TONAL OR ATONAL?

Chapter:

CHAPTER 6 Inner Occurrences (Transcendentalism, III)

Source:

MUSIC IN THE EARLY TWENTIETH CENTURY

Author(s):

Richard Taruskin

That much is fairly obvious. What the composer withheld from this description, possibly because it would have required too technical an explanation for a record sleeve, is the really crucial matter: each one in the initial series of arabesques, minus its first and last notes, is a transposition of the Eschbeg set, Schoenberg's musical signature, leaving no doubt as to exactly whose consciousness is being buffeted through space, and focusing attention not merely on the buffeting but on the consciousness itself, that is, the “inward,” subjective experience.

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. 7 Feb. 2025. <https://www.oxfordwesternmusic.com/view/Volume4/actrade-9780195384840-div1-006009.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 7 Feb. 2025, from https://www.oxfordwesternmusic.com/view/Volume4/actrade-9780195384840-div1-006009.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 7 Feb. 2025, from https://www.oxfordwesternmusic.com/view/Volume4/actrade-9780195384840-div1-006009.xml