The musical idea and the logic, technique, and art of its presentation

목차 (Table of Contents)

• CONTENTS
• Abbreviations of Cited Sources = xi
• Editors' Preface = xv
• Acknowledgments = xxiii
• Commentary = 1
• Schoenberg's View of Art = 3
• Schoenberg's Preface = 8
• The Musical Idea = 15
• Comprehensibility and Coherence = 21
• Theory of Form = 44
• The Constructive Function of Harmony = 60
• Conclusion = 73
• The Musical Idea and the Logic, Technique, and Art of Its Presentation = 87
• [Der Musikalische Gedanke und die Logik, Technik, und Kunst seiner Darstellung] = 87
• Preface and Overview = 88
• Preface = 88
• Title Page = 94
• Principles of the Presentation of the Idea = 96
• Plan of the Book = 100
• The Profundity of the Idea and Its Realization as a Standard = 102
• The Musical Idea and the Logic, Technique, and Art of Its Presentation = 102
• Idea （1 and 2） = 102
• The Idea in the Contrapuntal Art of Composition and Its Presentation = 110
• Principles of Construction = 114
• Comprehensibility = 130
• Laws of Comprehensibility = 132
• Coherence = 144
• The Laws of Musical Coherence = 146
• Elements of Form = 162
• The Parts of a Piece = 162
• Part = 164
• Elements of Form = 164
• Phrase = 166
• Gestalt = 168
• Grundgestalt and Motive = 168
• The Difference Between Gestalt and Phrase = 170
• Features of the Motive = 170
• Statement = 172
• Stable Formation = 176
• Loose Formation = 178
• Theme = 180
• Melody = 180
• Sonority as a Formative Element = 196
• Rhythm = 198
• Rhythm = 198
• Classification of Rhythms = 202
• Accentuation and Nonaccentuation = 210
• Formal Procedures = 222
• [Formal Procedures] = 222
• Articulation = 224
• Change, Variation, Variant, Varying = 226
• Kinds of Variation = 230
• Coherence of "New Components" = 238
• Mirror Forms = 246
• Close = 246
• Cadencing = 246
• Cadential Fall = 248
• Kinds of Connection = 248
• Technique of Joining = 250
• Condensation = 250
• Dissolution, Liquidation = 252
• Tendency of the Smallest Notes = 256
• The Structural Capacities of the Scale = 258
• Wave―Shaped Progression = 260
• Contrasts （Contrasting Themes） = 262
• Digression from the Main Idea = 264
• Principal Idea, Subsidiary Idea = 264
• Subordinate Theme = 264
• Secondary, Tertiary, etc. Gestalten and Motives = 264
• The Shaping of Principal and Subordinate （Accompanying） Voices = 266
• Development Section = 268
• Sequences = 270
• Intensification = 272
• Does Repetition Have an Intensifying Effect? = 272
• Voice （Independent） = 272
• Introduction （1 and 2） = 272
• Preparation = 286
• Extramusical Means of Coherence = 286
• Fantasy = 286
• Description of All Forms = 288
• Miscellaneous = 290
• Performance and Gestalt = 290
• The Sense of Rit. and Accel. = 296
• Relaxation = 296
• Symmetry = 296
• Origin of Repetitions = 298
• Primitive Principles = 298
• Popular Music and Melody = 300
• Harmony = 308
• The Constructive Function of Harmony = 308
• Addendum = 342
• Keywords Still to Be Indexed = 346
• Keywords = 348
• Concordance of Terms = 351
• Appendix 1 Descriptions of the Gedanke Manuscripts = 403
• Appendix 2 Contents of Manuscript No. 10, Listed in Their Orginal Order = 409
• Appendix 3 German Texts of Unpublished Gedanke Manuscripts Referred to in the Commentary = 413
• Notes = 427
• Bibliography = 451
• Index of Musical Examples = 455
• Name Index = 457
• Subject Index = 459