Book Review: La singularité Schoenberg

Adorno Th. W. (1982). Un fragment sacré. Au sujet du Moïse et Aaron de Schönberg ( Leleu J. L. , trad.). In Quasi una fantasia (pp. 243–67). Paris: Gallimard (lère publication en allemand, 1963).

Babbitt M . (1950). Le système dodécaphonique. Journal of the American Musicological Society, 3, 264–7.

Babbitt M . (1973–4). Since Schoenberg. Perspectives of New Music, 12, 3–28.

Haimo E . (1990). Schoenberg's Serial Odyssey: The Evolution of his Twelve-Tone Method, 1914–1928. Oxford: Oxford University Press.

Hill R. S. (1936). Schoenberg's Tone-Rows and the Tonal System of the Future. The Musical Quarterly, 22, 14–37.

Lewin D . (1967). „Moses und Aron”: Some General Remarks, and Analytic Notes for Act I, Scene 1. Perspectives of New Music, 6 (1), 1–17.

Lewin D . (1968). Inversional Balance as an Organizing Force in Schoenberg's Music and Thought. Perspectives of New Music, 6 (2), 1–21.

Möllers Chr . (1978). Die Inkongruenz von Reihentechnik und musikalischer Gestalt bei ArnoldSchonberg. In Stephan R. (ed.), Bericht über den 1. Kongress der Internationalen Schönberg-Gesellschaft (pp. 134–9). Wien: Verlag Elisabeth Lafite.

Perle G . (1963). Babbitt, Lewin, and Schoenberg: A Critique. Perspectives of New Music, 2, 120–7.

Schmidt Chr. M. (1987). Schönbergs Oper „Moses und Aron”. Analyse der diastematischen, formalen und musikdramatischen Komposition. Mainz: Schott.

Schoenberg A . (1975). Style and Idea ( Stein L. , ed.). London-Boston: Faber & Faber.