Table of Contents

Foreward Introduction PART ONE 1. Schoenberg and GermanPoetry Robert Vilain 2. Gurrelieder and the Fall of the Gods: Schoenbergs' Struggle with the Leagcy of Wagner Brian G. Campbell 3. Schoenberg Sets Petrach: Schopenhauer,Mahler and the Poetics of Resignation Robert R. HOlzer 4. 'The Ear of the Other': Style and Identity in Schoenberg's Eight Songs, op. 6 Alan Street 5. 'Die Frauenfrage' in Erwartung: Schoenberg's Collaboration with Marie Pappenheim Elizabeth L. Keathley 6. Physical Motif and Aural Salience: Sounds and Symbols in Die gluckliche Hand, op. 18 Edward D. Latham 7. Pierrot's Cave: Representation, Reverberation, Radiance Ricahrd Kurth 8. The Artist as Modern Prophet: A Study of Historical Consciousness and Its Expression in Schoenberg's Vorgefuhl op. 22, no. 4 Steven J. Cahn PART TWO 9. Reinventing the Organic Artwork: schoenberg's Changing Image of Tonal Form Severine Neff 10. Schoenberg's @poetics of Music', the Twelve-Tone Method and the Musical idea John Covach 11. Modernism and Words: Schoenberg, Adorno, Moses Murray Dineen

About the Author

Charlotte M. Cross received a PhD. in Historical Musicology from Columbia University in 1992 and has published extensively on Schoenberg. Russell A. Berman is Chair of German Studies at Stanford University and author of Enlightenment of Empire: Colonial Discourse in GermanCulture (1998).