... Babbitt: Words about Music , edited by Dembski Stephen Straus Joseph N. , 33 – 62 . Madison : University of Wisconsin Press . Bailey Kathryn . 1991 . The Twelve-Note Music of Anton Webern: Old Forms in a New Language . Cambridge : Cambridge University Press . Batstone...

.... Paul Henry Lang, 108-21. New York: Norton, 1962.) Bailey, Katherine. 1991 . The Twelve-Note Music of Anton Webern: Old Forms in a New Language. Cambridge and New York: Cambridge University Press. Barker, Andrew, ed. 1989 . Greek Musical Writings, Volume II: Harmonic and Acoustic Theory...

... . Spinner Leopold . 1987 . “ Zwei Scherzo-Analysen .” In Leopold Spinner , by Busch Regina , 180 – 91 . Bonn : Boosey and Hawkes . Stein Erwin . 1962 . Form and Performance . London : Faber and Faber . Webern Anton . 2002 . Über musikalische Formen: Aus den...

.... Kielian-Gilbert, Marianne. 2003 . “Interpreting Schenkerian Prolongation.” Music Analysis 22 : 51 –104. Klein, Michael L. 2005 . Intertextuality in Western Art Music . Bloomington: Indiana University Press. Kolneder, Walter. 1968 . Anton Webern: An Introduction to His Works. Translated...

... ): 245 –59. Bailey, Catharine. The Twelve-tone Music of Anton Webern . Cambridge: Cambridge University Press, 1991 . Dubiel, Joseph. “Three Essays on Milton Babbitt,” part 1, in Perspectives of New Music 28 /2 ( 1990 ): 216 –61. Friedmann, Michael. Ear Training for Twentieth-century Music...

...Henry Klumpenhouwer © 2008 by Yale University 2008 Clough, John. 1998 . “A Rudimentary Geometric Model for Contextual Transposition and Inversion.” Journal of Music Theory 42 : 297 –306. Forte, Allen. 1998 . The Atonal Music of Anton Webern . New Haven: Yale University Press...

.../ mto.09.15.1.attas.html. Bailey, Kathryn. 1991. The Twelve-Note Music of Anton Webern. Cambridge: Cambridge University Press. Berry, David Carson. 2008. “The Roles of Invariance and Analogy in the Linear Design of Stra- vinsky’s ‘Musick to Heare.’ ” Gamut 1/1. httpdlc.lib.utk.edu...

... Wires, which uses the Chopin/Argerich material as a kind of cantus firmus. Black Wires (like all the other works in the Étude d’un prélude series, as well as later works based on microtimings of Anton Webern and Thelonious Monk) takes...

...—the best of the book. Joseph N. Straus, “Inversional Balance and the ‘Normal’ Body in the Music of Arnold Schoenberg and Anton Webern” In this essay, Straus argues that, in the music of Schoenberg and Webern written roughly between 1908 and the outbreak of the first...

... a philosophy of music may be” (2000, 178). As in his essay on Mahler, Cavell here goes on to begin a discussion of Adorno, this time through a reading of Adorno’s critique of Anton Webern in the Philosophy of New Music. This discussion, however, breaks off abruptly...

..., and Assimilation: A Reply to Deutsch and Dowling.” Journal of Experimental Psychology: General 113 : 63 -102. Bregman, Albert S. 1990 . Auditory Scene Analysis . Cambridge, Mass.: The MIT Press. Budde, Elmar. 1971 . Anton Weberns Lieder Op. 3: Untersuchungen zur frühen Atonalität bei Webern...

..., irrev­ ersi­ ble col­lapse of tonali­ty, somet­ ime around 1910. Anton Webern s (1963: 36) con­fi­dent 1933 dec­ la­ra­tion concerning tonal­ity for the last quar­ter of a cent­ ury major and minor haven t existed any more! Only most peo­ple still don t know could stand as a cryp­tic summ­ ary...

... pitches (G≤4, F4, E4) initiate the first three phrases. 14. See Elmar Budde, Anton Weberns Lieder Op. 3: Untersuchungen zur frühen Aton- alität bei Webern (Wiesbaden: F. Steiner, 1971), and most recently Robert W. Wason, “A Pitch-class Motive in Webern’s George Lieder, Op. 3,” in Webern Stud...

... the first of Ligeti’s many static forms, meant to induce an illusion of “frozen time” (Ligeti 1988, 9). This is not the clear, crystalline beauty of Anton Webern’s symmetrical web struc- tures, which Ligeti also analyzed at length, but a suffocating timelessness that connotes loss and death.12 In his...

.... Shaftel, Matthew R. 2000. “Anton Webern’s Early Songs: Motive, Harmony, and Influence.” Ph.D. diss., Yale University. Stein, Deborah J. 1985. Hugo Wolf’s Lieder and Extensions of Tonality. Studies in Musicology, no. 72. Ann...

... there might be some question whether this music is genuinely metrical” (257).3 364 Example 1. Beethoven, Symphony no. 1 in C Major, first movement, bs. 13–27 365 Example 2. Anton von Webern, Quartet, op. 22 first...

...; some works in that canon, such as James Joyce’s Ulysses (which would surely be on Cavell’s list) and Stravinsky’s Symphony in Three Movements, now appear closer to post- modernism than to works by Anton Webern and Samuel Beckett.21 The idiosyncratic notion of improvisation Cavell introduces...

...) and the American publication Perspectives of New Music, two leading postwar peri- odicals for research into rationalized techniques of the musical avant-garde. Cavell is explicit in assigning their historical origin to Arnold Schoenberg and Anton Webern’s highly systematic...

... of Music Theory the Analytic Reading of Scores,” in which he described using the SNOBOL3 computer language as an aid to analyzing music; Anton Webern’s Four Pieces for Violin and Piano, op. 7 (1910) served as the demonstration score.45...

... of coverage: In keeping to this particular goal, I have had to omit a great deal about Babbitt. This is not a biographical study, nor does it attempt to place Bab- bitt in a historical context, except, incidentally, as an heir to the insights of Arnold Schoenberg and Anton Webern, among others...