Style and Idea

Foreword to the Sixtieth Anniversary Edition
Editor's Preface
Translator's Preface

PART I PERSONAL EVALUATION AND RETROSPECT
1 On my Fiftieth Birthday (1924)
2 Circular to my Friends on my Sixtieth Birthday (1934)
3 Honorary Citizenship of Vienna (1949)
4 How One Becomes Lonely (1937)
5 Heart and Brain in Music (1946)
6 A Self-Analysis (1948)
7 My Evolution (1949)
8 The Young and I (1923)
9 My Blind Alley (1926)
10 My Public (1930)
11 New Music: My Music (c. 1930)
    Ideas
    Melody
    Repetition
    Opera
12 Constructed Music (c. 1931)
13 On Revient Toujours (1948)
14 My Technique and Style (c. 1950)

PART II MODERN MUSIC
1 New Music, Outmoded Music, Style and Idea (1946)
2 Criteria for the Evaluation of Music (1946)
3 New Music (1923)
4 Turn of Time (1948)
5 The Relationship to the Text (1912)
6 This is my Fault (1949)
7 The Radio: Reply to a Questionnaire (1930)
8 'Space-Sound', Vibrato, Radio, etc. (1931)
9 Modern Music on the Radio (1933)
10 Art and the Moving Pictures (1940)

PART III FOLK-MUSIC AND NATIONALISM
1 Folkloristic Symphonies (1947)
2 Folk-Music and Art-Music (c. 1926)
3 National Music (1) (1931)
4 National Music (2) (1931)
5 Italian National Music (1927)
6 Why No Great American Music? (1934)

PART IV CRITICS AND CRITICISM
1 A Legal Question (1909)
2 An Artistic Impression (1909)
3 About Music Criticism (1909)
4 Sleepwalker (1912)
5 The Music Critic (1912)
6 Musical Historians (c. 1915)
7 Those who Complain about the Decline (1923)

PART V TWELVE-TONE COMPOSITION
1 Twelve-Tone Composition (1923)
2 Hauer's Theories (1923)
3 'Schoenberg's Tone-Rows' (1936)
4 Composition with Twelve Tones (1) (1941)
5 Composition with Twelve Tones (2) (c. 1948)
6 Is it Fair? (1947)

PART VI THEORY AND COMPOSITION
1 Theory of Form (1924)
2 Tonality and Form (1925)
3 Opinion or Insight? (1926)
4 For a Treatise on Composition (1931)
5 Problems of Harmony (1934)
6 Connection of Musical Ideas (c. 1948)
7 Old and New Counterpoint (1928)
8 Linear Counterpoint (1931)
9 Linear Counterpoint: Linear Polyphony (1931)
10 Fugue (1936)
11 About Ornaments, Primitive Rhythms, etc. and Bird Song(1922)
12 Ornaments and Construction (1923)
13 Glosses on the Theories of Others (1929)

PART VII PERFORMANCE AND NOTATION
1 For a Treatise on Performance (1923 or 1924)
2 Today's Manner of Performing Classical Music (1948)
3 The Future of Orchestral Instruments (1924)
4 Mechanical Musical Instruments (1926)
5 Instrumentation (1931)
6 The Future of the Opera (1927)
7 Opera: Aphorisms (c. 1930)
8 Performance Indications (Dynamics) (1923)
9 Musical Dynamics (1929)
10 About Metronome Markings (1926)
11 Transposition (1923)
12 Vibrato (c. 1940)
13 Phrasing (1931)
14 The Modern Piano Reduction (1923)
15 On Notation (1923)
16 Pictorial Notation (1923)
17 Revolution-Evolution, Notation (Accidentals) (1931)
18 A New Twelve-Tone Notation (1924)

PART VIII TEACHING
1 Problems in Teaching Art (I9II)
2 Music (from 'Guide-Lines for a Ministry of Art') (19I9)
3 On the Question of Modern Composition Teaching (1929)
4 Teaching and Modern Trends in Music (1938)
5 Eartraining through Composing (1939)
6 The Blessing of the Dressing (1948)
7 Against the Specialist (c. 1940)
8 The Task of the Teacher (1950)

PART IX COMPOSERS
1 Bach (1950)
2 Brahms the Progressive (1947)
3 Franz Liszt's Work and Being (1911)
4 Gustav Mahler: In Memoriam (1912)
5 Gustav Mahler (1912, 1948)
6 'Robert Schumann as Critic' (1931)
7 Alban Berg (1) (1949)
8 Alban Berg (2) (1930)
9 George Gershwin (1938)
10 Krenek's Sprung uber den Schatten (1923)
11 Igor Stravinsky: Der Restaurateur (1926)
12 Stravinsky's Oedipus (1928)
13 Anton Webern: Foreword to his Six Bagatelles (1924)
14 Anton Webern: Klangfarbenmelodie (19S1)
I5 Zemlinsky (1921)

PART X SOCIAL AND POLITICAL MATTERS
1 Parsifal and Copyright (1912)
2 Copyright (1949)
3 Success-the End of Bohemianism (1928)
4 Does the World Lack a Peace-Hymn? (1928)
5 Two Speeches on the Jewish Situation (1934 and I935)
6 My Attitude toward Politics (1950)
7 Human Rights (1947)
 
Sources and Notes
Appendices
Index