste, 1958]. [43 p.] (Anmerkungen zur Zeit, 4.) Counterpoint in contemporary music, especially in the twelvetone school.

215

Jelinek, Hanns. Anleitung zur Zwölftonkomposition nebst allerlei Paralipomena; Appendix zu "Zwölftonwerk," op. 15. Zweiter Teil: Horizontal Dodekaphonik, Kombination und Abteilungen. Wien, Univ e r s a l Edition [1958]. 107-239 p. + [HO p.] Mus.

Theory—Notation

31

Not seen; entry f r o m M . L . A . Notes 16:576 (Sept 1959). (See no. 190.) 216

[omitted]

NOTATION 217

Wirtz, Warren. "The problem of notation in the twelve-tone technique," Mus r e v 7:103-110 (May 1946). Mus. A new notational system.

218

Schnippering, H. "Atonalität und t e m p e r i e r t e Stimmung," Melos 17:9-11 (Jan 1950). Mus. On the notation of atonal music.

219

Gindele, Father Corbinian. "Von eis nach c," Melos 17:169 (Jun 1950). Mus. A reply to Schnippering (see no. 218).

220

Schnippering, H. "Von der Logik d e r Zwölftonmusik," Melos 17:312314 (Nov 1950). Mus. On the notation of atonal music, 111 (see nos.218 and 219).

See no. 89 (Reich, Willi. "Versuch einer Geschichte der Zwölftonmusik" in Alte und neue Musik, 1952). 221

Köhler, Siegfried. "Was ist Zwölftonmusik? Eine kritische Wertung," MuBica 6:142-144 (Apr 1952). Mus. Definition of twelve-note music; discussion of the problem of notation.

See no. 153 (Searle, Humphrey. "Twelve-note music" in Grove's Dictiona r y of music and musicians, 1954). See no. 238 (Meyer-Eppler, Werner.

"Elektronische Musik," Dec 6, 1954).

See no. 279 (Prieberg, F r e d . " E r s t e elektronische Partitur," Apr 1957). See no. 263 ("The p r o g r e s s of science," J a n 1958).

II ÈLECTRONIC PHILOSOPHY 222

AND

MUSIC CRITICISM

Beyer, Robert. "Die Klangwelt der elektronischen Musik," ZfM 113:74-79 (Feb 1952). Illus. Composition of "Klangfarbenmusik"; implications of electronic music.

See no. 30 (La musique et ses problèmes contemporains, 1954). 223

Beyer, Robert. "Elektronische Musik," Melos 21:35-39 (Feb 1954). Electronic music as a development of Klangfarbenmelodie; its problems and implications.

224

Beyer, Robert. "Zur Situation der elektronischen Musik," ZfM 116:452-456 (Aug/Sept 1955). Electronic music as the beginning of a new era in music. Its relation to the serial music of Schoenberg and Webern. Klangfarbenmelodie.

225

Suder, Alexander L. "Die überflüssige Windmaschine; eine Betrachtung zur 'Elektronischen Musik,1" ZfM 116:456-459 (Aug/Sept 1955). Fallacies of the assumptions and philosophy of electronic music.

226

Keller, Wilhelm. "Elektronische Musik und musique concrète," Merkur [Stuttgart] 9:877-881 (Sept 1955). A definition and description of each; aesthetic implications.

227

Dahlhaus, Carl, and Stephan, Rudolf. "Eine 'dritte Epoche' der Musik? Kritische Bemerkungen zur elektronische Musik," Dt Univ Zt 10:14-17 (Sept 12. 1955). Philosophical considerations; discussion of problems raised in Elektronische Musik (Technische Hausmitteilungen des Nordwestdeutscher Rundfunk, 1954) and Elektronische Musik (Die Reihe, 1). (For the latter, see no. 275.)

228

Rognoni, Luigi. "La musica 'elettronica' e il problema della tecnica," Aut aut, no. 36:450-461 (Nov 1956). Drawn from two lectures given at Darmstadt in July 1956: "Musik der jungen Generation: Kompositions und Interpretations-Probleme" and "Die Frage der Technik in der elektronischen Musik."

See no. 54 (Dansk Musiktidsskrift, May 1957). 229

Metzger, Heinz-Klaus. "Nochmals 'Wider die Natur'; zur Frage der Verwendung der menschlichen Stimme in elektronischer Musik," [ 32 1

D e s c r i p t i o n and History

33

NZfM 118:329-330 (May 1957). On the u s e of v o i c e s in e l e c t r o n i c m u s i c . 230

B e r i o , Luciano. "Sur la musique electronique," Schw MZ 97:265 (Jun 1957). Brief s t a t e m e n t written f o r the I. S. C . M . f e s t i v a l in Z ü r i c h , J u n e , 1957.

See no. 257 (Stuckenschmidt, Hans Heinz. "Il mondo delle s o n o r i t à ignote," J u l 1957). 231

P f r o g n e r , H e r m a n n . "Elektronik—Lust a m Untergang?" NZfM 118:484-489 (Sept 1957). Illus. B u s o n i ' s and S c h o e n b e r g ' s thoughts on new m e a n s of m u s i c a l production; K l a n g f a r b e n m e l o d i e . A t t a c k s e l e c t r o n i c m u s i c .

See no. 260 ( P r i e b e r g , F r e d K. "Musik: Töne aus d e r E l e k t r o n r ö h r e , " Nov 1957). See no. 261 ( B e c e r r a , Gustavo. "¿Que es la m ú s i c a e l e c t r ó n i c a ? " Dec 1957). See no. 275 (Stuckenschmidt, Hans Heinz. m u s i c , 1958, p. 11-13).

" T h e third s t a g e " m E l e c t r o n i c

232

Babbitt, Milton. "Who c a r e s if you l i s t e n ? " High fidelity 8:38-40, 126-127 (Feb 1958). A plea for r e s e a r c h in e x p e r i m e n t a l e l e c t r o n i c m u s i c . The author f e e l s that "advanced m u s i c " should be intended p r i m a r i l y for specialists.

233

Boulez, P i e r r e . "Son, v e r b e , synthase," Melos 25:310-313 (Oct 1958). [ G e r m a n t r . by Hilde Strobel, p. 313-317.] Illus. F u s i o n of sound and word by e l e c t r o n i c m e a n s , and r e s u l t i n g expansion of sound p o s s i b i l i t i e s .

See no. 70 (Evangelisti, F r a n c o . " V e r s o una composizione e l e t t r o n i c a " / " T o w a r d s e l e c t r o n i c composition" in Ordini, J u l 1959).

DESCRIPTION See no. 611 (Scriabine, Marina. 1952).

AND

HISTORY

" P i e r r e Boulez et la musique concrete,"

234

E i m e r t , H e r b e r t . "Was ist e l e k t r o n i s c h e M u s i k ? " Melos 20:1-5 (Jan 1953). IUus. A brief h i s t o r y and d e s c r i p t i o n . ( F o r English t r a n s l a t i o n s e e no. 275.)

235

B e y e r , Robert. " Z u r Geschichte der e l e k t r o n i s c h e n Musik," Melos 20:278-280 (Oct 1953). B r i e f h i s t o r y of e l e c t r o n i c music; includes b i b l i o g r a p h i c a l n o t e s .

236

E i m e r t , H e r b e r t . "Möglichkeiten und G r e n z e n d e r E l e k t r o n i s c h e n Musik," Schw MZ 93:445-447 (Nov 1953).

34

E l e c t r o n i c Music

Definition of e l e c t r o n i c m u s i c ; d i f f e r e n c e s f r o m musique c o n c r e t e . Brief h i s t o r y and s u m m a r y of o b j e c t i v e s . 237

E i m e r t , H e r b e r t . " E l e k t r o n i s c h e Musik" in Die Musik in Geschichte und Gegenwart. K a s s e l , B ä r e n r e i t e r , 1954, v. 3, col. 1263-1267. Illus. Includes "nontechnical" bibliography. ( F o r F r e n c h t r a n s l a t i o n , s e e no. 253.)

See no. 95 ( W ö r n e r , K a r l H. "Die Klangwelt d e r e l e k t r o n i s c h e n Musik" in his Neue Musik in d e r Entscheidung, 1954, p. 296-302). History and d e s c r i p t i o n of e l e c t r o n i c m u s i c , especially as developed at the Cologne Studio. 238

M e y e r - E p p l e r , W e r n e r . " E l e k t r o n i s c h e Musik: Gestaltungsmöglichkeiten, Notation, T e c h n i s c h e Einrichtungen," Dt Univ Zt 9:9-10 (Dec 6, 1954). D i a g r . D e s c r i p t i o n of t e c h n i c a l c o n s i d e r a t i o n s .

See no. 98 ( M y e r s , Rollo H. "Music in F r a n c e in the p o s t - w a r decade," 1954/55). 239

G r a v e s a n o : Musik, Raumgestaltung, E l e k t r o a k u s t i k . Hrsg. von Dr. [Werner] M e y e r - E p p l e r . Mainz, A r s Viva [cl955]. 140 p. D i a g r s . , illus., m u s . A collection of a r t i c l e s , p r i m a r i l y devoted to technical c o n s i d e r a tions of a c o u s t i c s and of e l e c t r o n i c i n s t r u m e n t s . Some brief bibliographies.

240 *Klangstruktur d e r Musik. Neue E r k e n n t n i s s e m u s i k - e l e k t r o n i s c h e r F o r s c h u n g : V o r t r a g s r e i h e "Musik und Technik" des Ausseninstitutes d e r Technischen U n i v e r s i t ä t B e r l i n - C h a r l o t t e n b u r g , mit V o r t r ä g e n von B [ o r i s ] B l a c h e r [et al.] e r g ä n z t durch B e i t r ä g e von F. Enkel [et al.]. Im Auftrage d e s A u s s e n i n s t i t u t e s d e r Technischen Univers i t ä t z u s a m m e n g e s t e l l t und b e a r b . von F J r i t z ] Winckel. Berlin, V e r lag f ü r Radio-Foto-Kinotechnik [1955]. Reviewed in Dansk M u s i k t i d s s k r i f t 32:49 (May 1957). 241

"News and c o m m e n t s . Italy. E l e c t r o n i c music," Score, no. 11:67 (Mar 1955). Very b r i e f r é s u m é of a c t i v i t i e s at the Milan Studio.

242

K ö s t e r , E r n s t . " K i n d e r k r a n k h e i t e n d e r elektrogenen Musik," Musica 9:315-317 (Jul 1955). Mus. Brief d e s c r i p t i o n of " e x p e r i m e n t e l l e e l e t t r o g e n e Musik"; explanation of b a s i c t e r m s (sine tone, overtone, t i m b r e , frequency, etc.).

243

Sonner, Rudolf. " E l e k t r o n i s c h e Musik; i h r e d r e i Arbeitsberichte," Z f M 116:449-452 (Aug/Sept 1955). Brief h i s t o r y of the development of e l e c t r o n i c i n s t r u m e n t s and of e l e c t r o n i c m u s i c .

244

Krenek, E r n s t . "New development in e l e c t r o n i c music," Musiceli A m e r i c a 75:8 (Sept 1955). Simple, nontechnical d e s c r i p t i o n for the layman.

245

Vlad, Roman. "Die Reihe and e l e c t r o n i c music," Score, no. 13:23-24 (Sept 1955). C u r r e n t s t a t u s of e l e c t r o n i c m u s i c ; brief h i s t o r y .

D e s c r i p t i o n and H i s t o r y 246

35

Berio, Luciano. " P r o s p e t t i v e nella m u s i c a : r i c h e r c h e ed attività dello Studio di Fonologia Musicale di Radio Milano," E l e t t r o n i c a 5:108-115 (1956). History of the a c t i v i t i e s at the Milan Studio.

247 * P r i e b e r g , F r e d K. Musik i m Technischen Z e i t a l t e r s . Atlantis [1956], 176 p. Mus. Bibliography, p. 173-176.

Zürich,

248

Oesch, Hans. " E i n f ü h r u n g in die e l e k t r o n i s c h e Musik," U n i v e r s i t a s [Stuttgart] 11:167-175 (Feb 1956). The development of e l e c t r o n i c m u s i c i s d i s c u s s e d . B r i e f bibliography, p. 175.

249

Smith B r i n d l e , Reginald. " T h e lunatic f r i n g e : I . E l e c t r o n i c music," MT 97:200-201 (Jun 1956). A brief h i s t o r i c a l s u m m a r y .

250

P e s t a l o z z a , Luigi. " L ' u l t i m a avanguardia: p o s t - W e b e r n i a n i , c o n c e r t i ed elettronici," R i c o r d i a n a [nuova s e r i e ] 2:333-336 (Jul 1956). Brief h i s t o r y and d e s c r i p t i o n of the E u r o p e a n m u s i c a l a v a n t - g a r d e (Boulez, S c h a e f f e r , et al.).

251

F o r t e , Allen. "Composing with e l e c t r o n s in Cologne," High fidelity 6:64-67, 156, 159 (Oct 1956). Illus. Nontechnical a r t i c l e , d i s c u s s i n g the a c t i v i t i e s at the Cologne Studios. D e s c r i b e s equipment, d i s c u s s e s c o m p o s e r s , d e f i n e s terminology.

252

Stockhausen, K a r l h e i n z . "A p r o p o s i t o di m u s i c a elettronica," Incont r i m u s i c a l i , no. 1:70-78 (Dee 1956). Nontechnical; d e s c r i p t i o n of e l e c t r o n i c m u s i c and d i s c u s s i o n of its a e s t h e t i c p r o b l e m s .

253

V e r s une musique e x p é r i m e n t a l e . Sous la d i r e c t i o n de P i e r r e S c h a e f f e r . P a r i s , R i c h a r d - M a s s e [1957], xvi + 141 p. Mus., d i a g r s . (La r e v u e m u s i c a l e , no. 236.) P a r t i a l contents: S c h a e f f e r , P i e r r e , " V e r s une musique e x p é r i mentale," p. 11-27; Boulez, P i e r r e , " T e n d a n c e s de la musique récente," p. 28-35 (on the m u s i c of V a r é s e , M e s s i a e n , Stockhausen, Cage); Goléa, Antoine, " T e n d a n c e s de l a musique c o n crète," p. 36-44; E i m e r t , H e r b e r t , "Musique électronique," t r . by C h a r l e s Hebert, p. 45-49 (a t r a n s l a t i o n of h i s a r t i c l e in M. G. G.; s e e no. 237); U s s a c h e v s k y , V l a d i m i r , " L a 'tape m u s i c ' aux E t a t s Unis," p. 50-55; Scherchen, Hermann, " D é p a s s e m e n t de l ' o r c h e s tre," p. 56-59; T a r d i e u , J e a n , "Décade de musique e x p é r i m e n t a l e , " p. 103-104; Poullin, J a c q u e s , "Son et espace," p. 105-114; Moles, André, "Machines à musique," p. 115-127; A r t h u y s , Philippe, " L a p e n s é e et l ' i n s t r u m e n t , " p. 128-134; " L e group de r e c h e r c h e s de musique concrète," p. 135-136; " H i s t o r i q u e de la m u s i q u e concrète," p. 137-138; " L i s t d e s o e u v r e s de m u s i q u e concrète," p. 139-141.

254

Tall, J o e l . "Music without musicians," Saturday r e v i e w 40:56-57 (Jan 26, 1957). Brief h i s t o r y and d e s c r i p t i o n of e l e c t r o n i c m u s i c , musique conc r è t e , and " m u s i c f o r tape r e c o r d e r . "

36

E l e c t r o n i c Music

255

M a r e n , R o g e r . " E l e c t r o n i c m u s i c : untouched by h u m a n hands," R e p o r t e r 16:40-42 (Apr 18, 1957). A s u m m a r y of the a c t i v i t i e s in E u r o p e and the U. S. in the f i e l d s of e l e c t r o n i c m u s i c and m u s i q u e c o n c r e t e .

256

"Das neue Buch: e l e k t r o n i s c h e Musik in Italien," Melos 24:139-140 (May 1957). On the a c t i v i t i e s of the Studio di F o n o l o g i a M u s i c a l e in Milan; r e v i e w of the p e r i o d i c a l s E l e t t r o n i c a and I n c o n t r i m u s i c a l i , and a d e s c r i p t i o n of e l e c t r o n i c m u s i c .

257

Stuckenschmidt, Hans Heinz. "Il mondo d e l l e s o n o r i t à ignote: Un contributo a l l ' e s t e t i c a della m u s i c a e l e t t r o n i c a , " Aut aut, no. 41:399406 (Jul 1957). H i s t o r i c a l and a e s t h e t i c a l s u m m a r y .

258

Nettel, Reginald. " E l e c t r o n i c music," Mo m u s r e e 87:163-168 (Sept/Oct 1957). Brief s u m m a r y of the c u r r e n t s t a t u s of e l e c t r o n i c m u s i c .

259

B e r i o , Luciano. "Note sulla m u s i c a e l e t t r o n i c a , " R i c o r d i a n a [nuova s e r i e ] 3:427-437 (Oct 1957). C o m p a r a t i v e l y nontechnical a r t i c l e .

260

P r i e b e r g , F r e d K. "Musik: Töne a u s d e r E l e k t r o n r ö h r e , " Monat 10:62-66 (Nov 1957). A b r i e f h i s t o r y of m e c h a n i c a l m u s i c ( f r o m t h e 1920's) and of electronic music; aesthetic problems a r e discussed.

261

B e c e r r a , Gustavo. "¿Que e s l a m ú s i c a e l e c t r ó n i c a ? " R e v i s t a m u s i c a l e chilena 11:27-44 (Dec 1957). D i a g r s . Contents: " L a s c o n j e t u r a s usuales," p. 27-28; "Algunos a s p e c t o s fundamentales," p. 28-38; " A c t u a l e s c o m p r o m i s o s e s t i l í s t i c o s de la m ú s i c a electrónica," p. 38-40; " P r o y e c c i o n e s a r t í s t i c a s de la m ú s i c a electrónica," p. 40-42; "Sus e f e c t o s e c o n ó m i c o s y s o c i ales," p. 42-43; "Conclusiones," p. 43-44.

262

Manzoni, Giacomo. " B r e v e introduzione a l l a m u s i c a elettronica," R a s s m u s 27:309-315 (Dec 1957). Explanation of the i n s t r u m e n t s u s e d ; the a c t i v i t i e s at the studios at Cologne, P a r i s , and Milan. Mentions s o m e c o m p o s e r s and t h e i r w o r k s . Nontechnical a r t i c l e .

See no. 112 ( P r i e b e r g , F r e d K. " E l e k t r o n i s c h e Musik" in h i s Lexikon d e r neuen Musik, 1958, p. 116-121). See no. 116 (Vlad, Roman. "La s e r i a l i t à i n t e g r a l e e la m u s i c a e l e t t r o n i c a " in h i s S t o r i a della dodecafonia, 1958). 263

"The p r o g r e s s of s c i e n c e : e l e c t r o n i c m u s i c , " D i s c o v e r y 19:4-5 (Jan 1958). Illus. A c o n c i s e and c l e a r s u m m a r y of the a p p a r a t u s and technique used and of the o b j e c t i v e s of e l e c t r o n i c m u s i c . I l l u s t r a t e s t h e " D a r m s t a d t method of notation f o r e l e c t r o n i c music."

264

Smith B r i n d l e , Reginald. " R e p o r t s f r o m a b r o a d : Italy, t h e R . A . I . Studio di Fonologia Musicale at Milan," MT 99:98 ( F e b 1958).

D e s c r i p t i o n and History

37

V e r y b r i e f a r t i c l e c o m m e n t i n g on t h e b r o a d c a s t s of e l e c t r o n i c m u s i c given by L u c i a n o B e r i o . D i s c u s s e s the u s e and i m p l i c a tions of non-tone sounds d e r i v e d f r o m "white noise." 265

P r i e b e r g , F r e d K. " I t a l i e n s e l e k t r o n i s c h e Musik.» Melos 6:194-198 (Jun 1958). I l l u s . Activity of t h e Studio di Fonologia Musicale in Milan.

266

Badings, Henk. " E l e c t r o n i c m u s i c : i t s development in the N e t h e r lands," Delta: a r e v i e w of a r t s , l i f e and thought in the N e t h e r l a n d s , 1:85-93 (Winter 1958/59). Illus., m u s . A nontechnical h i s t o r y of Dutch e l e c t r o n i c m u s i c .

See no. 770 (Luening, Otto.

"Karlheinz Stockhausen," Winter 1958/59).

267

E x p e r i e n c e s m u s i c a l e s : m u s i q u e s c o n c r e t e , é l e c t r o n i q u e , exotique, p a r le Groupe d e r e c h e r c h e s m u s i c a l e s de la Radiodiffusion T é l é vision f r a n ç a i s e . P a r i s , R i c h a r d - M a s s e [cl959]. 72 p. Mus., d i a g r s . (La r e v u e m u s i c a l e , no. 244.) Contents: M e s s i a e n , O l i v i e r , " P r é f a c e " ; F e r r a r i , Luc, " L e s é t a p e s de la v i s i o n " ; S c h a e f f e r , P i e r r e , "Situation actuelle de l a m u s i q u e e x p é r i m e n t a l e " ; Mâche, F r a n ç o i s - B e r n a r d , " C o n n a i s s a n c e d e s s t r u c t u r e s s o n o r e s " ; Xénakis, Yannis, "Notes s u r un •Geste é l e c t r o n i q u e ' " ; Boucourechliev, André, " L a fin et l e s m o y e n s " ; Philippot, Michel, " E s p a c e v i t a l " ; Vandella, Romuald, "Musique exotique et musique e x p é r i m e n t a l e " ; Poullin, J a c q u e s , " L ' o r i e l l e et le malentendu"; Moles, A b r a h a m A., " I n s t r u m e n t a tion é l e c t r o n i q u e et m u s i q u e s e x p é r i m e n t a l e s " ; S c h a e f f e r , P i e r r e , "Le G r o u p e de r e c h e r c h e s m u s i c a l e s . . . " ; C h a m b u r e , Alaine de, " I n f r a s t r u c t u r e technique"; F e r r a r i , Luc, " L e s é t a p e s de l a p r o d u c t i o n " ; " H i s t o r i q u e s d e s r e c h e r c h e s de m u s i q u e c o n c r è t e " ; "Bibliographie s o m m a i r e " ; "Discographie"; "Notices biographiques" (on B e r i o , B o u c o u r e c h l i e v , P o u s s e u r , M a d e r n a , and o t h e r e l e c t r o n i c and c o n c r è t e c o m p o s e r s ) .

268

Hiller, L e j a r e n A r t h u r . " E x p e r i m e n t a l m u s i c " in E x p e r i m e n t a l m u s i c : c o m p o s i t i o n with an e l e c t r o n i c c o m p u t e r , by L e j a r e n A. H i l l e r , J r . , and L e o n a r d M. I s a a c s o n . New York, McGraw-Hill, 1959, p. 36-57, 124-131. Definition of v a r i o u s types of e x p e r i m e n t a l m u s i c : e l e c t r o n i c m u s i c , m u s i q u e c o n c r e t e , t a p e - r e c o r d e r m u s i c , computational and c o m p u t e r m u s i c . N u m e r o u s b i b l i o g r a p h i c a l footnotes.

268a Rondi, B r u n e l l o . Il c a m m i n o della m u s i c a d'oggi e l ' e s p e r i e n z a e l e t t r o n i c a . P a d o v a , Rebellato, 1959. 113 p. Not s e e n ; b i b l i o g r a p h i c a l i n f o r m a t i o n f r o m the B i b l i o g r a f i a Nazionale Italiana, 1959:V. 269

Stockhausen, K a r l h e i n z . " E l e k t r o n i s c h e und i n s t r u m e n t a l e Musik" iri B e r i c h t e / A n a l y s e n . Wien, U n i v e r s a l Edition [cl959], p. 50-58. (Die Reihe: I n f o r m a t i o n über s e r i e l l e Musik, 5.) " D i e s e r T e x t d i e n t e a l s Vorlage zu e i n e r Reihe von V o r l e s u n g e n an a m e r i k a n i s c h e n U n i v e r s i t ä t e n i m N o v e m b e r 1958." A h i s t o r y of e l e c t r o n i c m u s i c , g e n e r a l e s t i m a t e of i t s p o s s i b i l i t i e s , and d e s c r i p t i o n of its t e c h n i q u e s .

38

Electronic Music

270

Randolph, David. "A new music made with a machine," Horizon [New York] 1:50-55, 124-127 (Jan 1959). Illus., mus. A brief description of electronic music, musique concrete, and tape music; aesthetic considerations.

271

Winckel, F r i t z . "Die Komposition mit elektroakustischen Mitteln," NZfM 120:124-127 (Mar 1959). Illus. Brief description and history.

272

Walter, Arnold. "Music and electronics," Canadian music journal 3:33-37 (Summer 1959). General description of the p r o c e s s of creating electronic music. Problem of totally predetermined music. The Cologne group.

COMPOSITIONAL 273

TECHNIQUES

Meyer-Eppler, Werner. "Elektronische Kompositionstechnik," Me los 20:5-9 (Jan 1953). Illus. Describes various electronic instruments and their use.

See no. 95 (Wörner, Karl H. "Neue Musik in der Entscheidung," 1954, p. 296-302). 274

Lindlar, Heinrich. "Elektronische Musik im 'Kölner Funkhaus," Melos 21:326-327 (Nov 1954). A review of a concert of electronic music given in Cologne; includes a brief description of the technique used in composing electronic music.

275

Elektronische Musik. Wien, Universal Edition [cl955]. Hrsg. von Herbert Eimert unter Mitarbeit von Karlheinz Stockhausen. 63 p. Illus. (Die Reihe: Information Uber s e r i e l l e Musik, 1.) Electronic music. Bryn Mawr, Pennsylvania, Theodore P r e s s e r [cl958]. vi + 62 p. Illus. (Die Reihe: a periodical devoted to developments in contemporary music, ed. by H e r b e r t E i m e r t and Karlheinz Stockhausen, 1.) Contents of American edition: T r a n s l a t o r ' s p r e f a c e , vi; E i m e r t , Herbert, "What is electronic m u s i c ? " p. 1-10; Stuckenschmidt, Hans Heinz, "The third stage: some observations on the aesthetics of electronic music," p. 11-13; Krenek, Ernst, "A glance over the shoulders of the young," p. 14-16 (see no. 50); Klebe, Giselher, " F i r s t practical work," p. 17-18; Boulez, P i e r r e , "'At the ends of the fruitful land . . . 1 " p. 19-29; Pousseur, Henri, " F o r m a l elements in a new compositional material," p. 30-34; Goeyvaerts, Karol, "The sound m a t e r i a l of electronic music," p. 35-37; Gredinger, Paul, "Serial technique," p. 38-44; Stockhausen, Karlheinz, "Actualia," p. 45-51; Koenig, Gottfried Michael, "Studio techniques," p. 52-54; Meyer-Eppler, Werner, "Statistic and psychologic problems of sound," p. 55-61 (includes a bibliography). (See no. 245.)

Compositional Techniques

39

See no. 46 ( K e l t e r b o r n , Rudolf. " S t i l i s t i s c h gegensätzliche Entwicklungen auf d e r B a s i s d e r ZwOlftontechnik," Apr 1956). 276

L e Caine, Hugh. " E l e c t r o n i c music," P r o c e e d i n g s of the Institute of Radio E n g i n e e r s 44:457-478 (Apr 1956). D i a g r s . , i l l u s . "New m u s i c a l h o r i z o n s through electronics," p. 475-478 (the musique c o n c r è t e and Cologne groups). Technical and i m p o r t a n t a r t i c l e . Helpful bibliographical footnotes.

277

Enkel, F r i t z . "Die Grundlagen d e r neuen Musik: d a s neue Klangm a t e r i a l (die Technik d e r e l e k t r o n i s c h e n Klanggestaltung)," G r a v e s a n e r B l a t t e r , Heft 6:20-27 (Dec 1956). D i a g r s . Bibliography, p. 27; g e n e r a l a r t i c l e on the technique of e l e c t r o n i c music.

278

Xénakis, J a n i s . " W a h r s c h e i n l i c h k e i t s t h e o r i e und Musik," G r a v e s a n e r B l ä t t e r . Heft 6:28-34 (Dec 1956). D i a g r s . Highly t e c h n i c a l a r t i c l e on the m a t h e m a t i c a l b a s e s of e l e c t r o n i c music.

279

P r i e b e r g , F r e d K. " E r s t e e l e k t r o n i s c h e P a r t i t u r , " NZfM 118:241 (Apr 1957). Stockhausen 1 s Studie 2.

280

Van San, H e r m a n n . " E i n h e i t s w i s s e n s c h a f t und Musik," G r a v e s a n e r B l a t t e r , Heft 7 / 8 : 3 9 - 4 8 ( A p r / M a y 1957). D i a g r s . Highly t e c h n i c a l a r t i c l e on " m a t h e m a t i c a l - e l e c t r o n i c s e r i a l c o m position"; includes a s h o r t bibliography.

See no. 261 ( B e c e r r a , Gustavo. 1957).

"¿Que e s la m ú s i c a e l e c t r ó n i c a ? " Dec

281

Badings, Henk, and de Bruyn, J . W. " E l e c t r o n i c music," P h i l i p s technical r e v i e w [English ed.] 19:191-201 (Dec 23, 1957). D i a g r s . , illus., m u s . A 45 r p m p h o n o r e c o r d i s included; it contains i l l u s t r a t i o n s f o r the text and a l s o an abridged v e r s i o n of Badings 1 ballet, Cain and Abel. P r i m a r i l y an explanation of the method of p r o c e d u r e in c o m p o s ing B a d i n g ' s Cain and Abel ballet; v a r i o u s e l e c t r o n i c techniques are described.

282

Wilkinson, M a r c "Two months in the 'Studio di Fonologia, 1 " S c o r e , no. 22:41-48 ( F e b 1958). B r i e f , nontechnical account of techniques and equipment used in the Milan Studio. Definition of t e r m s .

283

Koenig, G o t t f r i e d Michael. "Studium in Studio" in B e r i c h t e / A n a l y s e n . Wien, U n i v e r s a l Edition [cl959], p. 74-83. (Die Reihe: I n f o r m a t i o n Qber s e r i e l l e Musik, 5.) The t e a c h i n g of electronic composition techniques.

See no. 272 (Walter, Arnold. "Music and electronics," S u m m e r 1959). *283a P r i e b e r g , F r e d K. Musica ex machina: über d a s V e r h ä l t n i s von Musik und Technik. B e r l i n , Ullstein [I960], 299 p.

III

THE VIENNESE ARNOLD

SCHOENBERG

SCHOOL ( 1 8 7 4 - 1 95 1 )

GENERAL, (Including Collections, Festschriften, etc.) 284

Arnold Schönberg. Mit Beiträgen von Alben Berg [et al.]. München, R. Piper, 1912. 90 p. Illus., mus. Partial contents: Webern, Anton, "Schönbergs Musik," p. 22-48 (brief discussion of early works with musical examples); also articles on Schoenberg as a painter and a teacher.

285

Rosenfeld, Paul. "Schoenberg" in his Musical portraits: interpretations of twenty modern composers. New York, Harcourt, B r a c e [cl920], p. 233-243. General; discusses works.

286

Wellesz, Egon. Arnold Schönberg.

Leipzig, Tal & Co., 1921.

. Arnold Schönberg. T r . by W. H. Kerridge. London and New York, Dutton [1925]. vii + 159 p. Mus., port. Partial contents: "The new path," p. 10-39; "His teaching," p. 4058; "His works," p. 59-154; "Chronological table," p. 155-156. Biography and discussion of his works, through the first twelvetone works. 287

Gray, Cecil. "Arnold Schönberg, a critical study," M &. L 3:73-89 (Jan 1922). Mus. Discussion of works (to 1921) and critical estimate.

288

Arnold Schönberg zum fünfzigsten Geburtstag, 13 September 1924. Wien [1924]. Mus., port. [Sonderheft der Musikblätter des Anbruch, Wien, 6:269-342 (Aug/Sept 1924).] Partial contents: Bekker, Paul, "Schönberg: 'Erwartung,'" p. 275282; Stein, Erwin, "Neue Formenprinzipien," p. 286-303; Berg, Alban, "Warum ist Schönbergs Musik so schwer verständlich?" p. 329-341. Stein's article appears in English translation in his book, Orpheus in new guises (see no. 303); B e r g ' s essay has been r e printed several times: in German (see no. 492); in English (see no. 470); in French (see no. 509).

289 »Stefan-Gruenfeldt, Paul. Arnold Schönberg, Wandlung-LegendeErscheinung-Bedeutung. Wien, Zeitkunst Verlag [cl924], 101 p.

[ 40 ]

General

41

"Arnold Schönbergs Werke," p. 102-103; " L i t e r a t u r über Schönberg," p. 103. 290

Wellesz, Egon. "Arnold Schönberg: la voie nouvelle," Rev m u s v. 7, no. 6:12-25 (Apr 1926) and v. 7, no. 9:11-23 (Jul 1926). t r . by Stefan Freund. . "Arnold Schönberg: l a doctrine," Rev m u s v. 7, no. 10:126132 (Aug 1926) and v. 8, no. 1:38-46 (Jan 1927), t r . by Stefan F r e u n d . S c h o e n b e r g ' s life, works, and philosophy, to 1926.

291

G r a y , C e c i l . "Arnold Schönberg" in h i s A s u r v e y of c o n t e m p o r a r y m u s i c . 2d ed. London, Oxford U n i v e r s i t y P r e s s , 1927, p. 162-183. G e n e r a l d i s c u s s i o n of works and style.

292

M e r s m a n n , Hans. Die m o d e r n e Musik s e i t d e r Romantik. W i l d p a r k P o t s d a m , A k a d e m i s c h e V e r l a g s g e s e l l s c h a f t Athenaion [cl927], Mus., illus. Schoenberg, p. 132-143; B e r g ( e s p e c i a l l y Wozzeck), p. 144-147. Brief a n a l y s e s of works.

293

Arnold Schönberg z u m 60. G e b u r t s t a g , 13 S e p t e m b e r 1934. [Wien, U n i v e r s a l Edition, 1934?]. 75 p. Mus., p o r t . P a r t i a l contents: Webern, Anton, "Aus S c h ö n b e r g s Schriften," p. 11-14; Häba, Alois, "Schönberg und die w e i t e r e n Möglichkeiten d e r Musikentwicklung," p. 15-17; P o l n a u e r , J o s e f , "Schönb e r g s 'Verbundenheit,'" p. 44-49 (on the l a s t of the six 'Stücken f ü r Männerchor,' op. 35); B r o c h , H e r m a n n , " I r r a t i o n a l e E r k e n n t nis in d e r Musik," p. 49-60; B e r g , Alban, "Glauben, Hoffnung un Liebe," p. 61 ( a c r o s t i c poem); " V e r z e i c h n i s d e r Werke von Arnold Schönberg," p. 71-75.

294 *Sollertinskii, Ivan Ivanovich. ApHOJibÄ UleHÖepr. [Leningrad, Lening r a d s k a i i a F i l a r m o n i j a , 1934], 55 p. See no. 78 (Wind, Hans E. Die E n d k r i s e d e r b ü r g e r l i c h e n Musik und die Rolle Arnold Schönberg, 1935). 295

A r m i t a g e , M e r l e , ed. Schoenberg. New York, G. S c h i r m e r , 1937. 319 p. Illus. P a r t i a l contents: S e s s i o n s , R o g e r , "Music in c r i s i s , " p. 9-39 ( r e p r i n t e d f r o m Modern music; s e e no. 7); W e i s s , Adolph, " T h e t w e l v e - t o n e s e r i e s , " p. 75-77 ( w r i t t e n 1932); Krenek, E r n s t , "Arnold Schoenberg," p. 79-88; S a e r c h i n g e r , C e s a r , "The t r u t h about Schoenberg," p. 89-107 (written 1930; d i s c u s s e s Schoenb e r g ' s works); Steuermann, E d u a r d , " T h e piano music of Schoenberg," p. 125-133; V i e r t e l , Berthold, " S c h o e n b e r g ' s J a k o b s l e i t e r , " p. 165-181; P i s k , P a u l Amadeus, " S c h o e n b e r g ' s t w e l v e - t o n e opera," p. 187-194 ( r e p r i n t e d f r o m Modern m u s i c ; s e e no. 488); Stefan, P a u l , "Schönberg's operas," p. 195-204 ( r e p r i n t e d f r o m Modern m u s i c ; see no. 428); Slonimsky, Nicholas, "A Schoenberg c h r o n o l ogy [1874-1937]," p. 215-245; Schoenberg, Arnold, "Tonality and f o r m , " p. 259-2B4 ( r e p r i n t e d f r o m P a c i f i c c o a s t m u s i c i a n ; s e e no. 185); Schoenberg, Arnold, " P r o b l e m s of harmony," p. 265-305 ( r e p r i n t e d f r o m Modern m u s i c ; s e e no. 184); l i s t of works, p. 307-315.

42

Arnold Schoenberg

See no. 81 (Hijman, Julius. Nieuwe oostenrijkse musiek, 1938). 296

Stefan, Patii. "Arnold Schoenberg" in Thompson, Oscar, ed. Great modera composers. New York, Dodd, Mead, 1941, p. 267-277. Biographical sketch and discussion of works; catalogue of Schoenb e r g ' s works, p. 274-277.

297

Bauer, Marion. "Schoenberg and his innovation: atonality and twelve tone technique" in her Twentieth century music. New ed. New York, Putnam [cl947], p. 207-230. Somewhat superficial but unbiased discussion of Schoenberg's life and works; also some mention of Berg, Webern, and Hauer.

298

Newlin, Dika. Bruckner, Mahler, Schoenberg. New York, King's Crown P r e s s , 1947. 293 p. Mus. . Bruckner, Mahler, SchOnberg. Übers, von C. Nameth und H. Z e l z e r . Wien, Bergland-Verlag. 1954. 303 p. A discussion of his life and works, to 1944.

See no. 84 (Leibowitz, René. "Arnold Schoenberg: the origin and foundations of contemporary music" in his Schoenberg and his school, 1949, p. 43-134). 299

WOrner, Karl H. Musik der Gegenwart. Mainz, Schott [cl949], 262 p. Ulus., mus. Chapter 8: "Die jüngere Generations Gruppe des ' T r i s t a n ' : Arnold SchOnberg. Das Zwölftonmusik. Vom Wesen atonaler Musik," p. 70-78; chapter 9: "Die Wiener atonale Schule: Alban Berg und Anton von Webern," p. 84-92.

300

The canon: Australian journal of music [Arnold Schoenberg jubilee issue], v. 3, no. 2 (Sept 1949). P a r t i a l contents: Newlin, Dika, "Schoenberg's new 'Fantasy,'" p. 83-84; Leibowitz, René, "Arnold Schoenberg's recent tonal works and the synthesis of tonality," p. 86-90; Pisk, Paul, "Arnold Schoenberg—the influence of my musical youth," p. 94-96.

301

Stuckenschmidt, Hans Heinz. Arnold Schoenberg. ZOrich, Atlantis [1951]. 126 p. Mus. Arnold Schoenberg. T r . de l'allemand par Alexandre von Spitzmüller et Claude Rostand. Monaco, Editions du Rocher [1956], 182 p. Mus. (Domaine musical.) Contents of the French edition include: "Note sommaire sur le système dodécaphonique et la méthode sérielle, p a r Claude Rostand," p. 139-143; "Chronologie," p. 145-167; "Table des oeuvres d'Arnold SchOnberg," p. 169-177; "Discographie," p.179182.

Arnold Schoenberg. T r . by E. T. Roberts and Humphrey Searle. London, Calder [cl959]. 168 p. Illus, mus. Contents of the English edition Include a letter to the author f r o m Thomas Mann, and a list of Schoenberg's compositions (p. 161-163). See no. 89 (Reich, Willi. "Versuch einer Geschichte der Zwölftonmusik" in Alte und neue Musik, 1952).

General

43

302

Searle, Humphrey. "Schoenberg and the future," Hinrichsen's musical yearbook 7:134-140 (1952). Mus., ports. List of Schoenberg's works, p. 139-140. A brief summation of Schoenberg's achievements and a discussion of some of his works.

303

Stein, Erwin. Orpheus in new guises. London, Rockliff [c 1953]. vii + 167 p. Mus., ports. Partial contents: "Mahler, Reger, Strauss and Schoenberg: some observations on the technique of composition," p. 36-46 (reprinted f r o m the Jahrbuch 1926 der Universal Edition; see no. 381); "Schoenberg," p. 47-54; "The G u r r e l i e d e r p . 55-56 (from the Christian Science Monitor, Oct 3, 1931); "New formal principles," p. 57-77 (reprinted from Arnold SchOnberg zum fünfzigsten Geburtstag; see no. 288); "Some observations on Schoenberg's twelve-note rows," p. 78-81 (reprinted from Anbruch; see no. 382); " P e r f o r m ing Schoenberg's music," p. 83-85 (first published as "Über der Vortrag von SchOnbergs Musik," Pult und Tagstock. Sept 1924); "The treatment of the speaking voice in ' P i e r r o t Lunaire,'" p. 8689 (published as "Die Behandlung der Sprechstimme in 'Pierrot Lunaire,'" in Pult und Tagstock, Mar/Apr 1927); "Musical thought: Beethoven and Schoenberg," p. 90-95 (reprinted from Anbruch; see no. 383); "Anton Webern—Obituary," p. 99-102 (from MT; see no. 565); "Wozzeck," p. 103-107 (reprinted f r o m Opera; see no. 553); "Berg's opera Lulu in Zürich," p. 108-109 (from the Christian Science Monthly, July 13, 1937). A useful collection of many of his articles which have appeared in various publications; several of these writings are here t r a n s lated into English for the f i r s t time.

See no. 94 (Rognoni, Luigi. Espressionlsmo e dodecafonia, 1954). 304

Searle, Humphrey. "Schoenberg, Arnold" in Grove's Dictionary of music and musicians. 5th ed. London, Macmillan, 1954, v. 7:513-523. Extensive bibliography. Includes a list of his works. Article is arranged into three parts: life, compositions, summary.

See no. 100 (Collaer, Paul. La musique moderne, 1905-1955. 1955, p. 3577). See no. 569 (Metzger, Heinz Klaus. "Webern and Schönberg" in Anton Webern, 1955, p. 42-45 [Die Reihe, 2]). See no. 105 (Goehr, Walter. "Arnold SchOnberg' 8 development towards the twelve-note system" in Hartog, Howard, ed. European music, 1957). 305

Magnani, Luigi. Le frontiere della musica, da Monteverdi a Schoenberg. Milano, Ricciardi, 1957, 328 p. Mus. P a r t i a l contents: "Insegnamento di Schoenberg," p. 191-217 (written in 1947; discusses early influences on Schoenberg and expressionism); "Schoenberg e la sua scuola," p. 218-226 (written in 1947; discusses Leibowltz's book of that name; see no. 84).

See no. 112 (Prieberg, Fred K. "Arnold Schoenberg" in his Lexikon der neuen Musik, 1958, p. 381-392). See no. 116 (Vlad, Roman. Storia della dodecafonia, 1958).

44 306

A r n o l d Schoenberg

Stuckenschmidt, Hans Heinz. "Stil und Ä s t h e t i k Schönbergs," Schw MZ 98:97-104 (Mar 1958). L e c t u r e , given in B a s e l on Dec 14, 1957; r e p r l n t e d in h i s Schöpf e r d e r neuen Musik (see no. 115). S c h o e n b e r g ' s m u s i c a l philosophy; h i s h a r m o n i c language; b i o g r a p h i c a l - a e s t h e t i c s k e t c h and d i s c u s s i o n of w o r k s . An i m p o r t a n t article.

306a Adorno, Theodor Wiesengrund. " Z u r V o r g e s c h i c h t e d e r R e i h e n k o m position" in h i s Klangfiguren. B e r l i n , S u h r k a m p V e r l a g , c l 9 5 9 , p. 95-120. (His M u s i k a l i s c h e S c h r i f t e n , I.) " V o r t r a g f ü r den N o r d e u t s c h e n Rundfunk 1958, u n t e r Benutzung e i n e s A u f s a t z e s Uber die O r c h e s t e r s t Q c k e op. 16 a u s d e m Schönb e r g h e f t von ' P u l t und Taktstock," M f t r z / A p r i l 1927. Ungedruckt." See no. 118a (Zillig, Winfried. "Schönberg und s e i n Weg von d e r Tonalität z u m Z w ö l f t o n s y s t e m " in his V a r i a t i o n e n ü b e r n e u e Musik, 1959). Contents: " L e t z t e Steigerung d e r R o m a n t i k und e r s t e Anzeichen d e r Zeitenwende," p. 61-69; "An d i e G r e n z e n d e r Tonalit&t," p. 6975; " D e r absolute Umsturz," p. 75-83; "Die n e u e G e s e t z m a s s i g k e i t d e s Z w ö l f t o n s y s t e m s , " p. 83-94; " R ü c k k e h r z u r Tonalit&t?" p. 94100; "Schönberg a l s p o l i t i s c h e r und r e l i g i ö s e r Komponist," p. 100107.

PHILOSOPHY AND CRITICISM 307

Newman, E r n e s t . "A p r o p o s of S c h ö n b e r g ' s F i v e o r c h e s t r a l p i e c e s , " MT 55:87-89 (Feb 1, 1914). A c r i t i c a l e s t i m a t e of Schoenberg a s a c o m p o s e r . Appended a r e e x c e r p t s f r o m p r o g r a m notes on the O r c h e s t r a l p i e c e s , w r i t t e n by a M r s . N e w m a r c h .

308

C a l v o c o r e s s i , M. D. "The c l a s s i c i s m of Arnold Schönberg," MT 55:234-236 (Apr 1. 1914). Mus. S c h o e n b e r g ' s m u s i c a l philosophy and c l a s s i c a l b a c k g r o u n d .

309

Bekker, Paul. Kritische Zeitbilder. Berlin, Schuster & Loeffler, 1921. 336 p. E s s a y s on c o m p o s e r s and a s p e c t s of m u s i c . "Schönberg," p. 161173, i s a g e n e r a l d i s c u s s i o n of S c h o e n b e r g ' s s t y l e .

310

Bücken, E r n s t . F ü h r e r und P r o b l e m e d e r neuen Musik. Köln, T o n g e r , 1924. 172 p. Mus. " I m p r e s s i o n i s m u s und E x p r e s s i o n i s m u s , " p. 126-163. (Schoenb e r g , p. 149-163.) E x a m p l e s f r o m h i s op. 11 and 15, and P i e r r o t .

311

Stein, E r w i n . "Schoenberg and the G e r m a n line," Modern m u s i c 3:22-27 (May 1926). Schoenberg s e e n a s a continuation of t h e t r a d i t i o n of G e r m a n music.

312

C o r t Van den Linden, R. "Arnold Schoenberg," M &.L 7:322-331 (Oct 1926) and 8:38-45 (Jan 1927), t r . by Scott Goddard. Mus. A d i s c u s s i o n of S c h o e n b e r g ' s p e r s o n a l i t y and e a r l y w o r k s .

Philosophy and C r i t i c i s m 313

45

Stein, E r w i n . " I d é e s d ' A r n o l d SchOnberg s u r la musique," Rev m u s 10:1-6 (Nov 1928), t r . by J . P e y r a u b e . In the f o r m of a dialogue between Schoenberg and Stein.

See no. 3 (Adorno, T h e o d o r W i e s e n g r u n d . 1929).

" Z u r Zwölftontechnik," Sept/Oct

314

C o l l a e r , P a u l . " L e c a s Schoenberg," Revue i n t e r n a t i o n a l de la m u s i q u e [ B r u s s e l s ] 1:432-440 (July/Sept 1938). An attack on S c h o e n b e r g a s a " c e r e b r a l " c o m p o s e r .

315

F e l d m a n , H a r r y Allen. " F u t u r i s m — A r n o l d Schoenberg" in his Music and the l i s t e n e r . New Y o r k , Dutton, 1939, p. 169-182. A rather general, anti-Schoenberg article.

316

Stein, E r w i n . " S c h o e n b e r g ' s position today," C h r i s t i a n Science Monit o r , v. 32, no. 1:9 (Nov 25, 1939). An evaluation of S c h o e n b e r g ' s m u s i c and of the t w e l v e - t o n e t e c h nique.

317

T a y l o r , Noel Heath. "Arnold Schoenberg: m u s i c in motion," E t c . : a r e v i e w of g e n e r a l s e m a n t i c s 2:1-9 (Autumn 1944). A g e n e r a l s e m a n t i c i s t ' s view of c r i t i c i s m s of S c h o e n b e r g ' s m u s i c and of atonality in g e n e r a l .

318

G r a f , Max. " M o d e r n m u s i c in Vienna: R i c h a r d S t r a u s s , Gustav Mahl e r , Arnold SchOnberg" in h i s Legend of a m u s i c a l city. New York, P h i l o s o p h i c a l l i b r a r y , 1945, p. 193-220. General Zeitgeist.

319

G r a f , Max. " T h e path of A r n o l d Schoenberg" to h i s Modern m u s i c : m u s i c and c o m p o s e r s of our t i m e . T r . by B e a t r i c e R. M a i e r . New York, P h i l o s o p h i c a l L i b r a r y [cl946], p. 168-196. Contains a g r e a t m a n y sweeping g e n e r a l i t i e s .

320

Leibowitz, René. "Innovation and tradition in c o n t e m p o r a r y m u s i c : I : The t r a d i t i o n a l s i g n i f i c a n c e of the m u s i c of Arnold Schoenberg," Horizon [London] 15:55-63 (Jan 1947). Schoenberg s e e n a s a t r a d i t i o n a l c o m p o s e r . T h i s a r t i c l e , w r i t t e n f r o m an h i s t o r i c a l viewpoint, a t t e m p t s to s u m m a r i z e the " p r i n c i p l e s which d e t e r m i n e the c h a r a c t e r and evolution of S c h o e n b e r g ' s music."

See no. 13 (Adorno, T h e o d o r W i e s e n g r u n d . "SchOnberg und d e r F o r t s c h n i t t " in his P h i l o s o p h i e d e r neuen Musik, 1949, p. 19-88). 321

Mitchell, Donald. " S c h o e n b e r g the traditionalist," C h e s t e r i a n 24:1-6 (Jul 1949). Schoenberg a s a r o m a n t i c i s t ; d i s c u s s i o n of h i s works.

322

E i m e r t , H e r b e r t . "Arnold SchOnberg, d e r F ü n f u n d s i e b z i g - J ä h r i g e , " Melos 16:226-230 (Sept 1949). P o r t . E s s a y in h o n o r of S c h o e n b e r g ' s 75th birthday; g e n e r a l evaluation of his w o r k s and i m p o r t a n c e .

323

WOrner, K a r l H. "Arnold SchOnberg: zu s e i n e m 75. G e b u r t s t a g a m 13. September," M u s i c a 3:310-312 (Sept 1949). S c h o e n b e r g ' s work, a c c o m p l i s h m e n t s , and influence.

46

Arnold Sehoenberg

324

Marcel, Luc-André. "Arnold Schoenberg," Cahiers du Sud [ P a r i s ] , v. 34, no. 308:130-136 (1951). Obituary; estimation of his achievements.

325

Salazar, Adolfo. 'Arnold Schoenberg p o s t - m o r t e m : ad usum Delphini," Nuestra música, v. 6, no. 2:202-221 (1951). Topics discussed: "Schoenberg y el atonalismo"; "Naturaleza y convención en la tonalidad"; "Los principios milenarios de la tonalidad"; "Los griegos"; "El superrealismo, las concordancias vizcaínas y otros ' s c h e r z i ' " ; "Los expresionistas"; "La escuela de las dos sonidos." A general and nontechnical article.

326

"Notes of the day," Mo mus r e c 81:169-170 (Sept 1951) and 81:198199 (Oct 1951). Obituary and quite biased attack on Schoenberg as a composer "more intellectual than musical." A reply to this by Humphrey Searle is included in: . Mo mus r e c 82:3 (Jan 1952).

327

Reich, Willi. "Arnold SchOnberg (1874-1951)," Schw MZ 91:354-355 (Sept 1951). Obituary; summary of his life, works, and philosophy.

328

Reich, Willi. "Freiwillige fûr Schoenberg," Melos 18:246-248 (Sept 1951). Obituary; Schoenberg 1 s influence on the musical world; the i m portance of the twelve-tone technique.

329

"Arnold Schoenberg, 1874-1951," M & L 32:305-323 (Oct 1951). A collection of brief and largely unfavorable statements about Schoenberg's music, by various people. (See no. 330.)

330

Neighbour, Oliver W. "In defense of SchOnberg." M U L 33:10-27 (Jan 1952). Mus. A reply to the Schoenberg symposium in M & L (see no. 320). Schoenberg's relation to musical tradition; tonality in his music; his harmonic vocabulary; a discussion of his works.

331

Duhamel, Antoine. "Arnold Schoenberg, la critique, et le monde musical contemporain" in L'oeuvre du XX e siècle. P a r i s , RichardMasse, April 1952, p. 77-85. (La revue musicale, no. 212.) Schoenberg and musical c r i t i c i s m .

332

Boulez, P i e r r e . "Schoenberg is dead," Score, no. 6:18-22 (May 1952). Weaknesses in Schoenberg's development of the twelve-tone technique, as seen f r o m the "post-Webern" point of view. Has been an influential article.

333

Glock, William. "Comment," Score, no. 6:3-6 (May 1952). An appraisal of Schoenberg and the twelve-note technique.

334

Goldbeck, Fred. "The strange case of SchOnberg, revolutionary composer and tradition-abiding musician," Score, no. 6:36-39 (May 1952). Schoenberg and the romantic tradition.

Philosophy and C r i t i c i s m

47

335

K e l l e r , Hans. "The B . B . C . ' s victory over Schoenberg," Mus r e v 13:130-132 (May 1952). Comment on the M fc L symposium (see no. 329) and on the B . B . C . ' s Third P r o g r a m m e s e r i e s on Schoenberg.

336

Martin, F r a n k . "Schoenberg and ourselves," Score, no. 6:15-17 (May 1952). P o r t s . F r e n c h translation in Le s y s t e m e dodécaphonique (see no. 141). Twelve-tone technique seen as an enrichment of c o m p o s e r s ' m u s i c a l means.

337

Sessions, Roger. "Some notes on Schönberg and the 'method of composing with twelve tones,'" Score, no. 6:7-10 (May 1952). Significance of the twelve-tone technique.

338

Wörner, Karl H. "Der unbekannte Schönberg," Melos 19:342-344 (Dec 1952). Schoenberg a relatively unknown composer in Europe at the t i m e of his death, because of few p e r f o r m a n c e s .

See no. 27 ( P f r o g n e r , Hermann. Die ZwOlfordnung der Töne, 1953). 339

Adorno, Theodor Wiesengrund. "Arnold Schönberg, 1874-1951," Die neue Rundschau 64:80-104 (1953). C h a r a c t e r i s t i c s of his music and aesthetics; some problems inherent in the twelve-tone technique.

340

P i n c h e r l e , Marc. "Aspects de Schoenberg," Schw MZ 93:158-160 (Apr 1953). Some a s p e c t s of Schoenberg's c h a r a c t e r .

341

Mitchell, Donald. "Bartók, Stravinsky, and Schoenberg: periods e a r l y , middle and late," Chesterian 28:9-16 (Jul 1953). Schoenberg, p. 14-16; concerns the implications of Schoenberg's " r e v e r s i o n " to tonality in some of his l a t e r works.

342

Pannain, Guido. "Schönberg e la 'Filosofia della musica nuova,'" R a s s m u s 23:193-209 (Jul 1953). R e f e r s to Adorno's book (see no. 13).

See no. 29 (Goléa, Antoine. Esthétique de la musique contemporaine, 1954, p. 48-52, 56-63). 343

Citkowitz, I s r a e l . "Stravinsky and Schoenberg: a note on syntax and sensibility," Juilliard review 1:17-20 (Fall 1954). A comparison of the philosophies of Schoenberg and Stravinsky; their r e a s o n s for using s e r i a l techniques.

See no. 35 (Vlad, Roman. "Elementi metafisici nella poetica schönberghiana" in his Modernità e tradizione nella musica contemporanea, 1955, p. 185-196). 344

E i s l e r , Hanns. "Arnold Schönberg," Sinn und F o r m [Berlin] 7:5-15 (1955). General essay; discussion of stylistic elements of Schoenberg's " T h r e e periods"; problems of the twelve-tone technique (see nos. 345 and 346).

48 S e e no. 37 ( A d o r n o , Jun 1955). 345

Theodor Wiesengrund.

Arnold

" Z u m Verständnis

Schoenberg Schönbergs,"

L a u x , K a r l . " ' D i e m o d e r n e M u s i k ist t o t ' — i n A m e r i k a und a n d e r s w o —in d e r D . D . R. f e i e r t s i e f r ö l i c h U r s t ä n d , " M u s i k und G e s e l l s c h a f t [ E . B e r l i n ] 5:212-217 (Jul 1955). C l a i m s " d e c a d e n t b o u r g e o i s c o n t e m p o r a r y m u s i c " i s dead; attacks E i s l e r ' s p r o - S c h o e n b e r g a r t i c l e (no. 344) on M a r x i s t g r o u n d s .

346

Rubin, M a r c e l . " W a s bedeutet uns S c h ö n b e r g ? E i n e A n t w o r t an Hanns E i s l e r , " M u s i k und G e s e l l s c h a f t [ E . B e r l i n ) 5:274-275 (Sept 1955). A n o t h e r attack on E i s l e r ' s a r t i c l e ( s e e nos. 344 and 345). C o m p a r e s S c h o e n b e r g ( u n f a v o r a b l y ) with B e e t h o v e n , Schubert, M a h l e r , and J a n ä c e k . F i n d s S c h o e n b e r g ' s m u s i c m e a n i n g l e s s .

347

Bentzon, N i e l s V i g g o . " O m k r i n g A r n o l d Sch^nlJerg," t i d s s k r i f t 31:9-13 ( F e b 1956). P o r t . S e r i a l technique; S c h o e n b e r g ' s

348

B u r t , F r a n c i s . " A n antithesis: 18:7-17 ( D e c 1956).

(Mar

w o r k s and

the technical aspect,"

. " A n antithesis; the aesthetic 1957).

aspect,"

K e l l e r , Hans. performance," Critical

351

Score,

no.

S c o r e , no. 19:60-74 antithesis.

M e i l e r s , W i l f r e d H o w a r d . " S c h o e n b e r g and H i n d e m i t h " in his R o m a n t i c i s m and the twentieth century. F a i r L a w n , N . J . , E s s e n t i a l b o o k s , 1957, p. 182-193. Mus. A g e n e r a l e s s a y on S c h o e n b e r g ' s t w e l v e - t o n e technique.

350

Musik-

philosophy.

R e c o n c i l i a t i o n of the S t r a v i n s k y - S c h o e n b e r g 349

Dansk

and B e r g ' s

"style"

" T h e new in r e v i e w : S c h ö n b e r g — I : M u s r e v 18:150-153 ( M a y 1957).

comments,

especially

about

and the

the p r o b l e m

of

critics.

S k r e b k o w , S. " G e g e n die Atonalität S c h ö n b e r g s , fQr P r o k o f j e w . E i n i g e F o r d e r u n g e n an die Musikästhetik," S o w j e t W i s s e n s c h a f t ; Kunst und L i t e r a t u r [ E . B e r l i n ] 5:486-495 ( M a y 1957). Mus. A " s o c i a l i s t r e a l i s t " i n t e r p r e t a t i o n of m e l o d y in P r o k o f i e f , S c h o e n b e r g , and other c o m p o s e r s . ( N o n e of the m u s i c a l e x amples is f r o m Schoenberg.)

S e e no. 56 ( M e l i c h a r , 352

Alois.

1958).

W o l f f , H e l m u t C h r i s t i a n . " P a l e s t r i n a und S c h ö n b e r g — z w e i E x t r e m e d e r e u r o p ä i s c h e n M u s i k " in B e r i c h t Uber den Internationalen M u s i k w i s s e n s c h a f t l i c h e n K o n g r e s s , W i e n ; M o z a r t j a h r 1956; h r s g . von E r i c h Schenk. G r a z , H e r m a n n B ö h l a u s , 1958, p. 749-753. An aesthetically berg.

353

M u s i k in d e r Z w a n g s j a c k e ,

oriented c o m p a r i s o n of P a l e s t r i n a

and

Schoen-

K e l l e r , H a n s . " M o s e s , F r e u d , and Schönberg," M o m u s r e c 16 ( J a n / F e b 1958) and 88:63-67 ( M a r / A p r 1958).

88:12-

T h e r e l a t i o n s h i p ( o r l a c k of r e l a t i o n s h i p ) b e t w e e n F r e u d and S c h o e n b e r g ; t h e i r attitudes t o w a r d r e l i g i o n ; their interpretation of M o s e s .

Biography

49

See no. 306 (Stuckenschmidt, Hans Heinz. "Stil und Ästhetik Schönbergs," Mar 1958). 354

Blanks, F r e d . "Arnold Schoenberg," Canon 11:273-276 (Mar/Apr 1958). Port. Brief biographical sketch. Discusses the Jewish element in Schoenberg's musik.

See no. 378 (Schoenberg, Arnold, "Aus Briefen Arnold Schönbergs," Dec 1958).

BIOGRAPHY See no. 284 (Arnold Schfinberg. Mit Beitr&gen von Alban Berg [et al.], 1912). 355

Maclean, C h a r l e s . "London notes," Zeitschrift der Internationalen Musikgesellschaft 15:129-132 (Feb 1914). An interesting contemporary account of Schoenberg's difficulties in getting p e r f o r m a n c e s , and some (biased) comments on Schoenb e r g ' s music.

356

Maclean, C h a r l e s . "Sch&nberg: a short sketch of his life," MT 55:302-304 (May 1, 1914). An account of the dates of Schoenberg's compositions and their p e r f o r m a n c e s ; some bibliographical data (on reviews) included. " F r o m the Journal of the International Music Society, with additions." (See no. 355.)

357

Schoenberg, Arnold. "Mein Publikum," P e r Querschnitt 10:222-224 (Apr 1930). Reaction of the public to Schoenberg's works.

358

Bach, David Joseph. "A note on Arnold Schoenberg," MQ 22:8-13 (Jan 1936). Biographical sketch: influences on Schoenberg.

359

Milhaud, Darius. "To Arnold Schoenberg on his 70th birthday: personal reflections," MQ 30:379-385 (Oct 1944). P o r t . Reminiscences by Milhaud relating to Schoenberg's music.

360

Leibowitz, René. "Music chronicle; two composers: a letter f r o m Hollywood," P a r t i s a n review 15:361-365 (Mar 1948). On Schoenberg and Stravinsky; Schoenberg's life in California, to 1947.

361

Newlin, Dika. "SchOnberg in America, 1933-1948; retrospect and prospect," Mus s u r , v. 1, no. 5:128-131 (1949) and v. 1, no. 6:185189 (1949). Mus. Biographical; description of his "American" works; discussion of his ideas.

362

Schoenberg, Arnold. "Further to the Schoenberg-Mann controversy," Mus s u r 2:77-80 (Autumn, 1949), t r . by Hans Keller. One of s e v e r a l articles dealing with the controversy between Schoenb e r g and Thomas Mann over Mann's book Doktor Faust us.

50

Arnold Schoenberg

363

Leibowìtz, René. " B e s u c h b e i Arnold SchOnberg," Schw MZ 89:324328 (Sept 1949). " Z u m 75. G e b u r t s t a g d e s Komponisten." V a r i o u s r e m a r k s on the a u t h o r ' s e x p e r i e n c e s with Schoenberg.

364

S c h o e n b e r g , Arnold. (Oct 1949).

"Mia evolución," N u e s t r a m u s i c a 4:239-249

. "My evolution." MQ 38:517-527 (Oct 1952). A u t o b i o g r a p h i c a l e s s a y ; h i s d i s c o v e r y of the "method of c o m posing with twelve tones." 365

F o s s , H u b e r t . " S c h o e n b e r g , 1874-1951," MT 92:401-403 (Sept 1951). O b i t u a r y . Contains u s e f u l b i o g r a p h i c a l d a t a , including d a t e s of s o m e p e r f o r m a n c e s . Some of the i n f o r m a t i o n i s i n a c c u r a t e , h o w e v e r , and should b e used with caution.

366

R u b s a m e n , W a l t e r H. " S c h o e n b e r g in A m e r i c a , " MQ 37:469-489 (Oct 1951). Illus. . " S c h o e n b e r g in A m e r i k a , " Melos 20:132-137 (May 1953) and 20:168-173 (Jun 1953). B i o g r a p h i c a l and anecdotal account of S c h o e n b e r g ' s y e a r s in A m e r i c a , 1933-1951.

367

Robbins, Michela. "A S c h o e n b e r g s e m i n a r , " Counterpoint 17:9-12 ( F e b 1952). P o r t . An i n f o r m a l d i s c u s s i o n , by s o m e of h i s pupils, of Schoenberg a s c o m p o s e r and t e a c h e r .

368

Newlin, Dika. "Arnold SchOnberg in A m e r i k a , " ÓMZ 7:160-163 ( M a y / J u n 1952). B i o g r a p h i c a l s k e t c h and l i s t of w o r k s , 1935-1951; b r i e f d i s c u s sion of the r o w technique of h i s P i a n o c o n c e r t o . (Not the s a m e a r t i c l e a s h e r "SchOnberg in A m e r i c a , 1933-1948"; s e e no. 361.)

369

S c h o e n b e r g , A r n o l d . "A s e l f - a n a l y s i s , " M u s i c a l A m e r i c a 73:14, 172 ( F e b 1953). P o r t . A b r i e f s e l f - j u s t i f i c a t i o n . P o s t h u m o u s MS.

370

Milhaud, D a r i u s . "Begegnungen m i t SchOnberg," Melos 22:100-103 (Apr 1955). Dialogue b e t w e e n Claude Rostand and D a r i u s Milhaud, on Schoenb e r g and the t w e l v e - t o n e t e c h n i q u e .

371

Milhaud, D a r i u s . " E r i n n e r u n g e n a m Arnold SchOnberg," ÓMZ 10:406410 (Dec 1955). F u r t h e r r e m i n i s c e n c e s . (See a l s o no. 359.)

See no. 508 (Reich, Willi. "Alban B e r g a l s Apologet Arnold SchOnbergs," Dec 1955). See no. 376 (Schoenberg, A r n o l d . B r i e f e , 1958, p. 13-14, 59-60, 193-194, 241-242). 372

121-122,

Ketting, Otto. "Arnold SchOnberg in A m e r i k a , " Mens en melodie 13:79-81 ( M a r 1958). P o r t . Very brief; discusses works written during Schoenberg's American period.

Correspondence

51

CORRESPONDENC E See no. 390 (Schoenberg, Arnold [ L e t t e r to Nicolas Slonimsky], in Norman, G e r t r u d e , ed., L e t t e r s of c o m p o s e r s , 1946). 373

K e l l e r , Hans, ed. and t r . , "Unpublished Schoenberg l e t t e r s , e a r l y , middle and late," Mus s u r 4:449-471 (Jun 1952). L e t t e r s to M a r i e t t a W e r n d o r f f , E r w i n Stein, O s c a r A d l e r , and Humphrey S e a r l e .

374

Hill, Richard S. "Annual r e p o r t s on acquisitions: music," L i b r a r y of C o n g r e s s q u a r t e r l y j o u r n a l of c u r r e n t acquisitions 10:43-44 (Nov 1952). A r e p o r t of the acquisition of the c o r r e s p o n d e n c e of B e r g , Schoenb e r g , and Webern.

See no. 192 ( Y a s s e r , J o s e p h , "A l e t t e r f r o m Arnold Schoenberg," Spring 1953). See no. 514 (Rufer, J o s e f , "Dokumente e i n e r F r e u n d s c h a f t , " F e b 1955). See no. 444 (Reich, Willi, J u n 1957).

"Ein B r i e f w e c h s e l ü b e r ' M o s e s und Aron,'"

375

B i r k e , J o a c h i m . " R i c h a r d D e h m e l und Arnold Schönberg; ein B r i e f wechsel," Die Musikforschung 11:279-285 (1958).

376

Schoenberg, Arnold. B r i e f e . Ausgewählt und h r s g . von Erwin Stein. Mainz, Schott, 1958. 309 p. L e t t e r s written f r o m 1910-1951. Biographical data, p. 13-14, 59-60, 121-122, 193-194, 241-242. Index of works, p. 15, 60, 122, 195, 242. Has a n a m e and subject index.

See no. 581 (Gerhard, Roberto, ed. Nov 1958).

" L e t t e r s of Webern and Schoenberg,"

377

Schoenberg, Arnold. " B r i e f e a u s v i e r J a h r z e h n t e n , " Melos 25:352356 (Nov 1958). T h e s e l e t t e r s also a p p e a r in no. 376.

378

[Schoenberg, Arnold], "Aus B r i e f e n Arnold SchOnbergs," NZfM 119:700-705 (Dec 1958). Illus. "Die nachfolgen Auszüge b e s c h r ä n k e n sich auf G r u n d s a t z l i c h e s über ä s t h e t i s c h e F r a g e n , Werke, und Aufführungen." T h e s e l e t t e r s a l s o a p p e a r in no. 376.

379

[Schoenberg, Arnold], "Ein unbekannter Brief von Arnold SchOnberg an Alban Berg," ÖMZ 14:10 (Jan 1959).

52

Arnold Schoenberg

COMPOSITIONAL TECHNIQUES 380

Somigli, C a r l o . "Il m o d u s o p e r a n d i di Arnold Schoenberg," Riv m u s ital 20:583-606 ([Jul/Sept] 1913). Mus. D i s c u s s i o n of A l a l e o n a ' s t h e o r i e s of atonality (see nos. 176-177); d i s c u s s i o n of S c h o e n b e r g ' s t e c h n i q u e s in op. 6, 10, 11, and other works.

381

Stein, E r w i n . " M a h l e r , R e g e r , S t r a u s s und Schönberg; Kompositionstechnische B e t r a c h t u n g e n " in 25. J a h r e neue Musik: J a h r b u c h 1926 d e r U n i v e r s a l Edition. Wien, U n i v e r s a l Edition, 1926, p. 63-78. English t r a n s l a t i o n in h i s O r p h e u s in new g u i s e s (see no. 303). Schoenberg, p. 74-78; r é s u m é of h i s c o m p o s i t i o n technique.

382

Stein, E r w i n . "Einige B e m e r k u n g e n zu S c h ö n b e r g s Zwölftonreihen," Anbruch 8:251-253 ( J u n / J u l 1926). On the development of the t w e l v e - t o n e technique by Schoenberg. English t r a n s l a t i o n in h i s O r p h e u s in new g u i s e s (see no. 303).

383

Stein, E r w i n . "Das gedankliche P r i n z i p in B e e t h o v e n s Musik und seine Auswirkung bei Schönberg," Anbruch 9:117-121 (Mar 1927). Mus. The influence of B e e t h o v e n ' s s t y l e on Schoenberg. English t r a n s lation in h i s O r p h e u s in new g u i s e s ( s e e no. 303).

384

Westphal, K u r t . "Arnold S c h ö n b e r g s Weg z u r Zwölftonmusik: zugleich ein B e i t r a g zur E n t w i c k l u n g s g e s c h i c h t e d e r modernen Musik," Die Musik 21:491-499 (Apr 1929). Mus. The development of S c h o e n b e r g ' s s e r i a l technique; s o m e analytical e x a m p l e s f r o m h i s op. 25 and 26.

385

Weiss, Adolf. " T h e l y c e u m of Schönberg," Modern m u s i c 9:99-107 ( M a r / A p r 1932). A codification of the c o m p o s i t i o n a l p r a c t i c e s of Schoenberg, in general t e r m s .

386

Hill, R i c h a r d S. " S c h o e n b e r g ' s t o n e - r o w s and t h e tonal the future," MQ 22:14-37 (Jan 1936). Mus., p o r t . An i m p o r t a n t a r t i c l e . T r a c e s the development of the technique; i l l u s t r a t e s types of r o w s t r u c t u r e used in works of Schoenberg. Includes s o m e b i b l i o g r a p h i c a l

See no. 186 ( T a y l o r , Noel Heath.

s y s t e m of twelve-tone various citations.

" T h e Schoenberg concept," Apr 1939).

387

Krenek, E r n s t . "Homage to Schönberg: the idiom and the technique," Modern m u s i c 21:131-134 ( M a r / A p r 1944). P o r t . Dodecaphony c o m p a r e d with "atonality"; i m p l i c a t i o n s of the t w e l v e - t o n e technique.

388

Jalowetz, Heinrich. "On the spontaneity of S c h o e n b e r g ' s music," MQ 30:385-408 (Oct 1944). Mus. The i m p o r t a n c e of melodic invention in S c h o e n b e r g ' s music; his P i a n o c o n c e r t o is d i s c u s s e d in p a r t i c u l a r .

See no. 137 ( E s c h m a n , K a r l . Changing f o r m s in m o d e r n music, 1945, p. 104-110).

Compositional Techniques

53

389

Katz, Adele T. Challenge to musical tradition: a new concept of tonality. New York, Knopf, 1945. Mus. "Schoenberg," p. 350-397. An attempt to extend Heinrich S c h e n k e r ' s s y s t e m of analysis to non-tonal music. D i s c u s s e s Schoenberg's V e r k l ä r t e Nacht, D minor quartet, Kammersymphonie op. 9, F minor quartet, Three piano pieces, op. 11, and Suite for piano, op. 25. Also takes up p r o b l e m s of "tonality vs. atonality" and "dissonance."

390

Schoenberg, Arnold. [ L e t t e r to Nicolas Slonimsky] in Norman, Gertrude, ed. L e t t e r s of c o m p o s e r s . New York, Knopf, 1946, p. 341-342. D e s c r i b e s b r i e f l y Schoenberg's development of the twelve-note technique.

391

Wood, Ralph W. "Concerning 'Sprechgesang, 1 " Tempo, no. 17 [no. 2 of new s e r i e s ] : 3 - 6 (Dec 1946). Mus. Sprechstimme in Schoenberg's and B e r g ' s vocal works.

See no. 143 (Schoenberg, Arnold. Style and idea, 1950). 392

"Composition with twelve tones" in his

P e r l e , George. "SchOnberg's late style," Mus r e v 13:274-282 (Nov 1952). Row s t r u c t u r e in Schoenberg's last works; an important a r t i c l e . A reply to this by Hans Keller is included in no. 28.

See no. 154 (Erickson, Robert.

The s t r u c t u r e of music, 1955).

See no. 43 (Rochberg, George. "Tradition and twelve-tone music," Dec 1955?). See no. 103 (Gottschalk, Nathan. Twelve-note music a s developed by Arnold Schoenberg, 1956). See no. 160 (Perle, George. Serial composition and atonality, 1956). See no. 348 (Burt, F r a n c i s . 1956).

"An antithesis: the technical aspect," Dec

See no. 586 (Pousseur, Henri. "Da Schoenberg a Webern," Dec 1956). 393

Wellesz, Egon. The origins of SchOnberg's twelve-tone system. Washington, D . C . , 1958. 14 p. Mus. "A lecture delivered in the Whittall Pavilion of the L i b r a r y of Congress, J a n u a r y 10, 1957." The musical influences upon Schoenberg; his development of the twelve-tone technique.

394

Walker, Alan. "SchOnberg's c l a s s i c a l background," Mus r e v 19:283289 (Nov 1958). Mus. Schoenbergian techniques derived f r o m Mozart and Beethoven.

54

Arnold Schoenberg

GENERAL DESCRIPTIONS OF WORKS See no. 467 (Wellesz, Egon. "Arnold Schönberg," Sept 1911). See no. 380 (Somigli, Carlo. "Il modus operandi di Arnold Schoenberg," [Jul-Sept] 1913). 395

Wellesz, Egon. "Schönberg and beyond," MQ 2:76-95 (Jan 1916), t r . by Otto Kinkeldey. Mus. Brief biographical sketch. P r i m a r i l y a discussion of his works, especially the Songs, op. 1-3, G u r r e l i e d e r , second String quartet, and George songs.

396

Wellesz, Egon. "Arnold Schönberg et son oeuvre," Rev mus 4:1-18 (May 1923). Mus. Early works, through op. 22.

See no. 312 (Cort Van den Linden, R. "Arnold Schoenberg," Oct 1926). See no. 181 (Erpf, Hermann Robert. technik, 1927).

Studien zur Harmonie- und Klang-

397

Wellesz, Egon. "Schoenberg, Arnold" in Cobbett, Walter W. Cobbett's cyclopedic survey of chamber music. London, Oxford University P r e s s , 1929-30, v. 2:343-352. Mus. Brief discussion of the sextet V e r k l ä r t e Nacht; the f i r s t , second, and third String quartets; the f i r s t Chamber symphony; P i e r r o t Lunaire; the Serenade, op. 24; the Wind quintet; and the Suite, op. 29.

398

Harrison, Lou. "Homage to Schonberg: the late works," Modern music 21:135-138 (Mar/Apr 1944). The Piano concerto, the Violin concerto, and the fourth String quartet; row s t r u c t u r e s of the middle and late periods compared.

See no. 141 (Leibowitz, René. "Aspects r é c e n t s de la technique de douze sons" in Le système dodécaphonique, 1949, p. 32-53). On t h r e e works of Schoenberg: the Prélude, op. 44; the String trio, op. 45; the Survivor f r o m Warsaw, op. 46. See no. 361 (Newlin, Dika. "Schönberg in America," 1949). See no. 300 (Leibowitz, René. "Arnold Schoenberg's r e c e n t tonal works" in The canon: Arnold Schoenberg jubilee issue. Sept 1949). 399

Vlad, Roman. "L'ultimo Schönberg," Raas mus 21:106-116 (Apr 1951). Mus. A discussion of the works through the String trio, op. 45, and the Survivor f r o m Warsaw. Reprinted in Vlad's Modernità e tradizione nella musica contemporanea, p. 158-173 (see no. 35).

400

Keller. Hans. "Schoenberg," Mus s u r 3:277-285 (June 1951). Discusses the Survivor f r o m Warsaw, the Fantasy for violin, and Schoenberg's book. Style and idea (see no. 143).

Works

55

401

Stephan, Rudolph. "Unorthodoxe Musik: dem Künstler und Menschen Arnold SchOnberg zum Gedächtnis," Dt Univ Zt 6, no. 15/16:16-18 (July 1951). Mus. Obituary and discussion of his last works.

402

Redlich, Hans F. "Arnold SchOnberg," Mus rev 12:304-306 (Nov 1951). Mus. Obituary and discussion of works.

403

Demuth, Norman. Musical trends in the twentieth century. London, Rockliff [c 1952]. Illus., mus. Biographical sketches and discussion of works. Some row analysis. P a r t i a l contents: "Arnold Schoenberg," p. 209-232; "Anton von Webern." p. 233-238; "Alban Berg," p. 239-245.

404

Rankle, Karl. "Arnold SchOnberg," Score, no. 6:40-43 (May 1952). Mus. A very brief discussion of Schoenberg 1 s works, especially the Jakobsleiter, by a f o r m e r Schoenberg pupil.

405

Keller, Hans. "Concerts and opera: Schoenberg memorial concert," Mus r e v 13:216-218 (Aug 1952). Mus. A lively review of Schoenberg's three Songs, op. 48, the Suite, and the fourth Quartet.

406

"Catalogue des oeuvres d'Arnold Schoenberg (1874-1951)," Music information r e c o r d , no. 11:12-15 (winter 1953/54). Includes his transcriptions and theoretical writings.

See no. 95 (Wörner, Karl H. Neue Musik in der Entscheidung, 1954, p. 56-67). Musical examples f r o m Schoenberg's Survivor f r o m Warsaw, String trio, and Erwartung. Description of works and style. See no. 155 (Ogden, Wilbur Lee. Series and structure, 1955). 407

Stuckenschmidt, Hans Heinz. "Schönbergs religiose Werke," Schw MZ 97:256-258 (June 1957). Survey of G u r r e l i e d e r , Jakobsleiter, Moses und Aron, Moderne Psalmen, Kol Nidre, Survivor f r o m Warsaw, and other religious works by Schoenberg.

408

"Notas del e x t r a n j e r o ; Alemania: el legado de Schoenberg," Revista music ale chilena 12:80-81 (Jan/Feb 1958). A brief description of a concert which presented several unpublished and previously unperformed works of Schoenberg.

409

Koegler, Horst. "The international scene: Germany," Musical courier 157:29 (Feb 1958). Another brief account of the performance of Schoenberg's unpublished works.

410

Rufer, Josef. "A talk on Arnold Schoenberg," Score, no. 22:7-11 (Feb 1958), t r . by Paul Hamburger. A discussion of Schoenberg's unpublished works. Originally p r e sented as a talk at the Berlin Akademie der KQnste.

56

Arnold Schoenberg

411

R u f e r , J o s e f . ' A r n o l d Schönbergs Nachlass," ÖMZ 13:96-106 (Mar 1958). Illus., port. A description of Schoenberg'a unpublished works: documents, notebooks, compositions.

412

Rufer, J o s e f . Das Werk Arnold Schönbergs. Kassel, B ä r e n r e i t e r , 1959. xii + 207 p. Illus., f a c s i m . A complete and handsomely printed catalogue of Schoenberg's works. Contents: 1. Music (published and unpublished, including sketchbooks); 2. Writings (theoretical, poetical, a r t i c l e s , etc.); 3. Paintings (includes 10 plates); 4. Chronological list of works and f i r s t p e r f o r m a n c e s .

413

Gradenwitz, P e t e r . "Schönbergs r e l i g i ö s e Werke," Melos 11:330333 (Nov 1959). English translation: "The religious works of Arnold Schönberg," Mus r e v 21:19-29 (Feb 1960). Mus. A brief discussion of Schoenberg's religious philosophy a s e x p r e s s e d in Moses und Aron, J a k o b s l e i t e r , Moderne P s a l m e n , Kol Nidre, and other works.

INDIVIDUAL WORKS Das Buch d e r hängenden Gflrten, op. 15 See his Songs—op. 15 Chamber symphony, op. 9 See his K a m m e r Symphonie, op. 9 Choral works —op. 13 ( F r i e d e auf Erden) 414

Guenther, Siegfried. "Das troch&ische P r i n z i p in Arnold Schoenb e r g s op. 13: Versuch einer Grundlage zur s t i l k r i t i s c h e n E r f a s s u n g s e i n e s g e s a m t e n Schaffens," Z e i t s c h r i f t für Musikwissenschaft 6:158176 (Dec 1923). Mus. A somewhat s t a t i s t i c a l a n a l y s i s . —op. 27 (Four p i e c e s for mixed chorus)

415

Stein, Erwin. "Neue C h ö r e von Schönberg," Anbruch 8:421-423 (Dec 1926). Review (not an analysis) of op. 27 and 28.

416

Adorno, Theodor Wiesengrund. "Arnold Schönberg: Chöre op. 27 und op. 28," Anbruch 10:411-412 (Nov/Dec 1928). Brief d e s c r i p t i v e review. — op. 28 (Three s a t i r e s for mixed c h o r u s )

See no. 415 (Stein, Erwin, "Neue Chöre von Schönberg," Dec 1926).

Works

57

See no. 416 (Adorno, Theodor Wiesengrund. "Arnold Schönberg: Chöre," NÖv7"Dec 1928). —op. 35 (Six pieces for male chorus) 417

Reich, Willi. "Schönberg's new Männerchor," Modern music 9:62-66 ( J a n / F e b 1932). Mus. A discussion of the s t r u c t u r e of each chorus. According to Richard Hill (see no. 386), it "should be used with care, since some of the analyses a r e incorrect." - o p . 35:6

See no. 293 (Polnauer, Josef. "Schönbergs 'Verbundenheit'" in Arnold Schönberg zum 60. Geburtstag, 1934, p. 44-49). —op. 50a (Dreimal tausend J a h r e ) 418

Keller, Hans. "The h a l f - y e a r ' s new music," Mus rev 15:218-219 (Aug 1954). Capsule outline of op. 50a and 50b; gives the row of the latter. —op. 50b (De Profundis)

419

Hill, Richard S. "Music reviews; Arnold Schoenberg: De Profundis," Notes 10:682-683 (Sept 1953). Row s t r u c t u r e .

See no. 418 (Keller, Hans. "The h a l f - y e a r ' s new music," Aug 1954). See no. 204a (Rochberg, George. "The harmonic tendency of the hexachord," Nov 1959). —op. 50c (Moderne Psalmen) 420

Stuckenschmidt, Hans Heinz. "Moderne Psalmen von Arnold Schönberg," ÖMZ 12:47-50 (Feb 1957). Port. Brief discussion of the text and music.

421

Wörner, Karl H. "'Und trotzdem bete ich': Arnold Schönbergs letztes Werk: 'Moderne Psalmen,'" NZfM 118:147-151 (Mar 1957). Mus., port. Discussion of the text, with a very brief characterization of the music.

422

Keller, Hans. "The new in review; Schönberg II: the last work," Mus rev 18:221-224 (Aug 1957). On the origin of the text, and some general comments about the structure.

423

Vlad, Roman. "Moderne Psalmen von Arnold Schönberg," Melos 24:252-255 (Sept 1957). Illus. [facsim. from the autograph MS.]. Discussion of Schoenberg's religious compositions; background

58 of M o d e r n e P s a l m e n . cal critique.

Arnold Schoenberg

Not an a n a l y s i s , but r a t h e r a philosophi-

C o n c e r t o f o r piano and o r c h e s t r a See no. 388 (Jalowetz, H e i n r i c h . music," Oct 1944). 424

"On t h e spontaneity of Schoenberg 1 s

Leibowitz, René. " S c h ö n b e r g s K l a v i e r k o n z e r t , " Melos 16:44-48 ( F e b 1949). Mus. P r i n c i p a l l y a r o w and t h e m a t i c a n a l y s i s .

See no. 368 (Newlin, Dika. 1952).

"Arnold Schönberg in Amerika,"

May/June

C o n c e r t o f o r violin and o r c h e s t r a 425

Rubin, L o u i s . The idiom of the violin in twentieth c e n t u r y m u s i c . 71 1. M u s . ( T h e s i s , M . A . , U n i v e r s i t y of C a l i f o r n i a , B e r k e l e y , 1952). On p e r f o r m a n c e t e c h n i q u e . Many e x a m p l e s f r o m the Schoenberg C o n c e r t o ; t h e B e r g Violin c o n c e r t o and W e b e r n ' s F o u r p i e c e s f o r violin and piano a r e a l s o d i s c u s s e d .

426

K e l l e r , Hans. " F i r s t p e r f o r m a n c e s , " Mus r e v 13:307-309 (Nov 1952). Witty r e v i e w of Schoenberg 1 s Violin c o n c e r t o and V a r i a t i o n s on a recitative for organ.

427

W a l t e r s , Willard Gibson. T e c h n i c a l p r o b l e m s in m o d e r n violin m u s i c a s found in s e l e c t e d c o n c e r t o s , with r e l a t e d o r i g i n a l e x e r c i s e s and é t u d e s . [Ann A r b o r , Mich., U n i v e r s i t y M i c r o f i l m s ] , 1958. 261 1. ( T h e s i s , P h . D . , State U n i v e r s i t y of Iowa.) Not s e e n ; a b s t r a c t in D i s s e r t a t i o n A b s t r a c t s , v. 18, no. 6, p. 2163. D i s c u s s e s seven c o n c e r t o s , including B e r g ' s and S c h o e n b e r g ' s . De P r o f u n d i a See h i s C h o r a l works—op. 50b D r e i K l a v i e r s t ü c k e , op. 11 See h i s P i a n o works—op. 11 Dreimal tausend J a h r e See h i s C h o r a l works—op. 50a Erwartung See a l s o his O p e r a s

See no. 288 ( B e k k e r , P a u l . "Schönberg: ' E r w a r t u n g ' " hi Arnold Schönberg z u m f ü n f z i g s t e n G e b u r t s t a g , 1924, p. 275-282. 428

Stefan, Paxil. " S c h ö n b e r g ' s o p e r a s , " Modern m u s i c 7:24-28 (Dec 1929/Jan 1930). On E r w a r t u n g and Die glückliche Hand. R e p r i n t e d in no. 295 ( A r m i t a g e ) , p. 195-204.

Works

59

429

C r a f t , R o b e r t . " S c h o e n b e r g ' s E r w a r t u n g , " Counterpoint 17:13-15 (Sept 1952). B r i e f d i s c u s s i o n of S c h o e n b e r g ' s o p e r a s , p a r t i c u l a r l y E r w a r t u n g .

430

Dace, W a l l a c e . "The d r a m a t i c s t r u c t u r e of SchOnberg's E r w a r t u n g , " E d u c a t i o n a l t h e a t e r j o u r n a l [Austin, T e x a s ] 5:322-327 (Dec 1953). E r w a r t u n g a s a p s y c h o l o g i c a l m e l o d r a m a ; the d r a m a t i c and musical techniques used. F a n t a s y f o r violin

See no. 300 (Newlin, Dika. " S c h o e n b e r g ' s new F a n t a s y " in The canon; Arnold Schoenberg j u b i l e e i s s u e , Sept 1949). See no. 400 ( K e l l e r , Hans.

"Schoenberg," J u n e 1951).

431

Hill, R i c h a r d S. "Music r e v i e w s ; Arnold Schoenberg: P h a n t a s y f o r violin, with piano a c c o m p a n i m e n t , op. 47," Notes 9:647-648 (Sept 1952). D i s c u s s e s the h e x a c h o r d a l t r e a t m e n t of the r o w .

432

F o r t e , Allen. C o n t e m p o r a r y tone s t r u c t u r e s . New York, T e a c h e r s ' College, Columbia U n i v e r s i t y , 1955. 194 p. Mus. An a t t e m p t to i n t e r p r e t c o n t e m p o r a r y m u s i c a l s t r u c t u r e in the the light of H e i n r i c h S c h e n k e r ' s a n a l y t i c a l t h e o r i e s . Detailed r o w a n a l y s i s of S c h o e n b e r g ' s F a n t a s y , p. 110-127, 175-186.

See no. 103 (Gottschalk, Nathan. Twelve note m u s i c a s developed by Arnold Schoenberg, 1956). F i v e o r c h e s t r a l p i e c e s , op. 16 See h i s O r c h e s t r a l p i e c e s , op. 16 F r i e d e auf E r d e n See h i s C h o r a l works—op. 13 Fünf O r c h e s t e r s t ü c k e , op. 16 See h i s O r c h e s t r a l p i e c e s , op. 16 Glückliche Hand See a l s o his O p e r a s See no. 428 (Stefan, P a u l .

" S c h ö n b e r g ' s o p e r a s , " Dec 1 9 2 9 / J a n 1930).

433

K e l l e r , Hans. "New m u s i c : two SchOnberg p r o b l e m s , " Mus r e v 17:268-269 (Aug 1956). The p r o b l e m s a r e the meaning of the text and the u s e of Sprechstimme.

434

K e l l e r , Hans. "The 'lucky' hand and o t h e r e r r o r s , " L i s t e n e r 58:961 (Dec 5, 1957). C o r r e c t i o n s of s o m e e r r o r s that have b e e n p e r p e t u a t e d in w r i t -

60

Arnold Schoenberg

Ings about Schoenberg's opera: the translation of the title, the date of the o p e r a ' s composition, etc. Herzgewachse See no. 74 (Der blaue Reiter, 1914). Jakobsleiter See no. 295 (Viertel, Berthold. "Schoenberg's J a k o b s l e i t e r " in Armitage, Merle, ed. Schoenberg, 1937, p. 165-181). See no. 404 (Rankle, Karl. "Arnold SchOnberg," May 1952). 435

Zillig, Winfried. "Notes on Arnold Schoenberg's unfinished oratorio, 'Die Jakobsleiter.'" Score, no. 25:7-16 (June 1959). Mus. Based on "the entire m a t e r i a l connected with the composition of Die Jakobsleiter." Kammersymphonie, op. 9

436

Berg, Alban. Arnold Schönberg: Kammersymphonie, op. 9. Thematische Analyse. Wien, Universal Edition [192-?] 14 p. Thematic form outline; gives m e a s u r e n u m b e r s . No musical examples.

See no. 143 (Schoenberg, Arnold. "Composition with twelve tones" in his Style and id*a, 1950). Kol Nldre 437

Werner, E r i c . "Current chronicle: France," MQ 44:242-244 (Apr 1958). A description, not an analysis; p r i m a r i l y of the text. Moderne P s a l m e n See his Choral works—op. 50c Moses und Aron See also his O p e r a s

438

Bachmann, Claus-Henning. "Ein Wechsel auf die Zukunft," ZfM 115:244-246 (Apr 1954). A review of the first p e r f o r m a n c e , with some mention of the row technique and the meaning of the text.

439

Hamel, F r e d . "Arnold SchOnbergs Bekenntniswerk: zur Uraufführung von Moses und Aron," Music a 8:145-148 (Apr 1954). Illus. Background of the opera; its c e n t r a l idea; the f i r s t performance.

440

Wörner, Karl H. "Current chronicle: Germany," MQ 40:403-412 (July 1954). Mus. Outline of the plot; general description of the music.

Works

61

441

R u f e r , J o s e f . "Intorno a l i a g e n e s i del Moses und Aaron di Schoenberg," Aut aut. no. 27:187-195 (May 1955). History of the composition of Moses und Aron.

442

Babbitt, Milton. "An introduction to the m u s i c " in Moses und Aron [a booklet issued with Columbia r e c o r d i n g K3L-241], [New York, Columbia R e c o r d s , cl957], p. [4-6]. D i a g r s . A technical a n a l y s i s of the r o w s t r u c t u r e .

443

Zillig, Winfried. "Schoenbergs Moses und Aron," Melos 24:69-71 (Mar 1957). Illus. G e n e r a l a r t i c l e ; d i s c u s s i o n of the text and the opera as a whole. Includes a r e p r o d u c t i o n of a page of the autograph MS.

444

Reich, Willi. "Ein B r i e f w e c h s e l fiber 'Moses und Aron, 1 " Schw MZ 97:259-260 (June 1957). L e t t e r s dating f r o m 1930, between Schoenberg and Berg, concerning Schoenberg's opera.

445

Reich, Willi. "Arnold Schönbergs Oper ' M o s e s und Aron 1 ; s z e n i s c h e Uraufführung im S t a d t t h e a t e r Zürich," Schw MZ 97:296-298 (July 1957). Sketch of the plot and g e n e r a l d e s c r i p t i o n of the m u s i c .

446

Rebling, E b e r h a r d . "Arnold Schönbergs Lebensbekenntnis: Gedanken zu s e i n e r Oper ' M o s e s und Aron,'" Musik und Gesellschaft [E. B e r lin] 7:462-467 (Aug 1957). Illus., p o r t . D i s c u s s i o n of the work on philosophical grounds; Moses und Aron s e e n as a sociological c o m m e n t a r y .

447

W ö r n e r , K a r l H. "Die 39 S c h l u s s t a k t e von SchOnbergs ' M o s e s und Aron': Polyphonie d e r Symbole," Melos 24:350-352 (Dec 1957). Mus. "Abschnitt a u s e i n e r g r ö s s e r e n Studie des V e r f a s s e r s . " (See no. 448a.) Analysis of the closing 39 m e a s u r e s of the o p e r a .

See no. 353 ( K e l l e r , Hans. 448

" M o s e s , F r e u d , and Schönberg," J a n - A p r 1958).

Keller, Hans. "The new in r e v i e w . Schönberg— III: Moses and Aron," Mus r e v 19:52-54 (Feb 1958). A philosophical d i s c u s s i o n of the r e a s o n s for the o p e r a ' s being unfinished.

448a Wörner, K a r l H. Gotteswort und Magie: die Oper 'Moses und Aron' von Arnold Schönberg. Heidelberg, L a m b e r t Schneider, 1959. 93 p. Mus., p o r t . Contents: "Das Religiöse in Schönbergs Schaffen," p. 12-18; " ' M o s e s und Aron'—die g e i s t i g e Welt," p. 20-28; "Zur Dialektik d e r Idee," p. 29-32; "Die m u s i k a l i s c h e n G r o s s f o r m e n , " p. 33-44; "Gott a l s Gedanke," p. 45-55; "Gott a l s Unendlichkeit," p. 56-58: "Gottes V e r heissung," p. 59-69; "Aron—der ewige Wandel," p. 70-71; "Musik, Sprache und Symbole," p. 72-76; " D e r d r i t t e Akt," p. 77-78; "Der Z w ö l f t o n c h a r a c t e r d e r Musik," p. 79-87; "Der Aufführungen," p. 88-91.

62

Arnold Schoenberg

—Dance around the golden calf See no. 811 {[Keller, Hans]. " F i r s t performances: Schoenbergians and Stravinskyians," Nov 1954). Ode to Napoleon 449

List, Kurt. "[Homage to SchOnberg]: Ode to Napoleon," Modem music 21:139-145 (Mar/Apr 1944). Mus. Discusses many aspects of the work: p h r a s e structure, tonality, motivic treatment, etc. Operas See also his Erwartung, Glückliche Hand, Moses und Aron, Von Heute auf Morgen.

450

Felber, Erwin. "Arnold SchOnberg und die Oper," Muslkblfttter des Anbruch 9:67-70 (Jan/Feb 1927). Wagner's Influence on Schoenberg; discussion of Erwartung, Jakobsleiter, Glückliche Hand.

451

Berg, Alban. "Die Stimme in der Oper," Musikblätter des Anbruch 10:349-350 (Nov/Dec 1928). Brief description of the voice treatment in Schoenberg's operas and in B e r g ' s Wozzeck.

452

Leibowitz, René. "Les oeuvres d'Arnold Schoenberg ou la conscience du d r a m e futur dans la musique contemporaine" in Le thêfttre musical. P a r i s , Richard-Masse [1947/48], p. 84-104. Mus. (Polyphonie, 1 e r cahier). Erwartung (one of the few articles discussing its construction). Glückliche Hand, Von Heute auf Morgen, and (briefly) Moses und Aron.

453

Mayer, Harry. "Twee toneelwerken van Arnold Schoenberg," Mens en melodie 13:135-139 (May 1958). Mus. Erwartung and Von Heute auf Morgen; a brief account of the music and the d r a m a .

454

Mitchell, Donald. "Summer festivals: Von Heute auf Morgen and Erwartung," Opera [London] 9:567-571 (Sept 1958). Illus. Brief review and general description. Orchestral pieces, op. 16

See no. 307 (Newman, E r n e s t . pieces," Feb 1, 1914). 455

"A propos of SchOnberg's five orchestral

Deutsch, Max. "Les cinq P i e c e s pour O r c h e s t r e d'Arnold SchOnberg," Schw MZ 88:462-464 (Dec 1948). "Conference donnée à Radio-Genëve." A somewhat philosophical discussion; not an analysis.

Works 456

63

CoweU. Henry. " C u r r e n t c h r o n i c l e : New Y o r k " MQ 35:106-111 ( J a n 1949). Mus. A r e v i e w and d e s c r i p t i o n of S c h o e n b e r g ' s F i v e o r c h e s t r a l p i e c e s and W e b e r n ' s P a s s a c a g l i a .

See no. 306a (Adorno, Theodor W i e s e n g r u n d . " Z u r V o r g e s c h i c h t e d e r Reihenkomposition" in h i s Klangfiguren, 1959). O r c h e s t r a l v a r i a t i o n s , op. 31 See h i s V a r i a t i o n s f o r o r c h e s t r a , op. 31 P h a n t a s y f o r violin See h i s F a n t a s y f o r violin Piano works 457

D e u t s c h , L e o n h a r d . " Z u r EinfOhrung in d i e H a r m o n i k d e r z e i t g e n o s s i s c h e n K l a v i e r l i t e r a t u r , " Musikblfltter d e s A n b r u c h 9 : 3 2 4 - 3 4 . ( O c t / N o v 1927). Mus. "Zwölftontechnik (Schönberg)." p. 339-342. D i s c u s s e s b r i e f l y t h e T h r e e p i e c e s , op. 11; Six little p i e c e s , op. 19; F i v e p i e c e s , op. 23.

See no. 295 (Steuermann, E d u a r d . " T h e piano m u s i c of Schoenberg" in A r m i t a g e , M e r l e , ed. Schoenberg, 1937, p. 125-133). 458

T u t t l e , T. T e m p l e . " S c h ö n b e r g ' s c o m p o s i t i o n s f o r piano solo," Mus r e v 18:300-318 (Nov 1957). Mus. A n a l y s e s of op. 11, 19, 23, 33a, 33b. S e e m s to r e l y on p r e v i o u s a n a l y s e s by Lelbowitz and Dika Newlin. —op. 11 ( T h r e e piano p i e c e s )

See no. 380 (Somigli, C a r l o . [ j u i / S e p t ) 1913).

"II modus o p e r a n d i di Arnold Schoenberg,"

See no. 389 (Katz, Adele T.

Challenge to m u s i c a l t r a d i t i o n , 1945).

459

L e l c h t e n t r i t t , Hugo. "Arnold Schönberg: opus 11 and opus 19" in h i s Musical f o r m . C a m b r i d g e , H a r v a r d U n i v e r s i t y P r e s s , 1951, p. 425-450. Mus. "The p r e s e n t attempt at a n a l y s i s . . . i s c o n c e r n e d with w h e t h e r it i s p o s s i b l e to d i s c o v e r a r a t i o n a l c o n s t r u c t i v e idea in t h e s e pieces . . . " The a n a l y s i s of op. 19 a p p e a r e d o r i g i n a l l y in Modern m u s i c , M a y / J u n e 1928. - o p . 11:1

460

K o p e r b e r g - V a n W e r m e s k e r k e n , A. " B i j een pianostuk van Schoenberg," Mens en melodie 7:382-384 (Dec 1952). Mus. B r i e f a n a l y s i s of the v a r i a t i o n technique.

64

Arnold Schoenberg

—op. 19 (Six little piano p i e c e s ) See no. 459 ( L e i c h t e n t r i t t , Hugo. "Arnold Schönberg: opus 11 and opus 19" in h i s M u s i c a l f o r m , 1951). See no. 586 ( P o u s s e u r , Henri.

"Da Schoenberg a Webern," Dec 1956).

- o p . 19:2 See no. 159 (Ballif, Claude. Introduction à la m é t a t o n a l i t é , 1956, p. 111). —op. 25 (Suite f o r piano) See no. 384 (Westphal, Kurt. Arnold Schönbergs Weg z u r Zwölftonmusik," Apr 1929). See no. 389 (Katz, Adele T.

Challenge to m u s i c a l t r a d i t i o n , 1945).

See no. 143 (Schoenberg, Arnold. Style and idea, 1950).

"Composition with twelve t o n e s " in h i s

- o p . 33a See no. 28 ([Keller, Hans]. 1953).

" F i r s t p e r f o r m a n c e s and t h e i r reviews," F e b

See no. 155 (Ogdon, Wilbur L e e . S e r i e s and s t r u c t u r e , 1955, p. 28-92). 461

Mayer, H a r r y . "Een blik a c h t e r de w e r k w i j z e van Arnold Schoenberg," Mens en melodie 12:130-133 (May 1957). Mus., p o r t . A n a l y s i s of the row t r e a t m e n t . P i e c e s f o r o r c h e s t r a , five See h i s O r c h e s t r a l p i e c e s , op. 16 P i e r r o t L u n a i r e , op. 21

462

Godet, R o b e r t . " A p r è s une audition de ' P i e r r o t L u n a i r e , ' " Rev m u s 7:19-30 (May 1923). I m p r e s s i o n s of the work; not an a n a l y s i s .

463

Engel, C a r l . "Schönberg L u n a i r e " in his D i s c h o r d s mingled. York, Knopf, 1931, p. 84-97. A nontechnical e s s a y .

464

Boulez, P i e r r e . " T r a j e c t o r i e s : Ravel, Stravinsky, Schoenberg," C o n t r e p o i n t s 6:122-142 (1949). D i s c u s s e s one work each by Ravel, Stravinsky, and Schoenberg ( s e e no. 465).

465

S c h a e f f n e r , André. " C h r o n i q u e s et c o m m e n t a i r e s ; v a r i a t i o n s Schoenberg," C o n t r e p o i n t s 7:110-129 (1951). A c o m m e n t a r y on B o u l e z ' s a r t i c l e (see no. 464).

New

See no. 303 (Stein, E r w i n . " T h e t r e a t m e n t of the speaking voice in P i e r r o t L u n a i r e " in h i s O r p h e u s in new g u i s e s , 1953, p. 86-89).

Works

65

See no. 69 (Perle, George. "Theory and practice in twelve-tone music," Jun 1959). Quartets, Strings 466

Gradenwitz, Peter. "The idiom and development in Schoenberg's quartets," M M 26:123-142 (Jul 1945). Mus. Brief analyses. Includes a list of Schoenberg's works, p. 141142. —no. 1, in D minor, op. 7

467

Wellesz. Egon. "Arnold SchOnberg," Zeitschrift der Internationalen Musikgesellschaft 12:342-348 (Sept 1911). Mus. Discussion of Schoenberg's early works, with outlines of the form of the first and second quartets.

468

Schindler, Kurt. Arnold SchOnberg's Quartet in D minor, op. 7: an introductory note . . . delivered . . . at the private performance by the Flonzaley Quartet . . . New York, December 28th, 1913. Followed by an index of musical themes. New York, G. Schirmer [c 1914], 10 p. + 5 p. of "index of

themeB."

469

"A SchOnberg quartet," Musical courier 68:27 (Feb 4, 1914). Port. A sympathetic contemporary criticism; discusses the "style" of the work.

470

Berg, Alban. "Why is Schoenberg's music so hard to understand?" Mus rev 13:187-196 (Aug 1952), tr. by Anton Swarowsky and Joseph Lederer. Originally appeared as "Warum ist Schönbergs Musik so schwer verständlich?" in Arnold SchOnberg zum fünfzigsten Geburtstag (see no. 288); reprinted in Reich's Alban Berg (see no. 492, p. 142-155). French translation—"Pourquoi la musique de Schoenberg est-elle si difficile a comprendre?"—in Berg's Ecrits (see no. 509, p. 65-92). —no. 2, in F-sharp minor, op. 10

See no. 467 (Wellesz, Egon. "Arnold SchOnberg," Sept 1911). See no. 380 (Somigli, Carlo. "II modus operandi di Arnold Schoenberg," Jul/Sept 1913). —no. 3, op. 30 471

Stein, Erwin. "SchOnberg's new structural form," Modern music 7:3-10 (Jun/Jul 1930). Mus., port. Primarily a row analysis.

See no. 586 (Pousseur, Henri. "Da Schoenberg a Webern," Dec 1956).

66

Arnold Schoenberg

— no. 4. op. 37 472

Mangeot, André. "Schoenberg's fourth Quartet," Mus rev 3:33-37 (Feb 1942). Mus. A brief thematic analysis.

See no. 206 (Johnson, Martha. A study of linear design in Gregorian chant and music written in the twelve-tone technique, 1954). See no. 166a (Rufer, J o s e f .

"Was ist Zwölftonmusik?" Jan 1958). —first movement

473

Neighbor, Oliver. "A talk on Schoenberg for CQmposers 1 Concourse," Score, no. 16:19-28 (Jun 1956). Mus. An analysis of the first movement. Quintet. Winds, op. 26

474

Greissle, Felix. "Die formalen Grundlagen des Blaserquintetts von Arnold Schönberg." Musikblatter deB Anbruch 7:63-68 (Feb 1925). Mus. A brief structural analysis.

475

Pannaln, Guido. "L'Internationale Musikgesellschaft fQr neue Musik e il Festivale musicale di Zurlgo; 2* Concerto Schoenberg," Riv mus ital 33:417-421 # ([Jul/Sept] 1926). B r i e f description of the twelve-tone technique; characteristics of the Quintet.

See no. 384 (Westphal, Kurt. "Arnold Schönbergs Weg zur Zwölftonmusik," Apr 1929). See no. 143 (Schoenberg, Arnold. "Composition with twelve tones" in his Style and idea, 1950, p. 102-143). Satires for mixed chorus See his Choral works—op. 28 (Three satires for mixed chorus) Sechs kleine Klavier stocke, op. 19 See his Piano works—op. 19 Septet, op. 29 See his Suite (Septet), op. 29 Six little piano pieces, op. 19 See his Piano works—op. 19

Works

67

SongB 476

Z e i g e r , Jean Wilson. Early expressionistic songs. (Thesis, M. A., University of California, 1959). 188 1. Mus. Bibliography, p. 179-188. Covers songs of Schoenberg, Berg, and Webern "written in a non-tonal idiom prior to Schoenberg's development of the twelve-tone method." Detailed analyses of Schoenberg's op. 15, nos. 4 and 9, Webern's op. 4, no. 2, and Webern's op. 15, no. 4. — op. 6 (Eight songs)

See no. 380 (Somigli, Carlo. Jul/Sept 1913).

"II modus operandi di Arnold Schoenberg,"

— op. 15 (Das Buch der hängenden Gärten) See no. 476 ( Z e i g e r , Jean Wilson.

Early expressionistic songs, 1959).

String quartets See his Quartets, Stringa String trio See his T r i o , Strings Suite, Piano, op. 25 See his Piano works—op. 25 Suite (Septet), op. 29 477

Stein, Erwin. "Zu Schönbergs neuer Suite, op. 29," Muaikblätter des Anbruch 9:280-281 (Aug/Sept 1927). A brief description. Survivor from Warsaw

478

Leibowitz, René. "Arnold Schoenberg's 'Survivor f r o m Warsaw' or the possibility of 'committed' art," Horizon [London| 20:122-131 (Aug 1949). A philosophical discussion of the political questions involved; brief summary of the "plot" and some general statements about the music. [Summarized by Paul Hamburger in Mus sur 2:183 (Winter 1950).]

479

Hill, Richard S. "Music reviews; Arnold Schoenberg: A survivor from Warsaw," Notes 7:133-135 (Dec 1949). Discusses the row treatment.

See no. 400 ( K e l l e r , Hans.

"Schoenberg," Jun 1951).

68

Arnold S c h o e n b e r g

T h e m e and v a r i a t i o n s in G m i n o r f o r o r c h e s t r a , op. 43b 480

Goehr, W a l t e r . " M u s i c a - U m s c h a u : SchOnbergs Aussöhnung mit d e r Tonalitat." Musica 1:219-220 (May/Aug 1947). S u r v e y s S c h o e n b e r g ' s v a r i o u s " p e r i o d s " of c o m p o s i t i o n and b r i e f l y d e s c r i b e s t h e s e tonal v a r i a t i o n s . T r i o . Strings, op. 45

481

Hymanson, William. " S c h o e n b e r g ' s String t r i o (1946)," Mus r e v 11:184-194 (Aug 1950). Mus., t a b l e s . The work a s a whole; i t s r o w t r e a t m e n t .

482

Hill, R i c h a r d S. "Music r e v i e w s : Arnold Schoenberg: S t r i n g t r i o , op. 45," Notes 8:127-129 (Dec 1950). Hexachordal row t r e a t m e n t d i s c u s s e d at s o m e length.

483

Neighbor, Oliver W. "Dodecaphony in S c h o e n b e r g ' s S t r i n g trio," Mus s u r 4:489-490 (Jun 1952). Mus. Very b r i e f account of the row t r e a t m e n t .

See no. 204a (Rochberg, George. chord," Nov 1959).

"The h a r m o n i c tendency of t h e hexa-

V a r i a t i o n s for o r c h e s t r a , op. 31 484

Leibowitz, René. Introduction à la musique de douze s o n s . L e s V a r i a t i o n s pour o r c h e s t r e , op. 31, d'Arnold Schoenberg. P a r i s , L ' A r c h e [1949], 3 5 1 p . Mus. P a r t i a l contents: P r e m i è r e p a r t i e : " N é c e s s i t é s et g e n è s e de la technique de douze sons," p. 25-52; "La ' R e i h e n k o m p o s i t i o n ' a n t é r i e u r e à la technique de douze sons," p. 53-80; " L a technique de douze sons," p. 81-108. Deuxième p a r t i e : " L e s V a r i a t i o n s pour o r c h e s t r e , " p. 113-220. T r o i s i è m e p a r t i e : " L e s d e r n i è r e s o e u v r e s de Schoenberg, de Webern et de Berg," p. 223-249; " L e s nouvelles g é n é r a t i o n s de c o m p o s i t e u r s ' d o d é c a p h o n i s t e s ' et l e u r s c a r a c t é r i s t i q u e s g é n é r a l e s , " p. 250-276; " L e s s u r v i v a n c e s de l ' o r d r e tonal à l ' i n t é r i e u r de la technique de douze sons et l e s p o s s i b i l i t é s de l e u r d é p a s s e m e n t , " p. 279-302; " L e s a s p e c t s l e s plus r é c e n t s de la technique de douze sons," p. 303-335; " O e u v r e s d'Arnold Schoenberg," p. 339-342; " O e u v r e s d'Alban Berg," p. 342-343; " O e u v r e s d'Anton Webern," p. 343-345.

See no. 143 (Schoenberg, Arnold. "Composition with twelve t o n e s " in h i s Style and idea, 1950, p. 102-143). 485

Kloppenburg, W. C. M. "Het t h e m a van Schoenbergs V a r i a t i o n e n F ü r O r c h e s t e r , " Mens en melodie 12:362-365 (Dec 1957). Mus. An a n a l y s i s of the t h e m e .

See no. 170 (Nono, Luigi. "Die Entwicklung d e r Reihentechnik" in Steinecke, Wolfgang, ed. D a r m s t ä d t e r B e i t r ä g e z u r neuen Musik, 1958, p. 25-37).

General

69

48Sa Schoenberg, Arnold. "The o r c h e s t r a l variations, op. 31: a radio talk," Score, no. 27:27-40 (Jul 1960). Mus. An analysis: originally given over the F r a n k f u r t radio in 1931. Variations on a recitative f o r organ, op. 40 See no. 426 (Keller, Hans. " F i r s t p e r f o r m a n c e s , " Nov 1952). 486

Keller, Hans. " F i r s t p e r f o r m a n c e s : their p r e - and reviews," Mus r e v 16:145-147 (May 1955). D i s c u s s e s "tonality and harmony," "counterpoint," "melody and rhythmic s t r u c t u r e " v e r y briefly. Von Heute auf Morgen See also his O p e r a s

487

Adorno, Theodor Wiesengrund. "Arnold Schönberg: Von Heute auf Morgen," Anbruch 13:72-74 (Feb 1930). A brief description.

488

Pisk, Paul. "Schoenberg's twelve-tone opera," Modern music 7:1821 (Apr/May 1930). D i s c u s s e s the plot and musical s t r u c t u r e . Reprinted in no. 295 (Armitage).

489

Reich, Willi. "Berichte aus dem Ausland: S c h ö n b e r g - P r e m i e r nach 22 Jahren." Melos 20:27-28 (Jan 1953). Illus. General description of the work and of its f i r s t p e r f o r m a n c e since 1930.

490

Keller, Hans. "Schoenberg's comic opera," Score, no. 23:27-36 (Jul 1958). A discussion of its history, bibliography, libretto, and music. Wind quintet, op. 26 See his Quintet, Winds, op. 26

ALBAN

BERG

( 1 8 8 5 - 1 9 3 5)

GENERAL (Including Collections, F e s t s c h r i f t e n , etc.) 491

Mantelli, Alberto. "Note su Alban Berg," Rass mus 9:117-132 (Apr 1936). Mus. B e r g ' s works, especially Wozzeck, and his significance.

492

Reich, Willi, ed. Alban Berg: mit B e r g s eigenem Schriften und Beiträgen von Theodor Wiesengrund Adorno und E r n s t Krenek.

70

Alban B e r g

Wien, H e r b e r t R e i c h n e r [cl937], 208 p. Mus., p o r t s . Contents: Biography, p. 7-18; a n a l y s e s of B e r g ' s works, by Reich, Adorno, and Krenek, p. 19-133; e s s a y s by B e r g , p. 135-203. See no. 81 (Hijman, J u l i u s . 493

Nieuwe o o s t e n r i j k s e m u s i e k ,

Reich, Willi. "Alban B e r g " in Thompson, O s c a r , ed. c o m p o s e r s . New York, Dodd Mead, 1941, p. 10-14. Includes a s h o r t catalog of B e r g ' s works, p. 14.

See no. 82 ( S a l a z a r , Adolfo. Music in o u r t i m e , 494

1938). Great modern

1946).

Hübner, H e r b e r t . " B e r g , Alban" in Die Musik in G e s c h i c h t e und G e g e n w a r t . K a s s e l , B ä r e n r e i t e r , 1949-1951, v. 1, col. 1680- lö84. Illus. Bibliography and list of works included.

See no. 84 (Leibowitz, René. "Alban B e r g : the a w a r e n e s s of the p a s t in c o n t e m p o r a r y m u s i c " in his S c h o e n b e r g and his school, 1949, p. 137-186). See no. 299 ( W ö r n e r , K a r l H. 495

Music d e r Gegenwart,

1949).

Reich, Willi. " B e r g , Alban" in G r o v e ' s Dictionary of m u s i c and m u s i c i a n s . 5th ed., London, M a c m i l l a n , 1954, v. 1, p. 635-639. Includes a l i s t of works and a b i b l i o g r a p h y .

See no. 94 (Rognoni, Luigi.

E s p r e s s i o n i s m o e dodecafonia, 1954).

See no. 100 ( C o l l a e r , P a u l . L a musique m o d e r n e , 1905-1955,

1955).

See no. 105 (Hamilton, Iain. "Alban B e r g and Anton Webern" in Hartog, Howard, ed. E u r o p e a n music in the twentieth c e n t u r y , 1957, p. 94-117). 496

Redlich, Hans F e r d i n a n d . Alban B e r g , the man and his m u s i c . New York, A b e l a r d - S c h u m a n [cl9571. 316 p. Mus., p o r t s . . Alban Berg: V e r s u c h e i n e r Würdigung. Wien, U n i v e r s a l Edition, 1957. Contents: P a r t 1: " T h e second Viennese school," p. 13-18; " T h e p r o b l e m of tonality," p. 19-31. P a r t 2: "The music of Alban Berg," p. 35-202. P a r t 3: " T h e life of Alban Berg," p. 217-242. P a r t 4: appendices: "Arnold Schoenberg on Alban B e r g " (1949), p. 245-246; " F a c s i m i l e of B e r g ' s V a r i a t i o n s f o r piano on a t h e m e of h i s own" (1908), p. 247-259; " B e r g ' s l e c t u r e on Wozzeck" (1929), p. 261-285; "Catalogue of works," p. 287-298; " D i s c o g raphy," p. 299-304; "Bibliography," p. 305-312. Review by E r n s t Krenek in MQ 43:403-406 (July 1957).

See no. 112 ( P r i e b e r g , F r e d K. Lexikon d e r neuen Musik, 1958, p. 36-41). See no. 115 (Stuckenschmidt, Hans Heinz. "Alban B e r g " in h i s Schöpfer d e r neuen Musik, 1958, p. 180-191). See no. 116 (Vlad, Roman. " B e r g e la l i b e r a a r t i c o l a z i o n e d e l l a d o d e c a fonia" in his Storia d e l l a dodecafonia, 1958, p. 115-124).

Philosophy and C r i t i c i s m

71

497

Adorno, Theodor W i e s e n g r u n d . "Alban B e r g " in h i s Klangfiguren. B e r l i n , S u h r k a m p V e r l a g , c l 9 5 9 , p. 121-137. (His M u s i k a l i s c h e n S c h r i f t e n , I.) " U r s p r ü n g l i c h ein V o r t r a g fQr den N o r d d e u t s c h e n Rundfunk, v e r ö f f e n t l i c h in ' M e r k u r / 10. J a h r g a n g , Heft 7, J u l i 1956, S. 643 ff."

498

Vogelsang, Konrad. Alban B e r g , L e b e n und Werk. B e r l i n - H a l e n s e e , Max H e s s e s V e r l a g [ c l 9 5 9 ] , 88 p. P o r t s . ( H e s s e s k l e i n e BQcherei, Band 5.) Contents: P a r t 1: "Leben," p. 9 - 5 4 . P a r t 2: "Werkanalysen," p. 55-77; " W e r k v e r z e i c h n i s , " p. 79-81; " D i s c o g r a p h i e , " p. 81-85; "Bibliographie," p. 86-88.

See no. 118a (Zillig, Winifried. "Alban B e r g und die Wiener Schule" in h i s V a r i a t i o n e n ü b e r neue Musik, 1959, p. 140-148). 498a Boulez, P i e r r e . "Alban B e r g heute gesehen," Melos 27:33-36 ( F e b 1960). E x e r p t e d f r o m h i s a r t i c l e in F a s q u e l l e ' s Encyclopédie de la musique [c 1958]; t r . by P i e r r e Stoll.

PHILOSOPHY AND CRITICISM 499

P i j p e r , Willem. "Alban Berg," MT 77:414-415 (May 1936), t r . by H e r b e r t Antcliffe. Obituary; g e n e r a l evaluation of B e r g ' s work. The a u t h o r f e e l s that, with B e r g ' s death, the "period of atonal c o m p o s i t i o n is f o r the t i m e being a l r e a d y concluded."

500

Hollander, Hans. "Alban Berg," MQ 22:375-382 (Oct 1936), t r . by "G. R." P o r t . G e n e r a l e s s a y on the i m p o r t a n c e of B e r g .

501

M e n a s c e , J a c q u e s . " B e r g and Bartok," Modern m u s i c 21:76-81 ( J a n / F e b 1944). Affinities between the two c o m p o s e r s .

502

Leibowitz, René. "Innovation and t r a d i t i o n in c o n t e m p o r a r y m u s i c : III. Alban B e r g , o r the seduction to truth," Horizon [London] 16: 140-152 (Aug 1947). Conclusion of h i s s e r i e s of a r t i c l e s on Schoenberg, Webern, and B e r g (see n o s . 320 and 575).

503

Boulez, P i e r r e . " I n c i d e n c e s a c t u e l l e s de B e r g ; à p r o p o s de la Quinzaine de Musique a u t r i c h i e n n e à P a r i s " in Le r y t h m e m u s i c a l . P a r i s , R i c h a r d - M a s s e [1948], p. 104-108. Mus. (Polyphonie, 2 e cahier.) B e r g ' s r e l a t i o n to m u s i c a l t r a d i t i o n .

See no. 29 (Goléa, Antoine. "Alban B e r g " in his Esthétique de la m u s i q u e c o n t e m p o r a i n e , 1954, p. 52-56, 66-7lT!

72

Alban B e r g

504

L i n d l a r , Heinrich. " ' M i r fehlt die g r o s s e F r e u d e 1 ; zum 20. T o d e s tag Alban Bergs," Musica 9:594-596 (Dec 1955). Illus. An evaluation of B e r g ' s works twenty y e a r s a f t e r his death.

505

Rubin, M a r c e l . "Alban B e r g und die Zukunft d e r Schönberg-Schule," Musik und G e s e l l s c h a f t [E. Berlin] 5:384-386 (Dec 1955). Mus. F e e l s that B e r g ' s works, having tonal implications, could m o r e p r a c t i c a l l y have b e e n written within a tonal idiom. F i n d s B e r g the only t w e l v e - t o n e c o m p o s e r who a p p e a l s to the m a s s e s , and t h e r e f o r e the one by which the t r e n d of dodecaphony should b e judged. D i s c u s s e s folk e l e m e n t s in Wozzeck.

BIOGRAPHY 506

Reich, Willi. " E r i n n e r u n g e n an Alban Berg," Schw MZ 91:1-3 (Jan 1951). " G e s p r o c h e n im SQdwestfunk in B a d e n - B a d e n im D e z e m b e r 1950."

507

S c h m i d t - G a r r e . Helmut. " B e r g a l s L e h r e r , " Melos 22:40-41 ( F e b 1955). Illus. A b r i e f c o m m e n t by a f o r m e r B e r g pupil.

508

Reich, Willi. "Alban B e r g a l s Apologet Arnold Schönbergs: mit einem unbekannten Aufsatz Bergs," Schw MZ 95:475-477 (Dec 1955). Gives the f i r s t p a r t of an a r t i c l e by B e r g . (The second p a r t of B e r g ' s a r t i c l e was p r e v i o u s l y published a s "Zwei F e u i l l e t o n s : Ein B e i t r a g z u m Kapitel, 'Schönberg und die K r i t i k ' " in t h e Neuer Wiener J o u r n a l . July 17, 1920).

509

B e r g , Alban. E c r i t s : c h o i s i s , t r a d u i t s , et c o m m e n t é s p a r Henri P o u s s e u r . Monaco, Editions du R o c h e r [1957], 182 p. Mus. (Domaine m u s i c a l . ) P a r t i a l contents: " L a société viennoise d ' e x é c u t i o n s p r i v é e s " (1919), p. 29-37; " P o u r q u o i la musique de Schoenberg e s t - e l l e s i d i f f i c i l e k c o m p r e n d r e ? " (1924), p. 65-92; " L e t t r e o u v e r t e & Schoenberg" (1925), p. 93-108; "A p r o p o s d e s f o r m e s e m p l o y é e s dans Wozzeck" (1924), p. 109-117; "Indications p r a t i q u e s pour l ' é t u d e de Wozzeck" (1930), p. 141-155; " C r e d o " (1930), p. 157166; "Chronologie," p. 167-178.

*509a Reich, Willi, ed. Alban B e r g , Bildnis im Wort: S e l b s t z e u g n i s s e und Aussagen d e r F r e u n d e . Zttrich, Die A r c h e [cl959], 89 p. Illus., m u s . , p o r t s . 510

Schoenberg, Arnold. "Über Alban Berg," Schw MZ 99:221-225 (Jun 1959). Originally written f o r R e i c h ' s book on B e r g (see no. 492).

Works

73

CORRESPONDENC E See no. 374 (Hill, R i c h a r d S. "Annual r e p o r t s on acquisitions: music," Nov 1952). 511

Reich, Willi. "Aus unbekannten B r i e f e n von Alban B e r g an Anton Webern: Alban B e r g a l s Opernkomponist und M u s i k s c h r i f t s t e l l e r , " Schw MZ 93:49-52 (Feb 1953). Brief note concerning the f r i e n d s h i p between B e r g and Webern; t e x t s of five l e t t e r s .

See no. 555 (Blaukopf, Kurt.

"New light on Wozzeck," Sept 26, 1953).

512

Redlich, Hans F e r d i n a n d . "Alle guten Dinge," Melos 22:39-40 (Feb 1955). E x c e r p t s f r o m l e t t e r s of B e r g to Schoenberg and Webern conc e r n i n g B e r g ' s C h a m b e r c o n c e r t o . Reprinted in R e d l i c h ' s Alban B e r g (see no. 496).

513

Reich, Willi. "Aus Alban B e r g s Jugendzeit," Melos 22:33-38 (Feb 1955). P o r t . The young B e r g ; s e l e c t i o n s f r o m e a r l y l e t t e r s .

514

R u f e r , J o s e f . "Dokumente e i n e r F r e u n d s c h a f t , " Melos 22:42-46 ( F e b 1955). Illus., p o r t . L e t t e r s f r o m B e r g to Schoenberg.

See no. 444 (Reich, Willi. "Ein B r i e f w e c h s e l über ' M o s e s und Aron,'" J u n 1957). See no. 379 ([Schoenberg, Arnold]. "Ein unbekannter Brief von Arnold Schönberg an Alban Berg," J a n 1959).

COMPOSITIONAL TECHNIQUES See no. 391 (Wood, Ralph W. "Concerning 'Sprechgesang,'" Dec 1946). See no. 154 (Erickson, Robert. See no. 160 ( P e r l e , George.

The s t r u c t u r e of music,

1955).

S e r i a l composition and atonality, 1956 [c 1959].)

GENERAL DESCRIPTIONS OF WORKS See no. 292 ( M e r s m a n n , Hans. 1927). 515

Die m o d e r n e Musik seit d e r Romantik,

Reich, Willi. "Alban Berg," Die Musik 22:347-353 (Feb 1930). Mus., port. A d i s c u s s i o n of B e r g ' s works and "style." Includes the c o m p l e t e music of B e r g ' s two s e t t i n g s of " S c h l i e s s e m i r die Augen beide," made in 1900 and 1925.

74

Alban Berg

516

Adorno, Theodor Wiesengrund. "Berg and Webern—Schoenberg's heirs," Modern music 8:29-38 (Jan 1931). Discussion and comparison of Berg's and Webern1 s works and "styles."

517

Reich, Willi. "Les dernières oeuvres d'Alban Berg," Rev mus 12:148-154 (Feb 1931). A brief discussion.

518

Mantelli, Alberto. "Elenco delle opere di Berg," Ras s mus 9:163164 (May 1936). A list of Berg's works.

See no. 492 (Reich, Willi, ed. Alban Berg, 1937, p. 19-133). See no. 484 (Leibowitz, René. "Les dernières oeuvres de Schoenberg, de Webern et de Berg" in his Introduction k la musique de douze sons, 1949, p. 223-249). See no. 403 (Demuth, Norman. "Alban Berg" in his Musical trends in the twentieth century, 1952, p. 239-245). 519

"Oeuvres d'Alban Berg (1885-1935)," Music information record, no. 11:15, 17 (Winter 1953/1954). List of works with dates of publication.

See no. 95 (Wörner, Karl H. Neue Musik in der Entscheidung, 1954).

INDIVIDUAL WORKS Altenberger Lieder See his Songs—op. 4 Chamber concerto for violin, piano, and 13 winds 520

Deutsch, Max. "Le Concerto de chambre d'Alban Berg," Schw MZ 89:328-333 (Sept 1949). The background of the work, its symbolism, its general characteristics.

See no. 94 (Berg, Alban. "Lettera aperta ad Arnold Schoenberg" in Rognoni, Luigi. Espressionismo e dodecafonia, 1954, p. 277-282). Originally published in Pult und Taktstock, 1925. See no. 512 (Redlich, Hans Ferdinand. "Alle guten Dinge," Feb 1955). Concerto, Violin and orchestra 521

Smith, Moses. "Alban Berg—finale: a requiem," Modern music 13:29-34 (Mar 1936). Port. Some comments on Lulu, but primarily an essay on the Violin concerto: its genesis and character.

Works 522

75

C a r n e r , Mosco. 'Alban Berg (1885-1935)" in Hill, Ralph. The concerto. London, Penguin Books, 1952, p. 362-379. Mus. An extended but nontechnical analysis.

See no. 425 (Rubin, Louis. music, 1952).

The idiom of the violin in twentieth century

See no. 649 (Gavazzeni, Gianandrea. "La critica soggettivistica e il Conc e r t o per violino di Berg" in his Musicisti d'Europa, 1954, p. 124129). 523

Rostal, Max, and Hans Keller. " B e r g ' s Violin concerto: a revision," MT 95:87-88 (Feb 1954). Mus. P r o b l e m s of alternate versions of the cadenza in the second movement.

524

Redlich, Hans Ferdinand. "Alban Bergs Violinkonzert," Melos 24: 316-321 (Nov 1957) and 24:352-357 (Dec 1957). Mus. An analysis. Reprinted f r o m Redlich's Alban Berg (see no. 496).

See no. 427 (Walters, Willard Gibson. violin music, 1958).

Technical problems in modern

Five songs to postcard texts See his Songs—op. 4 Kammerkonzert See his Chamber concerto Lulu See also his Operas 525

Collaer, Paul. "Une nouvelle oeuvre d'Alban Berg: Loulou," Rev mus 16:169-174 (Mar 1934). Mus. The structure of the drama and the music; a survey-analysis.

526

Bach, David Joseph. "New music by Berg, Webern, Krenek," Modern music 12:31-38 (Nov/Dec 1934). A review of the music (Berg's Lulu, Webern's Songs, op. 23, and Krenek's Cantata, op. 72) and a summary of the trends of twelve-tone music in the mid-1930's.

527

Reich, Willi. "Lulu, the text and music," Modern music 12:103-111 (Mar/Apr 1935). Port. A summary of the drama and a brief general discussion of the music.

528

Reich, Willi. "Alban B e r g ' s Lulu," MQ 22:383-401 (Oct 1936), t r . by M. D. Herter Norton. Mus. The dramatic and musical structure of the opera.

529

List, Kurt. "Lulu, after the premiere," Modern music 15:8-12 (Nov/Dec 1937).

76

Alban B e r g

A general summation of B e r g ' s achievements; a review of Lulu—the p e r f o r m a n c e and the music. 530

Thoresby, Christina. "Lulu d'Alb an B e r g au théâtre," Contrepoints 6:156-159 (1949). Mus. Brief s u m m a r y of the plot and the musical technique.

531

Reich, Willi. "Deutsche P r e m i e r e nach 15 J a h r e n : Alban B e r g s Oper 'Lulu,'" Melos 19:337-342 (Dec 1952). Illus., port. Background of the opera; outline of the plot.

532

Hill, Richard S. "Reviews of r e c o r d s ; Berg: Lulu," MQ 39:134-138 (Jan 1953). Comparison of Lulu with Wozzeck and Schoenberg's Erwartung; the origin of the text of Lulu; the c h a r a c t e r of the music.

533

Werker, G e r a r d . "Alban Berg en zijn opera Lulu," Mens en melodie 8:167-172 (Jun 1953). Mus., port. Some row analysis; a sketch of the d r a m a .

534

Mitchell, Donald. "The c h a r a c t e r of Lulu: Wedekind's and B e r g ' s conceptions compared," Mus r e v 15:268-274 (Nov 1954). Mus. Berg and Wedekind as l i b r e t t i s t s ; B e r g ' s musical t r e a t m e n t of the d r a m a .

535

Krenek, E r n s t . "Alban B e r g s 'Lulu'" in his Zur Sprache Gebracht: E s s a y s über Musik. München, Albert Langen [cl958], p. 241-250. Reprinted f r o m the Wiener Zeitung, June 6, 1937.

See no. 69 ( P e r l e , George. Jun 1959).

"Theory and p r a c t i c e in twelve-tone music,"

Lulu Symphonie 535a Adorno, Theodor Wiesengrund. " B e r g s Lulu-Symphonie," Melos 27:43-46 (Feb 1960). Reprinted f r o m the fall 1935 i s s u e of 23, eine Wiener Musikzeitschrift. 535b Reich, Willi. "An der Seite von Alban Berg," Melos 27:36-42 (Feb 1960). Mus. Includes f a c s i m i l e s of t h r e e sketches for Lulu. Lyric suite for s t r i n g quartet 536

Bouquet, F r i t z . "Alban B e r g s ' L y r i s c h e Suite'; eine Studie über Gestalt, Klang und Ausdruck," Melos 15:227-231 (Aug/Sept 1948). Mus. Analysis, especially of the row treatment and the f o r m .

See no. 144 (Brainard, Paul. "Lyric suite" in his A study of the twelvetone technique, 1951, p. 34-58). 537

Smith Brindle, Reginald. "The symbolism in B e r g ' s 'Lyric suite,'" Score, no. 21:60-63 (Oct 1957). Mus. A deciphering of B e r g ' s musical symbolism.

Works See no. 69 ( P e r l e , G e o r g e . J u n 1959).

"Theory

77

and p r a c t i c e in t w e l v e - t o n e music,"

Operas See a l s o h i s Lulu, Wozzeck 538

Leibowitz, René. "Alban B e r g et l ' e s s e n c e de l'opéra," L ' a r c h e [pt. 1 ] " R é f l e x i o n s s u r la m u s i q u e d r a m a t i q u e sub una specie," no. 13:130-134 ( F e b 1946); [pt. 2 ] " P r o b l è m e s et a r c h i t e c t u r e d e s o p é r a s de Berg," no. 14:158-166 (Mar 1946). B e r g and the p r o b l e m s of o p e r a .

539

Grout, Donald J a y . " O p e r a between two w a r s " in his A s h o r t h i s t o r y of o p e r a . O n e - v o l u m e ed. New York, Columbia University P r e s s [c 1947], p. 532-535. Mus. B r i e f outline of the d r a m a t i c and m u s i c a l s t r u c t u r e of Wozzeck and Lulu. B i b l i o g r a p h i c a l notes. S c h l i e s s e m i r die Augen b e i d e See h i s Songs—Schliesse m i r die Augen beide Songs

540

Adorno, T h e o d o r Wiesengrund. "Die I n s t r u m e n t a t i o n von B e r g s f r ü h e n L i e d e r n " in h i s Klangfiguren. B e r l i n , Suhrkamp Verlag, c l 9 5 9 , p. 138-156. (His Musikalischen Schriften, I.) O r i g i n a l l y published in S c h w e i z e r i s c h e M u s i k z e i t s c h r i f t und S ä n g e r b l a t t , 5/6:158 ff., 198 ff. (Mar 1932). R e v i s e d .

See no. 476 ( Z e i g e r , J e a n Wilson. E a r l y e x p r e s s i o n i s t i c songs, 1959). —op. 2, no. 4 See no. 74 (Der b l a u e R e i t e r ,

1914).

—op. 4 (Five songs to p o s t c a r d t e x t s by P e t e r Altenberg) 541

Leibowitz, R e n é . "Alban B e r g ' s Five o r c h e s t r a l songs, a f t e r p o s t c a r d t e x t s by P e t e r Altenberg, op. 4," MQ 34:487-511 (Oct 1948). Mus., p o r t . "A b r i e f s u r v e y of the e s s e n t i a l e l e m e n t s of the f i r s t four songs and a c o m p l e t e a n a l y s i s of the last song" (the music of which i s r e p r o d u c e d in a piano reduction).

542

R i n g g e r , Rolf U r s . " Z u r formbildenden K r a f t d e s v e r t o n t e n W o r t e s : a n a l y t i s c h e U n t e r s u c h e n an L i e d e r n von Hugo Wolf und Alban Berg," Schw MZ 99:225-229 (Jun 1959). Mus. A c o m p a r i s o n of Wolf's "Das v e r l a s s e n e Mägdlein" ( M ö r i k e l i e d e r ) and B e r g ' s op. 4 s o n g s . The s c o r e of op. 4, no. 2, i s given c o m plete.

78

Alban B e r g

—Schliesse m i r die Augen beide See no. 515 (Reich. Willi. »Alban B e r g , " F e b 1930). - D e r Wein See his Der Wein Variations for piano See no. 496 (Redlich, Hans Ferdinand. Alban B e r g , 1957, p. 2 4 7 - 2 5 9 ) . Violin concerto See his Concerto, Violin and o r c h e s t r a Der Wein 543

Reich, Willi. " B e r g ' s new work, 'Der Wein,'" Modern music 7 : 4 1 43 (Apr/May 1930). A description; the row i s quoted. Wozzeck See also his Operas

544

Viebig, Ernst« " B e r g s 'Wozzeck': ein B e i t r a g zum Opernproblem," Die Musik 15:506-510 (Apr 1923). The background of the opera; the text, the musical f o r m s used; its place in operatic tradition.

545

Alban B e r g s 'Wozzeck' und die Musikkritik. Herausgeber: Musikblatter des Anbruch. Wien [ 1 9 2 5 ? ] . 31 p. Mus. (Musik der Gegenwart; eine Flugblatter folge, nr. 9.) Contemporary reviews of B e r g ' s opera; some analyses.

546

Winkler, Hans. Georg Büchners "Woyzeck." Greifswald, E . Hartmann, 1925. 238 p. An analysis of BQchner's drama (not of B e r g ' s opera); bibliography, p. 2 3 5 - 2 3 6 .

547

Adorno, Theodor Wiesengrund. "Alban B e r g : zur Uraufführung des 'Wozzeck,'" Musikblatter des Anbruch 7:531-537 (Dec 1925). General comments on the f i r s t performance.

548

Reich, Willi. Alban B e r g ' s Wozzeck; a guide to the text and music of the opera. New York, G. S c h i r m e r [c 1927]. 22 p. Mus., port. "Reprinted from the monograph originally published by the League of Composers' Quarterly Review, Modern Music." Contents: "Synopsis of the opera," p. 1-2; " B e r g ' s organization of the text," p. 2 - 4 ; " T h e musical structure a s a whole," p. 4 - 6 ; "Scheme of the dramatic and musical forms," p. 7; "Analysis of the individual scenes," p. 8 - 2 1 ; " P o s t s c r i p t by Alban B e r g , " p. 21-22.

Works

79

See no. 451 (Berg, Alban. "Die Stimme in der Oper," Nov/Dec 1928). 549

Sabin, Robert. "Alban B e r g ' s Wozzeck," Musical America 71:6-7, 34 (Apr 1, 1951). Illus. F r i t z Mahler's analytical charts are explained. (Fritz Mahler was a pupil of Berg.) (See no. 561.)

550

Keller, Hans. " F i r s t performances: the eclecticism of Wozzeck," Mus rev 12:309-315 (Nov 1951) and 13:133-137 (May 1952). Mus.

551

Gerhard, Roberto. "Wozzeck," Foyer [London], no. 2:16-20 (Winter, 1951/52). Mus., port. A brief outline of the plot and the musical structure.

552

Berg, Alban. "The musical form in Wozzeck," Opera [London] 3:23-24 (Jan 1952), tr by Erwin Stein. Illus. Originally published as "Das Opernproblem" in the Neue Musikzeitung [Stuttgart] 49:285 ff. (Nov 1928). A brief article stating that B e r g ' s various "closed forms" are used in Wozzeck for compactness but are not to be perceived by the audience as such.

553

Stein, Erwin. "Wozzeck," Opera [London] 3:17-22 (Jan 1952). Illus. History of Wozzeck; its performances and general c h a r a c t e r i s tics; the drama and a few comments on the music. Reprinted in Stein's Orpheus in new guises, p. 103-107 (see no. 303).

554

Jouve, P i e r r e Jean. Wozzeck ou le nouvel opéra, [par] P i e r r e Jean Jouve [et] Michel Fano. P a r i s , Pion [1953]. 242 p. Mus., port. Contents: "Argument d'après le drame de Georg Büchner," p. 9 30; "Introduction," p. 31-40; "Structure," p. 41-211; " F o r m e et invention," p. 215 - 2 42. Musical and dramatic analysis of the work, scene by scene.

555

Blaukopf, Kurt. "New light on Wozzeck," Saturday review 36:62, 76 (Sept 26, 1953). Port. A description of "some recently discovered correspondence written by Alban Berg during his army c a r e e r in World War I [which] gives strong evidence of B e r g ' s personal identification with . . . Wozzeck."

556

Reich, Willi. "Alban Berg: 'Wozzeck'" in Oper im XX. Jahrhundert. Bonn, Boosey t Hawkes [cl954], p. 27-34. (Musik der Zeit: eine Schriftenreihe zur zeitgenössischen Musik, 6.) "Formgesinnung; Textgestaltung; Musikalischer Aufbau; Analytische Bemerkungen zu den einzelnen Szenen."

557

Kerman, Joseph. " T e r r o r and self-pity: Alban B e r g ' s Wozzeck; an analysis of a modern operatic masterpiece," Perspectives USA, no. 10:43-57 (Winter 1955). The style and mood of Wozzeck; a discussion of the opera as drama, not a musical analysis.

558

Kerman, Joseph. "Wozzeck and the Rake's progress" in his Opera as drama. New York, Knopf, cl956, p. 219-249. Mus.

80

Anton Webern

Drawn f r o m his e a r l i e r a r t i c l e (see no. 557). C o m p a r i s o n of Wozzeck with S t r a v i n s k y ' s o p e r a . Reprinted by Vintage Books, 1959. 559

Newman, E r n e s t . "Wozzeck" in h i s F r o m the world of m u s i c ; e s s a y s f r o m the Sunday T i m e s . London, John C a l d e r [1956], p. 148159. F i v e brief e s s a y s , on the m u s i c , the d r a m a , the f i r s t p e r f o r m ance in England, and B e r g ' s u s e of S p r e c h g e s a n g .

560

Redlich, Hans. F e r d i n a n d . "Wozzeck; D r a m a t u r g i e und m u s i k a l i s c h e F o r m , " Musica 10:120-125 (Feb 1956). The layout of BUchner's text c o m p a r e d to B e r g ' s ; a table of the m u s i c a l f o r m s used in each s c e n e .

See no. 509 (Berg, Alban. "A p r o p o s d e s f o r m e s e m p l o y e e s dans Wozzeck" in his E c r i t s , 1957, p. 109-117). 561 *Mahler, F r i t z . Zu Alban B e r g s O p e r Wozzeck; s z e n i s c h e und m u s i k a l i s c h e U b e r s i c h t . Wien, U n i v e r s a l Edition, c l 9 5 7 . 9 p. (See no. 549.) 562

O p e r a news v. 23, no. 19 (Mar 9, 1959), 33 p. Illus., m u s . The e n t i r e i s s u e i s devoted to the Metropolitan O p e r a ' s f i r s t production of Wozzeck. Includes a r t i c l e s on the d r a m a , the m u s i c , the s i n g e r s , staging p r o b l e m s , B e r g , and BQchner. —act 3, s c e n e 4

563

Jouve, P i e r r e J e a n . "Wozzeck d'Alban B e r g (Acte III, Scène IV)" in L ' O e u v r e du X X e s i è c l e . P a r i s , R i c h a r d - M a s s e , 1952, p. 87-98. Mus. (La r e v u e m u s i c a l e , no. 212.) An e x t r a c t f r o m h i s book (see no. 554).

ANTON

WEBERN

( 1883 - 1 945)

GENERAL (Including Collections, F e s t s c h r i f t e n , etc.) 564

Anton Webern z u m 50. G e b u r t s t a g . 23, eine Wiener m u s i k z e i t s c h r i f t no. 14 ( F e b 1934), 25 p. P o r t s . Contents: " Z u r Einleitung," p. 3; Webern, Anton, " D e r S c h ö n b e r g s c h ü l e r p . 4-5; Reich, Willi, " W e b e r n s Musik," p. 5-8; " M e i s t e r und Jünger," p. 8 - 9 ; Krenek, E r n s t , " F r e i h e i t und Verantwortung," p. 10-11; Humplik, J o s e f , "Dem Freunde," p. 12-13; Zenk, Ludwig, "Mein L e h r e r , " p. 13; Reich, Willi, " W e b e r n s V o r t r a g e , " p. 17-22; "Die P r e s s e , " p. 22-23; Reich, Willi, " L i e b e r F r e u n d Doktor P l o d e r e r ! " p. 24; "An die L e s e r , " p.[25].

See no. 81 (Hijman, J u l i u s . Nieuwe o o s t e n r i j k s e m u s i e k ,

1938).

General 565

81

Leibowitz, René. " L a musique: Anton Webern," L ' a r c h e , no. 11:130134 (Nov 1945). Obituary; b r i e f summary of life and works.

See no. 82 (Salazar, Adolfo. Music in our time, 1946). 566

Stein, Erwin. "Anton Webern," MT 87:14-15 (Jan 1946). Mus. An obituary. B r i e f discussion of Webern's works and style. R e printed in Stein's Orpheus in new guises (see no. 303, p. 99-102).

See no. 297 (Bauer, Marion. Twentieth century music, 1947). 567

Dallapiccola, Luigi. "In memoria di Anton Webern," Emporium 105:18-20 (Jan 1947). Port. Obituary; biographical and critical article.

See no. 84 (Leibowitz, René. "Anton Webern: the awareness of the future in contemporary music" in his Schoenberg and his school, 1949, p. 187-255). See no. 299 (Wörner, Karl H. 568

Musik der Gegenwart, 1949).

Baruch, Gerth-Wolfgang. "Anton von Webern," Melos 20:337-342 (Dec 1953). P o r t . Biographical sketch; discussion of Webern's contributions. Includes a list of Webern's works, p. 342.-

See no. 94 (Rognoni, Luigi. Espressionismo e dodecafonia, 1954). 569

Searle, Humphrey. "Webern, Anton (von)" in Grove's Dictionary of music and musicians. 5th ed., London, Macmillan, 1954, v. 9:225228. Includes a bibliography and list of Webern's works.

570

Anton Webern. T r . from the German by Leo Black, E r i c Smith, and others. Bryn Mawr, Pa., Theodore P r e s s e r [ c l 9 5 5 , 1958]. vii + 100 p. Diagrs., illus., mus. (Die Reihe, a periodical devoted to developments in contemporary music, ed. by Herbert Eimert and Karlheinz Stockhausen, no. 2.) Contents: Stravinsky, Igor, "Foreword," p. vii; Wildgans, F r i e d rich, "Biographical table: index of works," p. 1-6; Jone, Hildegard, "A cantata," p. 7-8; Schoenberg, Arnold, "Foreword to Webern's Six Bagatelles, op. 6," p. 8; Webern, Anton, "Homage to Arnold Schoenberg," p. 9-10; "Anton Webern as a conductor," p. 11; Krenek, Ernst, "The same stone . . . " p. 12; " F r o m the the correspondence [of Webern]," p. 13-21; Webern, Anton, "Choralis Constantinus," p. 23-25; Eimert, Herbert, "A change of focus," p. 29-36; Stockhausen, Karlheinz, " F o r the 15th of September, 1955," p. 37-39; Boulez, P i e r r e , "The threshold," p. 40-41; Metzger, Heinz-Klaus, "Webern and Schönberg," p. 4245; Spinner, Leopold, "Analysis of a period: Concerto for 9 instruments, op. 24, second movement," p. 46-50; Pousseur, Henri, "Webern's organic chromaticism," p. 51-60; Wolff, Christian, "Movement," p. 61-63; Stockhausen, Karlheinz, "Structure and experimental time," p. 64-74; Metzger, Heinz-Klaus, "Analysis of the Sacred song, op. 15, no. 4," p. 75-80; Klammer, Armin,

82

Anton Webern

"Webern's Piano variations, op. 27, 3rd movement," p. 81-92; Eimert, Herbert, "Interval proportions: String quartet, 1st movement," p. 93-99; "The published works of Anton Webern." p. 100. A lengthy review of this symposium, by P e t e r Stadien, is found in Score, no. 25:65-68 (Jun 1959). See no. 100 (Collaer, Paul.

La musique moderne, 1905-1955.

1955).

See no. 105 (Hamilton, Iain. "Alban B e r g and Anton Webern" in Hartog, Howard, ed. European music in the twentieth century, 1957, p. 94117). 571

Stuckenschmidt, Hans Heinz. "Anton Webern," Ricordiana [nuova serie] 3:274-277 (Jun 1957). B r i e f résumé of his life and works.

See no. 112 (Prieberg, Fred K. Lexikon der neuen Musik, 1958, p. 446449). See no. 115 (Stuckenschmidt, Hans Heinz. "Anton von Webern" in his SchOpfer der neuen Musik. 1958, p. 192-203). See no. 116 (Vlad, Roman. "I traguardi del radicalismo di Webern" in his Storia della dodecafonia, 1958, p. 125-130). 572

Adorno, Theodor figuren. Berlin, Schriften, I.) "Ursprünglich veröffentlicht 201 ff."

Wiesengrund. "Anton von Webern" in his KlangSuhrkamp, c l 9 5 9 , p. 157-181. (His Musikalische ein Vortrag für den Norddeutschen Rundfunk, in 'Merkur,' 13. J a h r g . , Heft 3, März 1959, S.

See no. 118a (Zillig, Winfried. "Anton Webern, Aussenseiter und Vorbild" in his Variationen Ober neue Musik, 1959, p. 181-190).

PHILOSOPHY AND CRITICISM 573

Adorno, Theodor Wiesengrund. "Anton Webern: zur Aufführung der fünf Orchesterstücke in Zürich," Musikblatter des Anbruch 8:280282 (May 1926). Very general essay on Webern's music; not an analysis.

574

List, Kurt. "Anton von Webern," Modern music 21:27-30 (Nov/Dec 1943). An essay in honor of Webern's 60th birthday; the character of his music.

575

Leibowitz, René. "Innovation and tradition in contemporary music: II. The tragic art of Anton Webern," Horizon [London] 15:282-293 (May 1947). Similar to his article on Schoenberg in this s e r i e s (see no. 320), but somewhat more technical regarding row technique.

Correspondence 576

C r a f t , Robert. "Discoveries and convictions," Counterpoint 18:16-18 (Feb 1953). Review of an all-Webern concert and discussion of the essential points of Webern's music.

See no. 29 (Goléa, Antoine. 1954, p. 63-66). 577

83

Esthétique de la musique contemporaine,

Maren, Roger. "The music of Anton Webern: p r i s m s in twelve tones," R e p o r t e r 16:38-41 (May 30, 1957). A review of the recording of Webern's complete works; also some general comments about Webern's style and about the twelve-tone technique.

See no. 170 (Pousseur, Henri. "Webern und die Theorie" in Steinecke, Wolfgang, ed. D a r m s t ä d t e r Beitrage zur neuen Musik, 1958, p. 3843). 578

Wildgans, F r i e d r i c h . "Anton von Webern; zu seinem 75. Geburtstag am 3. Dezember 1958," ÖMZ 13:456-460 (Nov 1958). Illus. (autograph of a Webern MS), port. Webern 1 s posthumous influence and importance.

579

Hampton, Christopher. "Anton Webern and the consciousness of time," Mus r e v 20:45-51 (Feb 1959). An interpretation of the importance of Webern.

BIOGRAPHY 580

Searle, Humphrey. "Conversations with Webern," MT 81:405-406 (Oct 1940). Searle 1 s experiences as a student of Webern. Includes a list of Webern's works through op. 29.

See no. 83 (Schlee, Alfred. "Vienna since the Anschluss," Spring 1946). See no. 569 (Anton Webern.

1955, 1958 [Die Reihe, 2]).

580a Dorian, F r e d e r i c k Deutsch. "Webern als Lehrer," Melos 27:101-106 (Apr 1960). P o r t . Webern as a teacher.

CORRESPONDENCE See no. 374 (Hill, Richard S. "Annual r e p o r t s on acquisitions: music," Nov 1952). See no. 511 (Reich, Willi. "Aus unbekannten Briefen von Alban Berg an Anton Webern," Feb 1953). See no. 569 ( " F r o m the correspondence" in Anton Webern, 1955, 1958, p. 13-21 [Die Reihe, 2]).

84

Anton Webern

581

Gerhard, Roberto, ed. " L e t t e r s of Webern and Schoenberg" [to Roberto Gerhard], Score, no. 24:36-41 (Nov 1958). These l e t t e r s date f r o m 1931-1934.

582

Webern, Anton von. Briefe an Hildegard Jone und Josef Humplik. Hrsg. von Josef Polnauer. Wien, Universal Edition, 1959, 106 p. P o r t . , mus. Extensive explanatory notes included.

COMPOSITIONAL TECHNIQUES 583

Stein, Erwin. "Anton Webern," Anbruch 13:107*109 (Jun/Jul 1931). Mus. A brief and general discussion of his compositional techniques.

See no. 569 (Anton Webern. 1955, 1958 [Die Reihe, 2 ]). See no. 154 (Erickson, Robert. The structure of music, 1955). 584 Vlad, Roman. "Anton von Webern e la composizione atematica," Rasa mus 25:98-102 (Apr/Jun 1955). Mus. The replacement of thematic content in Webern's works by structural design. Deals especially with the Concerto for 9 instruments, op. 24; the Variations for piano, op. 27; and the Variations for o r c h e s t r a , op. 30. An extract f r o m chapter 7 of Vlad's Storia della dodecafonia (see no. 116). See no. 43 (Rochberg, George. "Tradition and twelve-tone music," Dec 1955). See no. 160 (Perle, George.

Serial composition and atonality, 1956).

585

Stephan, Rudolph. "Anton von Webern," Dt Univ Zt 13/14:26-29 (Jul 19, 1956). Mus. General discussion of Webern's works and compositional technique, including use of the row.

586

Pousseur, Henri. "Da Schoenberg a Webern: una mutazione," Incont r i mu8icali 1:3-39 (Dec 1956), t r . by Vittorio Armanni. Mus. A continuation of his study of Webern begun in Die Reihe, 2 (see no. 569, p. 51-60), and a comparison of Webern's and Schoenb e r g ' s compositional techniques. Examples from Schoenberg's op. 19 and 30 and f r o m Webern's op. 5, 16, 26, 27 and other works.

GENERAL DESCRIPTIONS OF WORKS 587

Evans, Edwin. "Webern, Anton von" in Cobbett, Walter W. Cobbett's cyclopedic survey of chamber music. London, Oxford University P r e s s , 1929/30, p. 571-574. Mus.

Works

85

Discusses, very briefly, the Five movements for string quartet, the Four pieces for violin and piano, the Six bagatelles for string quartet, and the Three little pieces for cello and piano. 588

Reich, Willi. "Anton von Webern," Die Musik 22:812-816 (Aug 1930). Description of works through 1929.

See no. 516 (Adorno, Theodor Wiesengrund. "Berg and Webern—Schoenb e r g ' s heirs," Jan 1931). See no. 484 (Leibowitz, René. "Les derniferes oeuvres de Schoenberg, de Webern, et de Berg" in his Introduction à la musique de douze sons, 1949, p. 232-244). See no. 403 (Demuth, Norman. 1952, p. 233-238). 589

Musical trends in the twentieth century,

"Oeuvres d'Anton Webern (1883-1945)," Music information record 11:17-18 (Winter 1953/54). L i s t s of works with dates of publication.

See no. 95 (WOrner, Karl H. Neue Musik in der Entscheidung, 1954, p. 94-98). 590

Stephan, Rudolf. "Uber einige geistliche Kompositionen Anton von Weberns," Musik und Kirche 24:152-160 (Jul/Aug 1954). Mus. Discussion and analysis of op. 15, 16, 17, 18, 23, 26, 29, 31.

See no. 155 (Ogdon, Wilbur Lee. 591

Series and structure, 1955).

C r a f t , Robert. "Anton Webern," Score, no. 13:9-22 (Sept 1955). Biographical sketch; brief discussion of each group of works, and a list of Webern's compositions, with timings.

See no. 586 (Pousseur, Henri. "Da Schoenberg a Webern," Dec 1956). 592

Mason, Colin. "Webern's later chamber music," M & L 38:232-237 (Jul 1957). A discussion of the chamber works f r o m op. 15 on.

INDIVIDUAL WORKS Bagatelles for string quartet, op. 9 See no. 569 (Schoenberg, Arnold. "Foreword to Webern's Six bagatelles, op. 6" in Anton Webern, 1955, 1958, p. 8 [Die Reihe, 2 ]). Cantatas —no. 2, op. 31 593

Mason, Colin. "New music," Chesterian 26:25-27 (Oct 1951). Review of the score; some analytical comments, especially concerning the row s t r u c t u r e .

86 594

Anton Webern

Castiglioni, Niccolò. "Sul rapporto t r a parola e musica nella seconda Cantata di Webern," Incontri musicali, no. 3:112-127 (Aug 1959). Includes a translation of the text of the cantata into Italian. Concerto for 9 instruments, op. 24

595

Leibowitz, René. Qu'est-ce que la musique de douze s o n s ? Le concerto pour neuf instruments, op. 24, d'Anton Webern. Liège, Editions Dynamo, 1948. 63 p. + 8 p. "exemples musicaux." Contents: "Le sens des problèmes soulevés par Schoenberg," p. 8-15; "L'évolution d'Anton Webern," p. 16-18; "Le concerto pour neuf instruments, op. 24, d'Anton Webern," p. 19-53; "Conclusion: les possibilités de reconnaissance d'une oeuvre," p. 5561.

Includes a theme-by-theme analysis of the concerto. See no. 584 (Vlad, Roman. "Anton von Webern e la composizione atematica," A p r / J u n 1955). —First movement 596

Stockhausen, Karlheinz. "Weberns Konzert für 9 Instrumente, op. 24; Analyse der e r s t e n Satzes," Melos 20:343-348 (Dec 1953). Mus. Interesting not only as a detailed analysis of the Webern, but also as an example of Stockhausen's analytical technique. —Second movement

See no. 569 (Spinner, Leopold. "Analysis of a period: Concerto for 9 instruments, op. 24, second movement" in Anton Webern, 1955, 1958, p. 46-50 [Die Reihe, 2]). Five movements for string quartet, op. 5 See his Movements for string quartet, op. 5 Five o r c h e s t r a l pieces, op. 10 See his O r c h e s t r a l pieces, op. 10 Five sacred songs, op. 15 See his Songs—op. i5 Geistliche Lieder, op. 15 See his Songs—op. 15 Klavier Variationen, op. 27 See his Variations for piano, op. 27

Works

87

Movements f o r s t r i n g q u a r t e t , op. 5 597

A s u a r , J o s é Vicente. "Una i n c u r s i o n p o r el Op. 5 di Anton Webern," Hevista m u s i c a l e chilena 12:19-41 ( M a r / A p r 1958). Mus. A detailed a n a l y s i s . O r c h e s t r a l p i e c e s , op. 10

See no. 573 (Adorno, Theodor Wiesengrund. "Anton Webern: z u r A u f f ü h r ung d e r fQnf O r c h e s t e r s t ü c k e in Zürich," May 1926). O r c h e s t r a l v a r i a t i o n s , op. 30 See his V a r i a t i o n s f o r o r c h e s t r a , op. 30 P a s s a c a g l i a f o r o r c h e s t r a , op. 1 See no. 456 (Cowell, Henry.

" C u r r e n t chronicle: New York," J a n 1949).

Piano quintet (1907) See h i s Quintet, piano and s t r i n g s P i a n o v a r i a t i o n s , op. 27 See h i s V a r i a t i o n s f o r piano, op. 27 Quartet, s t r i n g s , op. 28 598

Wellesz, Egon. "Reviews of m u s i c : Webern, Anton, String Quartet, op. 28," Mus r e v 1:177-178 (May 1940). An i n t e r e s t i n g c o n t e m p o r a r y review; brief d i s c u s s i o n of "atonality" and the twelve-tone technique; mention of the main m u s i c a l i d e a s of the q u a r t e t .

See no. 206 (Johnson, Martha. A study of l i n e a r design, 1954). 599

Elston, Arnold. "Some rhythmic p r a c t i c e s in c o n t e m p o r a r y music," MQ 42:318-329 (Jul 1956). Mus. Webern, p. 325-329. — F i r s t movement

See no. 569 ( E i m e r t , H e r b e r t . "Interval p r o p o r t i o n s : s t r i n g quartet, f i r s t movement 11 in Anton Webern, 1955, 1958, p. 93-99 [Die Reihe, 2 ]). —Second movement See no. 569 (Stockhausen, Karlheinz. " S t r u c t u r e and e x p e r i m e n t a l t i m e " in Anton Webern, 1955, 1958, p. 64-74 [Die Reihe, 2]).

88

Anton Webern

Quintet, piano and strings (1907) 600

Newlin, Dika. "Music reviews; Anton von Webern: Quintet for string quartet and piano," Notes 10:674-675 (Sept 1953). General comments about the structure and "style." Sacred songs, op. 15 See his Songs—op. 15 Sätze fflr Streichquartet, op. 5 See his Movements for string quartet, op. 5 Songs

See no. 590 (Stephan, Rudolf. "Uber einige geistliche Kompositionen Anton von Weberns," Jul/Aug 1954). See no. 476 (Zeiger, Jean Wilson. Early expressionistic songs, 1959). 601

Mayer, Harry. "De liedkunst van Anton Webern," Mens en melodie 14:114-117 (Apr 1959). Mus., port. A brief discussion of his songs. —op. 4 (Five songs) - o p . 4:2

See no. 476 (Zeiger, Jean Wilson. Early expressionistic songs, 1959). —op. 15 (Five sacred songs) - o p . 15:4 See no. 569 (Metzger, Heinz-Klaus. "Analysis of the sacred song, op. 15, no. 4" in Anton Webern, 1955, 1958, p. 75-80 [Die Reihe, 2 ]). See no. 476 (Zeiger, Jean Wilson. Early expressionistic songs, 1959). —op. 23 (Three songs) See no. 526 (Bach, David Joseph. "New music by Berg, Webern, Krenek," N0v7"Dec 1934). String quartet, op. 28 See his Quartet, strings, op. 28 String quartet, Six bagatelles for See his Bagatelles for string quartet, op. 9 Stücke für Orchester, op. 10 See his Orchestral pieces, op. 10

Works

89

T h r e e gongs with piano a c c o m p a n i m e n t , op. 23 See h i s Songs—op. 23 V a r i a t i o n s f o r o r c h e s t r a , op. 30 See no. 584 (Vlad, Roman. ca," A p r / J u n 1955).

"Anton von Webern e l a composizione a t e m a t i -

See no. 170 (Nono, Luigi. "Die Entwicklung d e r Reihentechnik" in S t e i n e c k e , Wolfgang, ed. D a r m s t ä d t e r B e i t r ä g e z u r neuen Musik, 1958, p. 25-37). V a r i a t i o n s f o r piano, op. 27 See no. 155 (Ogdon, Wilbur L e e . S e r i e s and s t r u c t u r e ,

1955).

See no. 584 (Vlad, Roman. ca," A p r / J u n 1955).

"Anton von Webern e l a composizione

See no. 57 (Stadien, P e t e r .

" S e r i a l i s m r e c o n s i d e r e d , " F e b 1958).

See no. 59 ( G e r h a r d , Roberto. See no. 66 (Stadien, P e t e r .

atemati-

"Apropos Mr. Stadien," J u l 1958).

"No r e a l c a s u a l t i e s ? " Nov 1958).

—third m o v e m e n t See no. 569 ( K l a m m e r , A r m i n . " W e b e r n ' s P i a n o v a r i a t i o n s , op. 27, 3rd m o v e m e n t " in Anton Webern, 1955, 1958, p. 81-92 [Die Reihe, 2 ]).

IV

OTHER

COMPOSERS

MILTON 602

BABBITT

Bruno, Anthony. "Two American twelve-tone composers: Milton Babbitt and Ben Weber represent opposing views," Musical America 71:22, 170 (Feb 1951). Row technique as used by the two composers.

See no. 99a (Chase, Gilbert. music, 1955).

"Twelve tone composers" in his America's

See no. 204a (Rochberg, George. chord," Nov 1959).

"The harmonic tendency of the hexa-

All set 603

Gottlieb, Louis. "Brandeis festival album," Jazz: a quarterly of American music, no. 2:151-160 (Spring 1959). Mus. B r i e f s e r i a l analysis of All set, p. 152-156. Quartet, woodwinds

604

Rochberg, George. "Music reviews; Milton Babbitt: Woodwind quartet in one movement," Notes 13:695-696 (Sept 1956). Capsule description of Babbitt's structural procedures.

LUCIANO See no. 106 (Pestalozza, Luigi. Mar 1957). 605

BERIO

"I compositori milanesi del dopoguerra,"

"Luciano Berio," Schw MZ 97:233 (Jun 1957). Very brief list of works, with dates.

See no. 112 (Prieberg, Fred K.

Lexikon der neuen Musik, 1958, p. 42).

See no. 116 (Vlad, Roman. Storia della dodecafonia, 1958, p. 262-263, 268). See no. 118a (Zillig, Winfried. "Die Jungen: Stockhausen, Boulez, Nono, B e r i o " in his Variationen Uber neuen Musik, 1959, p. 190-199).

[ 90 ]

P i e r r e Boulez

91

See no. 637 (Metzger, Heinz-Klaus. "John Cage o della liberazione," Aug 1959). Alleluia 606

Berio, Luciano. "Aspetti di artigianato formale," Incontri musicali 1:55-69 (Dee 1956). Mus. A detailed explanation of the organizing principles of this work.

607

Thomas, E r n s t . "Ein 'Allelujah' aus dem J a h r e 1956," NZfM 118: 433-434 (Jul/Aug 1957). A very brief review, giving some background on Berio. Nones

See no. 168 (Santi, P i e r o . "Luciano Berio" in Junge Komponisten, 1958, p. 98-102 [Die Reihe, 4]). 608

Smith Brindle, Reginald. "Current chronicle: Italy," MQ 44:95-101 (Jan 1958). Mus. An explanation of the principle of "total control," with examples drawn f r o m the beginning of the work. Quartet, string

See no. 168 (Santi, Piero. "Luciano Berio" in Junge Komponisten, 1958, p. 98-102 [Die Reihe, 4]). Sequenza per flauto solo See no. 71 (Eco, Umberto. "L'opera in movimento e la coscienza dell'epoca," Aug 1959). Thema: Omaggio a Joyce 609

Berio, Luciano. "Poesie e musica—un'esperienza," Incontri musicali, no. 3:98-111 (Aug 1959). Diagrs. Experiments in new means of combining text and music; B e r i o ' s setting of the begginning of the 11th chapter of J o y c e ' s Ulysses (see no. 174).

PIERRE

BOULEZ

GENERAL 610

Goldbeck, F r e d e r i c k . "Current chronicle: France," MQ 36:291-295 (Apr 1950). Mus. One of the f i r s t articles on "totally controlled" s e r i a l music.

92

P i e r r e Boulez

611

S c r i a b i n e , Marina. " P i e r r e Boulez et la musique c o n c r è t e " in L e s c a r n e t s c r i t i q u e s . P a r i s , R i c h a r d - M a s s e [1952], p. 14-15. (La r e v u e m u s i c a l e , no. 215.) Boulez a s o r g a n i z e r of e l e c t r o n i c e x p e r i m e n t s in the P a r i s Studio.

612

Goldbeck, F r e d E. "Boulez, P i e r r e " in G r o v e ' s D i c t i o n a r y of m u s i c and m u s i c i a n s . 5th ed. London, Macmillan, 1954, v. 1 : 844. Includes a v e r y brief l i s t of s e l e c t e d w o r k s .

See no. 29 (Goléa, Antoine. Esthétique de la musique c o n t e m p o r a i n e , 1954, p. 176-189, 193). See no. 30 (La musique et s e s p r o b l è m e s c o n t e m p o r a i n s , 1954, p. 3-24). See no. 98 ( M y e r s , Rollo H. "Music in F r a n c e in the p o s t - w a r decade," 1954/55). 613

M y e r s , Rollo H. "Some p e r s o n a l i t i e s and t r e n d s in c o n t e m p o r a r y F r e n c h music," C h e s t e r i a n 30:14-18 (Jul 1955). Boulez, p. 16-17.

614

Hodeir, Andre. "The young F r e n c h music," Saturday r e v i e w 40:4142, 53 (May 25, 1957), t r . by David Noakes. P o r t . Brief s u m m a r y of B o u l e z ' s m u s i c a l philosophy, p. 42, 53.

615

Goléa, Antoine. R e n c o n t r e s avec P i e r r e Boulez, avec t r o i s h o r s texte. P a r i s , R. J u l l i a r d [1958]. 259 p. P o r t . , f a c s i m s . , m u s . A lengthy d i s c u s s i o n of B o u l e z ' s life, w o r k s , c o m p o s i t i o n a l t e c h niques, and a e s t h e t i c s . Difficult to use: no table of c o n t e n t s , c h a p t e r headings, o r index.

See no. 112 ( P r i e b e r g , F r e d K. See no. 116 (Vlad, Roman. 616

Lexicon d e r neuen Musik, 1958, p. 53-55).

Storia della dodecafonia, 1958, p. 257-261).

L e s u r e , F r a n ç o i s . " P r o f i l i di m u s i c i s t i contemporanei," M u s i c a d'oggi 1:19-21 (Jan 1958). P r i n c i p a l l y a d i s c u s s i o n of h i s m u s i c a l philosophy; includes a l i s t of w o r k s .

See no. 118a (Zillig, Winfried. "Die Jungen: Stockhausen, Boulez, Nono, B e r i o " in his V a r i a t i o n e n ü b e r neuen Musik, 1959, p. 190-199). See no. 637 (Metzger, H e i n z - K l a u s . Aug 1959).

"John Cage o della liberazione,"

COMPOSITIONAL TECHNIQUES See no. 208 (Boulez, P i e r r e . " P r o p o s i t i o n s " in L e r y t h m e m u s i c a l , p. 65-72 [Polyphonie, 2 e cahier]). 617

1948,

Cowell, Henry. " C u r r e n t c h r o n i c l e : New York," MQ 38:132-134 (Jan 1952). Illus., m u s . B o u l e z ' s s e r i a l technique and i t s r e l a t i o n to the e x p e r i m e n t s of John Cage.

P i e r r e Boulez

93

See no. 150 ( K r e n e k , E r n s t . "Is t h e twelve-tone technique on the d e c l i n e ? " Oct 1953). D i s c u s s e s B o u l e z ' s P i a n o s o n a t a no. 2 and h i s Polyphonie X. 618

B a r r a q u é , J e a n . "Rythme et développement" in Inventaire d e s t e c h niques r é d a c t i o n n e l l e s . P a r i s , R i c h a r d - M a s s e [1954], p. 47-73. (Polyphonie, 9 e / 1 0 e c a h i e r . ) Boulez, p. 63-73. E x a m p l e s f r o m h i s P i a n o sonata no. 2, S t r i n g q u a r t e t , and Polyphonie pour 18 i n s t r u m e n t s .

INDIVIDUAL WORKS Le marteau sans mattre 619

Saathen, F r i e d r i c h . " ' L e M a r t e a u s a n s m a i t r e ' von P i e r r e Boulez," Schw MZ 97:289-290 (Jul 1957). Not an a n a l y s i s . D i s c u s s e s B o u l e z ' s m u s i c a l philosophy. Includes a G e r m a n t r a n s l a t i o n of the text of ' L e marteau. 1

See no. 170 (Stockhausen, K a r l h e i n z . "Sprache und Musik" in Steinecke, Wolfgang, ed. D a r m s t ä d t e r B e i t r ä g e z u r neuen Musik, 1958, p. 5781). 620

Mason, Colin. "Reviews of music." M &. L 39:198-199 (Apr 1958). Mus. Brief r e v i e w , indicating the r h y t h m i c complexity of the work.

621

C r a f t , R o b e r t . "Boulez and Stockhausen," Score, no. 24:54-62 (Nov 1958). "Notes w r i t t e n in the c o u r s e of p r e p a r i n g a r e c o r d . . . f o r A m e r i c a n Columbia." P r i n c i p a l l y d i s c u s s e s influences and s t r u c ture.

622

Skulsky, A b r a h a m . " A f t e r Webern, w h o ? " A m e r i c a n r e c o r d guide 23:316-319 (Jan 1959). Illus. D e s c r i p t i o n f o r the l a y m a n of B o u l e z ' s and S t o c k h a u s e n ' s c o m p o s i t i o n a l techniques; r e v i e w of the r e c o r d i n g . L'Orestie

623

Rostand, Claude, "La musique de s c è n e de P i e r r e Boulez pour ' L ' O r e s t i e ' d ' E s c h y l e , " Schw MZ 96:11-13 (Jan 1956). Mus. D i s c u s s e s declamation of the text and t h e a t r i c a l e f f e c t . P o é s i e pour pouvoir

624

Heck, Ludwig. "Klänge in Schmelztiegel," Melos 25:320-329 (Oct 1958). D i a g r s . , illus. Technological p r o b l e m s encountered in setting up B o u l e z ' s P o é s i e pour pouvoir, a piece combining t h r e e o r c h e s t r a s and e l e c t r o n i cally p r o d u c e d sounds.

94 625

P i e r r e Boulez

W ö r n e r , K a r l H. " C u r r e n t c h r o n i c l e : Germany," MQ 45:239-241 (Apr 1959). A b r i e f d e s c r i p t i o n of the work. Polyphonie X f o r 18 solo i n s t r u m e n t s

626

Morton, L a w r e n c e . " L o s Angeles letter," Counterpoint (Nov 1952). A r e v i e w and g e n e r a l s u m m a r y .

17:33-34

Sonatas, piano -no. 2 627

Demuth, N o r m a n . F r e n c h piano m u s i c ; a s u r v e y with n o t e s on i t s p e r f o r m a n c e . London, Museum P r e s s [cl959], 179 p. Mus. Boulez, p. 152-156; a brief d e s c r i p t i o n of the Sonata. —no. 3

628

Ligeti, György. " Z u r III. K l a v i e r s o n a t e von Boulez" in B e r i c h t e / Analysen. Wien, U n i v e r s a l Edition [cl959], p. 38-40. (Die Reihe, 5.) V e r y b r i e f ; no m u s i c a l e x a m p l e s . Sonatina, flute and piano

629

P e s t a l o z z i , Luigi. "Vita m u s i c a l e : m u s i c h e n u o v i s s i m e , " R a s s m u s 26:298-299 (Oct 1956). Review of the f i r s t c o n c e r t of the Incontri M u s i c a l i in Milan. S t r u c t u r e s , f o r two pianos, four hands

630

Vlad, Roman. "Recensioni: P i e r r e Boulez, S t r u c t u r e s p e r 2 pianof o r t i a 4 mani," R a s s m u s 26:153-155 (Apr 1956). G e n e r a l review; not an a n a l y s i s .

See no. 170 (Nono, Luigi. "Die Entwicklung d e r Reihentechnik" in Steinecke, Wolfgang, ed. D a r m s t ä d t e r B e i t r ä g e z u r neuen Musik, 1958, p. 25-37). —no. l a See no. 168 (Ligeti, György. " P i e r r e Boulez" in J u n g e Komponisten, p. 38-63 [Die Reihe, 4]). 631

1958,

Wilkinson, Mark. " P i e r r e Boulez' ' S t r u c t u r e l a ' : B e m e r k u n g e n z u r ZwOlfton-technik/Some thoughts on twelve-tone method," G r a v e s a n e r B l a t t e r , Heft 10:12-29 (1958). T a b l e s . In G e r m a n (p. 12-18) and English (p. 23-29). An a n a l y s i s of the s e r i a l technique in the S t r u c t u r e l a .

John Cage JOHN

95

CAGE

632

Cowell, Henry. "Current chronicle: New York," MQ 38:123-127 (Jan 1952). C a g e ' s rhythmic s t r u c t u r a l principles. Discusses his Imaginary landscape and Music of changes. Influences on Morton Feldman and P i e r r e Boulez.

633

Glanville-Hicks, Peggy. "Cage, John" in Grove's Dictionary of music and musicians. 5th ed. London, Macmillan, 1954, v. 2:16-17. Includes a list of his works.

See no. 29 (Goléa, Antoine. 1954, p. 183-184).

Esthétique de la musique contemporaine,

634

C u r j e l , Hans. "Cage oder das wohlpräparierte Klavier," Melos 22:97-100 (Apr 1955). Illus., port. One of the few articles attempting to evaluate Cage's experiments seriously.

635

Cage, John. "Experimental music," Score, no. 12:65-68 (Jun 1955). Rather whimsical article in'dialogue form, discussing Cage's style.

See no. 253 (Boulez, P i e r r e . "Tendances de la musique récente" in V e r s une musique expérimentale, 1957, p. 28-35). See no. 112 ( P r i e b e r g , Fred K. Lexikon der neuen Musik, 1958, p. 67-68). 636

Maren, Roger. "The musical numbers game," Reporter 18:37-39 (Mar 6, 1958). The compositional philosophies of Cage and of Stockhausen.

See no. 63 (Porena, Boris. "L'avanguardia musicale di Darmstadt," Sept 1958). 637

Metzger, Heinz-Klaus. "John Cage o della liberazione," Incontri musicali, no. 3:16-31 (Aug 1959), t r . by Sylvano Bussotti. C a g e ' s aesthetic philosophy; freedom of choice for the p e r f o r m e r in Cage's works; s i m i l a r techniques in Stockhausen, Boulez, Berio, P o u s s e u r . Music for piano 21-52

See no. 166 (Cage, John. "To describe the p r o c e s s of composition used in 'Music for piano 21-52'" in Musical craftsmanship, 1957, 1959, p. 41-43 [Die Reihe, 3 ]). Sonata, piano, no. 4 See no. 87 (Thomson, Virgil. "Atonality today," Nov 1951).

96 LUIGI

Luigi Dallapiccola

DALLAPICCOLA GENERAL

638

Searle, Humphrey. "Luigi Dallapiccola,* L i s t e n e r 40:780 (Nov 18, 1948). Brief discussion of some of his works; his background and influences.

639

Skulsky, Abraham. "Dallapiccola felt impelled to introduce a new romantic era," Musical America 69:6,40-41 (May 1949). P o r t . Brief discussion of his life and works.

640

Dallapiccola, Luigi. "Sulla s t r a d a della dodecafonia," Aut aut 1:3045 (Jan 1951). "On the twelve-note road," Mus sur 4:318-332 (Oct 1951). Dallapiccola's account of his adoption of the twelve-tone technique; the c h a r a c t e r of dodecaphony (especially compared with l i t e r a r y techniques, e.g., Joyce and Proust).

641

Mila, Massimo. "Dallapiccola, Luigi" in Die Musik in Geschichte und Gegenwart. Kassel, Bflrenreiter, 1952. v. 2, col. 1874-1875, t r . by Anna Amalie Abert. Mus. Includes a bibliography and a list of works.

642

Amico, Fedele d 1 . "Luigi Dallapiccola," Melos 20:69-74 (Mar 1953). Illus., port. Biographical sketch; general discussion of his works and style, through 1952.

643

Gatti, Guido M. "Dallapiccola, Luigi" in Grove's Dictionary of music and musicians. 5th ed. London, Macmillan, 1954, v. 2:582583. Includes a list of his works; no bibliography.

See no. 29 (Goléa, Antoine. 1954, p. 143-147).

Esthétique de la musique contemporaine,

See no. 151 ("Contemporary composers on their experiences of composition with twelve notes: Luigi Dallapiccola" in Rufer, J o s e f . Composition with twelve notes, 1954, p. 178-181). See no. 100 (Collaer, Paul. 274).

La musique moderne, 1905-1955.

1955, p. 272-

See no. 105 (Smith Brindle, Reginald. "Italian contemporary music" in Hartog, Howard, ed. European music in the twentieth century, 1957, p. 176-181). See no. 112 (Prieberg, Fred K. Lexikon der neuen Musik, 1958, p. 87-90). See no. 115 (Stuckenschmidt, Hans Heinz. SchOpfer d e r neuen Musik, 1958, p. 228-240). See no. 118a (Zillig, Winfried. "Die Erneuerung der italienischen Musik von Malipiero bis Dallapiccola" in his Variationen Uber neue Musik, 1959, p. 165-173).

Luigi Dallapiccola

97

GENERAL DESCRIPTIONS OF WORKS 644

Paoli, Domenico de. "Chroniques et notes; Italie: Luigi Dallapiccola,* Rev mus 16:65-67 (Jun 1935). Brief general article on Dallapiccola's early works.

645

"Voci aggiunte a un dizionario dei musicisti italiani contemporanei: Luigi Dallapiccola," Rass mus 9/10:284-285 (Sept/Oct 1936) and 20:40-41 (Jan 1950). A list of his works.

646

Ballo, Ferdinando. "Le musiche chorali di Dallapiccola," R a s s mus 10:136-141 (Apr 1937). The early choral works; a general essay, not an analysis.

647

"Un musicien d'aujourd'hui: Luigi Dallapiccola" in Le théâtre m u s i cal. P a r i s , Richard-Masse [1947/48]. (Polyphonie, 1 e r cahier.) Mus., port. Contents: "Chronologie et portrait," p. 135-138 (gives dates of performances); Dallapiccola, Luigi, "Notes sur mon opéra," p. 139-142 (on II prigioniero); "Bibliographie," p. 143-146 (list of compositions with dates of f i r s t performance, timings, and publishers); "Supplement musical hors-texte: 'La canzona dei Pezzenti,' extraite de 'Il prigioniero,' opéra de L. Dallapiccola."

648

Vlad, Roman. "Luigi Dallapiccola," Horizon [London] 20:379-391 (Dec 1949/Jan 1950), t r . by Toni del Renzio. A discussion of his works through the Due pezzi.

649

Gavazzeni, Gianandrea. Musicisti d'Europa: studi sui contemporanei. [Milano] Suvini Zerboni [1954], 275 p. A collection of critical e s s a y s on various composers. Studi su Dallapiccola, p. 191-224: "Cori e laudi" (1937), p. 191-201; "Dai Canti di prigionia a Rencesvals" (1946), p. 202-218; "Il piccolo concerto per Muriel Couvreux" (1943), p. 219-224.

650

Valentin, Erich. "Klassiker aus antikem Geist: Luigi Dallapiccola fünfzig Jahre," ZfM 115:94-95 (Feb 1954). A brief survey of his works.

See no. 35 (Vlad, Roman. Modernità e tradizione nella musica contemporanea, 1955, p. 197-211). 651

Vlad, Roman. "Dallapiccola, 1948-55," Score, no. 15:39-62 (Mar 1956). Mus. A continuation of the survey of Dallapiccola's works (begun in his article in Horizon; see no. 648) through the cantata An Mathilde (1955). Includes a complete s c o r e of Dallapiccola's Improvisation after Tartini, for violin and piano, p. 56-62.

652

Vlad, Roman. Luigi Dallapiccola. T r . by Cynthia Jolly. Milano, Suvini Zerboni, 1957. 62 p. Mus. Biographical sketch, p. 60; list of works, p. 61-62. A translation of the Dallapiccola chapter f r o m his Storia della dodecafonia (see no. 116), p. 275-314.

98

Luigi Dallapiccola

653

Nathan, Hans. "The twelve-tone compositions of Luigi Dallapiccola," MQ 44:289-310 (Jul 1958). Mus. A list of his "completely dodecaphonic" compositions, p. 309-310. A general discussion, with musical illustrations, of Dallapiccola's style and the main influences that have shaped it.

654

Basart, Ann P. The twelve-tone compositions of Luigi Dallapiccola. (Thesis, M. A., University of California, 1960.) iii + 117 1. Mus. Contents: "Il prigioniero," p. 7-29; "Quaderno musicale di Annalibera," p. 30-55; "Canti di liberazione," p. 56-78; "Cinque canti per baritono," p. 79-99; "Conclusions," p. 110-113. P r i m a r i l y an analysis.

INDIVIDUAL WORKS An Mathilde 655

Mlla, Massimo. "L'incontro Heine-Dallapiccola," R a s s mus 27:301308 (Dec 1957). Mus. Somewhat extensive analysis, with emphasis on the textual meaning as reflected in the music. Canti di liberazione

See no. 161 (Smith Brindle, Reginald. "The lunatic fringe, III: computational composition," Jul 1956). 656

Vlad, Roman. "Vita musicale: Roma," Rasa mus 27:54-55 (Mar 1957). Gives some background of the text; a general review.

657

Smith Brindle, Reginald. "Current chronicle: Italy," MQ 43:240-245 (Apr 1957). Mus. Emphasis on the rhythmic s t r u c t u r e .

658

Drew, David. "The a r t s and entertainment: Dallapiccola," New statesman 57:363-365 (Mar 14, 1959). Discusses the Canti di liberazione in relation to the other works of his trilogy on p r i s o n e r s and freedom.

See no. 654 (Basart, Ann P. "Canti di liberazione" in her The twelvetone compositions of Luigi Dallapiccola, 1960, p. 56-78). Canti di prigionia 659

Amico, Fedele d'. "'Canti di prigionia,'" Società [Roma] 1:95-100 (Jan/Jun 1945). Philosophical background of the work.

See no. 669 (Goldman, Richard Franco. "Current chronicle: New York," Jul 1951).

Luigi Dallapiccola 660

99

Morton, Lawrence. "Los Angeles letter," Counterpoint 18:35-36 (Feb 1953). A brief review.

See no. 670 (Dallapiccola, Luigi. "The genesis of the Canti di prigionia and II prigioniero," Jul 1953). Cinque canti p e r baritono 661

Wildberger, Jacques. "Dallapiccolas 'Cinque Canti,'" Melos 26:7-10 (Jan 1959). Mus. Brief analysis, especially of s e r i a l and rhythmic structure.

See no. 654 (Basart, Ann P. "Cinque canti per baritono" in her The twelve-tone compositions of Luigi Dallapiccola, 1960, p. 79-99). Greek l y r i c s See his Liriche greche Improvisation after Tartini, for violin and piano See no. 651 (Vlad, Roman. "Dallapiccola, 1948-55," Mar 1956, p. 56-62). Job, una s a c r a rappresentazione 662

WOrner, Karl H. "Dallapiccolas Job," Melos 21:208-210 (Jul/Aug 1954). Mus. An excellent article on the musical structure and on the implications of the drama. Gives, however, an incorrect quotation of the principal twelve-note row.

663

Skulsky, Abraham. "Opera, 1954," Juilliard review 2:34-43 (Winter, 1955). Mus. Job, p. 37-38. Brief s u m m a r y of the musical and dramatic s t r u c ture; one page from the full s c o r e is reproduced. Liriche greche

664

Amico, Fedele d'. "Recensioni: Luigi Dallapiccola," Rasa mus 17:165-170 (Apr 1947). A general review; no musical examples. Marsia

665

Gatti, Guido M. "Current chronicle: Italy," MQ 35:136-139 (Jan 1949). Mus. Review of a performance at Venice; background of the work, brief sketch of the central dramatic and musical ideas.

666

Smith Brindle, Reginald. "Current chronicle: Italy," MQ 41:524-526 (Oct 1955). Gives a capsule idea of the character of this ballet.

100

Luigi Dallapiccola

Orchestral variations See h i s V a r i a t i o n s f o r o r c h e s t r a Il p r i g i o n i e r o See no. 647 (Dallapiccola, Luigi. " N o t e s s u r mon o p é r a " in L e t h é â t r e m u s i c a l , 1947/48, p. 139-142 [Polyphonie, 1]). 667

K e l l e r , Hans. "XIII Maggio m u s i c a l e fiorentino," Mus r e v 11:211 (Aug 1950). A p s y c h o l o g i c a l a p p r o a c h to the text.

668

Mila, M a s s i m o . " ' I l p r i g i o n i e r o ' di Luigi Dallapiccola," R a s s m u s 20:303-311 (Oct 1950). Mus. B a c k g r o u n d of the l i b r e t t o ; d i s c u s s i o n of the m u s i c , including r o w technique.

669

Goldman, R i c h a r d F . " C u r r e n t c h r o n i c l e , New York," MQ 37:405410 (Jul 1951). Mus. A c o m p a r i s o n of the o p e r a with the Canti di p r i g i o n i a ; d i s c u s sion of the text and t h e m u s i c a l m a t e r i a l s .

670

Dallapiccola, Luigi. " T h e g e n e s i s of the Canti di p r i g i o n i a and II p r i g i o n i e r o : an a u t o b i o g r a p h i c a l f r a g m e n t , " MQ 39:355-372 (Jul 1953), t r . by J o n a t h a n S c h i l l e r . P o r t . The o r i g i n s of t h e c e n t r a l i d e a s of t h e s e w o r k s f r o m l i t e r a t u r e and f r o m e v e n t s in D a l l a p i c c o l a ' s life.

671

R u f e r , J o s e f . "Luigi D a l l a p i c c o l a : Il p r i g i o n i e r o " in O p e r i m XX. J a h r h u n d e r t . Bonn, B o o s e y & Hawkes [cl954], p. 56-64. I l l u s . , m u s . (Musik d e r Z e i t : eine S c h r i f t e n r e i h e z u r z e i t g e n ö s s i s c h e n Musik, 6.) B r i e f b a c k g r o u n d on t h e development of Italian m u s i c in the 20th c e n t u r y ; s k e t c h of the plot and of the c e n t r a l m u s i c a l i d e a s of Il p r i g i o n i e r o .

672

Mason, Colin. " D a l l a p i c c o l a and the t w e l v e - n o t e method," L i s t e n e r 51:757 (Apr 29, 1954). The u s e of dodecaphony in II p r i g i o n i e r o .

See no. 35 (Vlad, Roman. " ' I l p r i g i o n i e r o ' " in h i s M o d e r n i t à e t r a d i z i o n e nella m u s i c a c o n t e m p o r a n e a , 1955, p. 212-216). See no. 654 ( B a s a r t , Ann P . "Il p r i g i o n i e r o " in h e r The t w e l v e - t o n e c o m p o s i t i o n s of Luigi D a l l a p i c c o l a , 1960, p. 7-29). Q u a d e r n o m u s i c a l e di A n n a l i b e r a See a l s o h i s V a r i a t i o n s f o r o r c h e s t r a 673

K e l l e r , Hans. " T h e h a l f - y e a r ' s new music," Mus r e v 15:214-215 (Aug 1954). An outline s k e t c h of t h e f o r m and techniques u s e d .

See no. 654 ( B a s a r t , Ann P . " Q u a d e r n o m u s i c a l e di A n n a l i b e r a " in h e r The t w e l v e - t o n e c o m p o s i t i o n s of Luigi Dallapiccola, 1960, p. 30-55).

Wolfgang F o r t n e r

101

Songs of i m p r i s o n m e n t See h i s Canti di p r i g i o n i a Songs of l i b e r a t i o n See h i s Canti di l i b e r a z i o n e Variations for orchestra See a l s o h i s Q u a d e r n o m u s i c a l e di A n n a l i b e r a 674

H e r z , G e r h a r d . " C u r r e n t c h r o n i c l e : L o u i s v i l l e , Kentucky," MQ 41:79-85 (Jan 1955). Mus. A brief a n a l y s i s of e a c h v a r i a t i o n .

WOLFGANG 675

FORTNER

Stephan, Rudolf. " G e g e n w ä r t i g e s K o m p o n i e r e n ; Ein Überblick: F o r t n e r , Pepping, O r f f , Egk, Hartmann," Dt Univ 2 t 6:12-15 (Sept 28, 1951). A brief c h a r a c t e r i z a t i o n of e a c h c o m p o s e r ' s s t y l e .

See no. 703 (Stuckenschmidt, Hans Heinz. " S y n t h e s i s and new e x p e r i m e n t s : f o u r c o n t e m p o r a r y G e r m a n c o m p o s e r s , " J u l 1952). 676

W ö r n e r , K a r l H. "Wolfgang F o r t n e r in s e i n e n W e r k e n s e i t 1945," Schw MZ 93:260-263 (Jun 1953). D i s c u s s i o n of F o r t n e r ' s w o r k s and s t y l e , 1945-1953.

See no. 151 ( " C o n t e m p o r a r y c o m p o s e r s on t h e i r e x p e r i e n c e s of c o m p o s i tion with twelve notes: Wolfgang F o r t n e r " in R u f e r , J o s e f . C o m position with twelve n o t e s , 1954, p. 181-183). See no. 95 ( W ö r n e r , K a r l H. p. 101-104).

Neue Musik in d e r E n t s c h e i d u n g , 1954,

677

L a a f f , E r n s t . "Wolfgang F o r t n e r , " Melos 21:307-310 (Nov 1954). Port. L i s t of w o r k s , p. 309-310. B r i e f s u m m a r y of life and w o r k s .

678

F r i e d l ä n d e r , Walther. " M o d e r n e r K o m p o s i t i o n s u n t e r r i c h t b e i Wolfgang F o r t n e r an d e r n o r d w e s t d e u t s c h e n M u s i k a k a d e m i e , " NZfM 116:113-114 (Nov 1955). F o r t n e r a s a t e a c h e r of c o m p o s i t i o n .

679

Helm, E v e r e t t . "Six m o d e r n G e r m a n c o m p o s e r s , " A m e r i c a n - G e r m a n r e v i e w 23:12-15 (Dec 1956/Jan 1957). Wolfgang F o r t n e r : p. 13-14; Hans W e r n e r Henze: p. 14-15. V e r y brief s u m m a r i e s of style and w o r k s .

680

D r i e s c h , K u r t . "Wolfgang F o r t n e r : Z u m f ü n f z i g s t e n G e b u r t s t a g d e s d e u t s c h e n Komponisten," Geist und Z e i t [ D ü s s e l d o r f ] , no. 6:119-124 (1957). G e n e r a l d i s c u s s i o n of life and w o r k s .

102

Roberto Gerhard

See no. 112 (Prieberg, Fred K. Lexikon der neuen Musik, 1958, p. 139142). See no. 116 (Vlad, Roman.

Storia della dodecafonia, 1958, p. 146-147).

See no. 118a (Zillig, Winfried. "Neue Musik in Deutschland" in his Variationen Ober neue Musik, 1959, p. 254-263). Bluthochzeit 681

F o r t n e r , Wolfgang. "Bluthochzeit nach Federico Garcia Lorca," Melos 24:71-73 (Mar 1957). Illus. A description of the drama, by the composer. Concerto, violin

682

Helm, Everett. "Current chronicle: Germany," MQ 38:606-610 (Oct 1952). Mus. Brief summary; gives some themes and motives. Fantasy for two pianos and o r c h e s t r a on BACH

683

Helm, Everett. "Current chronicle: Germany," MQ 37:267-269 (Apr 1951). Mus. Shows how Fortner t r e a t s the "BACH" motive throughout.

684

Engelmann, Hans Ulrich. " F o r t n e r s Phantasie Ober B-A-C-H," Melos 21:131-135 (May 1954). Mus. Analysis, especially of s e r i a l and rhythmic aspects. Impromptus

684a Dangel, Arthur. "Wolfgang Fortner [Impromptus]," Melos 27:79-84 (Mar 1960) and 27:107-112 (Apr 1960). Mus. Serial analyses. Kammer mus ik See no. 213 (Unger, Udo. "Analyse von W. F o r t n e r s Fuge aus ' K a m m e r musik,' komp. 1943" in his Die Klavierfuge im zwanzigsten J a h r hundert, 1956, p. 91-92).

ROBERTO

GERHARD

See no. 88 (Mitchell, Donald. "The emancipation of the dissonance," 1952, p. 144). 685

Mason, Colin. "Gerhard, Roberto" in Grove's Dictionary of music and musicians. 5th ed., London, Macmillan, 1954, v. 3:599-601. Includes a list of works (no bibliography).

Roberto Gerhard

103

See no. 151 ("Contemporary composers on their experiences of composition with twelve notes: Roberto G e r h a r d ' in Rufer, Josef. Composition with twelve notes, 1954, p. 183-185). 686

Redlich, Hans Ferdinand. "Gerhard, Roberto" in Die Musik in Geschichte und Gegenwart. Kassel, B ä r e n r e i t e r , 1955, v. 4, col. 1786-1787. Includes a list of his works and a bibliography.

687

Drew, David. "Roberto Gerhard: the musical character," Score, no. 17:39-49 (Sept 1956). Mus. Biography and a discussion of his works.

See no. 163 (Gerhard, Roberto. "Developments in twelve-tone technique," Sept 1956). 688

"Roberto Gerhard: catalog of works," Score, no. 17:54-60 (Sept 1956).

689

Vlad, Roman. "My f i r s t impressions of Roberto G e r h a r d ' s music," Score, no. 17:27-38 (Sept 1956). Mus. Includes the s c o r e of the Capriccio movement of the String quartet. Discusses the general c h a r a c t e r i s t i c s of G e r h a r d ' s music; analyzes his Symphony and String quartet.

See no. 116 (Vlad, Roman. 690

Storia della dodecafonia, 1958, p. 137-144).

Mason, Colin. "A Spanish composer in exile," Listener 60:484 (Sept 25, 1958). Brief survey of his life and works. Concerto, violin

691

del Mar, Norman. "Gerhard as an o r c h e s t r a l composer," Score, no. 17:13-19 (Sept 1956). Mus. Analyses of his ballet suite, Don Quixote; Symphony, Homenaje a Pedrell; and Violin concerto. Don Quixote (ballet suite)

See no. 691 (del Mar, Norman. "Gerhard as an o r c h e s t r a l composer," Sept 1956). The Duenna 692

Gardner, John. "The Duenna (1945-47)," Score, no. 17:20-26 (Sept 1956). Mus. Synopsis of the story and a brief analysis of the music. Homenaje a Pedrell (symphony)

See no. 691 (del Mar, Norman. "Gerhard as an o r c h e s t r a l composer," Sept 1956). See no. 689 (Vlad, Roman. "My f i r s t impressions of Roberto G e r h a r d ' s music," Sept 1956).

104

J o s e f Matthias Hauer

Quartet, string See no. 689 (Vlad, R o m a n . music," Sept 1956).

"My f i r s t i m p r e s s i o n s of R o b e r t o G e r h a r d ' s

Symphony See h i s H o m e n a j e a P e d r e l l

JOSEF

MATTHIAS

See no. 126 ( H a u e r , J o s e f M a t t h i a s .

HAUER

Vom Wesen d e s M u s i k a l i s c h e n ,

1923).

See no. 127 ( H a u e r , J o s e f M a t t h i a s . "Atonale Musik," Nov 1923). See no. 129 ( H a u e r , J o s e f M a t t h i a s .

Von Melos z u r Pauke,

1925).

See no. 130 (Hauer, J o s e f M a t t h i a s . T r o p e n , 1926).

Zwölftontechnik, die L e h r e von den

693

S t u c k e n s c h m i d t , Hans Heinz. " J o s e f Matthias Hauer," d e s Anbruch 10:245-249 (Aug/Sept 1928). D i s c u s s i o n of h i s m u s i c and h i s t h e o r i e s .

694

Machabey, A r m a n d . " L a s i n g u l i è r e f i g u r e de J e a n - M a t h i a s Hauer, m u s i c i e n a u t r i c h i e n , " Rev m u s 12:221-233 (Mar 1931). Mus. D i s c u s s i o n of h i s t h e o r i e s and h i s c o m p o s i t i o n s .

695

Reich, Willi. " J o s e f M a t t h i a s Hauer," Die Musik 23:577-581 (May 1931). Mus., p o r t . D i s c u s s i o n of h i s t h e o r i e s and h i s c o m p o s i t i o n s ; i n c l u d e s a f a c s i m i l e of a page of h i s S a l a m b o .

See no. 137 ( E s c h m a n , K a r l . See no. 82 ( S a l a z a r , Adolfo.

Musikblätter

Changing f o r m s in m o d e r n m u s i c ,

1945).

Music in our t i m e , 1946).

See no. 83 (Schlee, A l f r e d . "Vienna s i n c e t h e Anschluss," Spring 1946). See no. 297 ( B a u e r , M a r i o n . " S c h o e n b e r g and h i s innovation" in h e r Twentieth c e n t u r y m u s i c , 1947, p. 207-230). 696

S c h m a l e , E r i c h . "Die Z w ö l f t o n m u s i k von J o s e f Matthias Hauer," Schw MZ 88:305-306 (Jul 1948). B r i e f b i b l i o g r a p h y , p. 306. An explanation of H a u e r ' s s y s t e m of tropes.

697

E i s e n m a n n , Will. " Z u r Sache Hauer," Schw MZ 88:353-354 (Sept 1948). A r e p l y to S c h m a l e ' s a r t i c l e ( s e e no. 696).

See no. 89 (Reich, Willi. " V e r s u c h e i n e r G e s c h i c h t e d e r Z w ö l f t o n m u s i k " in Alte und neue Musik, 1952, p. 106-132).

Hans Werner Henze See no. 27 (Pfrogner, Hermann. 232). 698

105

Die Zwölfordnung d e r Töne, 1953, p. 184-

Redlich, Hans Ferdinand. "Hauer, Josef (Matthias)" in Grove's Dictionary of music and musicians, 5th ed., London, Macmillan, 1954, v. 4:135-137. Includes a list of works and a very brief bibliography.

See no. 153 (Searle, Humphrey. "Twelve-note music" in Grove's Dictiona r y of music and musicians, 5th ed., London, Macmillan, 1954, 8:617-623). 699

Mila, Massimo. " L e t t e r a da Venezia," R a a s m u s 24:352 (Oct/Dec 1954). Capsule r é s u m é of H a u e r ' s s y s t e m of t r o p e s .

See no. 196 (Perle, George. "The harmonic problem in twelve-tone music," Nov 1954). 700

E i m e r t , Herbert. "Hauer, Josef Matthias" in Die Musik in Geschichte und Gegenwart. Kassel, Bfirenreiter, 1956. v. 5, col. 1823. Mus. Bibliography and list of works.

See no. 164 (Simbriger, Heinrich. "Die Situation der Zwölftonmusik," Sept/Oct 1956). 701

Schwieger, Johannes. "Josef Matthias Hauer," ÖMZ 12:108-109 (Mar 1957). P o r t . Brief discussion of the t h r e e periods, 1911, 1918, and 1920; his compositions a r e listed.

See no. 56 (Melichar, Alois.

Musik in der Zwangsjacke, 1958).

See no. 112 (Prieberg, F r e d K. Lexikon d e r neuen Musik, 1958, p. 185). 702 Wildgans, F r i e d r i c h . "Josef Matthias Hauer zum 75. Geburtstag," ÖMZ 13:108-110 (Mar 1958). P o r t . H a u e r ' s theories and works. See no. 204a (Rochberg, George. "The harmonic tendency of the hexachord," Nov 1959).

HANS 703

WERNER

HENZE

Stuckenschmidt, Hans Heinz. "Synthesis and new experiments: four contemporary German composers," MQ 38:353-368 (Jul 1952), t r . by Abram Loft. Mus. German version in Schw MZ 93:1-10 (Jan 1953); Italian t r a n s l a tion in R a s s mus 23:210-224 (Jul 1953). On B o r i s Blacher, Giselher Klebe, Wolfgang F o r t n e r , and Hans Werner Henze (p. 364-368).

106 704

Hans Werner Henze

Bartlett, K. W. "Henze, Hans Werner" In Grove's Dictionary of music and musicians. 5th ed., London, Macmillan, 1954, v. 4:244245. A list of his principal works is included.

See no. 679 (Helm, Everett. "Six modern German composers," Dec 1956/ Jan 1957). 705

Stuckenschmidt, Hans Heinz. "Henze, Hans Werner" in Die Musik in Geschichte und Gegenwart. Kassel, B&renreiter, 1957, v. 6, col. 176-179. Mus. List of works; reproduction of part of autograph of KOnig Hirsch.

706

Stuckenschmidt, Hans Heinz. "Hans Werner Henze: Portr&t eines Komponisten," NZfM 118:491-492 (Sept 1957). P o r t . Discussion of works and style. Reprinted in the author's Schöpfer der neuen Musik (see no. 115, p. 290-301).

See no. 112 (Prieberg, F r e d K. Lexikon der neuen Musik, 1958, p. 187189). See no. 168 (Stephan, Rudolf. "Hans Werner Henze" m Junge Komponisten, 1958, p. 32-37 [Die Reihe, 4]). See no. 116 (Vlad, Roman.

Storia della dodecafonia, 1958, p. 148-150).

See no. 118a (Zillig, Winfried. "Neue Musik in Deutschland: Pepping, Genzmer, Fortner, Henze, Klebe" in his Variationen Ober neue Musik, 1959, p. 254-263). 707

Helm, Everett. "Current chronicle: Germany," MQ 45:241-248 (Apr 1959). Mus. Includes biographical information and a discussion of his works and stylistic development.

708

Pauli, HansjOrg. "Hans Werner Henze's Italian music," Score, no. 25:26-37 (Jun 1959). Mus. Discussion of his works since 1953. KOnig Hirsch

709

Rostand, Claude. "KOnig Hirsch de H. Werner Henze," La table ronde [Paris], no. 109:157-158 (Jan 1957). A brief description.

710

Stuckenschmidt, Hans Heinz. "'KOnig Hirsch' (Re Cervo) di Hans Werner Henze," Rass mus 27:153-155 (Jun 1957). A brief description.

Giselher Klebe HANNS

107

JELINEK

711

Fiechtner, Helmut A. "Hanns Jelinek," Melos 20:242-245 (Sept 1953). Port. List of his works, p. 244-245. A brief biographical sketch and discussion of his works and theories.

712

Krenek, Ernst. "Reviews of b o o k s " MQ 40:250-256 (Apr 1954). Reviews Jelinek 1 s Anleitung zur ZwOlftonkomposition (see no. 190) and briefly discusses his compositional technique and his works.

713

Wildgans, Friedrich. "Jelinek, Hanns" in Die Musik in Geschichte und Gegenwart. Kassel, Bärenreiter, 1957, v. 6, col. 1847-1849. Includes a list of his works and a brief bibliography.

See no. 112 (Prieberg, Fred K. 222).

Lexikon der neuen Musik, 1958, p. 221-

713a Redlich, Hans F . "Hanns Jelinek," Mus rev 21:66-72 (Feb 1960). Mus. B r i e f discussion of his works and of his theory of twelve-tone composition. Symphonia brevis, op. 16 714

Blaukopf, Kurt. "Current chronicle: Austria," MQ 37:413-416 (Jul 1951). Mus. His method of using the twelve-tone technique. ZwOlftonwerk, op. 15

715

Tenschert, Roland. "Hanns Jelinek; zu seinem 'ZwOlftonwerk, op. 15,'" Schw MZ 91:452-454 (Nov 1951). Mus. B r i e f biographical sketch; summary of dodecaphonic theories; analysis of op. 15, particularly regarding s e r i a l technique. R e view of Jelinek'8 book (see no. 190).

See no. 190 (Jelinek, Hanns. Anleitung zur ZwOlftonkomposition nebst allerlei Paralipomena, 1952). See no. 151 ("Contemporary composers on their experiences of composition with twelve notes: Hanns Jelinek" in Rufer, J o s e f . Composition with twelve notes, 1954, p. 186-188).

GISELHER

KLEBE

See no. 703 (Stuckenschmidt, Hans Heinz. "Synthesis and new experiments: four contemporary German composers," J u l 1952). See no. 275 (Klebe, Giselher. " F i r s t practical work" in Electronic music, 1958, p. 17-18 [Die Reihe, 1]).

108 See no. 112 (Prieberg, Fred K. 229).

Giselher Klebe

Lexikon der neuen Musik, 1958, p. 228-

See no. 118a (Zillig, Winfried. "Neue Musik in Deutschland: Pepping, Geozmer, Fortner, Henze, Klebe" in his Variationen Ober neue Musik, 1959, p. 254-263). Elegia appassionata (piano trio) 716

Mann, Robert W. "Vita musicale: Stoccolma," Rasa mus 26:141-142 (Apr 1956). Brief and general.

See no. 168 (Lewinsky, Wolf-Eberhard von. "Giselher Klebe" in Junge Komponisten, 1958, p. 89-97 [Die Reihe, 4]). Quartet, string, op. 9 See no. 703 (Stuckenschmidt, Hans Heinz. "Synthesis and new experiments: four contemporary German composers," Jul 1952). See no. 168 (Lewinsky, Wolf-Eberhard von. "Giselher Klebe" in Junge Komponisten, 1958, p. 89-97 [Die Reihe, 4]). Die R&uber 717

Klebe, Giselher. "Uber meine Oper 'Die Räuber,1" Melos 24:73-76 (Mar 1957). Mus. "Grundform und dominierende Gestaltungsordungen; Charakteristik der vier Hauptpersonen."

718

Helm, Everett. "Operas by Egk, Klebe, and Fortner," Mus rev 18:226-228 (Aug 1957). Discussion of the libretto and the style of the music. Die tödlichen WOnsche

719

Wörner, Karl H. "Current chronicle: Germany," MQ 46:80-83 (Jan 1960). Mus. A review of Klebe's second opera. A piano reduction of the Prelude (21 ms.) is included. Trio, piano See his Elegia appasBionata

E r n s t Krenek ERNST

109

KRENEK

GENERAL See no. 82 (Salazar, Adolfo.

Music in our time, 1946).

720

Krenek, E r n s t . Selbstdarstellung. Zürich, Atlantis [1948], 66 p. Port. List of his compositions, p. 63-66. "Keine Selbstbiographie, sondern der Versuch einer Selbstanalyse." L a s t chapter r e printed as "Der musikalische Fortschnitt," Melos 16:71-75 (Mar 1949). P o r t . (See no. 723.)

721

Krenek, E r n s t . "Versuch einer Selbstanalyse: Vom 'Jonny' zur Zwölftonmusik," Melos 16:33-38 (Feb 1949). Krenek d i s c u s s e s the development of his compositional technique in general t e r m s .

See no. 88 (Mitchell, Donald. "The emancipation of the dissonance," 1952, p. 142-143). 722

Reich, Willi. "Ernst Krenek als Musikschriftsteller," Schw MZ [Ernst Krenek Heft] 93:113-114 (Mar 1953). A s u m m a r y of Krenek's thought, as expressed in his writings.

723

Krenek, E r n s t . "Self-analysis," New Mexico quarterly 23:5-57 (Spring 1953). Mus., port. List of works, with opus number, y e a r , and publisher, p. 51-56; discography, p. 56-57. "Revised and considerably enlarged v e r sion of a work originally published in German under the title, Selbstdarstellung." (See no. 720.)

See no. 151 ("Contemporary composers on their experiences of composition with twelve notes: Ernst Krenek" hi Rufer, Josef. Composition with twelve notes, 1954, p. 188-191). See no. 95 (WOrner, Karl H. Neue Musik in d e r Entscheidung, 1954, p. 99-100). 724

Redlich, Hans Ferdinand. "Krenek, E r n s t " in G r o v e ' s Dictionary of music and musicians. 5th ed., London, Macmillan, 1954, v. 4: 844-848. Includes a bibliography and a list of his works.

725

Colucci, Matthew Joseph. A comparative study of contemporary musical theories in selected writings of Piston, Krenek, and Hindemith. [Ann Arbor, Mich., University Microfilms], 1957. 195 p. (University Microfilms, no. 23, 583.) (Thesis, P h . D . , music, University of Pennsylvania.) Not seen: abstract in Dissertation A b s t r a c t s 17:2628 (1957). "Brief sketch of each c o m p o s e r ' s life; analysis of the musical theories."

726

Wörner, Karl H. "Krenek (Krenek), E r n s t " in Die Musik in Geschichte und Gegenwart. Kassel, B&renreiter, 1958, v. 7, col. 1759-1763. Includes a list of his works.

110

E r n s t Krenek

See no. 118a (Zillig, Winfried. "Krenek, d e r S u c h e r " in his V a r i a t i o n e n ü b e r neue Musik, 1959, p. 236-239). 727

Saathen, F r i e d r i c h . " E r n s t K f e n e k s B o t s c h a f t i m Wort," Schw MZ 99:45-50 ( F e b 1959). D i s c u s s e s K r e n e k ' s writings on m u s i c

GENERAL DESCRIPTIONS O F WORKS 728

W e i s s m a n n , Adolph. " E r n s t Krenek," Modern muBic 6:17-23 (Nov/ Dec 1928). An evaluation of K r e n e k ' s works through the late 1920's.

729

P r e u s s n e r , E b e r h a r d . " E r n s t Krenek," Anbruch 11:154-159 (Apr 1929). P o r t . D i s c u s s i o n of w o r k s and style.

730

Redlich, Hans F e r d i n a n d . " H e i m a t und F r e i h e i t : z u r Ideologie d e r jüngsten Werken E r n s t Kreneks," Anbruch 13:54-58 ( F e b 1930). A d i s c u s s i o n of his w o r k s .

731

Schneider, J . M a r i u s . " E r n s t Krenek," Rev m u s 11:126-134 (Aug/ Sept 1930). A s u r v e y of his w o r k s and s t y l e .

732

GOnther, S i e g f r i e d . " D e r K u r s in E r n s t K r e n e k s j ü n g s t e m Schaffen," Die Musik 23:587-592 (May 1931). K r e n e k ' s works, op. 54-64; c o m p a r i s o n with e a r l i e r w o r k s .

733

E r i c k s o n , R o b e r t . " K r e n e k ' s l a t e r m u s i c (1930-1947)," Mus r e v 9:29-44 (Feb 1948). Mus. E m p h a s i s on row technique. A l i s t of K r e n e k ' s works, 1930-Jan 1947, p . 4 3 - 4 4 .

See no. 721 (Krenek, E r n s t .

" V e r s u c h e i n e r Selbstanalyse," F e b 1949).

734

Reich, Willi. " E r n s t K f e n e k s A r b e i t in d e r Zwölftontechnik," Schw MZ 89:49-53 ( F e b 1949). Mus. K r e n e k ' s s e r i a l technique, e s p e c i a l l y h i s u s e of " m o d e s " ( s i x note r o w s ) . E x a m p l e s f r o m h i s Sixth s t r i n g q u a r t e t , his L a m e n t a t i o J e r e m i a e P r o p h e t a e , and h i s Sinfonischen Stück f ü r S t r e i c h orchester.

735

Krenek, E r n s t . " K u r z e r R e c h e n s c h a f t s b e r i c h t , " Schw MZ 90:299-301 (Jun 1950). The u s e of a modified t w e l v e - t o n e technique in h i s w o r k s , 19391950. Includes a l i s t of his w o r k s of that p e r i o d , p. 301.

736

F i e c h t n e r , Helmut A. " E r n s t Krenek," Music a 7:7-10 (Jan 1953). Port. D i s c u s s i o n of h i s w o r k s and of h i s v a r i o u s " p e r i o d s " of c o m position. L i s t of works, 1938-1952, p. 10.

Ernst Krenek

111

737

Erickson, Robert. "Kreneks amerikanische texte," Schw MZ 93:104108 (Mar 1953). Krenek's settings of English texts (Five p r a y e r s , Cantata for wartime, Santa Fe timetable, Tarquin, Dark waters, etc.).

738

Krenek, E r n s t . "Zu meinem Kammermusikwerken 1936-1950," Schw MZ [Ernst Krenek Heft] 93:102-104 (Mar 1953). P r i m a r i l y a discussion of row technique, in his Sixth and Seventh Quartets, Variations for piano, Sonatine f o r flute and clarinet. Sonata for viola solo, Lamentatio J e r e m i a e Prophetae, Third and Fourth Piano sonatas, and other chamber works.

See no. 155 (Ogdon, Wilbur Lee. Series and structure, 1955). 739

Joachim, Heinz. " E r n s t Krenek," Schw MZ 95:1-5 (Jan 1955). Mus. Includes a list of his works, 1948-1954. Analysis of the f i r s t movement of his Sonata for violin and piano, 1944/45.

See no. 116 (Vlad, Roman. 270-271).

Storia della dodecafonia, 1958, p. 133-136,

739a Krenek, E r n s t . "Extents and limits of s e r i a l techniques," MQ [special issue on the Princeton Seminar in Advanced Musical Studies] 46:210-232 (Apr 1960). Diagrs., mus. The principles of s e r i a l rotation, indeterminacy, and other techniques, especially in Krenek's Lamentatio J e r e m i a e Prophetae; Kette, K r e i s und Spiegel; Spiritus intelligentiae, sanctus; Sestina; and Sechs V e r m e s s e n e .

INDIVIDUAL WORKS Cantata, op. 72 See no. 526 (Bach, David Joseph. "New music by Berg, Webern, Krenek," Nov/bec 1934). Five p r a y e r s See his P r a y e r s , Five Five short pieces for strings See his P i e c e s for strings. Five Invention for flute and clarinet 740

Schuh, Willi. "Zu Ernst Kreneks Invention," Schw MZ [Ernst Krenek Heft] 93:115 (Mar 1953). Mus. Includes a facsimile of the entire piece. This brief composition was written especially for the Schw MZ and is "ein einfaches Beispiel für die 'klassische' Reihentechnik." A short row analysis is given.

112 See no. 31 ( B u r k h a r d , Willy. " V e r s u c h e i n e r k r i t i s c h e n mit d e r ZwOlftontechnik," Mar 1954).

E r n s t Krenek Auseinandersetzung

Kette, K r e i s und Spiegel 741

Reich, Willi. " M u s i c a - B e r i c h t : Krenek und Martinu," Music a 12:161 (Mar 1958). V e r y b r i e f explanation of the row technique u s e d .

See no. 739a (Krenek, E r n s t . Apr 1960).

" E x t e n t s and l i m i t s of s e r i a l techniques,"

Lamentatio Jeremiae

Prophetae

See no. 206 (Johnson, M a r t h a . A study of l i n e a r d e s i g n in G r e g o r i a n chant and music written in the twelve-tone technique, 1954). See no. 52 (ROssler, E r n s t K a r l . " Z e i t g e n ö s s i s c h e K i r c h e n m u s i k und c h r i s t l i c h e Gemeinde," J a n / F e b 1957). 742

Vellekoop, G e r r i t . "De ' L a m e n t a t i o J e r e m i a e P r o p h e t a e 1 van E r n s t Krsjenek," Mens en melodie 13:326-329 (Nov 1958). Mus. I l l u s t r a t e s Krenek 1 s u s e of h e x a c h o r d s .

See no. 739a (Krenek, E r n s t . Apr 1960).

" E x t e n t s and l i m i t s of s e r i a l techniques,"

P a l l a s Athene weint 743

K o e g l e r , H o r s t . "The i n t e r n a t i o n a l scene: Hamburg," M u s i c a l c o u r i e r 152:27-28 (Nov 15, 1955). Illus. Capsule d e s c r i p t i o n of the plot and the m u s i c a l s t r u c t u r e .

744

J o a c h i m , Heinz. " C u r r e n t c h r o n i c l e : Germany," MQ 42:92-98 (Jan 1956). Mus. G e n e r a l s u m m a t i o n of K r e n e k ' s work and i m p o r t a n c e ; the plot of the o p e r a and t h e c h a r a c t e r of i t s m u s i c . Pieces for strings, Five

See no. 46 ( K e l t e r b o r n , Rudolf. " S t i l i s t i s c h g e g e n s ä t z l i c h e Entwicklungen auf d e r B a s i s d e r ZwOlftontechnik," Apr 1956). P r a y e r s , Five 745

Ogdon, Wilbur L e e . "The t w e l v e - t o n e s e r i e s and c a n t u s f i r m u s : a d i s c u s s i o n of E r n s t K r e n e k ' s ' F i v e P r a y e r s , ' " BAMS 1 1 / 1 3 : 8 6 - 8 8 (1948). An a b s t r a c t only.

René Leibowitz

113

Quartets, string —no. 1 746

E v a n s , Edwin. " K r e n e k , E r n s t " in Cobbett, Walter W. C o b b e t t ' s cyclopedic s u r v e y of c h a m b e r m u s i c . London, Oxford University P r e s s , 1929/30, p. 76-79. Mus. A brief d e s c r i p t i o n of the f i r s t and t h i r d String q u a r t e t s . —no. 3

See no. 746 (Evans, Edwin. " K r e n e k , Ernst,»

1929/30).

-no. 6 See no. 484 (Leibowitz, René. " L e s nouvelles g é n é r a t i o n s de c o m p o s i t e u r s ' d o d é c a p h o n i s t e s ' et l e u r s c a r a c t é r i s t i q u e s g é n é r a l e s " in his I n t r o duction à l a m u s i q u e de douze s o n s , 1949, p. 255-259). Sestina 747

K r e n e k , E r n s t . "Sestina," Melos 7/8:235-238 ( J u l / A u g 1958). Mus. A quite t e c h n i c a l a n a l y s i s by the c o m p o s e r . The c o m p l e t e p o e m i s quoted on p. 238.

See no. 739a (Krenek, E r n s t . Apr 1960).

" E x t e n t s and l i m i t s of s e r i a l techniques,"

Sonata f o r violin and piano —first m o v e m e n t See no. 739 ( J o a c h i m , Heinz. " E r n s t Krenek," J a n 1955). Symphonic elegy See no. 155 (Ogdon, Wilbur L e e .

RENÉ

S e r i e s and s t r u c t u r e , 1955, p. 162-231).

LEIBOWITZ

See no. 141 ("Un m u s i c i e n d ' a u j o u r d ' h u i : René Leibowitz" in Le s y s t è m e dodécaphonique, 1949, p. 80-83 [Polyphonie, 4 ]). See no. 29 (Goléa, Antoine. 1954, p. 179-180). 748

Esthétique de la musique c o n t e m p o r a i n e ,

S e a r l e , Humphrey. "Leibowitz, René" in G r o v e ' s Dictionary of m u s i c and m u s i c i a n s . 5th ed., London, Macmillan, 1954, v. 5:117. Includes a l i s t of his c o m p o s i t i o n s and published t h e o r e t i c a l writings.

114

Bruno Maderna

See no. 98 (Myers, Rollo H. "Music in France in the post-war decade," 1954/55). See no. 155 (Ogdon, Wilbur Lee.

Series and structure, 1955).

Chamber symphony, op. 16 See no. 141 (Saby, Bernard. "Un aspect des problèmes de la thématique sérielle; à propos de la Symphonie de chambre, op. 16, de René Leibowitz" in Le système dodécaphonique, 1949, p. 54-63 [Polyphonie, 4]). Quartets, strings —no. 3 See no. 155 (Ogdon, Wilbur Lee. Series and structure, 1955). Tourist death (Air pour soprano et orchestre, op. 7) See no. 484 (Leibowitz, René. "Les nouvelles générations de compositeurs 'dodécaphonlstes' et l e u r s caractéristiques générales" in his Introduction k la musique de douze sons, 1949, p. 263-265).

BRUNO

MADERNA

See no. 161 (Smith Brindle, Reginald. "The lunatic fringe, HI: computational composition," Jul 1956). See no. 105 (Smith Brindle, Reginald. "Italian contemporary music" in Hartog, Howard, ed. European music in the twentieth century, 1957, p. 184, 185-186). See no. 106 (Pestalozza, Luigi. "I compositori milanesi del dopoguerra," Mar 1957). See no. 168 (Manzoni, Giacomo. "Bruno Maderna" m Junge Komponisten, 1958, p. 113-118 [Die Reihe, 4]). See no. 112 (Prieberg, Fred K. Lexikon der neuen Musik, 1958, p. 263). See no. 116 (Vlad, Roman. Storia della dodecafonia, 1958, p. 261-262). 749 Smith Brindle, Reginald. "Current chronicle: Italy," MQ 45:388-392 (Jul 1959). Mus. Brief description of his String quartet in two movements and his Serenata no. 2 for eleven instruments. Gives some biographical background.

Luigi Nono LUIGI See no. 29 (Goléa, Antoine. 1954).

115

NONO

Esthétique de la musique c o n t e m p o r a i n e ,

See no. 30 (Goléa, Antoine. "Deux p o r t r a i t s : Luigi Nono—Karlheinz Stockh a u s e n " in L a m u s i q u e et s e s p r o b l è m e s c o n t e m p o r a i n s , 1954, p. 112-114). See no. 105 (Smith B r i n d l e , Reginald. "Italian c o n t e m p o r a r y m u s i c " in Hartog, Howard, ed. European m u s i c in the twentieth c e n t u r y , 1957, p. 184, 186-187). See no. 112 ( P r i e b e r g , F r e d K. 320).

Lexikon d e r neuen Musik, 1958, p. 318-

See no. 116 (Vlad, R o m a n .

Storia d e l l a dodecafonia, 1958, p. 264-265).

See no. 63 ( P o r e n a , B o r i s . 1958).

" L ' a v a n g u a r d i a m u s i c a l e di D a r m s t a d t , " Sept

See no. 118a (Zillig, Winfried. "Die Jungen: Stockhausen, Boulez, Nono, B e r i o " in h i s V a r i a t i o n e n ü b e r neue Musik, 1959, p. 190-199). II c a n t o s o s p e s o 750

K o e g l e r , H o r s t . "The i n t e r n a t i o n a l scene: Germany," Musical c o u r i e r 155:41 (Apr 1957). Very brief description.

See no. 170 (Stockhausen, K a r l h e i n z . "Sprache und Musik" in Steinecke, Wolfgang, ed. D a r m s t ä d t e r B e i t r ä g e z u r neuen Musik, 1958, p. 5781). See no. 168 (Unger, Udo. "Luigi Nono" in Junge Komponisten, 1958, p. 9 17 (Die R e i h e . 4 ]). C o r o di Didone 751

Helm, E v e r e t t . " C u r r e n t c h r o n i c l e : Germany," MQ 45:101-102 (Jan 1959). A brief description. Polifonica-Monodia-Ritmica

See no. 168 (Unger, Udo. "Luigi Nono" in Junge Komponisten, 1958, p. 9 17 [Die Reihe, 4 ] ) . V a r i a n t i , f o r violin and o r c h e s t r a 752

Kolisch, Rudolf. "Nonos Varianti," Melos 24:292-296 (Oct 1957). Mus. A s h o r t a n a l y s i s ; shows the u s e of p e r m u t a t i o n a s a f a c t o r in composition.

116 HENRI 753

Humphrey S e a r l e

POUSSEUR

" H e n r i P o u s s e u r . " Schw MZ 97:233 (Jun 1957). V e r y b r i e f ; gives b i o g r a p h i c a l d a t a and l i s t s s o m e of h i s w o r k s .

See no. 168 (Koenig, G o t t f r i e d Michael. " H e n r i P o u s s e u r " in J u n g e Komponisten, 1958, p. 18-31 [Die Reihe, 4 ] ) . See no. 112 ( P r i e b e r g , F r e d K. 345).

Lexikon d e r neuen Musik, 1958, p. 344-

See no. 166 ( P o u s s e u r , H e n r i . "Outline of a method" in Musical c r a f t s m a n s h i p , 1959, p. 44-88 [Die Reihe, 3 ] ) . See no. 637 (Metzger, H e i n z - K l a u s . 1959).

"John Cage o d e l l a liberazione," Aug

I m p r o m p t u f o r piano See no. 166 ( P o u s s e u r , H e n r i . "Outline of a method" in Musical c r a f t s manship, 1957, 1959, p. 56-63 [Die Reihe, 3 ] ) . Includes a s c o r e of the work. Quintet in m e m o r y of W e b e r n See no. 166 ( P o u s s e u r , Henri. "Outline of a method" in M u s i c a l c r a f t s m a n s h i p , 1957, 1959, p. 48-55 [Die R e i h e , 3 ] ) . Scambi 754

P o u s s e u r , Henri. "Scambi," G r a v e s a n e r B l a t t e r , v. 4, no. 13:36-47 (1959). D i a g r s . English t r a n s l a t i o n , p. 48-54. D e t a i l s of the composition of P o u s s e u r ' s e l e c t r o n i c piece, S c a m b i .

See no. 71 (Eco, U m b e r t o . "L 1 o p e r a in m o v i m e n t o e l a c o s c i e n z a dell'epoca," Aug 1959). V a r i a t i o n s f o r piano See no. 166 ( P o u s s e u r , Henri. "Outline of a method" in M u s i c a l c r a f t s manship, 1957, 1959, p. 64-88).

HUMPHREY 755

SEARLE

G o r e r , R i c h a r d . "An i n t e r i m r e p o r t on H u m p h r e y S e a r l e ' s music," Mus s u r 1:137-140 (1949). Mus. B r i e f outline of S e a r l e ' s b a c k g r o u n d and m u s i c a l t r a i n i n g ; d i s c u s s i o n of h i s s t y l e and w o r k s . L i s t of w o r k s , p. 140.

See no. 88 (Mitchell, Donald. " T h e e m a n c i p a t i o n of t h e dissonance," 1952, p. 144).

Mâtyâs Seiber 756

117

Mason, Colin. "Searle, Humphrey" in Grove's Dictionary of music and musicians. 5th ed., London, Macmillan, 1954, v. 7:679-681. Includes a list of his "principal compositions."

See no. 151 ("Contemporary composers on their experiences of composition with twelve notes: Humphrey Searle" in Rufer, Josef. Composition with twelve notes, 1954, p. 193-195). 757

Lockspeiser, Edward. "Humphrey Searle," MT 96:468-472 (Sept 1955). Mus. Biographical sketch and discussion of works; list of compositions and writings, p. 472.

See no. 105 (Milner, Anthony. "English contemporary music" in Hartog, Howard, ed. European music in the twentieth century, 1957, p. 146147). See no. 112 (Prieberg, F r e d K. Lexikon der neuen Musik, 1958, p. 398399). See no. 116 (Vlad, Roman.

Storia de 11a dodecafonia, 1958, p. 150-151).

Shadow of Cain See no. 28 (Keller, Hans. " F i r s t performances and their reviews," Feb 1953). Sonata for piano 758

Keller, Hans. " F i r s t performances," Mus r e v 13:43-44 (Feb 1952). An outline of the s t r u c t u r e .

M Â T YÂS 759

SEIBER

Weissmann, John S. "Mâtyâs Seiber: Style and technique," Listener 55:476 (Mar 22. 1951). A brief survey of his works and method of using the twelve-tone technique.

See no. 88 (Mitchell, Donald. "The emancipation of the dissonance," 1952, p. 144). 760

Weissmann, John S. "Seiber, Mâtyâs (GyOrgy)" in Grove's Dictiona r y of music and musicians. 5th ed., London, Macmillan, 1954, v. 7:687-689. Includes a bibliography and catalog of his works.

See no. 151 ("Contemporary composers on their experiences of composition with twelve notes: Mâtyâs Seiber" in Rufer, Josef. Composition with twelve notes, 1954, p. 196-198).

118

Matyas Seiber

761

Schweizer, Gottfried. "Komponistenporträt: Matyas Seiber 50 Jahre," Musica 9:233-234 (May 1955). P o r t . Biographical data and brief characterization of Seiber's music.

762

Schweizer, Gottfried. "Zwischen Bartok und Schönberg: das Bild Matyas Seibers," ZfM 116:269-272 (May 1955). Port. Influences on Seiber; brief discussion of works and style.

763

Keller, Hans. "Matyas Seiber," MT 96:580-584 (Nov 1955). Mus. Biographical sketch; discussion of S e i b e r ' s row technique in some detail. List of published compositions, recordings, and writings, p. 583-584.

See no. 112 ( P r i e b e r g , F r e d K. 401). See no. 116 (Vlad, Roman.

Lexikon d e r neuen Musik, 1958, p. 399-

Storia della dodecafonia, 1958, p. 151-153).

Quartets, s t r i n g —no. 1 764

Weissmann, John S. "Die Streichquartette von Matyas Seiber," Melos 22:344-347 (Dec 1955) and 23:38-41 (Feb 1956). Mus. T r . f r o m the English by Willi Reich. Analyses of the f i r s t three quartets. —no. 2

See no. 764 (Weissmann, John S. "Die Streichquartette von Matyas Seiber," Dec 1955 and Feb 1956). —no. 3 (Quartetto lirico) 765

Helm, Everett. "Current chronicle: Germany," MQ 41:521-524 (Oct 1955). Mus. A brief analysis of the f o r m with some examples of the contrapuntal technique.

See no. 764 (Weissmann, John S. "Die Streichquartette von Matyas Seiber," Dec 1955 and Feb 1956). Ulysses 766

C a r n e r , Mosco. "Matyäs Seiber and his Ulysses," Mus r e v 12:105112 (May 1951). Mus. A textual and musical analysis.

767

Seiber, M i t y a s . "A note on 'Ulysses,'" Mus sur 3:263-270 (Jun 1951). Mus. The c o m p o s e r ' s description of the s t r u c t u r e of his cantata.

Karlheinz Stockhausen KARLHEINZ

119

STOCKHAUSEN

See no. 253 (Boulez, P i e r r e . "Tendances de la musique récente" in V e r s une musique expérimentale, 1957, p. 28-35). See no. 105 (Hartog, Howard. "German contemporary music" in his European music in the twentieth century, 1957, p. 201-202). See no. 168 (Schnebel, Dieter. "Karlheinz Stockhausen" in Junge Komponisten, 1958, p. 119-133 [Die Reihe, 4 ] ) . See no. 170a (Stephan, Rudolf. Neue Musik, 1958). See no. 116 (Vlad, Roman. 768

Maegaard, J a n "Karlheinz Stockhausen," Nordisk Musikkultur 7:1114 (Mar 1958). Pont., mus. Discussion of Stockhausen's philosophy of composition and the characteristics, especially rhythmical, of his music.

See no. 636 (Maren, Roger. 769

"The musical numbers game," Mar 6, 1958).

Manzoni, Giacomo. "Profili di musiclsti contemporanei: Karlheinz Stockhausen," Musica d'oggi [new s e r i e s ] 1:229-233 (Apr 1958). A survey of his background and works.

See no. 63, (Porena, B o r i s . 1958). 770

Storia della dodecafonia, 1958, p. 265-266).

"L'avanguardia musicale di Darmstadt," Sept

Luening, Otto. "Karlheinz Stockhausen," Juilliard review 6:10-11 (Winter 1958/59). Port. A brief critical appraisal of Stockhausen and a chronological outline of the history of the Cologne group of electronic composers.

See no. 166 (Stockhausen, Karlheinz. " . . . how time passes . . . " Musical craftsmanship, 1959, p. 10-40 [Die Reihe, 3]).

in

See no. 118a (Zillig, Winfried. "Die Jungen: Stockhausen, Boulez, Nono, B e r i o " in his Variationen Ober neue Musik, 1959, p. 190-199). See no. 637 (Metzger, Heinz-Klaus. 1959).

"John Cage o della liberazione," Aug

Gesang der Jünglinge See no. 170 (Stockhausen, Karlheinz. "Sprach und Musik" in Steinecke, Wolfgang, ed. Darmstädter Beiträge zur neuen Musik, 1958, p. 5781).

Gruppen für 3 Orchester 771

Stockhausen, Karlheinz. "Musik im Raum," Melos 25:317-320 (Oct 1958). Illus. Stockhausen's theories of music in space, particularly as worked out in his Gruppen für 3 Orchester; problems of concert hall design. (See no. 772.)

120

Karlheinz Stockhausen

772

Stockhausen, Karlheinz. "Musik im Raum" in Berichte/Analysen. Wien, Universal Edition [cl959], p. 59-73. Illus. (Die Reihe, 5.) "Dieser Text diente als Vorlage für eine Vorlesung, die während der Internationalen Ferienkurse für Neue Musik 1958 in Darmstadt gehalten wurde." (An expansion of no. 771; see also no. 174.)

773

Wörner, Karl H. "Current chronicle: Germany," MQ 45:237-239 (Apr 1959). A brief description of the work. Klavierstücke —nr. 2

774

Mason, Colin. "Review of music," M & L 36:307-308 (Jul 1955). A brief review, including some discussion of rhythmic elements.

See no. 629 (Pestalozzi, Luigi. "Vita musicale: musiche nuovissime," Oct 1956). Discusses the fifth, sixth, seventh, and eighth pieces, - n r . 11 See no. 71 (Eco, Umberto. "L'opéra in movimento e la coscienza dell'epoca," Aug 1959). Komposition nr. 2 See no. 30 (Stockhausen, Karlheinz. "Une expérience électronique" in La musique et ses problèmes contemporains, 1954, p. 82-93). See no. 170 (Nono, Luigi. "Die Entwicklung der Reihentechnik" in Steinecke, Wolfgang, ed. Darmstädter Beiträge zur neuen Musik, 1958, p. 25-37). Kontrapunkten 775

Scherchen, Hermann. "Stockhausen und die Zeit: zur Geschichte einer Geschichte," Gravesaner Blätter, v. 4, no. 13:29-31 (1959). English translation, p. 32-34. Implications of changes made by Stockhausen in his Kontrapunkten. Studie nr. 2

See no. 279 (Prieberg, Fred K. "Erste elektronische Partitur," Apr 1957). Zeitmasse See no. 170 (Nono, Luigi. "Die Entwicklung der Reihentechnik" in Steinecke, Wolfgang, ed. Darmstädter Beiträge zur neuen Musik, 1958, p. 25-37). 776

Pade, Else Marie, and Blyme, Anker. "Efter Stockhausen . . .," Dansk musiktidsskrift 33:48-49 (Apr 1958). Port. Review of Zeitmasse and discussion of Stockhausen's musical philosophy.

Igor Stravinsky 777

Helm, E v e r e t t . 1958).

121

" C u r r e n t c h r o n i c l e : F r a n c e , " MQ 44:520-521 (Oct

The r h y t h m i c s t r u c t u r e is b r i e f l y d i s c u s s e d . See no. 621 ( C r a f t , R o b e r t .

"Boulez and Stockhausen," Nov 1958).

See no. 622 (Skulsky, A b r a h a m .

IGOR

" A f t e r Webern, w h o ? " J a n 1959).

STRAVINSKY GENERAL

See no. 343 (Citkowitz, I s r a e l .

"Stravinsky and Schoenberg," F a l l , 1954).

See no. 99 (Neighbor, O l i v e r . 1955).

"The evolution of t w e l v e - n o t e music," 1954/

778

S t r a w i n s k y in A m e r i k a ; d a s k o m p o s i t o r i s c h e Werk von 1939 b i s 1955. Bonn, B o o s e y & Hawkes [c 1955]. 87 p. Illus., m u s . (Musik d e r Z e i t ; eine S c h r i f t e n r e i h e z u r z e i t g e n ö s s i s c h e n Musik, Heft 12.) P a r t i a l c o n t e n t s : L i n d l a r , Heinrich, "Cantata" (Jan 1953), p. 3034; E i m e r t , H e r b e r t , "Die d r e i S h a k e s p e a r e - L i e d e r (1953)," p. 35-38; K e l l e r , Hans, "In M e m o r i a m Dylan T h o m a s : S t r a w i n s k y s S c h ö n b e r g i s c h e Technik," p. 39-42 ( f r o m T e m p o , Spring 1955; s e e no. 806); C r a f t , R o b e r t , "Reihenkompositionen: vom 'Septett' z u m 'Agon'" (Sept 1955), p. 43-54; list of w o r k s , 1939-55, p. 84-85.

See no. 160 ( P e r l e , G e o r g e . See no. 348 (Burt, F r a n c i s .

S e r i a l composition and atonality,

1956).

"An antithesis," Dec 1956 and M a r 1957).

779

L i n d l a r , H e i n r i c h . Igor Strawinskys s a k r a l e r Gesang: Geist und F o r m d e r C h r i s t - k u l t i s c h e n Kompositionen. R e g e n s b u r g , B o s s e V e r l a g , 1957. 93 p. Illus., m u s . ( F o r s c h u n g s b e i t r ä g e z u r Musikw i s s e n s c h a f t , Band 6.) P a r t i a l contents: Cantata, p. 68-72; S h a k e s p e a r e songs, p. 72-73; In M e m o r i a m Dylan T h o m a s , p. 73; Canticum S a c r u m , p. 74-79. (See n o s . 787, 796.)

780

L e m u s i c h e r e l i g i o s e di Igor Strawinsky, con il catalogo a n a l i t i c o c o m p l e t o di t u t t e l e sue o p e r a . Venezia, L o m b r o s o [1957], 79 p. Illus., m u s . Contents: P i o v e s a n , A l e s s a n d r o , " P r o m e s s o , " p. 5-9; Vlad, R o m a n , " L e m u s i c h e r e l i g i o s e di Strawinsky," p. 11-21; C r a f t , R o b e r t , "Il ' C a n t i c u m s a c r u m , ' " p. 23-36; C r a f t , R o b e r t , " B a c h - S t r a w i n sky: C h o r a l und Variationen ü b e r . . . 'Von H i m m e l hoch'. . . " p. 37-46; P i o v e s a n , A l e s s a n d r o , and B o r r i , B i a n c a m a r i a , " C a t a logo g e n e r a l e d e l l e o p e r e di Igor Strawinsky," p. 47-79. The C r a f t a r t i c l e s f i r s t a p p e a r e d under the title, "A c o n c e r t f o r St. M a r k " in S c o r e , Dec 1956 (see no. 799).

781

Mason, Colin. " S t r a v i n s k y ' s contribution to c h a m b e r music," T e m p o , no. 43:6-16 (Spring 1957). Mus.

122

Igor Stravinsky

D i s c u s s i o n of t h e Septet, In m e m o r i a m Dylan T h o m a s , and the S h a k e s p e a r e s o n g s . A list of S t r a v i n s k y ' s c h a m b e r music, p. 1516. (See no. 787.) 782

P f a u n d l e r , G e e r t r u y von. "De jongste werken van Igor Strawinsky (uit de j a r e n 1952-1957)," Mens en melodie 12:133-137 (May 1957). Mus., p o r t . D i s c u s s e s b r i e f l y t h e Canticum S a c r u m , the S h a k e s p e a r e songs, and the Septet.

783

G e r h a r d , R o b e r t o . " T w e l v e - n o t e technique in Stravinsky," Score, no. 20:38-43 (Jun 1957). Mus. A d e s c r i p t i o n of S t r a v i n s k y ' s use of dodecaphonic e l e m e n t s . F o r a G e r m a n t r a n s l a t i o n , s e e no. 787.

784

S t r a v i n s k y , I g o r . "35 Antworten auf 35 Fragen," Melos 24:161-170 (Jun 1957). P o r t . T r a n s l a t i o n , a s " A n s w e r s to 34 [sic] questions; an i n t e r v i e w with Igor Stravinsky," E n c o u n t e r , no. 46:3-7 (Jul 1957). Some of the q u e s t i o n s c o n c e r n S t r a v i n s k y ' s s e r i a l technique.

785

Milner, Anthony. "Melody in S t r a v i n s k y ' s music," MT 98:370-371 (Jul 1957). Mus. V e r y b r i e f g e n e r a l a r t i c l e on the c h a r a c t e r i s t i c s of S t r a v i n s k y ' s melody; includes an i l l u s t r a t i o n f r o m the Canticum S a c r u m .

786

K i r c h m e y e r , Helmut. Igor Strawinsky; Z e i t g e s c h i c h t e im P e r s ö n lichkeitsbild: Grundlagen und V o r a u s s e t z u n g e n z u r m o d e r n e n Kons t r u k t i o n s t e c h n i k . R e g e n s b u r g , Gustav B o s s e , 1958. xvi + 792 p. I l l u s . , m u s . (Kölner B e i t r ä g e z u r Musikforschung, Band 10.) Contents: E r s t e r Teil, "Die m u s i k - und g e i s t e g e s c h i c h t l i c h e Stellung Igor S t r a w i n s k y s " : Z w e i t e r Teil, "Kritik und P o l e m i c — Dokumente z u r Z e i t g e s c h i c h t e " ; D r i t t e r Teil, "Die Umgestaltung d e s m u s i k a l i s c h e n M a t e r i a l s " ; V i e r t e r Teil, "Die Konstruktion: P r i n z i p i e n d e r Konstruktion; M u s i k t h e o r e t i s c h e V o r a u s s e t z u n g e n ; Folgen d e r Konstruktion; S o n d e r f o r m e n d e r Konstruktion." B i b liography, p. 653-711 (general, not limited to Stravinsky); list of w o r k s , p. 715-764 (very c o m p l e t e i n f o r m a t i o n , giving d e s c r i p t i o n , i n s t r u m e n t a t i o n , n a m e s of s e c t i o n s , timing, p u b l i s h e r s , r e c o r d i n g s , h i s t o r y of p e r f o r m a n c e s , etc., f o r each work). An a t t e m p t to e s t a b l i s h S t r a v i n s k y ' s place in the h i s t o r y of cont e m p o r a r y m u s i c . Much of the book is devoted to background m a t e r i a l , including Schoenberg and the development of the t w e l v e tone technique.

See no. 112 ( P r i e b e r g , F r e d K. 416)7 787

Lexikon d e r neuen Musik, 1958, p. 405-

Strawinsky: Wirklichkeit und Wirkung. Bonn, Boosey & Hawkes [cl958], 88 p. Illus., m u s . , p o r t s . (Musik d e r Zeit: eine S c h r i f t e n r e i h e zu Musik und G e g e n w a r t . Neue Folge, Heft 1.) P a r t i a l contents: G e r h a r d , Roberto, "Die Reihentechnik des D i a t o n i k e r s , " p. 18-22 (tr. by A l f r e d B e c k e r f r o m G e r h a r d ' s a r t i c l e in S c o r e ; s e e n o s . 783, 796); L i n d l a r , Heinrich, " D e r S a k r a l k o m ponist: C a n t a t a / I n m e m o r i a m Dylan T h o m a s , Canticum S a c r u m / Threni," p. 66-68 ( f r o m his Igor Strawinskys s a k r a l e r Gesang;

Igor S t r a v i n s k y

123

s e e no. 779); Mason, Colin, "Die K a m m e r m u s i k , " p. 72-81 ( t r . by A l f r e d B e c k e r f r o m M a s o n ' s a r t i c l e in T e m p o , s e e no. 781). See no. 115 (Stuckenschmidt, Hans Heinz. "Igor S t r a w i n s k y " in h i s Schöpf e r d e r neuen Musik, 1958, p. 128-161). See no. 116 (Vlad, Roman. "Strawinsky e la d o d e c a f o n i a " in h i s S t o r i a d e l l a dodecafonia, 1958, p. 161-174). 788

FQssl, K a r l Heinz. "Selbstbesinnung a m B e i s p i e l Strawinskys," ÖMZ 13:461-466 (Nov 1958). P o r t . P r i m a r i l y an a r t i c l e about S t r a v i n s k y ' s influence on the a u t h o r , but with s o m e d i s c u s s i o n of the i m p l i c a t i o n s of S t r a v i n s k y ' s adaptation of s e r i a l t e c h n i q u e s .

See no. 118a (Zillig, Winfried. " S t r a w i n s k y und d a s Z w ö l f t o n s y s t e m " in h i s V a r i a t i o n e n Ober neue Musik, 1959, p. 50-59).

SERIAL WORKS Agon 789

C r a f t , R o b e r t . "Ein Ballett fflr zwOlf TSnzer," Melos 24:284-288 (Oct 1957). Mus. A b r i e f f o r m a l a n a l y s i s ; the row technique i s d i s c u s s e d in s o m e detail.

790

Morton, L a w r e n c e . " C u r r e n t c h r o n i c l e : L o s Angeles," MQ 43:535541 (Oct 1957). Mus. A brief a n a l y s i s , with s o m e e x a m p l e s of the r o w t e c h n i q u e .

791

Vlad, Roman. "Vita m u s i c a l e : Roma," R a s s m u s 27:322-324 (Dec 1957). A review, not an a n a l y s i s .

See no. 116 (Vlad, Roman. "'Agon' di S t r a w i n s k y " in h i s S t o r i a d e l l a dodecafonia, 1958, p. 329-338). 792

Lewkovitch, B e r n h a r d . "Agon: Ballet f o r 12 d a n s e r e af Igor S t r a winsky," Nordisk musikkultur 7:89, 91, 93 (Oct 1958). Mus. An o u t l i n e - a n a l y s i s of the work.

793

W o u t e r s , J o s . "Nieuwe b a l l e t m u z i e k van Strawinsky," Mens en m e l o d i e 13:301-306 (Oct 1958). Mus. The row, contrapuntal t r e a t m e n t , and r h y t h m i c s t r u c t u r e a r e discussed. Canticum S a c r u m ad H o n o r e m Sancti M a r c i Nominis

794

Stein, Erwin. "Igor Stravinsky: C a n t i c u m S a c r u m ad H o n o r e m Sancti M a r c i Nominis," T e m p o , no. 4 0 : 3 - 5 ( S u m m e r 1956). A v e r y brief d e s c r i p t i o n , dealing with the o v e r - a l l s h a p e of the work and of its s e v e r a l s e c t i o n s .

124

Igor S t r a v i n s k y

795

Mila, M a s s i m o . "Vita m u s i c a l e : Venezia," R a s s m u s 26:204-206 (Jul 1956). A r e v i e w , not an a n a l y s i s .

796

L i n d l a r , H e i n r i c h . " S t r a w i n s k y s s a k r a l e r Gesang," NZfM 117:548552 (Oct 1956). D i a g r s . P a r a l l e l s b e t w e e n the s t r u c t u r e of the Canticum S a c r u m and that of the B a s i l i c a of St. M a r k in Venice. (See a l s o n o s . 779, 787.)

797

Swarowsky, Hans. " C a n t i c u m Sacrum," ÖMZ 11:399-405 (Nov 1956). Mus. A d e s c r i p t i o n , with s o m e r o w a n a l y s i s .

798

Schuh, Willi. " U r a u f f ü h r u n g e n n e u e r K i r c h e n m u s i k : S t r a w i n s k y s •Canticum S a c r u m , ' " Musik und K i r c h e 26:296-298 (Nov/Dec 1956). R e p r i n t e d f r o m the Neue Z f l r i c h e Zeitung ( F e r n a u s g a b e ) , n r . 257, Sept 18, 1956. A f a i r l y detailed d e s c r i p t i o n of the w o r k ' s structure.

799

C r a f t , R o b e r t . "A c o n c e r t f o r Saint Mark," Score, no. 18:35-45 (Dec 1956). Mus., p o r t . Italian t r a n s l a t i o n in Le m u s i c h e r e l i g i o s e di Igor Strawinsky, no. 780. A n a l y s e s of the C a n t i c u m S a c r u m and t h e Von H i m m e l Hoch v a r i a t i o n s .

800

R o s t a n d , C l a u d e . " C a n t i c u m S a c r u m d ' I g o r Stravinsky," L a t a b l e r o n d e [ P a r i s ] , no. 109:155-157 (Jan 1957). Review and g e n e r a l b r i e f d e s c r i p t i o n .

801

W e i s s m a n n , J o h n S. " C u r r e n t chronicle: Italy," MQ 43:104-110 (Jan 1957). Mus. Survey of the s t r u c t u r e as a whole; a e s t h e t i c i m p l i c a t i o n s .

802

Winter, C a r l . " C a n t i c u m Sancti M a r c i : S t r a w i n s k y s n e u e s g e i s t l i c h e s C h o r w e r k , " M u s i c a s a c r a 77:8-17 (Jan 1957). Mus., p o r t . Gives an outline of t h e f o r m and a g e n e r a l d e s c r i p t i o n of each section.

See no. 782 ( P f a u n d l e r , G e e r t r u y von. "De jongste w e r k e n van I g o r S t r a winsky," May 1957). 803

A n d r i e s s e n , Hendrik. "Het 'Canticum S a c r u m ' van Strawinsky," Mens en m e l o d i e 12:285-289 (Sept 1957). Mus. A d i s c u s s i o n of the s t r u c t u r e .

804

Reck, A l b e r t von. " G e s t a l t z u s a m m e n h a n g e in ' C a n t i c u m S a c r u m ' von Strawinsky: T o n a l i t ä t und F o r m , " Schw MZ 98:49-68 ( F e b 1958). Diagrs., mus. An e l a b o r a t e s t r u c t u r a l a n a l y s i s . Double canon f o r s t r i n g q u a r t e t See h i s Movements for piano and o r c h e s t r a

Igor Stravinsky

125

E p i t a p h i u m fttr d a s G r a b m a l d e s P r i n z e n Max Egon zu F t t r s t e n b u r g See his M o v e m e n t s f o r p i a n o and o r c h e s t r a In M e m o r i a m Dylan T h o m a s 805

T u r c h i , Guido. " L e t t u r e c r i t i c h e : Igor Strawinsky—In m e m o r i a m Dylan T h o m a s . " Riv mua i t a l 57:69-72 ( J a n / M a r 1955). P h i l o s o p h i c a l c o n s i d e r a t i o n s , not an a n a l y s i s . R a t h e r negative review.

806

K e l l e r , Hans. "In m e m o r i a m Dylan T h o m a s : S t r a v i n s k y ' s Schoenb e r g i a n technique," Tempo, no. 35:13-20 (Spring 1955). Mus. "The p r e s e n t a r t i c l e i s no m o r e than an i l l u s t r a t i o n appended to my analytic m u s i c e x a m p l e of t h e c o m p l e t e c e n t r a l s o n g [p. 16-20]." T h e a n a l y s i s i s indicated on t h e s c o r e . ( G e r m a n t r a n s lation in no. 778.) (See a l s o no. 807.)

807

S h a w e - T a y l o r , Desmond. "The a r t s and e n t e r t a i n m e n t : S t r a v i n s k y a s s e r i a l i s t , " New s t a t e s m a n and nation [ s e r . 2] 50:12-13 (Jul 2, 1955). An a n s w e r to K e l l e r ' s a n a l y s i s ( s e e no. 806); a r e p l y by K e l l e r in New s t a t e s m a n and nation [ s e r . 2] 50:72 (Jul 16, 1955).

808

K e l l e r , Hans. "A s e r i a l m a s t e r p i e c e , " Mus r e v 16:342-344 (Nov 1955). D i a g r . A b r i e f s e r i a l and t h e m a t i c a n a l y s i s .

809

Goldman, R i c h a r d F . " C u r r e n t c h r o n i c l e : New York," MQ 42:236239 (Apr 1956). Mus. I l l u s t r a t e s s o m e of the canonic t e c h n i q u e s ; c l a i m s that t h e p i e c e i s "augenmusik."

See no. 781 (Mason, Colin. Spring 1957).

" S t r a v i n s k y ' s c o n t r i b u t i o n to c h a m b e r

music,"

Movements for piano and o r c h e s t r a 809a Mason, Colin. " S t r a v i n s k y ' s newest works," T e m p o , no. 5 3 / 5 4 : 2 - 1 0 ( S p r i n g / s u m m e r 1960), m u s . S e r i a l a n a l y s i s of the Movements; a l s o b r i e f a n a l y s e s of two m i n i a t u r e w o r k s , the Double canon f o r s t r i n g q u a r t e t and the Epitaphium. 809b Goldman, R i c h a r d F. " C u r r e n t c h r o n i c l e : New York," MQ 46:260264 (Apr I960). A b r i e f d e s c r i p t i o n of the M o v e m e n t s and a l s o of the Double canon f o r s t r i n g q u a r t e t . 809c B r i n e r , A n d r e a s . "Guillaume de Machaut 1958/59, o d e r S t r a w i n s k y s •Movements f o r piano and o r c h e s t r a , ' " Melos 27:184-186 (Jun 1960). Mus. A brief analysis.

126

Igor Stravinsky

Septet 810

Stein, E r w i n . ' S t r a v i n s k y ' s Septet (1953) . . . no. 31:7-10 (Spring 1954). Mus., iUus. A formal analysis.

811

[ K e l l e r , Hans]. " F i r s t p e r f o r m a n c e s : SchOnbergians and Stravinskyians," Mus r e v 15:307-310 (Nov 1954). Aesthetic considerations.

812

R e d l i c h , Hans. "New m u s i c : a c r i t i c a l i n t e r i m report," Mus r e v 16:167-168 (May 1955). Mus. B r i e f example of " t h e m a t i c i n t e g r a t i o n " in t h e work.

813

Schilling, Hans Ludwig. " Z u r I n s t r u m e n t a t i o n in Igor Strawinskys Spfitwerk aufgezeigt an s e i n e m 'Septett 1953,'*" A r c h i v f ü r Musikw i s s e n s c h a f t 13:181-196 (1956). Mus. A d i s c u s s i o n of the i n s t r u m e n t a t i o n only.

See no. 781 (Mason, Colin. Spring 1957).

an analysis," Tempo,

" S t r a v i n s k y ' s contribution to c h a m b e r music,"

See no. 782 ( P f a u n d l e r , G e e r t r u y von. "De j o n g s t e w e r k e n van Igor S t r a winsky," May 1957). S h a k e s p e a r e songs See no. 778 ( E i m e r t , H e r b e r t . "Die d r e i S h a k e s p e a r e - L i e d e r (1953)" in S t r a w i n s k y in A m e r i k a , 1955, p. 35-38 [Musik d e r Zeit, 12]). See no. 781 (Mason, Colin. " S t r a v i n s k y ' s c o n t r i b u t i o n to c h a m b e r music," Spring 1957). See no. 782 ( P f a u n d l e r , G e e r t r u y von. "De j o n g s t e werken van Igor S t r a winsky," May 1957). T h r e n i , id est L a m e n t a t i o n e s Jeremiae Prophetae 814

P a u l i , HansjBrg. "On S t r a v i n s k y ' s ' T h r e n i , ' " T e m p o , no. 49:16-33 (Autumn 1958). Mus. . " Z u r s e r i e l l e n S t r u k t u r von Igor Strawinskys ' T h r e n i , ' " Schw MZ 98:450-456 (Dec 1958). Mus. Detailed a n a l y s i s of the textual and m u s i c a l s t r u c t u r e .

815

Mila, M a s s i m o . "Vita m u s i c a l e : Venezia; I ' T h r e n i ' di Strawinsky," R a s s m u s 28:215-217 (Sept 1958). G e n e r a l d e s c r i p t i o n and a e s t h e t i c d i s c u s s i o n ; not an a n a l y s i s .

816

Ruppel, K. H. " B e r i c h t e a u s d e m Ausland; Strawinskys neues Werk: ' T h r e n i . ' " Melos 25:369-371 (Nov 1958). B r i e f account of S t r a v i n s k y ' s road to s e r i a l technique; g e n e r a l d e s c r i p t i o n of the work.

817

Smith B r i n d l e , Reginald. " R e p o r t s f r o m a b r o a d : Venice Contempor a r y Music Festival," MT 99:619-620 (Nov 1958). V e r y brief r e v i e w .

Igor Stravinsky

127

818

Clock, William. "The a r t s and entertainment: S t r a v i n s k y ' s Threni," New s t a t e s m a n 56:723-724 (Nov 22, 1958). A brief description and evaluation.

819

Schuh, Willi. "Strukturanalyse eines F r a g m e n t s aus Strawinskys 'Threni,'" Schw MZ 98:456-460 (Dec 1958). Mus. Analysis of the f i r s t section (ms. 322-342) of the "Solacium" f r o m the third p a r t of Threni, "De elegia tertia."

820

Weissmann, John S. "Current chronicle: Italy," MQ 45:104-110 (Jan 1959). Mus. Brief analytical description, including row technique.

821

Vlad, Roman. "Igor Strawinskys 'Threni,'" Melos 26:36-39 (Feb 1959). Mus. A brief description of the row technique and the g e n e r a l f o r m .

822

Weissmann, John S. "The new in review; Venice 1958: S t r a v i n s k y ' s Threni," Mus r e v 20:74-76 (Feb 1959). Mus. A brief description.

823

Lewkovitch, B e r n h a r d . "Stravinskijs klagensange," Dansk m u s l k t i d s s k r i f t 34:37-40 (Mar 1959). Mus. A brief description.

AUTHOR Ackere, Jules van. Muziek van onze eeuw, 1900-1950, 92; SchOnberg en de atonale school, 92 Adorno, Theodor Wiesengrund. Alban Berg (1957), 492; (1959), 497; Alban Berg: zur Uraufführung des 'Wozzeck,1 547; Das Altern der neuen Musik, 36; Anton von Webern, 572; Anton Webern: zur Aufführung der fünf Orchesterstücke, 573; Arnold Schoenberg, 1874-1951, 339; Arnold Schönberg: Chöre op. 27 und op. 28, 416; Arnold SchOnberg: Von Heute auf Morgen, 487; Berg and Webern—Schoenberg's heirs, 516; B e r g s Lulu Symphonie, 535a; Die Funktion des Kontrapunkts in der neuen Musik, 214; Die Instrumentation von B e r g s frühen Liedern, 540; Invecchiamento della musica nuova, 36; Klangfiguren, 306a, 497, 540, 572; Kritieren, 170; Musica e tecnica oggi, 70; Philosophie der neuen Musik, 13; Technique, technology, and music today, 70; Zum Verständnis Schönbergs, 37; Zur Vorgeschichte der Reihenkomposition, 306a; Zur Zwölftontechnik, 3 Alaleona, Domenico. L'armonia modernissima, 177; I moderni orizzonti della tecnica musicale, 176 Alban B e r g s 'Wozzeck' und die Musikkritik. 545 Almeyda, Renato. Atonalistas brasileños, 85 Alte und neue Musik, 89 [ 129 ]

INDEX Amico, Fedele d'. 'Canti di prigionia,1 659; Luigi Dallapiccola, 642; Recensioni: Luigi Daliapiccola, 664 Andriessen, Hendrik. Het 1 Canticum Sacrum' van Strawinsky, 803; Twaalf contra twaalf, 203 Anton Webern (Die Reihe, 2), 570 Anton Webern zum 50. Geburtstag, 564 Armitage, Merle, ed. Schoenberg, 295 Arnold Schönberg (Festschrift, 1912), 284 Arnold Schoenberg, 1874-1951 [special issue of Music and letters 1. 329 Arnold SchOnberg zum fünfigsten Geburtstag, 288 Arnold SchOnberg zum 60. Geburtstag. 293 Arthuys, Philippe. L a pensée et l'instrument, 253 Asuar, J o s é Vicente. Una incursion por el op. 5 de Anton Webern, 597 Babbitt, Milton. Book reviews, 84, 141; The function of set structure in the twelve-tone system, 138; An introduction to the music [Moses und Axon], 442; Some aspects of twelve-tone composition, 157; Twelve-tone invariants as compositional determinants, 175b; Who c a r e s if you listen? 232 Bach, David Joseph. New music by Berg, Webern, Krenek, 526; A note on Arnold Schoenberg, 358

130 B a c h m a n n , C l a u s - H e n n i n g . Ein W e c h s e l auf d i e Zukunft, 438 B a d i n g s , Henk. E l e c t r o n i c m u s i c , 281; E l e c t r o n i c m u s i c : i t s d e v e l o p m e n t in the N e t h e r l a n d s , 266

Ballif, Claude. Introduction à l a m é t a t o n a l i t é , 159 Bailo, F e r d i n a n d o . L e m u s i c h e c h o r a l i di D a l l a p i c c o l a , 646 B a r r a q u é , J e a n . R y t h m e et d é v e l o p p e m e n t , 618 Barrault, Jean Louis. P i e r r e Boulez, 30 B a r t l e t t , K. W. Henze, Hans W e r n e r , 704 B a r u c h , G e r t h - W o l f g a n g . Anton von W e b e r n , 568 B a s a r t , Ann P . T h e t w e l v e - t o n e c o m p o s i t i o n s of Luigi D a l l a p i c c o l a , 654 B a u e r , M a r i o n . S c h o e n b e r g and h i s innovation, 297; Twentieth Century m u s i c , 297 B e c e r r a , Gustavo. ¿Que e s la m ú s i c a e l e c t r ó n i c a ? 261 Bekker, Paul. Kritische Zeitbilder, 309; Schönberg: ' E r w a r t u n g , 1 288 Bentzon, J o h a n . Musik e r m e r e end m u s i k , 54 Bentzon, N i e l s Viggo. O m k r i n g Arnold SchOnberg, 347; T o l v toneteknik, 147 B e r g , Alban. A p r o p o s d e s f o r m e s e m p l o y é e s d a n s Wozzeck, 509; Arnold Schönberg: K a m m e r s y m phonie, op. 9, 436; Che c o s a s i g n i f i c a a t o n a l e ? in Rognoni, 94; C r e d o , 509; E c r i t s , 509; [ E s s a y s ] , 492; Glauben, Hoffnung und Liebe (poem), 293; Indications p r a t i q u e s pour l ' é t u d e de Wozzeck, 509; L e c t u r e on Wozzeck, 496; L e t t e r a a p e r t a ad Arnold SchOnberg, 94; L e t t r e o u v e r t e à S c h o e n b e r g , 509; The m u s i c a l f o r m in Wozzeck, 552; O f f e n e r B r i e f an Arnold Schönberg, 492; Open f o r u m : v a r i a t i o n s on a t h e m e , 15; P o u r quoi la m u s i q u e de S c h o e n b e r g e s t - e l l e si difficile a c o m p r e n d r e ? 509; L a s o c i é t é v i e n n o i s e d ' e x é cutions p r i v é e s , 509; Die S t i m m e

Author Index

in d e r O p e r , 451; L a voce nell' o p e r a , 94; W a r u m ist S c h ö b e r g s Musik s o s c h w e r v e r s t ä n d l i c h ? 288, 492; Was ist Atonal? 4; What is a t o n a l i t y ? 4; Why i s Schoenb e r g ' s m u s i c so h a r d t o u n d e r s t a n d ? 470; Zwei F e u i l l e t o n s , 508 B e r i c h t e / A n a l y s e n (Die Reihe, 5), 67, 173, 269, 283, 628, 772 B e r i o , Luciano. Aspetti di a r t i g i a n o f o r m a l e , 606; Musik und Dichtung, 174; Note s u l l a m u s i c a e l e t t r o n i ca, 259; P o e s i e e m u s i c a , 609; P r o s p e t t i v e nella m u s i c a , 246; Sur la m u s i q u e é l e c t r o n i q u e , 230 B e y e r , R o b e r t . E l e k t r o n i s c h e Musik, 223; Die Klangwelt d e r e l e k t r o n i s c h e n Musik, 222; Z u r Ges c h i c h t e d e r e l e k t r o n i s c h e n Musik, 235; Z u r Situation d e r elekt r o n i s c h e n Musik, 224 Birke, Joachim. Richard Dehmel und Arnold Schönberg: ein B r i e f wechsel, 375 Blanks, F r e d . Arnold Schoenberg, 354 Der blaue R e i t e r , 74 Blaukopf, K u r t . C u r r e n t c h r o n i c l e : A u s t r i a , 714; New light on Wozzeck, 555 Blyme, Anker. E f t e r Stockhausen, 776 B o r r i , B i a n c a m a r i a . Catalogo g e n e r a l e delle o p e r e di Igor S t r a w i n sky, 780 Boucourechliev, A n d r é . L a fin et l e s moyens, 267 Boulez, P i e r r e . Alban B e r g heute gesehen, 498a; Alea, 170; At the ends of t h e f r u i t f u l land, 275; A u p r è s et au loin, 30; E i n s i c h t e n und A u s s i c h t e n , 38; E v e n t u e l l e ment, 146; I n c i d e n c e s a c t u e l l e s de B e r g , 503; P r o p o s i t i o n s , 208; Schoenberg i s dead, 332; Son, v e r b e , s y n t h è s e , 233; T e n d a n c e s de la m u s i q u e r é c e n t e , 253; The t h r e s h o l d , 570; T r a j e c t o r i e s : R a vel, Stravinsky, Schoenberg, 464 Bouquet, F r i t z . Alban B e r g s ' L y r i s c h e Suite,' 536 B r a i n a r d , P a u l . A study of t h e t w e l v e - t o n e technique, 144

Author Index B r a u n e r , Rudolph F r a n z . Von Dreiklang zum Zwölftonakkord, 188 Brindle, Reginald Smith, see Smith Brindle, Reginald B r i n e r , Andreas. Guillaume de Machaut 1958/59, oder Strawinskys 'Movements for piano and orchestra,' 809c Broch, Hermann. Irrationale E r kenntnis in d e r Musik, 293 Bruno, Anthony. Two American twelve-tone composers: Milton Babbitt and Ben Weber, 602 Bruyn, J . W. de. Electronic music, 281 Bücken, E r n s t . F ü h r e r und P r o b l e m e d e r neuen Musik, 310 Burkhard, Willy. Versuch einer kritischen Auseinandersetzung mit der Zwölftontechnik, 31 Burnier, Lucien. Réflexions sur la dodécaphonie, 16 Burt, F r a n c i s . An antithesis, 348 Busoni, F e r r u c i o Benvenuto. Entwurf einer neuen Ästhetik der Tonkunst, 1 Cage, John. Experimental music, 635; To describe the process of composition used in 'Music for piano 21-52,' 166; Zur Geschichte der experimentellen Musik in den Vereinigten Staaten, 174 Calvocoressi, M. D. The classicism of Arnold Schönberg, 308 The Canon [Schoenberg Jubilee issue], 300 Carner, Mosco. Alban Berg, 522; Màtyàs Seiber and his Ulysses, 766; Technique of twelve-note music, 120 Les c a r n e t s critiques, 611 Carsalade du Pont, Henri de. La musique dodécaphoniste, 102 Castiglioni, Niccolò. Sul rapporto t r a parola e musica nella seconda Cantata di Webern, 594; Il valore del silenzio e della durata, 58 Catalogue des oeuvres d'Arnold Schoenberg. 406 Cecci, C é s a r . Qué es la dodecafonia, 125

131

Chailley, Jacques. Malentendus s u r le mot 'atonalité,' 23; T r a i t é h i s torique d'analyse musicale, 145 Chambure, Alaine de. I n f r a s t r u c t u r e technique, 267 Chase, Gilbert. A m e r i c a ' s music, 99a Citkowitz, I s r a e l . Stravinsky and Schoenberg, 343 Clarke, Henry Leland. The abuse of the semitone in twelve-tone music, 175 Collaer, Paul. Le c a s Schoenberg, 314; La musique moderne, 19051955, 100; Une nouvelle oeuvre d'Alban Berg: Loulou, 525 Colucci, Matthew Joseph. A comparative study of contemporary musical t h e o r i e s in selected writings of Piston, Krenek, and Hindemith, 725 Cort Van den Linden, R. Arnold Schoenberg, 312 Costarelli, Nicola. Nota sulla dodecafonia, 119 C o s t è r e , Edmond. Entre l'harmonie classique et l e s harmonies contemporaines, 193 Cowell, Henry. C u r r e n t chronicle: New York (Jan 1949), 456; (Jan 1952), 617, 632 C r a f t , Robert. Anton Webern, 591; Bach-Strawinsky, 780; Ein Ballett für zwölf Tänzer, 789; Boulez and Stockhausen, 621; II 'Canticum sacrum,' 780; A concert for Saint Mark, 799; Discoveries and convictions, 576; Reihenkompositionen: vom 'Septett' zum 'Agon,' 778; Schoenberg's E r wartung, 429 Curjel, Hans. Cage oder das wohlp r ä p a r i e r t e Klavier, 634 Dace, Wallace. The d r a m a t i c s t r u c t u r e of Schönberg's Erwartung, 430 Dahlhaus, Carl. Eine 'dritte Epoche' d e r Musik? 227 Dallapiccola, Luigi. A propos d'un t r a i t 'expressionniste' de Mozart, 141; Contemporary c o m p o s e r s on

132 their experiences of composition with twelve notes, 151; The gene s i s of the Canti di prigionia and Il prigioniero, 670; In m e m o r i a di Anton Webern, 567; Notes sur mon opéra, 647; On the twelvenote road, 640; Sulla strada della dodecafonia, 640 Dallin, Leon. Techniques of twentieth century composition, 165 d'Amico, Fedele, see Amico, F e dele d' Dangel, Arthur. Wolfgang F o r t n e r [Impromptus], 684a Dansk Musiktidsskrift [twelve-tone and electronic issue], 54 D a r m s t ä d t e r Beitrage zur neuen Musik. 170, 174 Dean, Winton. Schoenberg's ideas, 143 del Mar, Norman. Gerhard as an o r c h e s t r a l composer, 691 Demuth, Norman. French piano music, 627; Musical trends in the twentieth century, 403 de Paoli, Domenico, see Paoli, Domenico de Deutsch, Leonhard. Das Problem der Atonalität und des Zwölftonprinzip, 183; Zur Einführung in die Harmonik der Zeitgenössischen Klavierliteratur, 457 Deutsch, Max. L e s cinq P i è c e s pour O r c h e s t r e d'Arnold Schönberg, 455; Le Concerto de chambre d'Alban Berg, 520 Il diapason [twelve-tone issue], 25 Dorian, F r e d e r i c k Deutsch. Webern als L e h r e r , 580a Drew, David. The a r t s and e n t e r tainment: Dallapiccola, 658; Modern French music, 105; Roberto Gerhard, 687 Driesch, Kurt. Wolfgang F o r t n e r , 680 Duhamel, Antoine. Arnold Schoenberg, la critique, et le monde musical contemporain, 331 du Pont, Henri de Carsalade, see Carsalade du Pont, Henri de Eco, Umberto. L'opera in movi-

Author Index

mento e la coscienza dell'epoca, 71 E i m e r t , Herbert. Arnold Schönberg, der FOnfundsiebzig-J&hrige, 322; Atonale Musiklehre, 128; A change of focus, 570; The c o m p o s e r ' s f r e e dom of choice, 166; Die d r e i Shakes p e a r e - L i e d e r , 778; Elektronische Musik, 237; Hauer, Josef Matthias, 700; Intermezzo II: Adorno und Kotschenreuther, 168; Interval proportions: String quartet [Webern], 570; Ist Zwölftonmusik l e h r b a r ? 18; Lehrbuch d e r Zwölftontechnik, 142; Manuale di t e c nica dodecafonia, 142; Möglichkeiten und Grenzen der elektronischen Musik, 236; Musique electron! que, 253; Von der Entscheidungsfreiheit des Komponisten; Was ist elektronische Musik? 234; What is electronic m u s i c ? 275; Zum Kapitel: atonale Musik, 128 Eisenmann, Will. Z u r Sache Hauer, 697 E i s l e r , Hanns. Arnold Schönberg, 344 Electronic music (Die Reihe, 1), 275 Elektronische Musik in Italien, 256 Eiston, Arnold. Some rhythmic p r a c tices in contemporary music, 599 Engel, Carl. Dischords mingled, 463; Schönberg Lunaire, 463 Engelmann, Hans Ulrich. Dodekaphonie und Musikgeschichte, 26; F o r t n e r s Phantasie Ober B-A-C-H, 684 Enkel, F r i t z . Die Grundlagen der neuen Musik, 277 Erickson, Robert. Kreneks a m e r i kanische Texte, 737; K r e n e k ' s later music (1930-1947), 733; The s t r u c t u r e of music, 154 Erpf, Hermann Robert. Studien zur Harmonie- und Klangtechnik d e r neueren Musik, 181 Eschman, Karl. Changing f o r m s in modern music, 137 Evangelisti, F r a n c o . Towards electronic composition, 70; Verso una composizione elettronica, 70 Evans, Edwin. Krenek, E r n s t , 746; Webern, Anton von, 587

Author Index Experiences musicales: musiques concrète, électronique, exotique. 267 Fano, Michel. Pourvoira transmis, 30; Wozzeck ou le nouvel opéra, 554 Felber, Erwin. Arnold SchOnberg und die Oper, 450 Feldman, Harry Allen. F u t u r i s m Arnold Schoenberg, 315; Music and the listener, 315 F e r r a r i , Luc. Les étapes de la p r o duction, 267; Les étapes de la vision, 267 Fiebig, Kurt. Was ist Zwölftonmusik? 124 Fiechtner, Helmut A. Ernst Krenek, 736; Hanns Jelinek, 711 Fleischer, Herbert. La musica contemporanea, 80 Forneberg, Erich. Der Geist der neuen Musik, 200 Forte, Allen. Composing with electrons in Cologne, 251; Contempor a r y tone s t r u c t u r e s , 432 Fortner, Wolfgang. Bluthochzeit nach Federico Garcia Lorca, 681; Kranichsteiner Aspekte, 170 Foss, Hubert. Schoenberg, 18741951, 365 Frld, Géra. Twaalf contra twaalf, 202, 203 Friedlftnder, Walt her. Moderner Kompositionsunterricht, 678 25 [i.e., Fünf und zwanzig] J a h r e neue Musik, 76, 381 Fflssl, Karl Heinz. Selbstbesinnung am Beispiel Strawinskys, 788 Gardner, John. The Duenna, 692 Gatti, Guido M. Current chronicle: Italy, 665; Dallaplccola, Luigi, 643 Gavazzeni, Gianandrea. Musicisti d'Europa, 649 Gerhard, Roberto. Apropos Mr. Stadlen, 59; Contemporary composers on their experiences of composition with twelve notes, 151; Developments in twelve-tone

133

technique, 163; Letters of Webern and Schoenberg, 581; Die Reihentechnlk des Diatonikers, 787; Reply to George Perle, 195; Tonality in twelve-tone music, 191; Twelvenote technique in Stravinsky, 783; Wozzeck, 551 Gindele, Father Corbinian. Von cis nach c, 219 Glanville-Hicks, Peggy. Cage, John, 633 Glock, William. The a r t s and entertainment: Stravinsky's Threni, 818; Comment, 333 Godet, Robert. Après une audition de ' P i e r r o t Lunaire, 1 462 Goehr, Alexander. Arnold Schoenb e r g ' s development towards the twelve-tone system, 105 Goehr, Walter. Arnold Schoenberg's development towards the twelvetone system, 105; Musica-Umschau: SchOnbergs Aussfihnung mit der Tonalit&t, 480 Goeyvaerts, K&rol. The sound material of electronic music, 275 Goldbeck, Fred E. Boulez, P i e r r e , 612; Current chronicle: France, 610; Séries et hérésies, 51; The strange case of SchOnberg, 334 Goldman, Richard F. Current chronicle: New York (Jul 1951), 669; (Apr 1956), 809; (Apr 1960), 809b Goléa, Antoine. Deux portraits: Luigl Nono—Karlheinz Stockhausen, 30; Esthétique de la musique contemporaine, 29; Recontres avec P i e r r e Boulez, 615; Tendances de la musique concrète, 253 Gorer, Richard. An interim report on Humphrey Searle's muisc, 755 Gottlieb, Louis. Brandeis festival album, 603 Gottschalk, Nathan. Twelve note music as developed by Arnold Schoenberg, 103 Gould, Glenn. The dodecaphonist's dilemma, 199 Gradenwitz, Peter. The idiom and development in Schoenberg's quartets, 466; Reihenkomposltion in Orient, 111; The religious

134 works of Arnold Schönberg, 413; Schönbergs religiose Werke, 413 Graf, Max. Legend of a musical city, 318; Modern music, 319; Modern music in Vienna, 318; The path of Arnold Schoenberg, 319 Gravesano: Musik, Raumgestaltung, Elektroakustic, 239 Gray, Cecil. Arnold Schoenberg, 291; Arnold SchOnberg, a c r i t i c a l study, 287; Atonalism, 9; P r e d i caments, 9; A s u r v e y of contempor a r y music, 291 Gredinger, Paul. Serial technique, 275 G r e i s s l e , Felix. Die f o r m a l e n Grundlagen des Bl&serquintetts von Arnold Schönberg, 474 Grout, Donald J a y . Opera between two w a r s , 539; A short history of opera, 539 Gukccero, Domenico. P r o b l e m i di s i n t a s s i music ale, 70; P r o b l e m s of m u s i c a l syntax, 70 Guenther, Siegfried. Der K u r s in E r n s t K r e n e k s jüngstem Schaffen, 732; Das t r o c h ä i s c h e P r i n z i p in Arnold Schoenbergs op. 13, 414

Hiba, Alois. Neue Harmonielehre, 182; SchOnberg und die weiteren Möglichkeiten d e r Musikentwicklung, 293 Hall, Richard. Twelve-tone music and t r a d i t i o n , 20 Hamel, F r e d . Arnold SchOnbergs Bekenntniswerk, 439 Hamilton, Iain. Alban B e r g and Anton Webern, 105 Hampton, C h r i s t o p h e r . Anton Web e r n and the c o n s c i o u s n e s s of time, 579 H a r r i s o n , Lou. Homage to SchOnberg: the late works, 398 Hartmann, T h o m a s von. Über Ana r c h i e in d e r Musik, 74 Hartog, Howard. European music in the twentieth century, 105; German c o n t e m p o r a r y music, 105 Hauer, Josef Matthias. Atonale Musik, 127; Offener Brief [an

Author Index

H e r b e r t E i m e r t ] , 128; Die Tropen und i h r e Spannungen zum D r e i klang, 178; Über die Klangfarben, 126; Vom Wesen des Musikalischen, 126; Von Melos zur Pauke, 129; ZwOlftontechnik, die L e h r e von den Tropen, 130 Heck, Ludwig. Klänge in Schmelztiegel, 624 Heiss, Herman. Elemente der musikalischen Komposition, 140 Helm, E v e r e t t . C u r r e n t chronicle: F r a n c e , 777; : Germany (Apr 1951), 683; (Oct 1952), 682; (Oct 1955), 765; (Jan 1959), 751; (Apr 1959), 707; O p e r a s by Egk, Klebe and F o r t n e r , 718; Six modern G e r m a n comp o s e r s , 679 Henderson, Robert L. SchOnberg and •expressionism, 1 117 Henze, Hans W e r n e r . Contemporary c o m p o s e r s on t h e i r experiences of composition with twelve notes, 151; Wo stehen wir Heute? 170 Herz, G e r h a r d . C u r r e n t chronicle: Louisville, Kentucky, 674 Herzfeld, F r i e d r i c h . Musica nova, 93; Der Reiz des K r e b s e s , 212 Hijman, Julius. Nieuwe o o s t e n r i j k s e muslek, 81 Hill, Ralph. The concerto, 522 Hill, Richard S. Annual r e p o r t s on acquisitions: music, 374; Book r e v i e w s , 151, 156; Music reviews: Arnold Schoenberg: De Profundis, 419; : Phantasy f o r violin, 431; : String trio, op. 46, 482; : Survivor f r o m Warsaw, 479; Reviews of r e c o r d s : Berg: Lulu, 532; Schoenberg's toner o w s and the tonal s y s t e m of the future, 386 Hiller, L e j a r e n A r t h u r . E x p e r i mental music, 268 Hodeir, Andre. The young French music, 614 Holländer, Hans. Alban B e r g , 500 HObner, H e r b e r t . Berg, Alban, 494 Humplik, J o s e f . Dem Freunde, 564 Hymanson, William. Schoenberg's String trio, 481

Author Index Inventaire des techniques rédactionelles, 207, 618 Isaacson, Léonard M. Expérimental music, 268 Jachino, Carlo. Tecnica dodecafonica, 139 Jalowetz, Heinrich. On the spontaneity of Schoenberg's music, 388 Jelinek, Hanns. Anleitung zur Zwölftonkomposition nebst allerlei Paralipomena, 190, 215; Contemporary composers on their experiences of composition with twelve notes, 151; Versuch Ober der Sinn der Verwendung von Zwölftonreihen, 189 Joachim, Heinz. Current chronicle: Germany, 744; Ernst Krenek, 739 Johnson, Martha. A study of linear design in Gregorian chant and music written in the twelve-tone technique, 206 Jone, Hildegard. A cantata, 570 Jouve, Pierre Jean. Wozzeck d'Alban Berg, 563; Wozzeck ou le nouvel opéra, 554 Junge Komponisten (Die Reihe, 4), 168

Kaefer, Johannes. Essenza della dodecafonia, 25 Kagel, Mauricio. Ton-Cluster, Anschäge, Übergänge, 173 Kandinsky, Wassily. Über die Formfrage, 74 Katz, Adele T. Challenge to musical tradition, 389 Keller, Hans. The audibility of serial technique, 40; The B.B.C.'s victory over Schoenberg, 335; Concert and opera: Schoenberg memorial concert, 405; Dodecaphoneys, 41; First performances: (Feb 1952), 758; (Nov 1952), 426; : the eclecticism of Wozzeck, 550; : their pre- and reviews, 486; : Schönbergians and Stravinskyians, 811; First per-

135

formances and their reviews, 28; The half-year's new music [on Dallapiccola's Quaderno musicale], 673; [on Schoenberg's op. 50a], 418; In Memoriam Dylan Thomas: Stravinsky's Schoenbergian technique, 806; : Strawinskys schönbergische Technik, 778; The 'lucky' hand and other errors, 434; Matyäs Seiber, 763; Moses, Freud, and Schönberg, 353; The new in review: Schoenberg I: the problem of performance, 350; : Schoenberg II: the last work, 422; : Schoenberg III: Moses und Aron, 448; New music: two Schoenberg problems, 433; Schoenberg, 400; Schoenberg's comic opera, 490; A serial masterpiece, 808; Serial octave transpositions, 198; Stravinsky as serialist, 807; Strict serial technique in classical music, 158; XIII Maggio Music ale Fiorentino, 667; Unpublished Schoenberg letters, 373 Keller, Wilhelm. Elektronische Musik und musique concrete, 226 Kelterborn, Rudolf. Gegensatzliche Formprinzipien in der Zeitgenössichen Musik, 167; Stilistisch gegensätzliche Entwicklungen auf der Basis der Zwölftontecnik, 46 Kerman, Joseph. Opera as drama, 558; Terror and self-pity: Alban Berg's Wozzeck, 557; Wozzeck and the Rake's progress, 558 Kessler, Hubert. Some problems of tonality in relation to Schönberg's twelve-tone technique, 187 Ketting, Otto. Arnold Schönberg in Amerika, 372. Kirchmeyer, Helmut. Igor Strawinsky, 786 Klammer, Armin. Webern's Piano variations, op. 27, 570 Klangstruktur der Musik, 240 Klebe, Giselher. First practical work, 275; Über meine Oper 'Die Räuber,' 717 Klein, Fritz Heinrich. Die Grenze der Halbtonwelt, 179 Kloppenburg, W. C. M. Het thema

136 van Schoenbergs Variationen für Orchester, 485 Koechlin, Charles. Quelques r e flexions au sujet de la musique atonale, 14 Koegler, Horst. The international scene: Germany (Apr 1957), 750; (Feb 1958), 409; Hamburg, 743 KOhler, Siegfried. Was ist Zwölftonmusik? 221 Koenig, Gottfried Michael. Bo Nilsson, 168; Henri Pousseur, 168; Studio techniques, 275; Studium in studio, 283 Kolisch, Rudolf. Nonos Varianti, 752; Über die Krise der Streiche, 170 Koperberg-Van Wermeskerken, A. Bij een pianostuk van Schoenberg, 460 Korn, Peter Jona. Apropos Zwangsjacke, 56 Koster, Ernst. Kinderkrankheiten der elektrogenen Musik, 242 Krenek, Ernst. Alban Berg, 492; Alban Bergs 'Lulu,' 535; Alle spalle dei giovani, 50; Arnold Schoenberg, 295; Bericht über Versuche in total determinierter Musik, 170; Book reviews, 190, 496, 712; Ein Brief zur Zwölftontechnik, 33; Cadential formations in twelve-tone music, 135; Contemporary composers on their experiences of composition with twelve notes, 151; De rebus prius factus, 54; Extents and limits of s e r i a l technique, 739a; Freiheit und Verantwortung, 564; A glance over the shoulders of the young, 275; Homage to Schönberg, 387; Is the twelve-tone technique on the decline? 150; Kurzer Rechenschaftsbericht, 735; Lydteorier, 54; Music here and now, 11; Der musikalische Fortschnitt, 720; New developments in electronic music, 244; New developments of the twelve-tone technique, 136; The same stone, 570; Selbstdarstellung, 720; Self-analysis, 723; Sestina, 747; Studies in counter-

Author Index

point, 209; Technique de douze sons et c l a s s i c i s m e , 141; Über neue Musik, 10; Versuch einer Sebstanalyse, 721; Was ist Reihenmusik? 172; Zu meinem Kammermusikwerken, 1936-1950, 738; Zur Sprache gebracht, 535; Z wOlfton-Kontrapunkt- Studien, 209; Die Zwölftonmusik als L e h r e . 17 KrOger, Walther. Zwölftonmusik und Gegenwart, 19 Kulbin, N. Die f r e i e Musik, 74 Laaff, Ernst. Wolfgang F o r t n e r , 677 Lang, Paul Henry. Editorial [Musical quarterly], 65 Laux, Karl. Die moderne Musik ist tot, 345 Le Caine, Hugh. Electronic music, 276 Leibowitz, René. Alban Berg et l ' e s s e n c e de l'opéra, 538; Alban B e r g ' s Five o r c h e s t r a l songs, 541; Arnold Schoenberg's recent tonal works and the synthesis of tonality, 300; Arnold Schoenberg's 'Survivor f r o m Warsaw,' 478; Aspects r é c e n t s de la technique de douze sons, 141; Besuch bei Arnold Schönberg, 363; Innovation and tradition in contemporary music: I, the traditional significance of the music of Arnold Schoenberg, 320; : II, the tragic art of Anton Webern, 575; : HI, Alban Berg, 502; Introduction k la musique de douze sons, 484; Music chronicle: two c o m p o s e r s , 360; La musique: Anton Webern, 565; L e s oeuvres d'Arnold Schoenberg ou la conscience du d r a m e futur, 452; Open forum: variations on a theme, 15; Q u ' e s t - c e que la musique de douze sons ? 595; Schoenberg and his school, 84; Schoenberg et son école, 84; SchOnbergs Klavierkonzert, 424 Leichtentritt, Hugo. Arnold Schoenb e r g : opus 11 and opus 19, 459; Musical form, 459

Author Index L e a u r e , F r a n ç o i s . Profili di music i s t i contemporanei, 616 Lewinsky, Wolf-Eberhard von. Giselher Klebe, 168; Junge Komponisten, 168 Lewkovitch, Bernhard. Agon: Ballet f o r 12 dansere, 792; Stravinskijs klagensange, 823 Ligeti, György. P i e r r e Boulez, 168; Z u r III. Klaviersonate von Boulez, 628 Lindlar, Heinrich. Cantata, 778; Elektronische Musik im Kölner Funkhaus, 274; Igor Strawinskys s a k r a l e r Gesang, 779; Mir fehlt die g r o s s e Freude, 504; Der Sakralkomponist, 787; Strawinskys s a k r a l e r Gesang, 796 L i s s a , Z o f j a . Geschichtliche Vorf o r m der Zwölftontechnik, 8 List, Kurt. Anton von Webern, 574; Homage to Schönberg: Ode to Napoleon, 449; Lulu, a f t e r the p r e m i è r e , 529 Lockspeiser, Edward. Humphrey Searle, 757 Luening, Otto. Karlheinz Stockhausen, 770 Macchi, Egisto. The composer, the listener, and the new music, 70; Produzione e consumo della nuova musica, 70 Machabey, Armand. La singulière figure de Jean-Mathias Hauer, 694 Mâche, F r a n ç o i s - B e r n a r d . Connaissance des s t r u c t u r e s sonores, 267 Maclean, Charles. London notes, 355; Sch5nberg—a short sketch of his life, 356 Maegaard, Jan. Dodekafoni—et r e s u m é , 54; Karlheinz Stockhausen, 768 Magnani, Luigi. Book review, 84; Le f r o n t i e r e della musica, 305; Schönberg e il simbolismo, 25 Magni Dufflocq, Enrico. La musica contemporanea, 79 Mahler, F r i t z . Zu Alban B e r g s Oper Wozzeck, 561

137

Malipiero, Riccardo. La dodecafonia come tecnica, 149 Mangeot, André. Schoenberg's Fourth quartet, 472 Mann, Robert W. Vita musicale: Stoccolma, 716 Mantelli, Alberto. Elenco delle opere di Berg, 518; Note su Alban Berg, 491 Manzoni, Giacomo. Breve introduzione alla musica elettronica, 262; Bruno Maderna, 168; Profili di musicisti contemporanei: Karlheinz Stockhausen, 769 Mar, Norman del, see del Mar, Norman Marcel, Lue-André. Arnold Schoenberg, 324 Maren, Roger. Electronic music, 255; The music of Anton Webern, 577; The musical numbers game, 636 Martenot, Maurice. Lutherie électronique, 30 Martin, Frank. Schoenberg and ourselves, 336; Schoenberg et nous, 141 Mason, Colin. Dallapiccola and the twelve-note method, 672; Dodecaphoneys: a reply, 44; Gerhard, Roberto, 683; Die Kammermusik, 787; New music, 593; Reviews of music (Jul 1955), 774; (Apr 1958), 620; Searle, Humphrey, 756; A Spanish composer in exile, 690; Stravinsky's contribution to chamber music, 781; Stravinsky's newest works, 809a; Webern's later chamber music, 592 Masullo, Aldo. La ' s t r u t t u r a ' nell'evoluzione dei linguaggi scientifici, 70 Mayer, Harry. Een blik achter de werkwijze van Arnold Schoenberg, 461; De liedkunst van Anton Webern, 601; Twaalf contra twaalf, 203; Twee toneelwerken van Arnold Schoenberg, 453 Melichar, Alois. Musik in der Zwangsjacke, 56 Meilers, Wilfred Howard. Recent trends in British music, 91; Ro-

138 m a n t i c i s m and the twentieth c e n t u r y , 349; Schoenberg and Hindemith, 349 M e n a s c e , J a c q u e s . B e r g and Bartok, 501 M e r s m a n n , Hans. Die m o d e r n e Musik s e i t d e r Romantik, 292; Die t o n s p r a c h e d e r neuen Musik, 131 M e s s i a e n , O l i v i e r . P r e f a c e , 267 M e t z g e r , Heinz-Klaus. Analysis of the S a c r e d song, op. 15, no. 4 [Webern], 570; G e s c h e i t e r t e B e g r i f f e in T h e o r i e und Kritik d e r Musik, 67; Hommage a Edgard Varfese, 174; I n t e r m e z z o I: d a s Alten d e r Philosophie d e r neuen Musik, 168; John Cage o della l i b e r a z i o n e , 637; N o c h m a l s 'Wid e r die Natur,' 229; Webern and Schönberg, 570 Meyer-Eppler, Werner. Elektroni s c h e Kompositionstechnik, 273; E l e k t r o n i s c h e Musik, 238; G r a v e sano, 239; Statistic and p s y c h o logic p r o b l e m s of sound, 275 Middleton, R o b e r t E. Abt, 68 Mila, M a s s i m o . Book review, 94; Dallapiccola, Luigi, 641; L a dodecafonia e la s u a offensiva, 25; L ' i n c o n t r o Heine-Dallapiccola, 655; L e t t e r a da Venezia, 699; 'II p r i g i o n i e r o ' di Luigi Dallapiccola, 668; Vita m u s i c a l e : Venezia (Jul 1956), 795; (Sept 1958), 815 Milhaud, D a r i u s . Begegnungen mit Schönberg, 370; E r i n n e r u n g e n a m Arnold Schönberg, 371; Kons t r u i e r t e Musik, 162; Open f o r u m : v a r i a t i o n s on a t h e m e , 15; To Arnold Schoenberg on his 70th birthday, 359 M i l n e r , Anthony. English c o n t e m p o r a r y m u s i c , 105; The lunatic f r i n g e combed, 49; Melody in S t r a v i n s k y ' s m u s i c , 785; The vocal e l e m e n t in melody, 45 Mitchell, Donald. B a r t o k , S t r a v i n sky, and Schoenberg, 341; The c h a r a c t e r of Lulu, 534; The emancipation of the d i s s o n a n c e , 88; Schoenberg the t r a d i t i o n a l i s t .

Author Index

321; S u m m e r f e s t i v a l s : Von Heute auf Morgen and E r w a r t u n g , 454 Moles, A b r a h a m A n d r é . I n s t r u m e n tation é l e c t r o n i q u e et m u s i q u e s e x p é r i m e n t a l e s , 267; Machines k musique, 253 Morton, L a w r e n c e . C u r r e n t c h r o n icle: L o s A n g e l e s , 790; L o s Angeles l e t t e r (Nov 1952), 626; (Feb 1953), 660 Musical c r a f t s m a n s h i p (Die Reihe, 3). 166 L e m u s l c h e r e l i g i o s e di Igor S t r a winsky, 780 Un m u s i c i e n d ' a u j o u r d ' h u i : Luigi Dallapiccola. 647 Un m u s i c i e n d ' a u j o u r d ' h u i : R e n é Leibowitz, 141 M u s i k a l i s c h e s Handwerk (Die Reihe, 3), 166 L a musique et s e s p r o b l è m e s cont e m p o r a i n s , 30 M y e r s , Rollo H. Music in F r a n c e in the p o s t - w a r d e c a d e , 98; Some p e r s o n a l i t i e s and t r e n d s in cont e m p o r a r y F r e n c h m u s i c , 613 Myhill, John. M u s i c a l t h e o r y and m u s i c a l p r a c t i c e , 42

Nathan, Hans. The t w e l v e - t o n e c o m positions of L u i g i Dallapiccola, 653; The V i e n n e s e Lied, 132 Neighbor, Oliver W. Dodecaphony in S c h o e n b e r g ' s String t r i o , 483; The evolution of t w e l v e - n o t e m u s i c , 99; In d e f e n s e of Schönb e r g , 330; A t a l k on S c h o e n b e r g f o r C o m p o s e r s ' C o n c o u r s e , 473 Nettel, Reginald. E l e c t r o n i c m u s i c , 258 Neumann, F r i e d r i c h . Tonalität und Atonalität, 197 Newlin, Dika. Arnold Schönberg in A m e r i k a , 368; B r u c k n e r , Mahler, Schoenberg, 298; Music r e v i e w s : Anton von Webern, Quintet, 600; Schönberg in A m e r i c a , 1933-1948, 361; S c h o e n b e r g ' s new ' F a n t a s y , ' 300 Newman, E r n e s t . A p r o p o s of Schönberg 1 s F i v e o r c h e s t r a l p i e c e s , 307; Wozzeck, 559

Author Index Nono, Luigi. Die Entwicklung d e r Reihentechnik, 170; G i t t e r s t a b e a m H i m m e l d e r F r e i h e i t , 73b; The h i s t o r i c a l r e a l i t y of m u s i c today, 73b; Vorword z u m K r a n i c h s t e i n e r Kompositions-Studio 1958, 174 N o r m a n , G e r t r u d e . L e t t e r s of c o m p o s e r s , 390

O e s c h , Hans. E i n f ü h r u n g in die e l e k t r o n i s c h e Musik, 248 L ' o e u v r e du X X e s i è c l e , 331, 563 O e u v r e s d'Alban B e r g , 519 O e u v r e s d'Anton W e b e r n , 589 Ogdon, Wilbur L e e . S e r i e s and s t r u c t u r e , 155; The twelve-tone s e r i e s and c a n t u s f i r m u s , 745 Open f o r u m : v a r i a t i o n s on a t h e m e , 15 O p e r i m XX. J a h r h u n d e r t , 556, 671 O p e r a news [ i s s u e on Wozzeck], 562 Ordini; studi s u l l a nuova m u s i c a , 70 P a c q u e , D é s i r é . L ' a t o n a l i t é , ou mode c h r o m a t i q u e unique, 5 P a d e , E l s e M a r i e . E f t e r Stockhausen, 776; L y d p r o f e t i e r ? 54 Pannain, Guido. L ' I n t e r n a t i o n a l e M u s i k g e s e l l s c h a f t fOr Neue Musik, 475; O r i g i n e e significato d e l l a m u s i c a dodecafonica, 97; SchOnb e r g e la ' F i l o s o f i a d e l l a m u s i c a nuova,' 342 Paoli, D o m e n i c o d e . C h r o n i q u e s et notes: Italie, Luigi Dallapiccola, 644 Pauli, H a n s j ö r g . Hans W e r n e r H e n z e ' s Italian m u s i c , 708; On S t r a v i n s k y ' s ' T h r e n i , ' 814; Z u r s e r i a l l e n S t r u k t u r von Igor S t r a w i n s k y ' s ' T h r e n i , ' 814 Payne, E l s i e . T h e t h e m e and v a r i a tion in m o d e r n m u s i c , 171 P e r l e , G e o r g e . Atonality and the t w e l v e - n o t e s y s t e m in the United States, 118b; Book review, 156; Evolution of the tone row, 134; The h a r m o n i c p r o b l e m in t w e l v e tone m u s i c , 196; T h e p o s s i b l e c h o r d s in t w e l v e - t o n e m u s i c , 194;

139

SchSnberg's late style, 392; S e r i a l composition and atonality, 160; T h e o r y and p r a c t i c e in t w e l v e - t o n e m u s i c , 69 P e s t a l o z z a , Luigi. I c o m p o s i t o r i m i l a n e s i del d o p o g u e r r a , 106; L ' u l t i m a avanguardia, 250; Vita m u s i cale: m u s i c h e n u o v i s s i m e , 629 P f a u n d l e r , G e e r t r u y von. De j o n g s t e werken van Igor S t r a w i n s k y (uit de j a r e n 1952-1957), 782 Pfrogner, Hermann. E l e k t r o n i k Lust a m U n t e r g a n g ? 231; Die ZWölfordnung d e r Töne, 27 Philippot, Michel. E s p a c e vital, 267; Musique et acoustique, 30 P i j p e r , Willem. Alban B e r g , 499 P i n c h e r l e , M a r c . A s p e c t s d e Schoenb e r g , 340 P i o v e s a n , A l e s s a n d r o . Catalogo g e n e r a l e delle o p e r e di Igor S t r a winsky, 780; P r o m e s s o , 780 P i s k , P a u l Amadeus. Arnold Schoenberg—the influence of my m u s i c a l youth, 300; S c h o e n b e r g ' s t w e l v e tone o p e r a , 295, 488; T h e tonal e r a d r a w s to a c l o s e , 180 P i s t o n , Walter. More v i e w s on s e r i a l i s m , 60 P i z z e t t i , Ildebrando. I n t e r n a t i o n a l e Musik? 34 P o l n a u e r , J o s e f . B r i e f e [by Anton Webern], 582; S c h ö n b e r g s ' V e r bundenheit,' 293 Pont, H e n r i de C a r s a l a d e du, s e e C a r s a l a d e du Pont, H e n r i de Porena, Boris. L'avanguardia m u s i c a l e di D a r m s t a d t , 63 Poulenc, F r a n c i s . Open f o r u m : v a r i a t i o n s on a t h e m e , 15 Poullin, J a c q u e s . L ' o r i e l l e et le malentendu, 267; Son et e s p a c e , 253 P o u s s e u r , Henri. Da Schoenberg a Webern: una mutazione, 586; D o m a i n e s a v e n i r , 30; E c r i t s [Alban Berg], 509; F o r m a e p r a t i c a m u s i c a l e , 73; F o r m a l e l e m e n t s in a new c o m p o s i t i o n a l m a t e r i a l , 275; Outline of a method, 166; Scambi, 754; T h e o r i e und P r a x i s in d e r n e u e s t e n Musik, 174; W e b e r n und die

140 Theorie, 170; Webern's organic chromaticism, 570; Zur Methodik, 166

P r e u s s n e r , Eberhard. Ernst Krenek, 729 P r i e b e r g , Fred K. E r s t e elektronische P a r t i t u r , 279; Italiens elektronische Musik, 265; Lexikon der neuen Musik, 112; Musica ex machina, 283a; Musik im technischen Zeitalters, 247; Musik: Töne aus der Elektronröhre, 260 The p r o g r e s s of science: electronic music, 263 P r o s p e r i , Carlo. L'atonalità nella musica contemporanea, 201 Radiodiffusion Télévision F r a n ç a i s e . Groupe de r é c h e r c h e s musicales. Expériences musicales, 267 Randolph, David. A new music made with a machine, 270 Rankle, Karl. Arnold Schönberg, 404 Rebling, Eberhard. Arnold Schönb e r g s Lebensbekenntnis, 446 Reck, Albert von. Gestaltzusammenhftnge in 'Canticum Sacrum 1 von Strawinsky, 804 Redlich, Hans Ferdinand. Alban Berg, the man and his music, 496; Alban Berg: Versuch einer Würdigung, 496; Alban Bergs Violinkonzert, 496, 524; Alle guten Dingen, 496, 512; Arnold Schönberg, 402; Gerhard, Roberto, 686; Hanns Jelinek, 713a; Hauer, Josef (Matthias), 698; Heimat und Freiheit; zur Ideologie der jüngsten Werken Ernst Kreneks, 730; Krenek, E r n s t , 724; New music: a criticai int e r i m report, 812; Wozzeck: Dramaturgie und musikalische F o r m , 560 Reich. Willi. Alban Berg (1930), 515; (1941), 493; Alban Berg als Apologet Arnold Schönb e r g s , 508; Alban Berg: Bildnis im Wort, 509a; Alban Berg: mit Bergs eigenem Schriften, 492; Alban Berg: 'Wozzeck,' 556;

Author Index

Alban B e r g ' s Lulu, 528; Alban B e r g ' s 'Wozzeck,' a guide to the text and music, 548; An der Seite von Alban Berg, 535b; Anton von Webern, 588; Arnold Schönberg, 327; Arnold Schönbergs Oper 'Moses und Aron,' 445; Aus Alban Bergs Jugendzeit, 513; Aus unbekannten Briefen von Alban Berg, 511; Berg, Alban, 495; B e r g ' s new work, 'Der Wein,' 543; Berichte aus dem Ausland: Schönb e r g - P r e m i e r , 489; Ein B r i e f wechsel über 'Moses und Aron,' 444; L e s d e r n i è r e s oeuvres d'Alban Berg, 517; Deutsche P r e m i è r e nach 15 Jahren, 531; Erinnerung an Alban Berg, 506; Ernst Krenek als Musikschriftsteller, 722; Ernst Kfeneks Arbeit in der Zwölftontechnik, 734; Freiwillige für Schoenberg, 328; Grenzgebiete der neuen Töne, 6; Josef Matthias Hauer, 695; Lieber Freund Doktor P l o d e r e r , 564; Lulu, the text and music, 527; Musica-Bericht: Krenek und Martinu, 741; Schönb e r g ' s new M&nnerchor, 417; Versuch einer Geschichte der Zwölftonmusik, 89; Weberns Musik, 564; Weberns Vorträge, 564 Die Reihe. (1) Electronic music, 275; (2) Anton Webern, 570; (3) Musical craftsmanship, 166; (4) Junge Komponisten, 168; (5) Berichte/Analysen, 67, 173, 269, 283, 628, 772 Reti, Rudolf Richard. Tonality, atonality, pantonality, 169 Ringger, Rolf Urs. Zur formbildenden Kraft des vertonten Wortes, 542 Robbins, Michela. A Schoenberg s e m i n a r , 367 Rochberg, George. The harmonic tendency of the hexachord, 204a; The hexachord and its relation to the twelve-tone row, 156; Indeterminacy in the new music, 73a; Music reviews: Milton Babbitt, Woodwind quartet, 604; Tradition and 12-tone music, 43

Author Index Rfiössler, E r n s t Karl. Z e i t g e n ö s s i s c h e K i r c h e n m u s i k , 52 Rcognoni, Luigi. E s p r e s s i o n i s m o e dodecafonia, 94; Die F r a g e d e r Technik in d e r e l e k t r o n i s c h e n Musik, 228; L a m u s i c a ' e l e t t r o n i c a ' e il p r o b l e m a d e l l a t e c n i c a , 228; Musik d e r jungen Generation: Kompositions und I n t e r p r e t a t i o n s - P r o b l e m e , 228 Roondi, Brunello. Il c a m m i n o della m u s i c a d'oggi e l ' e s p e r i e n z a e l e t t r o n i c a , 268a; L a dodecafonia e il m e s s a g g i o d e l l ' o r d i n e , 25 Roosenfeld, P a u l . Musical p o r t r a i t s , 285; Schoenberg, 285 Rcostal, Max. B e r g ' s Violin c o n c e r to: a r e v i s i o n , 523 Rcostand, Claude. Canticum S a c r u m d ' I g o r Stravinsky, 800; Dodécaphonisme, 122; F r e n c h music today, 90; L ' I t a l i e m u s i c a l e actuelle, 109; König H i r s c h de H. W e r n e r Henze, 709; L a musique de s c è n e de P i e r r e Boulez, 823; L a musique f r a n ç a i s e cont e m p o r a i n e , 90; Note s o m m a i r e s u r le s y s t è m e dodécaphonique et l a méthode s é r i e l l e , 301; ZwOlft o n - M a n i e r i s m u s , 53 Ruibin, Louis. The idiom of the violin in twentieth c e n t u r y music, 425 Ruibin, Marcel. Alban B e r g und die Zukunft d e r Schönberg Schule, 505; Was bedeutet und Schönberg? 348 Ruibsamen, Walter H. Schoenberg in A m e r i c a , 366 Ruifer, J o s e f . Arnold Schönbergs N a c h l a s s , 411; Composition with twelve notes, 151; Dokumente e i n e r F r e u n d s c h a f t , 514; Intorno alla genesi del Moses und Aaron di Schoenberg, 441; Die Komposition mit zwölf Tönen, 151; Luigi Dallapiccola: Il p r i g i o n i e r o , 671; A talk on Arnold Schoenberg, 410; Was 1st Z w ö l f t o n m u s i k ? 166a; Das Werk Arnold Schönbergs, 412 Ruippel, K. H. B e r i c h t e a u s dem Ausland: Strawinskys neues Werk, 818

141

Ruwet, Nicholas. Contraddizioni del linguaggio s e r i a l e , 72 Le r y t h m e musical, 208, 503 Saathen, F r i e d r i c h . E r n s t K r e n e k s Botschaft im Wort, 727; Le M a r teau s a n s m a î t r e von P i e r r e Boulez, 619 Sabin, Robert. Alban B e r g ' s Wozzeck, 549 Saby, B e r n a r d . Un aspect d e s p r o b l è m e s de la thématique s é r i e l l e , 141 Sackville-West, Edward. Atonalism: second thoughts, 12 Saerchinger, C é s a r . The t r u t h about Schoenberg, 295 S a l a z a r , Adolfo. Arnold Schoenberg p o s t - m o r t e m , 325; Muslc in our t i m e , 82 San, Hermann Van, s e e Van San, Hermann Santi, P i e r o . Conseguenze e inconseguenze, 55; Luciano B e r i o , 168 Schaeffer, P i e r r e . Le Groupe de r e c h e r c h e s m u s i c a l e s , 267; Situation actuelle de la musique exp é r i m e n t a l e , 267; V e r s une m u sique e x p é r i m e n t a l e , 253 Schaeffner, André. Chroniques et c o m m e n t a i r e s , 465 Schatz, H i l m a r . T h e o r e t i k e r d e s ZufaUs, 110 Scherchen, Hermann. D é p a s s e m e n t de l ' o r c h e s t r e , 253; Stockhausen und die Zeit, 775 Schilling, Hans Ludwig. Z u r I n s t r u mentation in Igor Strawinskys Spät werk, 813 Schindler, Kurt. Arnold S c h ö n b e r g ' s Quartet in D minor, 468 Schlee, Alfred. Vienna s i n c e the Anschluss, 83 Schmale, E r i c h . Die Zwölftonmusik von Josef Matthias Hauer, 696 S c h m i d t - G a r r e , Helmut. B e r g a l s L e h r e r , 507; Z w ö l f t o n m u s i k Ende einer Entwicklung, 21 Schnebel, D i e t e r . Karlheinz Stockhausen, 168 Schneider, J . M a r i u s . E r n s t Krenek, 731

142 Schnippering, H. Atonalität und temperierte Stimmung, 218; Von der Logik der Zwölftonmusik, 220 Schoenberg, Arnold. Apollonian evaluation of a Dionysian epoch, 152; Aus Briefen Arnold Schönbergs, 378; Briefe, 376; Briefe aus vier Jahrzehnten, 377; La composition a douze sons, 141; Composition with twelve tones, 143; Foreword to Webern's Six bagatelles, op. 6, 570; Further to the Schoenberg-Mann controversy, 362; Gesinnung oder Erkenntnis? 76; [Letter to Nicolas Slonimsky], 390; [Letters to Roberto Gerhard], 581; Mein Publikum, 357; Mia evolución, 364; My evolution, 364; Open forum: variations on a theme, 15; The orchestral variations, op. 31, 485a; Problems of harmony, 184, 295; A self-analysis, 369; Structural functions of harmony, 152; Style and idea, 143; Tonality and form, 185, 295; Über Alban Berg, 510; Ein unbekannter Brief von Arnold Schönberg an Alban Berg, 379; Unpublished Schoenberg letters, 373; Das Verhältnis zum Text, 74 Schubert, Reinhold. Bernd Alois Zimmermann, 168 Schuh, Willi. Strukturanalyse eines Fragments aus Strawinskys 1 Threni,' 819; Uraufführungen neuer Kirchenmusik, 798; Zu Ernst Kreneks Invention, 740 Schweizer, Gottfried. Komponistenporträt: Mátyás Seiber 50 Jahre, 761; Zwischen Bartók und Schönberg: das Bild Mátyás Seiber s, 762 Schweizerische MuBikzeitung [Ernst Krenek Heft], 738, 740 Schwieger, Johannes. Josef Matthias Hauer, 701 Score [Roberto Gerhard issue], 163, 687-689, 691-692 Scriabine, Marina. Athématisme et fonction thématique dans la musique contemporaine, 207; Pierre Boulez et la musique concrete, 611

Author Index

Searle, Humphrey. Atonal and serial music, 113; Book review, 143; Contemporary composers on their experiences of composition with twelve notes, 151; Conversations with Webern, 580; Leibowitz, René, 748; Luigi Dallapiccola, 638; A new kind of music, 108; Notes of the day, 326; Open forum: variations on a theme, 15; Schoenberg and the future, 302; Schoenberg, Arnold, 304; Twelve-note music, 153; Twentieth century counterpoint, 211; Webern, Anton, 569 Seiber, Màtyàs. Composing with twelve notes, 123; Contemporary composers on their experiences of composition with twelve notes, 151; A note on 'Ulysses,' 767 Sessions, Roger. Book review, 10; Music in crisis, 7, 295; Some notes on Schönberg and the 'method of composition with twelve tones,' 337; Song and pattern in music today, 48; To the editor [Score], 61

Shawe-Taylor, Desmond. The arts and entertainment: Stravinsky as serialist, 807 Simbriger, Heinrich. Die heutige Situation der Zwölftonmusik, 114; Die Situation der Zwölftonmusik, 164 Simpson, Robert Wilfred. Guide to modern music on records, 113 Skrebkow, S. Gegen die Atonalität Schönbergs, für Prokofjew, 351 Skulsky, Abraham. After Webern, who? 622; Dallapiccola felt impelled to introduce a new romantic era, 639; Opera, 1954, 663 Slonimsky, Nicolas. Music since 1900, 4; The plurality of melodic and harmonic systems, 133; A Schoenberg chronology, 295 Smith, Moses. Alban Berg—Finale: a requiem, 521 Smith, Robert. Nichtsmusik, 62 Smith Brindle, Reginald. Current chronicle: Italy (Oct 1955), 666; (Apr 1957), 657; (Jan 1958), 608; (Jul 1959), 749;

Author Index Italian c o n t e m p o r a r y m u s i c , 105; The lunatic f r i n g e : I. e l e c t r o n i c m u s i c , 249; : III. c o m p u t a tional composition, 161; The o r i g i n s of Italian dodecaphony, 104; R e p o r t s f r o m abroad: Italy, the R. A. I. Studio, 264; : Venice c o n t e m p o r a r y m u s i c f e s t i val, 817; T h e s y m b o l i s m in B e r g ' s ' L y r i c suite,' 537 S o l l e r t i n s k i i , Ivan I. Arnold Schoenb e r g , 294 Somigli, C a r l o . II modus o p e r a n d i di Arnold Schoenberg, 380 Sonner, Rudolf. E l e k t r o n i s c h e Mus i k , 243 Spinner, Leopold. A n a l y s i s of a p e r i o d : C o n c e r t o f o r nine i n s t r u m e n t s [Webern], 570; A s h o r t Introduction to the technique of t w e l v e - t o n e composition, 175a Stadien, P e t e r . Book r e v i e w , 570; Kritik a m S e r i e l l e n , 57; No r e a l c a s u a l t i e s ? 66; S e r i a l i s m r e c o n s i d e r e d , 57 Stefan, P a u l . Arnold Schoenberg, 296; S c h o e n b e r g ' s o p e r a s , 295, 428 S t e f a n - G r u e n f e l d t , P a u l . Arnold Schönberg, 289 Stein, E r w i n . Anton Webern, 583; : obituary, 303, 566; Die Behandlung d e r S p r e c h s t i m m e in P i e r r o t L u n a i r e , 303; B e r g ' s o p e r a Lulu in Z u r i c h , 303; Einige B e m e r k u n g e n zu Schoenbergs Z w ö l f t o n r e i h e n , 382; Das gedankliche P r i n z i p in Beethovens Musik, 383; The G u r r e l i e d e r , 303; Idées d'Arnold Schönberg s u r la musique, 313; Igor Stravinsky: Canticum S a c r u m , 794; Mahler, R e g e r , S t r a u s s , and Schoenberg, 303; M a h l e r , R e g e r , S t r a u s s , und Schönberg, 303, 381; Musical thought: Beethoven and Schoenb e r g , 303; Neue C h ö r e von Schönb e r g , 415; Neue F o r m e n p r i n z i p i e n , 288; New f o r m a l p r i n c i p l e s , 303; O r p h e u s in new g u i s e s , 303; P e r f o r m i n g S c h o e n b e r g ' s music, 303; Schoenberg, 303; Schoenberg and the G e r m a n line, 311; Schönberg 1 s

143

new s t r u c t u r a l f o r m , 471; Schoenb e r g ' s p o s i t i o n today, 316; S o m e o b s e r v a t i o n s on S c h o e n b e r g ' s t w e l v e - n o t e r o w s , 303; S t r a v i n s k y ' s Septet (1953), 810; T h e t r e a t m e n t of t h e speaking voice in P i e r r o t L u n a i r e , 303; Ü b e r den V o r t r a g von S c h ö n b e r g s Musik, 303; Wozzeck, 303, 553; Z u S c h o e n b e r g s n e u e r Suite, op. 29, 477 Steinecke, Wolfgang, ed. D a r m s t ä d t e r B e i t r a g e z u r neuen Musik, 170, 174 Steinhard, E r i c h . B e m e r k u n g e n z u m E x p r e s s i o n i s m u s , 75 Stephan, Rudolf. Anton von Webern, 585; Eine ' d r i t t e Epoche' d e r M u s i k ? 227; G e g e n w a r t i g e s K o m p o n i e r e n , 675; Hans W e r n e r Henze, 168; Neue Musik, 170a; Über einige g e i s t l i c h e K o m p o s i tionen Anton von W e b e r n s , 590; Unorthodoxe Musik, 401 S t e u e r m a n n , E d u a r d . The piano m u s i c of Schoenberg, 295 Stockhausen, K a r l h e i n z . A p r o p o s i t o di m u s i c a e l e t t r o n i c a , 252; A c tualia, 275; E l e k t r o n i s c h e und i n s t r u m e n t a l e Musik, 269; Une e x p é r i e n c e é l e c t r o n i q u e , 30; F o r t h e 15th of S e p t e m b e r , 1955, 570; How t i m e p a s s e s , 166; Musik in R a u m , 174, 771, 772; S p r a c h e und Musik, 170; S t r u c t u r e and e x p e r i m e n t a l t i m e , 570; W e b e r n s Konzert f ü r 9 I n s t r u m e n t e , 596; Wie die Z e i t v e r g e h t , 166 Stravinsky, Igor. A n s w e r s t o 34 q u e s t i o n s , 784; 35 Antworten auf 35 F r a g e n , 784 Strawinsky in A m e r i k a , 778 Strawinsky: Wirklichkeit und Wirkung, 787 Stuckenschmidt, Hans Heinz. Alban B e r g , 115; Anton von Webern, 115; Anton Webern, 571; Arnold Schoenberg, 301; Entwicklung o d e r E x p e r i m e n t ? 170; G e r m a n m u s i c a l life, 107; Hans W e r n e r Henze, 115, 706; Henze, Hans W e r n e r , 705; Igor S t r a w i n s k y , 115; Josef Matthias H a u e r , 693;

144 König Hirsch (Re Cervo) di Hans Werner Henze, 710; Luigi Daliapiccola, 115; Moderne Psalmen von Arnold Schönberg, 420; Il mondo della sonorità ignote, 257; Neue Musik, 86; Schönbergs religiose Werke, 407; Schöpfer der neuen Musik, 115; Sitten und Gebrauche der Neutöner, 118; Stil und Ästhetik Schoenbergs, 115, 306; Synthesis and new experiments, 703; The third stage, 275; Vocal style in the twentieth Century, 205; Das Zwölftonsystem, 77 Suder, Alexander L. Die überflüssige Windmaschine, 225 Swarowsky, Hans. Canticum Sacrum, 797 Symkins, L. O. Arnold Schoenberg's new world of dodecaphonic music, 121

Le système dodécaphonique, 141 Tall, Joel. Music without musicians, 254 Tardieu, Jean. Décade de musique expérimentale, 253 Taylor, Noel Heath. Arnold Schoenberg: music in motion, 317; The Schoenberg concept, 186 Tenschert, Roland. Hanns Jelinek: zu seinem 'Zwölftonwerk,1 715 Le théâtre musical, 452, 647 Thilman, Johannes Paul. Die Kompositionsweise mit zwölf Tönen, 47; Probleme der neuen Polyphonie, 210 Thomas, Ernst. Ein 'AUelujah' aus dem Jahre 1956, 607 Thompson, Oscar. Great modern composers. 296, 493 Thomson, Virgil. The art of judging music, 24; Atonality today, 87; Music right and left, 87; Reflections, 24 Thoresby, Christina. Lulu d'Alban Berg au théâtre, 530 Thybo, Lief. Menneske-Maskine, 54 Tiessen, Heinz. Zur Geschichte der jüngsten Musik (1913-1928), 2 Titone, Antonio. Order and quadri-

Author Index

dimensionality, 70; Ordine e quadridimensionalitk, 70 Truscott, Harold. The real atonalism, 204 Turchi, Guido. Critica, esegesi e dodecafonia, 32; Lettere critiche: Igor Strawinsky, 805 Tuttle, T. Temple. SchOnberg's compositions for piano solo, 458 Unger, Udo. Die Klavierfuge im zwanzigsten Jahrhundert, 213; Luigi Nono, 168 Ussachevsky, Vladimir. La 'tape music' aux Etats-Unis, 253 Valentin, Erich. Klassiker aus antikem Geist: Luigi Dallapiccola, 650 Vandella, Romuald. Musique exotique et musique expérimentale, 267 Van den Linden, R. Cort, see Cort Van den Linden, R. Van San, Hermann. Einheitswissenschaft und Musik, 280 Van Werme8kerken, A. Koperberg, see Koperberg-Van Wermeskerken, A. Vellekoop, Gerrit. De 'Lamentatio Jeremiae Prophetae' van Ernst Krsjenek, 742 Vers une musique expérimentale, 253 Viebig, Ernst. Berg's 'Wozzeck,' 544 Viertel, Berthold. Schoenberg's Jakobsleiter, 295 Vlad, Roman. Anton von Webern e la composizione atematica, 584; Aspetti metafisici della poetica dodecafonica, 116; Dallapiccola, 35, 651; Elementi metafisici nella poetica dodecafonia, 25, 35; Igor Strawinskys 'Threni,' 821; Luigi Dallapiccola, 116, 648, 652; Moderne Psalmen von Arnold Schönberg, 423; Modernità e tradizione nella musica contemporanea, 35; Le musiche religiose di Strawinsky, 780; My

Author Index first impressiona of Roberto Gerhard's music, 689; Note sulla dodecafonia, 35; Poetica e tecnica della dodecafonia, 22; Il prigioniero, 35; Recensioni: Pierre Boulez, Structures, 630; Die Reihe and electronic music, 245; Storia della dodecafonia, 116; L'ultimo Schoenberg, 35, 399; Vita musicale: Roma (Mar 1957), 656; (Dee 1957), 791 Voci aggiunte a un dizionario dei musicisti italiani contemporanei: Luigi Dallapiccola, 645 Vogelsang, Konrad. Alban Berg, Leben und Werk, 498 von Lewinsky, Wolf-Eberhard, see Lewinsky, Wolf-Eberhard von von Pfaundler, Geertruy, see Pfaundler, Geertruy von von Reck, Albert, see Reck, Albert von von Webern, Anton, Bee Webern, Anton Walker, Alan. Back to SchOnberg, 175c; SchOnberg's classical background, 394 Walter, Arnold. Music and electronics, 272 Walter, Franz. A l'écoute des musiciens d'avant-garde, 64 Walters, Willard Gibson. Technical problems in modern violin music, 427 Webern, Anton. Aus Schönbergs Schriften, 293; Briefe an Hildegard Jone und Josef Humplik, 582; Choralis constantinus, 570; Homage to Arnold Schoenberg, 570; [Letters to Roberto Gerhard], 581; Schönbergs Musik, 284; Der Schönbergschüler, 564 Weiss, Adolf. The lyceum of Schönberg, 385; The twelve-tone series, 295 Weissmann, Adolph. Ernst Krenek, 728 Weissmann, John S. Current chronicle: Italy (Jan 1957), 801; (Jan 1959), 820; Mâtyâs Selber, 759; The new in review: Venice

145

1958, 822; Selber, Mäty&s (Gybrgy), 760; Die Streichquartette von Maty&s Seiber, 764 Wellesz, Egon. Arnold Schönberg [article), 467; [book], 286; Arnold Schönberg et son oeuvre, 396; Arnold Schönberg: la doctrine, 290; : la voie nouvelle, 290; The origins of SchOnberg's twelve-tone system, 393; Reviews of music: Webern, Anton, String Quartet, 598; SchOnberg and beyond, 395; Schoenberg, Arnold, 397 Werker, Gerard. Alban Berg en zljn opera Lulu, 533 Werner, Eric. Current chronicle: France, 437 Westphal, Kurt. Arnold Schoenbergs Weg zur Zwölftonmusik, 384 White, Eric Walter. Stravinsky, 105 Wiedman, Robert William. Expressionism in music, 101 Wiesengrund Adorno, Theodor, see Adorno, Theodor Wiesengrund Wildberger, Jacques. Dallapiccolas 'Cinque canti,' 661 Wildgans, Friedrich. Anton von Webern, 578; Jellnek, Hanns, 712; Josef Matthias Hauer zum 75. Geburtstag, 702 Wilkinson, Mark. Pierre Boulez's 'Structure la,' 631; Two months in the 'Studio di fonologia,' 282 Winckel, Fritz. Die Komposition mit elektroakustischen Mitteln, 271 Wind, Hans E. Die Endkrise der bOrglichen Musik, 78 Winkler, Hans. Georg Büchners 'Woyzeck,' 546 Winter, Carl. Canticum Sancti Marci, 802 Wirtz, Warren. The problem of notation in the twelve-tone technique, 217 WOrner, Karl H. Arnold SchOnberg: zu seinem 75. Geburtstag, 323; Current chronicle: Germany (Jul 1954), 440; (Apr 1959), 625, 773; (Jan 1960), 719; Dallapiccola's 'Job,' 662; Expression-

146 ismus, 96; Gotteswort und Magie, 448a; Krenek (Krenek), E r n s t , 726; Musik der Gegenwart, 299; Neue Musik in der Entscheidung, 95; Neue Musik 1946-1958, 174; Die 39 Schlusstakte von SchOnb e r g s 'Moses und Aron,' 447; Der unbekannte Schönberg, 338; 'Und trotzdem bete ich': Arnold Schönb e r g s letztes Werk, 421; Wolfgang F o r t n e r in seinen Werken seit 1945, 676 Wolff, Helmut Christian. Movement, 570; P a l e s t r i n a und Schönberg, 352 Wood, Ralph W. Concerning 'Sprechgesang,' 391 Wouters, J o s . Nieuwe balletmuziek van Stravinsky, 793

Author Index

Xénakis, Yannis [Janis]. La c r i s e de la musique sérielle, 39; Notes s u r un 'Geste électronique,' 267; Wahrscheinlichkeitstheorie und Musik, 278 Y a s s e r , Joseph. A letter f r o m Arnold Schoenberg, 192 Z e i g e r , J e a n Wilson. Early expressionistic songs, 476 Zenk, Ludwig. Mein L e h r e r , 564 Zillig, Winfried. Notes on Arnold Schoenberg's unfinished oratorio, 'Die Jakobsleiter,' 435; Schoenb e r g s Moses und Aron, 443; V a r iationen Ober neue Musik, 118a

SUBJECT

INDEX

Underlined items a r e main subject entries. Acoustics, 30 (Phillippot), 239, 240, 253 (Poullin), 275 (Meyer-Eppler), 771, 772 Adler, Oscar, 373 Adorno, Theodor Wiesengrund, 168 (Eimert) Aleatory composition see Indeterminacy in musical composition All-interval rows see Row (twelvetone)—structure American twelve-tone music see United States—twelve-tone composition Apostel, Hans Erich, 112 Athematicism, 207, 584 Atonality, 5, 9, 11, 12, 14, 15, 20, 23, 42, 46, 76, 79, 82, 88, 100, 112, 118b, 127, 128, 144, 145, 149, 159, 160, 169, 176, 177, 179, 180, 183, 185, 197, 201, 204, 218, 299, 317, 325, 351, 380, 387, 389. 499. See also Expressionism in music Audibility of s e r i a l structure, 3, 28, 31, 40, 49, 57, 175c, 809 Avant garde, musical see Darmstadt, Germany. Summer School of new music; Experimental music; Indeterminacy in musical composition; Musique concrète; Post-Webern school; Totally determined serial music Babbitt, Milton. 602-604 Badings, Henk, 112; Cain and Abel (ballet), 281 Bartok, Béla, 99. 160, 341, 501, 762

Beethoven, Ludwig van, 158, 303, 346, 383, 394 Berg, Alban, 491-563 Berio, Luciano, 605-609 Bibliographies and literature surveys: B e r g , Alban, 94, 494, 496, 498; Dallapiccola, Luigi, 641, 645, 647; electronic music, 235, 237, 239, 247, 248, 267, 276, 277, 280; expressionism, 94, 96; Hauer, J . M., 696, 698, 700; Jelinek,. Hanns, 713; Krenek, Ernst, 724; Schoenberg, Arnold, 94, 151, 289, 386, 406, 412; Seiber, Matyäs, 761; Stravinsky, Igor, 780, 786; twelve-tone music 17, 22, 32, 81, 86, 88, 94, 95. 103, 144, 153; Webern, Anton, 94, 569, 570, 589 Blacher, B o r i s , 151, 703 Der blaue Reiter, 86 Blom. E r i c , 28 Boubourechliev, André, 267 Boulez, P i e r r e , 610-631 Brazil—twelve-tone composers, 85 Bruckner, Anton, 298 Büchner. Georg, 562; Woyzeck, 546, 560 Busoni, F e r r u c i o B . , 231 Cadences, 135 Cage, John. 632-637 Cantus firmus, 745 Chance music see Indeterminacy in musical composition Chart music see Indeterminacy in musical composition Chords in twelve-tone music, 178,

[ 147 ]

148 179, 182, 183, 191, 194, 195 Chromaticism see Expressionism; Harmony Chronologies: Berg, Alban, 81, 509; Dallapiccola, Luigi, 647; Darmstadt, Germany. Summer School of new music, 170, 174; e l e c tronic music, 770; Schoenberg, 81, 286. 295 (Slonimsky), 301, 356, 412 Church music and the twelve-tone technique see Religious music Classical music and s e r i a l i s m , 43, 141 (Krenek, Dallapiccola), 158, 308, 394 Cologne, Germany. N. W. D. R. Electronic studios see Germany: electronic music Combinatoriality see Hexachordal division of the row; Row (twelvetone)— structure Composers: electronic music see entry under a specific country, e.g., Italy—electronic music; twelve-tone see entry under a specific country, e.g., Japan— twelve-tone composition Compositional techniques, 119-175; Boulez, P i e r r e . 610-631; e l e c tronic music, 273-283; Schoenberg, Arnold, 380-394; Webern, Anton, 585-586 Computer music, 268 Concrete music see Musique concrète Correspondence: Berg, Alban, 511514; Schoenberg, Arnold, 373379; Webern, Anton, 581-582 Counterpoint, 209-216 Dallapiccola, Lulgi, 638-674 Darmstadt, Germany. Summer School of new music, 63, 110, 170, 174, 228, 263, 772 Debussy, Claude, 99, 160 Declamation, text see Text setting Discographies and record reviews: Berg, Alban. 496, 498, 532; electronic music, 113, 267; Krenek, Ernst, 723; Schoenberg, Arnold, 301; Seiber, Mâty&s, 763; twelve-tone music, 81, 84,

Subject Index

86, 113, 622; Webern, Anton, 577 Donatoni, Franco, 161 Duration Bee Rhythm Egk, Werner, 718 E i s l e r , Hanns, 112, 345, 346 Electronic music: compositional techniques, 273-283; description and history, 234-272; philosophy and criticism, 222-233 Engelmann, Hans Ulrich, 112 Europe—twelve-tone composers, 88, 105 See also F r a n c e , Germany, Great Britain, Italy, and Spain Experimental music, 49, 56, 63, 64, 70, 168, 170, 174, 232, 242, 250, 253, 267, 268, 270, 615. See also Darmstadt, Germany; Electronic music; Indeterminacy in musical composition; Musique concrete; Post-Webern school; Totally determined serial music Expressionism in music, 2, 13, 74, 75, 80, 82, 94, 96, 100, 101, 117, 177, 310, 476. See also Atonality F a r East—twelve-tone composition, 111

Feldman, Morton, 632 Fortner, Wolfgang, 675-684 France: electronic music, 98, 262; Radiodiffusion Télévision F r a n çaise. Groupe de Recherches Musicales see Musique concrète; twelve-tone composition, 90, 98, 105 (Drew), 613, 614, 627 Freud, Sigmund, 353 Functions of the row see Row (twelvetone)—functions Garcia L o r c a , Federico, 681 Genzmer, Harald, 118a Gerhard, Roberto, 685-692 Germany: electronic music, 251, 262, 272, 274, 276, 770; twelvetone composition, 56, 105 (Hartog), 107, 118a

Subject Index Golyshev, Lev, 99, 112, 160 Gravesano see Switzerland—electronic music Great Britain—twelve-tone composers, 88, 91, 105 (Milner) Harmony, 176-204 Hauer, Josef M.. 693-702. See also Tropes Heine, Heinrich, 655 Henze, Hans Werner, 703-710 Hexachordal division of the row, 43, 133, 136, 150, 156, 157, 199, 204a, 431, 482, 734, 742. See also Tropes Hindemith, Paul, 349, 725 History of twelve-tone music, 74118 Hoffmann, Richard, 151; —Tripartita for violin, 103 Humplick, Josef, 582 Incontri musicali (concerts) see Milan: Incontri musicali Indeterminacy in musical composition, 71, 73a, 73b, 170, 636, 637, 739a Instrumentation, 540, 813 International Society for Contemporary Music, 118, 230, 475 Internationale Ferienkurse für neue Musik, Darmstadt see Darmstadt, Germany Interpretation see Performance of twelve-tone music Israel—twelve-tone composition, 111

Italy—electronic music, 241, 246, 256, 262, 264, 265, 282; twelvetone composition, 104, 105 (Smith Brindle), 106, 10D, 116, 118a, 671 Janacek, Leos, 346 Japan—twelve-tone composition, 111

Jelinek, Hanns, 711-715 Jone, Hildegard, 582 Joyce, James, 640; , Ulysses, 609, 766, 767

149

Klangfarbenmusik, 222, 223, 224, 231 Klebe. Giselher. 716-719 Kranichsteiner Musikinstitut see Darmstadt, Germany Krenek, Ernst, 720-747 Land vai, Ernö, 202, 203 Letters see Correspondence Leibowitz, René, 748 Liebermann, Rolf, 151 Lieder see Songs; Vocal writing Liszt, Kurt, 99a Lutyens, Elizabeth, 112 Maderna, Bruno, 749 Maegaard, Jan, 112 Mahler, Fritz, 549 Mahler, Gustav, 132, 298, 303, 318 Malipiero, Riccardo, 112 Mann, Thomas—Doktor Faustus, 362 Martinu, Bohuslav, 741 Marxist criticisms of twelve-tone music, 345, 346, 351, 446, 505 Mathematics and serial music, 3, 10, 278, 280. See also Totally determined serial music Melody. 205-207 Messiaen, Olivier, 54 (Pade), 253 (Boulez) Milan: Incontri musicali (concerts), 629; Primo Congresso per la Musica Dodecafonica, 1949, 149; Studio di Fonologia Musicale see Italy—electronic music; twelvetone composers see Italy—twelvetone composition Modal functions of the row see Row (twelve-tone): functions Modes (Krenek) see Hexachordal division of the row Moses, 353 Mozart, W. A., 141 (Dallapiccola), 158, 394 Musique concrete, 226, 236, 237, 254, 255, 267, 268, 270, 276, 611

Netherlands—electronic music, 266

150 Nielsen, R i c c a r d o , 112 Nilsson, Bo, 168 (Koenig) Nono, Luigi, 750-752 Notation. 217-221 Octave t r a n s p o s i t i o n s , equivalence of in t w e l v e - t o n e m u s i c , 57, 59, 61, 66, 69, 175, 198 Orchestration see Instrumentation P a l e s t r i n a , Giovanni P. da, 352 Pedagogy s e e Teaching m e t h o d s Pepping, E r n s t , 118a P e r a g a l l o , Mario, 109, 112 P e r a m e t e r s s e e Totally d e t e r m i n e d serial music P e r f o r m a n c e of t w e l v e - t o n e m u s i c , 57, 59, 103, 228, 303, 350, 425, 427, 627 P e r l e , George, 28, 99a P e r m u t a t i o n of s e r i a l e l e m e n t s , 127, 150, 167, 170 (Nono), 191, 739a, 752 P i a n o m u s i c , 213, 295 (Steuermann), 457, 458, 627 P i s t o n , Walter, 725 " P o i n t i l l i s m " in m u s i c s e e P o s t Webern school P o l i t i c s and m u s i c , 478. See a l s o M a r x i s t c r i t i c i s m s of twelve-tone music P o s t - W e b e r n school, 38, 41, 46, 53, 62, 72, 108, 110, 118, 165, 199, 250, 332 P o u s s e u r , Henri, 753-754 P r a c t i c e and t h e o r y of t w e l v e - t o n e m u s i c , r e l a t i o n between s e e T h e o r y and p r a c t i c e of t w e l v e tone m u s i c P r e - c o m p o s i t i o n a l techniques s e e Totally d e t e r m i n e d s e r i a l music P r i m o C o n g r e s s o p e r la Musica Dodecafonica (Milam, 1949) s e e Milan: P r i m o C o n g r e s s o p e r la Musica Dodecafonica, 1949 P r i n c e t o n S e m i n a r in Advanced Musical Studies, 175b, 739a P r o k o f i e v , Sergei, 351 P r o s p e r i , C a r l o , 109 P r o u s t , M a r c e l , 640

Subject Index

Radiodiffusion T é l é v i s i o n F r a n ç a i s e . Groupe de R e c h e r c h e s M u s i c a l e s see France: electronic music; Musique c o n c r è t e Ravel, M a u r i c e , 464 R e g e r , Max, 303 Religious m u s i c : and the twelve-tone technique, 52, 164; Schoenberg, Arnold, 52, 118a, 354, 407, 413, 423, 448a; S t r a v i n s k y , Igor, 779, 780, 798, 802; Webern, Anton, 52, 590 Repetition of t o n e s , 133 Rhythm. 208 R i e g g e r , Wallingford, 99a, 112 Roslavetz, Nikolai, 160 Rotation of s e r i a l e l e m e n t s s e e P e r m u t a t i o n of s e r i a l e l e m e n t s Row (twelve-tone): division into h e x a c h o r d s s e e H e x a c h o r d a l division of the row; function, 134, 135, 136, 138, 143, 144, 155, 157, 160; s t r u c t u r e , 10, 136, 138, 142, 143, 157, 160, 163, 175, 196, 386, 392, 398, 442, 471, 543, 606, 631, 654. See a l s o H e x a c h o r d a l division of the r o w Scelsi, Giacento, 112 S c h a e f f e r , P i e r r e , 250 Schenker, H e i n r i c h — s y s t e m of a n a l y s i s , 389, 432 Schoenberg, Arnold, 284-490 Schubert, F r a n z , 346 Scriabine, A l e x a n d e r , 8, 99, 160 S e a r l e , Humphrey, 373, 755-758 Secondary s e r i e s s e e Row (twelve tone): function S e i b e r , Maty a s , 759-767 S e r i e s , t w e l v e - t o n e s e e Row Set, twelve-tone s e e Row Silence, 58 Six-note division of the r o w s e e Hexachordal division of the row Songs, 132, 476, 542, 601. See a l s o Text setting; Vocal writing Spain—twelve-tone c o m p o s e r s s e e Gerhard, Roberto S p r e c h s t i m m e , 303, 391, 433, 559 Stein, E r w i n , 373

Subject Index Stockhausen, Karlheinz, 768-777 Strauss, Richard, 303, 318 Stravinsky, Igor, 778-823 Studio di Fonologia Musicale, Milano see Italy—electronic music Switzerland—electronic music, 239 Symbolism in music, 251 (Magnani), 520, 537 Symmetrical row structure see Hexachordal division of the row; Row: structure Tape-recorder music, 253 (Ussachevsky), 254, 268, 270 Teaching methods: electronic compositional techniques, 283; twelvetone technique, 17, 18, 367, 507, 580a, 678 Terminology, 23, 67, 236, 242, 251, 282

Text setting, 74 (Schoenberg), 132, 233, 476, 594, 609, 623, 655, 737 Theory and practice of twelve-tone music, relation between, 42, 57, 59. 61, 66, 69, 72, 73, 73a, 174 (Pousseur), 775. See also Audibility of serial structure; Totally determined serial music Togni, Camillo, 112, 161 Tonality in twelve-tone music, 142, 175, 191, 202, 203, 300 (Leibowitz), 330, 449, 484, 505, 787 (Gerhard) Totally determined serial music, 39, 46, 48, 50, 55, 68, 73a, 146, 150, 157, 161, 162, 163, 170 (Krenek). 172, 272, 608, 610, 775

151

Tropes, 129, 130, 140, 178. See also Hauer, J. M.

United States—tape-recorder music see Tape-recorder music; twelvetone composition, 99a, 118b, 157, 174 (Cage)

Varfese, Edgard, 174 (Metzger), 253 (Boulez) Variation technique, 171, 460, 484 Vienna, 83, 117, 318, 509 Violin music, 103, 170 (Kolisch), 425, 427 Vlad, Roman, 109, 112 Vocal writing, 45, 170 (Stockhausen), 205, 229, 303, 451. See also Sprechstimme; Text setting Von Webern, Anton see Webern, Anton

Wagner, Richard, 450 Wagner-R&geny, Rudolf, 151 Weber, Ben, 99a, 602 Webern, Anton, 564-601 Wedekind, Frank—Lulu, 534 Weiss, Adolph, 99a Werndorff, Marietta, 373 Wolf, Hugo, 542 Wölpe, Stefan, 99a

Zillig, Winfried, 151 Zimmermann, Bernd Alois, 168 (Schubert)