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Tripartite Structures in Schoenberg’sA Survivor from Warsaw
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Tripartite Structures in Schoenberg’sA Survivor from Warsaw (2013)Tripartite Structures in Schoenberg’sA Su…Schoenberg's Musical Imagination (2007)Schoenberg's Musical Imaginat…“An Idea Can Never Perish”: Memory, the Musical Idea, and Schoenberg's A Survivor From Warsaw (1947) (2007)“An Idea Can Never Perish”: M…Bloch, Schoenberg, and Bernstein (2003)Bloch, Schoenberg, and Bernst…A Schoenberg Reader (2003)A Schoenberg ReaderProperties and Generability of Transpositionally Invariant Sets (1991)Properties and Generability o…Arnold Schoenberg. The Composer as Jew (1991)Arnold Schoenberg. The Compos…Some Implications of the Pitch Class/Order Number Isomorphism Inherent in the Twelve-Tone System: Part One (1988)Some Implications of the Pitc…Inversional Symmetry and Transpositional Combination in Bartok (1988)Inversional Symmetry and Tran…Musical Form and the Development of Schoenberg's "Twelve-Tone Method" (1985)Musical Form and the Developm…Large-Scale Strategy in Arnold Schoenberg's Twelve-Tone Music (1985)Large-Scale Strategy in Arnol…Schoenberg, His Life, World, and Work (1979)Schoenberg, His Life, World, …Inversional Balance as an Organizing Force in Schoenberg's Music and Thought (1968)Inversional Balance as an Org…Serial Composition and Atonality (1962)Serial Composition and Atonal…A Theory of Segmental Association in Twelve-Tone Music (1962)A Theory of Segmental Associa…The Source Set and Its Aggregate Formations (1961)The Source Set and Its Aggreg…Set Structure as a Compositional Determinant (1961)Set Structure as a Compositio…Truth and Method (1960)A Thousand Plateaus: Capitalism and Schizophrenia (1989)Difference and repetition (1994)Extraordinary Measures (2011)Schoenberg's Twelve-Tone Music (2014)The Cambridge History of Modernism (2017)Twentieth-Century Harmony: Creative Aspects and Practice (1961)The Structure of Atonal Music (1974)Transformational Techniques in Atonal and Other Music Theories (1982)A Theory of Harmony and Voice Leading for the Music of Olivier Messiaen (2005)Continuous Harmonic Spaces (2007)Fretboard Transformations (2018)Composition with Arrays (1970)"Ist Alles Eins": Schoenberg and Symmetry (2004)Schoenberg's Twelve-Tone Music: Symmetry and the Musical Idea (2014)Liszt's Experimental Idiom and Music of the Early Twentieth Century (1987)Atonal prolongational structure (1989)Transpositional Combination of Beat-Class Sets in Steve Reich's Phase-Shifting Music (1992)Performing Knowledge (2020)Some Combinational Resources of Equal-Tempered Systems (1967)Music theory and mathematics (2002)Consonance and prevalence of sonorities in Western polyphony: Roughness, harmonicity, familiarity, evenness, diatonicity (2018)Memory and Rhetorical Trope in Schoenberg's String Trio (1998)Normalizing the Abnormal: Disability in Music and Music Theory (2006)Schoenberg's Atonal Music (2019)Jewish Music and Modernity (2008)Enzyklopädie jüdischer Geschichte und Kultur (2011)The Cambridge Companion to Jewish Music (2015)
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References

  • 2007Schoenberg's Musical Imagination126 cited
  • 1961Set Structure as a Compositional Determinant87 cited
  • 1962Serial Composition and Atonality80 cited
  • 1961The Source Set and Its Aggregate Formations75 cited
  • 1968Inversional Balance as an Organizing Force in Schoenberg's Music and Thought73 cited
  • 2003A Schoenberg Reader64 cited
  • 1979Schoenberg, His Life, World, and Work61 cited
  • 1988Some Implications of the Pitch Class/Order Number Isomorphism Inherent in the Twelve-Tone System: Part One52 cited
  • 1988Inversional Symmetry and Transpositional Combination in Bartok46 cited
  • 2003Bloch, Schoenberg, and Bernstein43 cited
  • 1985Large-Scale Strategy in Arnold Schoenberg's Twelve-Tone Music40 cited
  • 1991Arnold Schoenberg. The Composer as Jew39 cited
  • 1991Properties and Generability of Transpositionally Invariant Sets38 cited
  • 1985Musical Form and the Development of Schoenberg's "Twelve-Tone Method"36 cited
  • 1962A Theory of Segmental Association in Twelve-Tone Music35 cited
  • 2007“An Idea Can Never Perish”: Memory, the Musical Idea, and Schoenberg's A Survivor From Warsaw (1947)

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