Julie Brown presents a new way of understanding Schoenberg's step into atonality in 1908. Reconsidering his early atonal works, his theoretical writings and previously unexplored archival documents, she argues that Schoenberg's revolutionary step was in part a response to Wagner's negative charges concerning the Jewish influence on German music.
Julie Brown reconsiders Schoenberg's step into atonality as a response to Wagner's charges concerning the Jewish influence on German music.
