Books included range from historical and biographical studies concentrating particularly on the context and circumstances in which composers were writing, to analytical and critical studies concerned with the nature of musical language and questions of compositional process. Music in the 20th Century g e n e r a l e d i t o r Arnold Whittall This series offers a wide perspective on music and musical life in the twentieth century. His work on Arnold Schoenberg has been published in journals devoted to music theory and history, including Music Theory Spectrum, the Journal of the American Musicological Society, and Perspectives of New Music. He is co-editor of Musical Transformations and Musical Intuitions: A Festschrift in Honor of David Lewin (1994) and The Great Tradition and Its Legacy: The Evolution of Dramatic and Musical Theater in Austria and Central Europe (2003). m i c h a e l c h e r l i n is Professor of Music Theory and Founding Director of the Interdisciplinary Program in Collaborative Arts at the University of Minnesota. While most technical studies of Schoenberg’s music are limited to a single compositional period, this book traces changes in his attitudes as a composer, and their impact on his ever-changing compositional style over the course of his remarkable career. Schoenberg’s Musical Imagination is intended to connect Schoenberg’s music and critical writings to a larger world of ideas. Yet there is still little understanding of the correlations between Schoenberg’s musical thought and larger questions of cultural significance in and since his time: the formalistic descriptions of music theory do not generally engage larger questions in the history of ideas, and scholars without an understanding of the formidable musical technique are ill-equipped to understand the music with any profundity of thought. No composer was more responsible for changes in the landscape of twentieth-century music than Arnold Schoenberg (1874–1951), and no other composer’s music inspired a commensurate quantity and quality of technical description in the second half of the twentieth century. While most technical studies of Schoenberg's music are limited to a single compositional period, this book traces changes in his attitudes as a composer and their impact on his ever-changing compositional style over the course of his remarkable career. Schoenberg's Musical Imagination is intended to connect Schoenberg's music and critical writings to a larger world of ideas. Yet there is still little understanding of the correlations between Schoenberg's musical thought and larger questions of cultural significance in and since his time: the formalistic descriptions of music theory do not generally engage larger questions in the history of ideas and scholars without understanding of the formidable musical technique are ill-equipped to understand the music with any profundity of thought. No composer was more responsible for changes in the landscape of twentieth-century music than Arnold Schoenberg (1874-1951) and no other composer's music inspired a commensurate quantity and quality of technical description in the second half of the twentieth century.
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