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Contents

Music in the Early Twentieth Century

PSYCHOLOGICAL REALISM

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

So there we have some more questions to be repressed for the time being, while we delve further into Schoenberg’s repulsive yet fascinating psychological terrain. The word “repulsive” here is not an esthetic judgment but (as the epigraph atop this chapter already suggests) a statement of fact. The use of art—sometimes didactically, sometimes voyeuristically—to explore what was ugly or obnoxious was another long-standing project that expressionism brought to a head; and it should come as no surprise that Schoenberg’s most extreme essay in the expressionist vein should have been a portrait of a sexually obsessed madwoman to set alongside counterparts in Wagner and Strauss and vastly outstrip them.

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-div1-006012.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-div1-006012.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-div1-006012.xml
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