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This new volume incorporates all entries from the previous editions by Arthur Wenk, expanding to cover writings drawn from periodicals, theses, dissertations, books, and Festschriften from 1940 to 2000. Over 9,000 references to analyses of works by over 1,000 composers of the nineteenth and twentieth centuries are included.
-- Stanley Persky, City University of New York
With language unencumbered by technical jargon, these scholarly writings bring to life the various facets of Schoenberg's creative process and its influence. Topics include biographical essays, surveys of the music from different periods in Schoenberg's career, and essays on the development of Schoenberg's style, on Schoenberg's attitudes toward music, composition and analysis, and the effect of and interpretation of Schoenberg's music. The contributors provide different points of view based on their unique specialties. The resulting breadth of information illuminates distinct aspects of Schoenberg's musical career. The Arnold Schoenberg Companion aims to introduce Schoenberg and his music to a nonspecialist audience. The chronological essays place Schoenberg and his achievements in the context of the past and present. The contributing authors include scholars and composers of different generations, including two of his American students. The companion also contains an annotated bibliography and discography, and is an invaluable resource to scholars and researchers.
One of the most influential collections of music ever published, Style and Idea includes Schoenberg’s writings about himself and his music as well as studies of many other composers and reflections on art and society.
Fundamentals of Musical Composition represents the culmination of more than forty years in Schoenberg's life devoted to the teaching of musical principles to students and composers in Europe and America. For his classes he developed a manner of presentation in which 'every technical matter is discussed in a very fundamental way, so that at the same time it is both simple and thorough'. This book can be used for analysis as well as for composition. On the one hand, it has the practical objective of introducing students to the process of composing in a systematic way, from the smallest to the largest forms; on the other hand, the author analyses in thorough detail and with numerous illustrations those particular sections in the works of the masters which relate to the compositional problem under discussion.
The most celebrated book on counterpoint is Fux's great theoretical work GRADUS AD PARNASSUM. Since its appearance in 1725, it has been used by and has directly influenced the work of many of the great composers, including J.S. Bach, Haydn, and Beethoven. Originally written in Latin, this work has been translated in to the principal European languages. The present translation by Alfred Mann is the first faithful rendering in English, presenting the essence of Fux's teachings.