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Contents

Music in the Early Twentieth Century

ART AND THE UNCONSCIOUS

Chapter:
CHAPTER 6 Inner Occurrences (Transcendentalism, III)
Source:
MUSIC IN THE EARLY TWENTIETH CENTURY
Author(s):
Richard Taruskin

It seems an even better one, and even more exactly suggests the difference between expressionism and the earlier (“Hoffmannesque”) romantic concept from which it grew, when the sentence that immediately precedes it is reinstated. “Art,” declared Schoenberg to Kandinsky, “belongs to the unconscious!”5 He was using, as we would now say, a “buzzword.” Expressionism, especially as preached and practiced in Schoenberg’s Vienna, cannot be fully understood apart from the psychoanalytical movement that sprang up at the same time and in the same place. Both movements had the same compelling if paradoxical aim: to explore the human unconscious, in the one case through scientific inquiry, in the other through art.

Citation (MLA):
Richard Taruskin. "Chapter 6 Inner Occurrences (Transcendentalism, III)." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 18 Dec. 2018. <http://www.oxfordwesternmusic.com/view/Volume4/actrade-9780195384840-div1-006004.xml>.
Citation (APA):
Taruskin, R. (n.d.). Chapter 6 Inner Occurrences (Transcendentalism, III). In Oxford University Press, Music in the Early Twentieth Century. New York, USA. Retrieved 18 Dec. 2018, from http://www.oxfordwesternmusic.com/view/Volume4/actrade-9780195384840-div1-006004.xml
Citation (Chicago):
Richard Taruskin. "Chapter 6 Inner Occurrences (Transcendentalism, III)." In Music in the Early Twentieth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 18 Dec. 2018, from http://www.oxfordwesternmusic.com/view/Volume4/actrade-9780195384840-div1-006004.xml
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