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NOTE TO READERS This writing was based on the attempt to translate musical ideas from the work of Arnold Schoenberg. In the more serial pieces, where he used tones, I used parts of speech. Stretti, inversions and other techniques were sometime employed. In the “atonal” Erwartung chapter, I was struck by the happy coincidence that the librettist for the monodram might have been related to Freud’s Anna O. Problems remain. ...

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