In the following essay, Lacoue-Labarthe discusses the religious undercurrents in Schoenberg's work.

In the following essay, Smith provides an overview of Schoenberg's twelve-tone method.

In the following essay, which was originally published in 1957, the Goehrs recount Schoenberg's development of his twelve-tone compositional method.

In the following essay, Gilbert discusses the relationship between Schoenberg and Hanns Eisler.

In the following essay, originally published in Critical Inquiry in 1984, Morgan associates Schoenberg's development of atonal music with a "crisis in language " that occurred in the early twentieth century.

In the following essay, Schulze examines the influence of Schoenberg's musical theory on the works of Virginia Woolf

In the following essay, originally published in Perspectives of New Music in 1977, Rufer examines the relevance of Schoenberg's music and theory to contemporary audiences.

In the following essay, Strasser contends that A Survivor from Warsaw is the story of Schoenberg 's experiences as a Jew.

In the following essay, which was originally published in 1978, Dalhaus discusses Schoenberg's essays that reveal the aesthetic sense upon which he based his musical compositions.

In the following essay, Melnick explores the wider applications of Schoenberg's atonality and Friedrich Nietzche's theory of music to modern art and literature.

In the following essay, Huggett recounts a performance of Moses and Aaron in Covent Garden.

In the following essay, Steiner analyzes the relationship between music and language in Schoenberg 's Moses and Aaron.

In the following essay Craft evaluates and edition of Style and Idea, then reviews Charles Rosen's Arnold Schoenberg.

In the following essay, Stadlen examines Schoenberg's use of "speech-song, " a compositional technique of using "spoken note with fixed durations and pitches, " in Pierrot Lunaire.

In the following essay, Sessions surveys Schoenberg's music influenced by American music and culture.

In the following essay, Dawidowicz concludes that Moses and Aaron is "the vehicle through which Schoenberg asserted his Jewishness. "

In the following essay, Christensen explains the system of philosophy underlying all of Schoenberg's work.

In the following essay, Lessem associates Schoenberg 's creative crisis with the early-twentieth-century Expressionist movement.

In the following essay, Hamilton concludes that Schoenberg's opera Erwartung, while highly original, owes more to the influence of his contemporaries than to his later, more radical, atonal music

In the following essay, Thomson reviews Arnold Schoenberg Letters, finding notable the book's portrayal of Schoenberg as an artist.

In the following essay, originally published in 1936, Rosenfeld discusses Schoenberg's Gurrelieder.

In the following essay, originally published in The Score in 1952, Sessions analyzes Schoenberg's twelve-tone compositional method.

In the following essay, originally published in 1928, Rosenfeld discusses the connection between Schoenberg and Edgard Varèse.