Translators' introduction; 1. 'New Music' as historical category; 2. Progress and the avant garde; 3. Avant garde and popularity; 4. New Music and the problem of musical genre; 5. Problems of rhythm in the New Music; 6. Tonality: structure or process?; 7. Schoenberg's poetics of music; 8. Schoenberg's aesthetic theology; 9. Schoenberg and programme music; 10. Musical prose; 11. Emancipation of the dissonance; 12. What is 'developing variation'?; 13. Schoenberg and Schenker; 14. Schoenberg's Orchestral Piece Op. 16, No. 3 and the concept of Klangfarbenmelodie; 15. 'The Obbligato Recitative'; 16. Expressive principle and orchestral polyphony in Schoenberg's Erwartung; 17. Schoenberg's late works; 18. The fugue as prelude: Schoenberg's Genesis composition, Op. 44; 19. Rhythmic structures in Webern's Orchestral Pieces, Op. 6; 20. Analytical instrumentation: Bach's six-part ricercar as orchestrated by Anton Webern; 21. Schreker and modernism: on the dramaturgy of Der ferne Klang; 22. Structure and expression in the music of Scriabin; 23. Plea for a Romantic category: the concept of the work of art in the newest music; 24. On the decline of the concept of the musical work; 25. The musical work of art as a subject of sociology; 26. Form Translated by Stephen Hinton; 27. Composition and improvisation; 28. A rejection of material thinking?; Notes; List of sources; Index.