1 - Introduction

pp 1-12

Part I - Schoenberg's early years

2 - Schoenberg's lieder

pp 13-29

3 - Schoenberg and the tradition of chamber music for strings

pp 30-52

4 - Two early Schoenberg songs: monotonality, multitonality, and schwebende Tonalität

pp 53-67

5 - Arnold Schoenberg and Richard Strauss

pp 68-78

Part II - Schoenberg, modernism, and modernity

6 - Interpreting Erwartung: collaborative process and early reception

pp 79-93

7 - The rise and fall of radical athematicism

pp 94-107

8 - Schoenberg, modernism, and metaphysics

pp 108-119

9 - Pierrot lunaire: persona, voice, and the fabric of allusion

pp 120-134

Part III - Schoenberg between the World Wars

10 - Schoenberg as teacher

pp 135-146

11 - Schoenberg, satire, and the Zeitoper

pp 147-156

12 - Schoenberg's row tables: temporality and the idea

pp 157-176

13 - Immanence and transcendence in Moses und Aron

pp 177-190

14 - Schoenberg, the Viennese-Jewish experience and its aftermath

pp 191-206

Part IV - Schoenberg's American years

15 - Cadence after thirty-three years: Schoenberg's Second Chamber Symphony, Op. 38

pp 207-225

16 - Schoenberg's collaborations

pp 226-237

17 - Listening to Schoenberg's Piano Concerto

pp 238-246

18 - Schoenberg reception in America, 1933–51

pp 247-257

19 - Schoenberg: dead or alive? His reception among the postwar European avant-garde

pp 258-268

Notes

pp 269-292

Select bibliography

pp 293-300

Index

pp 301-312