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Bibliography

Published online by Cambridge University Press:  22 September 2009

Michael Cherlin
Michael Cherlin
Affiliation:
University of Minnesota
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Schoenberg's Musical Imagination , pp. 384 - 389
Publisher: Cambridge University Press
Print publication year: 2007

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References

Arnold Schoenberg, Arnold Schoenberg: A Self Portrait. Schoenberg Nono, Nuria, ed. Belmont Music, 1988Google Scholar
Arnold Schoenberg, Ausgewählte Briefe, Stein, Erwin, ed. B. Schott's Söhne, 1958Google Scholar
Schoenberg, Arnold, Fundamentals of Musical Composition, St. Martin's Press, 1967Google Scholar
Arnold Schoenberg, Stil und Gedanke: Aufsätze zur Musik, Vojtech, Ivan, ed. S. Fisher Verlag, 1976Google Scholar
Arnold Schoenberg, Structural Functions of Harmony, Stein, Leonard, ed. W. W. Norton, 1969Google Scholar
Arnold Schoenberg, Theory of Harmony, translated by Carter, Roy E., University of California Press, 1978Google Scholar
Bailey, Walter B., Programmatic Elements in the Works of Schoenberg. UMI Research Press, 1984Google Scholar
Berg, Alban, Pelleas und Melisande (nach dem Drama von Maurice Maeterlinck), Symphonische Dichtung für Orchestra von Arnold Schönberg, Op. 5: kurze thematische Analyse. Universal Edition, 1920Google Scholar
Berg, Albanet al., Arnold Schönberg. R. Piper, 1912Google Scholar
Leon Botstein, “Schoenberg and the Audience: Modernism, Music, and Politics in the Twentieth Century,” in Schoenberg and His World, Walter Frisch, ed. Princeton University Press, 1999
Brand, Juliane and Hailey, Christopher, editors, Constructive Dissonance: Arnold Schoenberg and the transformations of twentieth-century culture. University of California Press, 1997Google Scholar
Brinkmann, Reinhold, Correspondence. The Journal of the Arnold Schoenberg Institute I/3, 182–5
Brinkmann, Reinhold, “Schoenberg the Contemporary: A View from Behind,” in Constructive Dissonance: Arnold Schoenberg and the transformations of twentieth-century culture. University of California Press, 1997Google Scholar
Brinkmann, Reinhold and Wolff, Christoph, editors, Music of My Future: The Schoenberg Quartets and Trio. Harvard University Press, 2000Google Scholar
Cahn, Steven, “The Artist as Modern Prophet: A Study of Historical Consciousness and its Expression in Schoenberg's ‘Vorgefühle, op. 22, no. 4’,” in Schoenberg and Words: The Modernist Years. Garland Publishing (2000), 243–71Google Scholar
Campbell, Brian G., Text and Phrase Rhythm in Gurrelieder: Schoenberg's Reception of Tradition. Ph.D. dissertation: University of Minnesota, 1997Google Scholar
Brian G. Campbell, “Gurrelieder and the Fall of the Gods: Schoenberg's Struggle with the legacy of Wagner,” in Schoenberg and Words: The Modernist Years, Cross, Charlotte M. and Berman, Russell A., editors. Garland Publishing, Inc. (2000), 31–63Google Scholar
Cherlin, Michael, “Dialectical Opposition in Schoenberg's Music and Thought.” Music Theory Spectrum 22/2 (Fall 2000), 157–76CrossRefGoogle Scholar
Michael, Cherlin, “Dramaturgy and Mirror Imagery in Schönberg's Moses und Aron: Two Paradigmatic Interval Palindromes.” Perspectives of New Music 29/2 (Summer 1991), 50–71Google Scholar
Michael, Cherlin, The Formal and Dramatic Organization of Schoenberg's Moses und Aron. Ph.D. dissertation: Yale University, 1983Google Scholar
Cherlin, Michael, “Memory and Rhetorical Trope in Schoenberg's String Trio.” Journal of the American Musicological Society 51/3 (Fall 1998), 559–602Google Scholar
Michael Cherlin, “Motive and Memory in Schoenberg's First String Quartet,” in The Music of My Future: The Schoenberg Quartets and Trio, Brinkmann, Reinhold and Wolff, Christoph, editors. Harvard University Press (2000), 61–80Google Scholar
Michael, Cherlin, “Schoenberg and das Unheimliche.” The Journal of Musicology 11/3 (Summer 1993), 357–73Google Scholar
Michael, Cherlin, “Schoenberg's Representation of the Divine in Moses und Aron.” Journal of the Arnold Schoenberg Institute IX/2, 210–16
Cohn, Richard, “Uncanny Resemblances: Tonal Signification in the Freudian Age.” Journal of the American Musicological Society, 57/2 (2004), 285–323CrossRefGoogle Scholar
Dahlhaus, Carl, Schoenberg and the New Music, translated by Derrick Puffett and Alfred Clayton. Cambridge University Press, 1987Google Scholar
Fleisher, Robert, “Dualism in the Music of Arnold Schoenberg.” Journal of the Arnold Schoenberg Institute XII/1 (June 1989), 22–42Google Scholar
Frisch, Walter, The Early Works of Arnold Schoenberg, 1893–1908. University of California Press, 1993Google Scholar
Frisch, Walter, editor, Schoenberg and his World. Princeton University Press, 1999Google Scholar
Goldstein, Bluma, Reinscribing Moses: Heine, Kafka, Freud, and Schoenberg in a European Wilderness. Harvard University Press, 1992CrossRefGoogle Scholar
Glenn Gould, “Schoenberg – A Perspective,” in The Glenn Gould Reader, introduction by Page, Tim, editor. Knopf, 1984, 107–22Google Scholar
Haimo, Ethan, Schoenberg's Serial Odyssey: The evolution of his Twelve-Tone Method, 1914–1928. Oxford University Press, 1990Google Scholar
Hyde, Martha, “Neoclassic and Anachronistic Impulses in Twentieth-Century Music.” Music Theory Spectrum 18/2 (1996), 200–35CrossRefGoogle Scholar
Keller, Hans, “Schoenberg's Return to Tonality.” Journal of the Arnold Schoenberg Institute V/1, 2–21
Richard Kurth, “Moments of Closure: Thoughts on the Suspension of Tonality in Schoenberg's Fourth Quartet and Trio,” in Music of My Future: The Schoenberg Quartets and Trio, Brinkmann, Reinhold and Wolff, Christoph, editors. Harvard University Press (2000), 139–60Google Scholar
Kurth, Richard, “Schönberg and the Bilderverbot: Reflections on Unvorstellbarkeit and Verborgenheit.” Journal of the Arnold Schönberg Center 3 (2003), 332–72Google Scholar
Kurth, Richard, “Suspended Tonalities in Schönberg's Twelve-tone Compositions.” Journal of the Arnold Schönberg Center 3 (2001), 239–65Google Scholar
Lacoue-Labarthe, Phillip, Musica Ficta: Figures of Wagner, translated by Felicia McCarren. Stanford University Press, 1994Google Scholar
Lewin, David, “Generalized Interval Systems for Babbitt's Lists, and for Schoenberg's String Trio.” Music Theory Spectrum 17/1, 81–118
Lewin, David, “Inversional Balance as an Organizing Force in Schoenberg's Music and Thought.” Perspectives of New Music 6/2 (1968), 1–21CrossRefGoogle Scholar
Lewin, David, “Moses und Aron: Some general remarks and analytic notes for Act I, scene 1.” Perspectives of New Music 6/1, 1–17
Maegaard, Jan, “Schoenberg's Incomplete Works and Fragments,” in Constructive Dissonance: Arnold Schoenberg and Transformations of Twentieth-Century Culture. University of California Press, 1997, 131–45
Milstein, Silvina, Arnold Schoenberg: notes, sets, forms. Cambridge University Press, 1992Google Scholar
Puffett, Derrick, “‘Music that Echoes within one’ for a Lifetime: Berg's Reception of Schoenberg's ‘Pelleas und Melisande.’” Music and Letters 76/2 (1995), 209–64CrossRefGoogle Scholar
Rauchhaupt, Ursula, editor. Schoenberg, Berg, Webern: The String Quartets; a documentary study. Deutsche Grammophon Gesellschaft, 1971Google Scholar
Reich, Willi, Schoenberg: A Critical Biography. Leo Black, trans. Praeger Publishers, 1971Google Scholar
Ringer, Alexander, Arnold Schoenberg: The Composer as Jew. Oxford University Press, 1990Google Scholar
Rosen, Charles, Arnold Schoenberg. Viking, 1975Google Scholar
Simms, Bryan R., The Atonal Music of Arnold Schoenberg: 1908–1923. Oxford University Press, 2000CrossRefGoogle Scholar
Simms, Bryan R. (editor), Schoenberg, Berg, and Webern: A Companion to the Second Viennese School. Greenwood Press, 1999Google Scholar
Stein, Leonard, “Noting the diagram and soliciting responses as to its meaning.”Journal of the Arnold Schoenberg Institute I/1 (1976), 3–5Google Scholar
Stuckenschmidt, H. H., Schoenberg: His Life, World and Work. Humphrey Searle, trans. Schirmer, 1978Google Scholar
Tomlinson, Gary, Metaphysical Song: An Essay on Opera. Princeton University Press, 1999CrossRefGoogle Scholar
Wellesz, Egon, Arnold Schoenberg: The Formative Years, translated by W. H. Kerridge. J. M. Dent and Sons, 1925Google Scholar
White, Pamela C., Schoenberg and the God-Idea: The Opera Moses und Aron. UMI Research Press, 1985Google Scholar
Whittall, Arnold, “Schoenberg and the ‘True Tradition’: Theme and Form in the String Trio.” The Musical Times 115, 739–43CrossRef
Alter, Robert, Canon and Creativity. Yale University Press, 2000Google Scholar
Bloom, Harold, “Freud and the Poetic Sublime,” in Poetics of Influence, introduction by John Hollander, edited by Henry R. Schwab, 1988Google Scholar
Harold, Bloom (editor), Modern Critical Views: Franz Kafka. Chelsea House Publishers, 1986Google Scholar
Deleuze, Gilles, Difference and Repetition, translated by Paul Patton. Columbia University Press, 1994Google Scholar
Deleuze, Gilles, Proust and Signs, translated by Richard Howard. University of Minnesota Press, 2000Google Scholar
Deleuze, Gilles and Félix Guattari, , A Thousand Plateaus: Capitalism and Schizophrenia. University of Minnesota Press, 1987Google Scholar
Elon, Amos, The Pity of It All: A History of Jews in Germany, 1743–1933. Metropolitan Books (Henry Holt), 2002Google Scholar
Sigmund Freud, “Beyond the Pleasure Principle,” in The Freud Reader, translated by James Strachey, edited by Gay, Peter. W. W. Norton, 1989Google Scholar
Sigmund Freud, “On Transience,” in Writings on Art and Literature, edited by Hamacher, Werner and Wellbery, David E.. Stanford University Press, 1997Google Scholar
Frieden, Ken, Freud's Dream of Interpretation. State University of New York Press, 1990Google Scholar
Gay, Peter, Freud: A Life for Our Time. W. W. Norton, 1988Google Scholar
Handelman, Susan A., Fragments of Redemption. Indiana University Press, 1991Google Scholar
Janik, Allan and Toulman, Stephen, Wittgenstein's Vienna. Simon and Schuster, 1973Google Scholar
Kafka, Franz, The Castle, translated by Mark Harman. Schocken, 1988Google Scholar
Franz Kafka, Diaries: 1910–1923, edited by Brod, Max, translated by Martin Greenberg, with the cooperation of Hannah Arendt. Schocken, 1976Google Scholar
Franz Kafka, Franz Kafka: Ein Lesebuch mit Bildern, edited by Wagenbach, Klaus. Rowohlt Taschenbuch Verlag, 2003Google Scholar
Kafka, Franz, The Great Short Works of Franz Kafka, translated by Joachim Neugroschel. Simon & Schuster, 2000Google Scholar
Kafka, Franz, Parables and Paradoxes: Bilingual Edition. Schocken, 1975Google Scholar
Kafka, Franz, Das Schloss. Fischer Taschenbuch Verlag, 1981Google Scholar
Kafka, Franz, Tagebücher: 1914–1923. Fischer Taschenbuch Verlag, 1990Google Scholar
McGuinness, Patrick, Maurice Maeterlinck and the Making of Modern Theatre. Oxford University Press, 2000Google Scholar
Mendes-Flohr, Paul, German Jews: A Dual Identity.Yale University Press, 1999Google Scholar
Paddison, Max, Adorno's Aesthetics of Music. Cambridge University Press, 1993CrossRefGoogle Scholar
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Robertson, Ritchie and Timms, Edward, editors, Vienna 1900: from Altenberg to Wittgenstein. Edinburgh University Press, 1990Google Scholar
Rosenzweig, Franz, The Star of Redemption, translated by William W. Hallo, foreword by N. N. Galtzer. Holt, Rinehart, 1970Google Scholar
Sachar, Howard M., Dreamland: Europeans and Jews in the Aftermath of the Great War. Knopf, 2002Google Scholar
Martin Schmidt, Christian, Schönbergs OperMoses und Aron. Schott, 1988Google Scholar
Georg Simmel, Georg Simmel: On Individuality and Social Forms. Introduction by Levine, Donald N., editor. University of Chicago Press, 1971CrossRefGoogle Scholar
Anton Webern, The Path to New Music, edited by Reich, Willi, translated by Leo Black. Theodore Presser, 1963Google Scholar
Aldwell, Edward and Schachter, Carl, Harmony and Voice Leading, second edition. Harcourt Brace, 1989Google Scholar
Alter, Robert, Canon and Creativity. Yale University Press, 2000Google Scholar
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Auerbach, Erich, Mimesis: The Representation of Reality in Western Literature, translated by Willard R. Trask. Princeton University Press, 1953Google Scholar
Milton Babbitt, The Collected Essays of Milton Babbitt, edited by Peles, Stephenet al. Princeton University Press, 2003Google Scholar
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Arnold Schoenberg, Ausgewählte Briefe, Stein, Erwin, ed. B. Schott's Söhne, 1958Google Scholar
Schoenberg, Arnold, Fundamentals of Musical Composition, St. Martin's Press, 1967Google Scholar
Arnold Schoenberg, Stil und Gedanke: Aufsätze zur Musik, Vojtech, Ivan, ed. S. Fisher Verlag, 1976Google Scholar
Arnold Schoenberg, Structural Functions of Harmony, Stein, Leonard, ed. W. W. Norton, 1969Google Scholar
Arnold Schoenberg, Theory of Harmony, translated by Carter, Roy E., University of California Press, 1978Google Scholar
Bailey, Walter B., Programmatic Elements in the Works of Schoenberg. UMI Research Press, 1984Google Scholar
Berg, Alban, Pelleas und Melisande (nach dem Drama von Maurice Maeterlinck), Symphonische Dichtung für Orchestra von Arnold Schönberg, Op. 5: kurze thematische Analyse. Universal Edition, 1920Google Scholar
Berg, Albanet al., Arnold Schönberg. R. Piper, 1912Google Scholar
Leon Botstein, “Schoenberg and the Audience: Modernism, Music, and Politics in the Twentieth Century,” in Schoenberg and His World, Walter Frisch, ed. Princeton University Press, 1999
Brand, Juliane and Hailey, Christopher, editors, Constructive Dissonance: Arnold Schoenberg and the transformations of twentieth-century culture. University of California Press, 1997Google Scholar
Brinkmann, Reinhold, Correspondence. The Journal of the Arnold Schoenberg Institute I/3, 182–5
Brinkmann, Reinhold, “Schoenberg the Contemporary: A View from Behind,” in Constructive Dissonance: Arnold Schoenberg and the transformations of twentieth-century culture. University of California Press, 1997Google Scholar
Brinkmann, Reinhold and Wolff, Christoph, editors, Music of My Future: The Schoenberg Quartets and Trio. Harvard University Press, 2000Google Scholar
Cahn, Steven, “The Artist as Modern Prophet: A Study of Historical Consciousness and its Expression in Schoenberg's ‘Vorgefühle, op. 22, no. 4’,” in Schoenberg and Words: The Modernist Years. Garland Publishing (2000), 243–71Google Scholar
Campbell, Brian G., Text and Phrase Rhythm in Gurrelieder: Schoenberg's Reception of Tradition. Ph.D. dissertation: University of Minnesota, 1997Google Scholar
Brian G. Campbell, “Gurrelieder and the Fall of the Gods: Schoenberg's Struggle with the legacy of Wagner,” in Schoenberg and Words: The Modernist Years, Cross, Charlotte M. and Berman, Russell A., editors. Garland Publishing, Inc. (2000), 31–63Google Scholar
Cherlin, Michael, “Dialectical Opposition in Schoenberg's Music and Thought.” Music Theory Spectrum 22/2 (Fall 2000), 157–76CrossRefGoogle Scholar
Michael, Cherlin, “Dramaturgy and Mirror Imagery in Schönberg's Moses und Aron: Two Paradigmatic Interval Palindromes.” Perspectives of New Music 29/2 (Summer 1991), 50–71Google Scholar
Michael, Cherlin, The Formal and Dramatic Organization of Schoenberg's Moses und Aron. Ph.D. dissertation: Yale University, 1983Google Scholar
Cherlin, Michael, “Memory and Rhetorical Trope in Schoenberg's String Trio.” Journal of the American Musicological Society 51/3 (Fall 1998), 559–602Google Scholar
Michael Cherlin, “Motive and Memory in Schoenberg's First String Quartet,” in The Music of My Future: The Schoenberg Quartets and Trio, Brinkmann, Reinhold and Wolff, Christoph, editors. Harvard University Press (2000), 61–80Google Scholar
Michael, Cherlin, “Schoenberg and das Unheimliche.” The Journal of Musicology 11/3 (Summer 1993), 357–73Google Scholar
Michael, Cherlin, “Schoenberg's Representation of the Divine in Moses und Aron.” Journal of the Arnold Schoenberg Institute IX/2, 210–16
Cohn, Richard, “Uncanny Resemblances: Tonal Signification in the Freudian Age.” Journal of the American Musicological Society, 57/2 (2004), 285–323CrossRefGoogle Scholar
Dahlhaus, Carl, Schoenberg and the New Music, translated by Derrick Puffett and Alfred Clayton. Cambridge University Press, 1987Google Scholar
Fleisher, Robert, “Dualism in the Music of Arnold Schoenberg.” Journal of the Arnold Schoenberg Institute XII/1 (June 1989), 22–42Google Scholar
Frisch, Walter, The Early Works of Arnold Schoenberg, 1893–1908. University of California Press, 1993Google Scholar
Frisch, Walter, editor, Schoenberg and his World. Princeton University Press, 1999Google Scholar
Goldstein, Bluma, Reinscribing Moses: Heine, Kafka, Freud, and Schoenberg in a European Wilderness. Harvard University Press, 1992CrossRefGoogle Scholar
Glenn Gould, “Schoenberg – A Perspective,” in The Glenn Gould Reader, introduction by Page, Tim, editor. Knopf, 1984, 107–22Google Scholar
Haimo, Ethan, Schoenberg's Serial Odyssey: The evolution of his Twelve-Tone Method, 1914–1928. Oxford University Press, 1990Google Scholar
Hyde, Martha, “Neoclassic and Anachronistic Impulses in Twentieth-Century Music.” Music Theory Spectrum 18/2 (1996), 200–35CrossRefGoogle Scholar
Keller, Hans, “Schoenberg's Return to Tonality.” Journal of the Arnold Schoenberg Institute V/1, 2–21
Richard Kurth, “Moments of Closure: Thoughts on the Suspension of Tonality in Schoenberg's Fourth Quartet and Trio,” in Music of My Future: The Schoenberg Quartets and Trio, Brinkmann, Reinhold and Wolff, Christoph, editors. Harvard University Press (2000), 139–60Google Scholar
Kurth, Richard, “Schönberg and the Bilderverbot: Reflections on Unvorstellbarkeit and Verborgenheit.” Journal of the Arnold Schönberg Center 3 (2003), 332–72Google Scholar
Kurth, Richard, “Suspended Tonalities in Schönberg's Twelve-tone Compositions.” Journal of the Arnold Schönberg Center 3 (2001), 239–65Google Scholar
Lacoue-Labarthe, Phillip, Musica Ficta: Figures of Wagner, translated by Felicia McCarren. Stanford University Press, 1994Google Scholar
Lewin, David, “Generalized Interval Systems for Babbitt's Lists, and for Schoenberg's String Trio.” Music Theory Spectrum 17/1, 81–118
Lewin, David, “Inversional Balance as an Organizing Force in Schoenberg's Music and Thought.” Perspectives of New Music 6/2 (1968), 1–21CrossRefGoogle Scholar
Lewin, David, “Moses und Aron: Some general remarks and analytic notes for Act I, scene 1.” Perspectives of New Music 6/1, 1–17
Maegaard, Jan, “Schoenberg's Incomplete Works and Fragments,” in Constructive Dissonance: Arnold Schoenberg and Transformations of Twentieth-Century Culture. University of California Press, 1997, 131–45
Milstein, Silvina, Arnold Schoenberg: notes, sets, forms. Cambridge University Press, 1992Google Scholar
Puffett, Derrick, “‘Music that Echoes within one’ for a Lifetime: Berg's Reception of Schoenberg's ‘Pelleas und Melisande.’” Music and Letters 76/2 (1995), 209–64CrossRefGoogle Scholar
Rauchhaupt, Ursula, editor. Schoenberg, Berg, Webern: The String Quartets; a documentary study. Deutsche Grammophon Gesellschaft, 1971Google Scholar
Reich, Willi, Schoenberg: A Critical Biography. Leo Black, trans. Praeger Publishers, 1971Google Scholar
Ringer, Alexander, Arnold Schoenberg: The Composer as Jew. Oxford University Press, 1990Google Scholar
Rosen, Charles, Arnold Schoenberg. Viking, 1975Google Scholar
Simms, Bryan R., The Atonal Music of Arnold Schoenberg: 1908–1923. Oxford University Press, 2000CrossRefGoogle Scholar
Simms, Bryan R. (editor), Schoenberg, Berg, and Webern: A Companion to the Second Viennese School. Greenwood Press, 1999Google Scholar
Stein, Leonard, “Noting the diagram and soliciting responses as to its meaning.”Journal of the Arnold Schoenberg Institute I/1 (1976), 3–5Google Scholar
Stuckenschmidt, H. H., Schoenberg: His Life, World and Work. Humphrey Searle, trans. Schirmer, 1978Google Scholar
Tomlinson, Gary, Metaphysical Song: An Essay on Opera. Princeton University Press, 1999CrossRefGoogle Scholar
Wellesz, Egon, Arnold Schoenberg: The Formative Years, translated by W. H. Kerridge. J. M. Dent and Sons, 1925Google Scholar
White, Pamela C., Schoenberg and the God-Idea: The Opera Moses und Aron. UMI Research Press, 1985Google Scholar
Whittall, Arnold, “Schoenberg and the ‘True Tradition’: Theme and Form in the String Trio.” The Musical Times 115, 739–43CrossRef
Alter, Robert, Canon and Creativity. Yale University Press, 2000Google Scholar
Bloom, Harold, “Freud and the Poetic Sublime,” in Poetics of Influence, introduction by John Hollander, edited by Henry R. Schwab, 1988Google Scholar
Harold, Bloom (editor), Modern Critical Views: Franz Kafka. Chelsea House Publishers, 1986Google Scholar
Deleuze, Gilles, Difference and Repetition, translated by Paul Patton. Columbia University Press, 1994Google Scholar
Deleuze, Gilles, Proust and Signs, translated by Richard Howard. University of Minnesota Press, 2000Google Scholar
Deleuze, Gilles and Félix Guattari, , A Thousand Plateaus: Capitalism and Schizophrenia. University of Minnesota Press, 1987Google Scholar
Elon, Amos, The Pity of It All: A History of Jews in Germany, 1743–1933. Metropolitan Books (Henry Holt), 2002Google Scholar
Sigmund Freud, “Beyond the Pleasure Principle,” in The Freud Reader, translated by James Strachey, edited by Gay, Peter. W. W. Norton, 1989Google Scholar
Sigmund Freud, “On Transience,” in Writings on Art and Literature, edited by Hamacher, Werner and Wellbery, David E.. Stanford University Press, 1997Google Scholar
Frieden, Ken, Freud's Dream of Interpretation. State University of New York Press, 1990Google Scholar
Gay, Peter, Freud: A Life for Our Time. W. W. Norton, 1988Google Scholar
Handelman, Susan A., Fragments of Redemption. Indiana University Press, 1991Google Scholar
Janik, Allan and Toulman, Stephen, Wittgenstein's Vienna. Simon and Schuster, 1973Google Scholar
Kafka, Franz, The Castle, translated by Mark Harman. Schocken, 1988Google Scholar
Franz Kafka, Diaries: 1910–1923, edited by Brod, Max, translated by Martin Greenberg, with the cooperation of Hannah Arendt. Schocken, 1976Google Scholar
Franz Kafka, Franz Kafka: Ein Lesebuch mit Bildern, edited by Wagenbach, Klaus. Rowohlt Taschenbuch Verlag, 2003Google Scholar
Kafka, Franz, The Great Short Works of Franz Kafka, translated by Joachim Neugroschel. Simon & Schuster, 2000Google Scholar
Kafka, Franz, Parables and Paradoxes: Bilingual Edition. Schocken, 1975Google Scholar
Kafka, Franz, Das Schloss. Fischer Taschenbuch Verlag, 1981Google Scholar
Kafka, Franz, Tagebücher: 1914–1923. Fischer Taschenbuch Verlag, 1990Google Scholar
McGuinness, Patrick, Maurice Maeterlinck and the Making of Modern Theatre. Oxford University Press, 2000Google Scholar
Mendes-Flohr, Paul, German Jews: A Dual Identity.Yale University Press, 1999Google Scholar
Paddison, Max, Adorno's Aesthetics of Music. Cambridge University Press, 1993CrossRefGoogle Scholar
Rieff, PhilipFreud: The Mind of the Moralist, third edition. University of Chicago Press, 1979Google Scholar
Robertson, Ritchie, Kafka: Judaism, Politics, and Literature. Oxford University Press, 1985Google Scholar
Robertson, Ritchie and Timms, Edward, editors, Vienna 1900: from Altenberg to Wittgenstein. Edinburgh University Press, 1990Google Scholar
Rosenzweig, Franz, The Star of Redemption, translated by William W. Hallo, foreword by N. N. Galtzer. Holt, Rinehart, 1970Google Scholar
Sachar, Howard M., Dreamland: Europeans and Jews in the Aftermath of the Great War. Knopf, 2002Google Scholar
Martin Schmidt, Christian, Schönbergs OperMoses und Aron. Schott, 1988Google Scholar
Georg Simmel, Georg Simmel: On Individuality and Social Forms. Introduction by Levine, Donald N., editor. University of Chicago Press, 1971CrossRefGoogle Scholar
Anton Webern, The Path to New Music, edited by Reich, Willi, translated by Leo Black. Theodore Presser, 1963Google Scholar
Aldwell, Edward and Schachter, Carl, Harmony and Voice Leading, second edition. Harcourt Brace, 1989Google Scholar
Alter, Robert, Canon and Creativity. Yale University Press, 2000Google Scholar
Arendt, Hannah, Between Past and Future. The Viking Press, 1961Google Scholar
Auerbach, Erich, Mimesis: The Representation of Reality in Western Literature, translated by Willard R. Trask. Princeton University Press, 1953Google Scholar
Milton Babbitt, The Collected Essays of Milton Babbitt, edited by Peles, Stephenet al. Princeton University Press, 2003Google Scholar
Barker, Andrew, editor, Greek Musical Writings: Harmonic and Acoustic Theory (vol. II). Cambridge University Press, 1989Google Scholar
Bergson, Henri, Matter and Memory, translated by N. M. Paul and W. S. Palmer. Zone Books, 1991Google Scholar
William Blake, The Poetry and Prose of William Blake, edited by Erdman, David V., commentary by Harold Bloom. Doubleday, 1965Google Scholar
Blanchot, Maurice, The Infinite Conversation, translated and with a foreword by Susan Hanson. University of Minnesota Press, 1993Google Scholar
Blanchot, Maurice, The Work of Fire, translated by Charlotte Mandell. Stanford University Press, 1995Google Scholar
Bloom, Harold, A Map of Misreading. Oxford University Press, 1975Google Scholar
Blanchot, Maurice, The Ringers in the Tower: Studies in Romantic Tradition. University of Chicago Press, 1971Google Scholar
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  • Bibliography
  • Michael Cherlin, University of Minnesota
  • Book: Schoenberg's Musical Imagination
  • Online publication: 22 September 2009
  • Chapter DOI: https://doi.org/10.1017/CBO9780511481987.010
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  • Bibliography
  • Michael Cherlin, University of Minnesota
  • Book: Schoenberg's Musical Imagination
  • Online publication: 22 September 2009
  • Chapter DOI: https://doi.org/10.1017/CBO9780511481987.010
Available formats
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  • Bibliography
  • Michael Cherlin, University of Minnesota
  • Book: Schoenberg's Musical Imagination
  • Online publication: 22 September 2009
  • Chapter DOI: https://doi.org/10.1017/CBO9780511481987.010
Available formats
×