出版樂譜：荀貝格作品全集
Schoenberg, Arnold. Sämtliche Werke. Edited by Josef Rufer and Rudolf Stephan. Mainz, Wien: B. Schott’s Sohne, Universal Edition, 1966 (1991).
出版樂譜：其他
Humperdinck, Engelbert. Opera Königskinder. Edited by Rudolf Siegel. Leipzig: Max Brockhaus, 1911. IMSLP, http://imslp.org/wiki/Special:ImagefromIndex/52476 (accessed 28 October 2010).
Schoenberg, Arnold. The Book of the Hanging Gardens and Other Songs for Voice and Piano. New York: Dover, 1995.
_________. Brettl-Lieder, BEL 1018. LA: Belmont, 1970.
_________. Chorwerke I. Edited by Tadeusz Okuljar. Mainz, Wien: B. Schott’s Sohne, Universal Edition, 1991.
_________. Chorwerke I: Fragmente von Chorwerke und Kanons, Skizzen. Edited by Tadeusz Okuljar and Martina Sichardt. Mainz, Wien: B. Schott’s Sohne, Universal Edition, 1991.
_________. Chorwerke II. Edited by Josef Rufer and Christian Martin Schmidt. Mainz, Wien: B. Schott’s Sohne, Universal Edition, 1975.
_________. Collected Songs: for Voice and Piano. Miami Lakes, Florida: Masters Music (M 1180-11812 vols).
_________. Dreimal tausend Jahre: für gemischten Chor, Op. 50a. Mainz: B. Schott’s Sohne, c.1955.
_________. Erwartung: Monodram in 1 Akt, UE 5361. Wien: Universal Edition, 1923 (LA: Belmont, n.d.).
_________. Five orchestral pieces and Pelleas und Melisande. New York: Dover, 1994.
_________. Friede auf Erden, opus 13. Schott (SKR 19008), n.d.
_________. Die glückliche Hand, UE 13613. Wien: Universal Edition, 1917 (LA: Belmont, n.d.).
_________. Gurrelieder: für Soli, Chore und Orchester. (UE 6300) Wien: Universal Editon, 1920; (BEL 1005) LA: Belmont, 1948. IMSLP, http://imslp.org/wiki/Gurre-Lieder_(Schoenberg,_Arnold) (accessed 14 March 2010).
_________. Moses und Aron: Opera. Edited by Christian Martin Schmidt. Mainz and London, etc.: Ernst Eulenburg, 1984.
_________. Seven Early Songs: 1894-1903. Edited by Leonard Stein. London: Faber, 1987.
_________. Six Orchestral Songs, Op. 8: for Voice and Piano. Boca Raton, Florida: Masters Music, 1990.
_________ (Schönberg). Streichquartett II (Philharmonia 229). Wien: Universal Edition, 1940.
_________. A Survivor from Warsaw, Op. 46, BEL 1030. LA: Belmont, n.d.
_________. Verklärte Nacht and Pierrot Lunaire. New York: Dover, 1994.
_________. Vier Lieder, Op. 22: für Gesang und Orchester. Wien: Universal Edition, 1944.
_________. Von Heute auf Morgen (Klavierauszug), ED 5077. Mainz: Schott, n.d.
百科全書／辭典／線上資料庫
Arnold Schoenberg Center, Vienna. http://www.schoenberg.at/
Balzac, Honoré de. Seraphita. Translated by Katharine Prescott Wormeley. In the Project Guterberg E-Book, http://www.gutenberg.org/files/1432/1432.txt (accessed 15 July 2010).
Botstein, Leo. “Modernism.” In Grove Music Online. Oxford Music Online. http://www.oxfordmusiconline.com/subscriber/article/grove/music/40625 (accessed 2 August 2010).
Fanning, David. “Expressionism.” In Grove Music Online. Oxford Music Online. http://www.oxfordmusiconline.com/subscriber/article/grove/music/09141 (accessed 8 July 2010).
Hart, Sonat. “Cabaret, German, Jewish Contribution to.” In Encyclopedia of Modern Jewish Culture, Vol. 1 (ISBN: 0-203-49435-0). Edited by Glenda Abramson. Routledge: Taylor and Francis, 2004. Online version 2009, http://www.bookrags.com/tandf/cabaret-german-jewish-contribution-tf/ (accessed 4 November 2010).
Jacobsen, J. P. Gurresange. In Arkiv for Dansk Litteratur, http://www.adl.dk/adl_pub/vaerker/cv/e_vaerk/e_vaerk.xsql?ff_id=6&id=6357&hist=G&nnoc= (accessed 20 August 2010).
Kennedy, Michael, ed. “Sprechgesang, Sprechstimme.” In The Oxford Dictionary of Music, 2nd ed. rev. Oxford Music Online. http://www.oxfordmusiconline.com/subscriber/article/opr/t237/e9716 (accessed 17 November 2010).
Kintzler, Catherine. “Rousseau, Jean-Jacques.” In Grove Music Online. Oxford Music Online. http://www.oxfordmusiconline.com/subscriber/article/grove/music/23968 (accessed 17 November 2010).
Neighbour, O.W. “Schoenberg, Arnold.” In Grove Music Online. Oxford Music Online, http://www.oxfordmusiconline.com/subscriber/article/grove/music/25024 (accessed 30 November 2009).
Samson, Jim. “Romanticism” (especially. §3: Styles). In Grove Music Online. Oxford Music Online, http://www.oxfordmusiconline.com/subscriber/article/grove/music/23751 (accessed 8 July 2010).
Schiano, Michael J. “Grundgestalt.” In Grove Music Online. Oxford Music Online, http://www.oxfordmusiconline.com/subscriber/article/grove/music/11868 (accessed 15 July 2010).
Taruskin, Richard. “Nationalism.” In Grove Music Online. Oxford Music Online, http://www.oxfordmusiconline.com/subscriber/article/grove/music/50846 (accessed 8 October 2010).
Tatlow, Ruth, and Paul Griffiths. “Numbers and Music.” In Grove Music Online. Oxford Music Online, http://www.oxfordmusiconline.com/subscriber/article/grove/music/44483 (accessed 24 September 2010).
Warrack, John. “Gesamtkunstwerk.” In the Oxford Companion to Music. Edited by Alison Latham. Oxford Music Online, http://www.oxfordmusiconline.com/subscriber/article/opr/t114/e2845 (accessed 20 November 2010).
出版書籍與學術論文
Adamenko, Victoria. Neo-Mythologism in Music: from Scriabin and Schoenberg to Schnittke and Crumb. New York: Pendragon Press, 2007.
Adorno, Theodor W. “Music, Language, and Composition.” Translated by Susan Gillespie. The Musical Quarterly 77, No. 3 (Fall 1993): 401-14.
_________. Quasi una fantasia: Essays on Modern Music. Translated by Rodney Livingstone. London & New York: Verso, 1998 (reprinted version 2002).
Albright, Daniel. ed. Modernism and Music: an Anthology of Sources. London: The University of Chicago Press, 2004.
Anderson, Emily, ed. and trans. Mozart’s Letters: an Illustrated Selection. London: Barrie & Jenkins, 1990.
Appignanesi, Lisa. The Cabaret. New Haven: Yale University Press, 2004.
Auner, Joseph Henry, ed. A Schoenberg Reader: Documents of a Life. New Haven: Yale University Press, 2003.
Babbit, Milton. “Twelve-tone invariants as compositional determinants” The Musical Quarterly 46, No. 2 (1960): 246-59.
_________. “Who Cares If You Listen?” High Fidelity 8, No. 2 (February 1958): 38-40 and 126-27. http://courses.unt.edu/jklein/files/babbitt.pdf (accessed 1 October 2010).
Bach, David Joseph. “A Note on Arnold Schoenberg.” The Musical Quarterly 22 (1936): 8-13.
Bailey, Walter B., ed. The Arnold Schoenberg Companion. Westport, Conn.: Greenwood Press, 1998.
_________. “Prophetic Aspects of Musical Style in the Early Unpublished Songs of Arnold Schoenberg.” The Musical Quarterly 74, No. 4 (1990): 491-520.
Bamberger, Jeanne Shapiro, and Howard Brofsky. The Art of Listening: Developing Musical Perception, 5th ed. New York: Harper & Row, 1988.
Berg, Alban. Glaube, Hoffnung und Liebe: Schriften zur Musik. Leipzig: Reclam, 1981.
Berry, Mark. “Arnold Schoenberg’s Biblical Way: from Die Jakobsleiter to Moses und Aron.” Music and Letters 89, No. 1 (2008): 84-108.
Brand, Juliane, Christopher Hailey, and Donald Harris, eds. and trans. The Berg-Schoenberg Correspondence: Selected Letters. New York: Norton, 1987.
_________, and Christopher Hailey, eds. Constructive Dissonance: Arnold Schoenberg and the Transformations of Twentieth-Century Culture. Berkeley, CA: University of California Press, 1997.
Brecht, Bertolt. Brecht on Theatre: the Development of an Aesthetic. Edited and translated by John Willett. New York: Hill and Wang, 1974.
Bryn-Julson, Phyllis, and Paul Matthews. Inside Pierrot lunaire: Performing the Sprechstimme in Schoenberg’s Masterpiece. Lanham, MD: The Scarecrow Press, 2009.
Buchanan, Herbert H. “A Key to Schoenberg’s Erwartung (Op. 17).” Journal of American Musicological Society 20, No. 3 (Fall 1967): 434-449.
Burkholder, J. Peter, Donald Grout, and Claude V. Palisca. A History of Western Music. New York: Norton, 2006 (7th ed.) and 2010 (8th ed.).
Burney, Charles. The Present State of Music in Germany, the Netherlands, and United Provinces, or the Journal of a Tour through Those Countries, Undertaken to Collect Materials for a General History of Music, Vol. 1. Facsimile of the 1775 London Edition (Corrected 2nd ed.) in 2 volumes, repr. New York: Broude Brothers, 1969.
Busoni, Ferruccio. Sketch of a New Esthetic of Music. Translated by Th[eodore] Baker. New York: Schirmer, 1911. Digitally-copied free images available on internet: http://imslp.info/files/imglnks/usimg/c/c4/IMSLP12441-Sketch_of_a_New_Esthetic_of_Music_-_Busoni.pdf (accessed 26 July 2010).
Byron, Avior. “The Test Pressings of Schoenberg Conducting Pierrot lunaire: Sprechstimme Reconsidered.” Society for Music Theory 12, No. 1 (Feb 2006), original text available at Music Theory Online (http://mto.societymusictheory.org/issues/mto.06.12.1/mto.06.12.1.byron_frames.html).
_________, and Matthias Pasdzierny. “Sprechstimme Reconsidered Once Again: ‘... though Mrs. Stiedry is never in pitch’.” Society for Music Theory 13, No. 2 (Jun 2007), original text available at Music Theory Online (http://mto.societymusictheory.org/issues/mto.07.13.2/mto.07.13.2.byron_pasdzierny.html).
Carr, Maureen A. Multiple Masks: Neoclassicism in Stravinsky’s Works on Greek Subjects. Lincoln: University of Nebraska Press, 2002.
Cherlin, Michael. “Dialectical Opposition in Schoenberg’s Music and Thought.” Music Theory Spectrum 22, No. 2 (Fall 2000): 157-76.
_________. Schoenberg’s Musical Imagination. New York: Cambridge University Press, 2007.
Chew, Geoffrey. “The Platonic Agenda of Monteverdi’s Seconda Pratica: A Case Study from the Eighth Book of Madrigals.” Music Analysis 12, No. 2 (July 1993): 147-68.
Christensen, Jean. “The Spiritual and the Material in Schoenberg’s Thinking.” Music and Letters 65, No. 4 (1984): 337-44.
Corbusier, Le. Towards a New Architecture (Vers une architecture). Translated by Frederick Etchells. Oxford: the Butterworth Architecture, 1994.
Crawford, John C. "Die glückliche Hand: Schoenberg’s Gesamtkunstwerk." The Musical Quarterly 60, No. 4 (Fall 1974): 583-601.
Cross, Charlotte Marie, and Russell A. Berman, eds. Schoenberg and Words: the Modernist Years. New York & London: Garland Publishing, Inc., 2000.
_________, eds. Political and Religious Ideas in the Works of Arnold Schoenberg. New York: Garland, 2000.
Dahlhaus, Carl. Between Romaticism and Modernism: Four Studies in the Music of the Later Nineteenth Century. Translated by Mary Whittal. Berkeley, CA: University of California Press, 1980
_________. Esthetics of Music. Translated by William W. Austin. Cambridge: Cambridge University Press, 1982.
_________. Nineteenth-Century Music. Translated by J. Bradford Robinson. Berkeley, CA: University of California Press, 1989.
_________. Realism in Nineteenth-Century Music. Translated by Mary Whittall. Cambridge: Cambridge University Press, 1985.
_________. Richard Wagner’s Music Dramas. Translated by Mary Whittall. Cambridge: Cambridge University Press, 1979.
_________. Schoenberg and the New Music. Translated by Derrick Puffett and Alfred Clayton. Cambridge: Cambridge University Press, 1987.
_________. „Schönbergs musikalische Poetik.“ Archiv für Musikwissenschaft 33 (1976): 81-88.
_________. Vom Musikdrama zur Literaturoper. München und Salzburg: Katzbichler, 1983.
De la Croix,Horst, Richard G. Tansey and Diane Kirkpatrick, eds. Gardner’s Art: through the Ages, 9th ed. Fort Worth: Harcourt Brace Jovaovich College Publishers, 1991.
Dineen, Murray. “Adorno and Schoenberg’s Unanswered Question.” The Musical Quarterly 77, No. 3 (Fall 1993): 415-27.
Dunsby, Jonathan. Schoenberg: Pierrot lunaire. Cambridge: Cambridge University Press, 1992.
Elger, Dietmar. Expressionism: a Revolution in German Art. Köln: Taschen, 1998.
Eliel, Carol S., et al. L’Esprit nouveau: Purism in Paris, 1918-25. LA: Los Angeles County Museum of Art, 2000.
Eliot, T. S. On Poetry and Poets. New York: Noonday, 1968.
Endell, August. “Formkunst.” In Dekorative Kunst 1 (1898), http://www.archive.org/stream/dekorativekunst00unkngoog/dekorativekunst00unkngoog_djvu.txt (accessed 17 July 2010).
Ennulat, Egbert M., trans. and ed. Arnold Schoenberg Correspondence: a Collection of Translated and Annotated Letter Exchanged with Guido Adler, Pable Casals, Emanuel Feuermann and Olin Downes. Metuchen, NJ: Scarecrow, 1991.
Fetcher, Paul. Der Expressionismus. München: R. Piper, 1914.
Fisk, Josiah, ed. Composers on Music: Eight Centuries of Writings. Boston, Mass.: Northeastern University Press, 1997.
Fleisher, Robert. “Dualism in the Music of Arnold Schoenberg.” Journal of the Arnold Schoenberg Institute 12, No. 1 (Jun 1989): 22-42.
Forte, Allen. “Schoenberg’s creative evolution: the path to atonality.” The Musical Quarterly 64, No. 2 (1978): 133-76.
Franklin, Peter. “Audiences, Critics and the Depurification of Music: Reflections on a 1920s Controversy.” Royal Musical Association 114, No. 1 (1989): 80-91.
Friedheim, Philip. “Rhythmic Structure in Schoenberg’s Atonal Compositions.” Journal of American Musicological Society 19, No. 1 (April 1966), 59-72.
_________. “Wagner and the Aesthetics of the Scream.” Nineteenth Century Music 7, No. 1 (summer 1983), 63-70.
Frisch, Walter. The Early Works of Arnold Schoenberg, 1893-1908. Berkeley & Los Angeles, CA: University of California Press, 1993.
_________. “Music and Jugendstil.” Critical Inquiry 17, No. 1 (Fall 1990): 138-61.
_________, ed. Schoenberg and His World. Princeton, NJ: Princeton University Press, 1999.
Fuegi, John. The Essential Brecht. LA: Hennessey & Ingalls, 1972.
George, Graham. “The Structure of Dramatic Music 1607-1909.” The Musical Quarterly 52, No. 1 (Oct 1966): 465-82.
Gervink, Manuel. Arnold Schönberg und seine Zeit. Laaber: Laaber-Verlag, 2000.
Gordon, Donald E. “On the Origin of the Word ‘Expressionism’.” Journal of the Warburg and Courtauld Institute 29 (1966): 368-85.
Gorrell, Lorraine. “Performing the Sprechstimme in Arnold Schoenberg’s Pierrot Lunaire, Op. 21.” (NATS) Journal of Singing 55, No. 2 (Nov-Dec 1998): 5-15.
Haimo, Ethan. Schoenberg’s Serial Odyssey: the Evolution of His Twelve-Tone Method, 1914-1928. Oxford: Clarendon, 1990.
_________. Schoenberg’s Transformation of Musical Language. New York: Cambridge University Press, 2006.
Hamilton, David. “Schoenberg’s First Opera.” Opera Quarterly 6, No. 3 (Spring 1989): 48-58.
Hilberseimer, Ludwig, and Kurt Rowland. The Sources of Modern Art and Architecture. （《近代建築藝術源流》。劉其偉譯本。臺北：六合，1976。）
Hilmar, Ernst, ed. Arnold Schönberg: Gedenkausstellung 1974. Wien: Univeral Edition, 1974.
Hyde, Martha M. ‘Stravinsky’s neoclassicism.’ In The Cambridge Companion to Stravinsky. Edited by Jonathan Cross. Cambridge: Cambridge University Press, 2003.
Keller, Hans. “Whose Fault Is the Speaking Voice?” Tempo 75 (Winter 1965-66): 12-17.
Kravitt, Edward F. “The Influence of Theatrical Declamation upon Composers of the Late Romantic Lied.” Acta Musicologica 34 (1962): 18-28.
_________. “The Joining of Words and Music in Late Romantic Melodrama.” The Musical Quarterly 62 (1976): 571-590.
_________. The Lied: Mirror of Late Romanticism. New Haven & London: Yale University Press, 1996.
Kuhns, David F. German Expressionist Theater: the Actor and the Stage. Cambridge: Cambridge University Press, 1997.
Lessem, Alan Philip. Music and Text in the Works of Arnold Schönberg: the Critical Years, 1908-1922. Ann Arbor: UMI Research Press, 1979.
_________. “Schoenberg, Stravinsky, and Neo-Classicism: the Issues Reexamined.” The Musical Quarterly 68, No. 4 (Oct 1982): 527-42.
_________. “Schönberg and the Crisis of Expressionism.” Music and Letters 55, No. 4 (Oct 1974): 429-36.
_________. “Text and Music in Schoenberg’s Pierrot Lunaire.” Current Musicology 19 (1975): 103-12.
Lockspeiser, Edward. Music and Painting: a Study in Comparative Ideas from Turner to Schoenberg. New York: Harper & Row, 1973.
Lombardi, Daniele. “Futurism and Musical Notes.” Translated by Meg Shore. In Ubuweb, http://www.danielelombardi.it/writings/by/Writings_By16.html (accessed 23 July 2010).
Mabry, Sharon. “Recitation in Twentieth Century Music.” NATS Journal 42, No. 5 (May-Jun 1986): 28-29.
MacDonald, Malcolm. Schoenberg. Oxford: Oxford University Press, 2008.
Marinetti, F. T. “Il Manifesto di fondazione del movimento futurista.” http://www.italianfuturism.org/manifestos/fondation-et-manifeste-du-futurisme (accessed 24 July 2010).
Messing, Scott. Neoclassicism in Music: from the Genesis of the Concept through the Schoenberg/Stravinsky Polemic. Rochester, NY: University of Rochester Press, 1996.
Metzer, David. “The New York Reception of Pierrot lunaire: the 1923 Premiere and Its Aftermath.” The Musical Quarterly 78, No. 4 (Winter 1994): 669-99.
Meyer, Leonard B. Music, the Arts, and Ideas: Patterns and Predictions in Twentieth-Century Culture. Chicago: the University of Chicago Press, 1967.
Milhaud, Darius. “To Arnold Schoenberg on His Seventieth Birthday: Personal Recollections.” The Musical Quarterly 30, No. 4 (Oct 1944): 379-84.
Milstein, Silvina. Arnold Schoenberg : Notes, Sets, Forms. Cambridge: Cambridge University Press, 1992.
Morgan, Robert P., ed. Source Readings in Music History, Volume 7. New York: Norton, 1998.
Newlin, Dika. Bruckner, Mahler, Schoenberg. New York: Norton, 1978.
_________. Schoenberg Remembered: Diaries and Recollections (1938-76). New York: Pendragon, 1980.
Nietzsche, Friedrich W. Also sprach Zarathustra: Ein Buch für Alle und Keinen. Edited by Giorgio Colli. Berlin: Walter de Gruyter, 1968. （尼采。《查拉圖斯特拉如是說》。余鴻榮譯本。臺北：志文，1983。）
Ozenfant, Amédée. Foundations of Modern Art. Translated by John Rodker. New York: Dover, 1952.
_________, and Charles-Édouard Jeanneret. Après le cubisme. Paris: Edition des Commentaires, 1918.
Payne, Anthony. Schoenberg. Oxford & New York: Oxford University Press, 1968.
Perle, George. Serial Composition and Atonality: an Introduction to the Music of Schoenberg, Berg, and Webern, 6th ed. (revised). Berkeley, CA: University of California Press, 1991.
Peyser, Joan. The New Music: the Sense behind the Sound, with an introduction of Jacques Barzun. New York: Dell, 1971.
Rapoport, Eliezer. “Schoenberg-Hartleben’s Pierrot Lunaire: Speech - Poem - Melody - Vocal Performance.” Journal of New Music Research 33, No. 1 (2004): 71-111.
Reich, Willi. Schoenberg: a Critical Biography. Translated by Leo Black. New York: Da Capo, 1981.
Ringer, Alexander L. Arnold Schoenberg: the Composer as Jew. Oxford: Clarendon, 1990.
Rochberg, George. “Reflections on Schoenberg.” Perspectives of New Music 11, No. 2 (Spring-Summer 1973): 56-83.
Roeder, John. “Harmonic Implications of Schoenberg''s ‘Observations of Atonal Voice Leading’.” Journal of Music Theory 33, No. 1 (Spring 1989): 27-62.
_________. “Interacting Pulse Streams in Schoenberg''s Atonal Polyphony.” Music Theory Spectrum 16, No. 2 (Autumn 1994): 231-49.
Rosen, Charles. Arnold Schoenberg. Chicago: University of Chicago Press, 1996.
Rubsamen, Walter H. “Schoenberg in America.” The Musical Quarterly 37, No. 4 (Oct 1951): 469-89.
Russolo, Luigi. The Art of Noises. Translated and an introduction by Barclay Brown. New York: Pendragon, 1986.
Schiller, David Michael. Bloch, Schoenberg, and Bernstein: Assimilating Jewish Music. New York: Oxford University Press, 2003.
Schoenberg, Arnold. Arnold Schoenberg: Letters. Edited by Erwin Stein. Translated by Eithne Wilkins and Ernst Kaiser. Berkeley, CA: University of California Press, 1987.
_________. “Attempt at a Diary.” Translated by Anita Luginbühl. Journal of the Arnold Schoenberg Institute 9, No. 1 (June 1986): 7-51.
_________. Coherence, Counterpoint, Instrumentation, Instruction in Form (Zusammenhang, Kontrapunkt, Instrumentation, Formenlehre). Edited and with an introduction by Severine Neff. Translated by Charlotte M. Cross and Severine Neff. Lincoln, NE: University of Nebraska Press, 1994.
_________. Fundamentals of Musical Composition. Edited by Gerald Strang. New York: St. Martin’s Press, 1967.
_________. The Musical Idea and the Logic, Technique, and Art of Its Presentation. Edited, translated, and with a commentary by Patricia Carpenter and Severine Neff. New York: Columbia University Press, 1993.
_________. Preliminary Exercises in Counterpoint. Edited and with a foreword by Leonard Stein. London: Faber & Faber, 1963.
_________. Structural Functions of Harmony, 2nd ed. Revised and edited by Leonard Stein. New York: Norton, 1969.
_________. Style and Idea: Selected Writings of Arnold Schoenberg. Edited by Leonard Stein. Translated by Leo Black. Berkeley, CA: University of California Press, 1984.
_________. Theory of Harmony. Translated by Roy E. Carter. Berkeley, CA: University of California Press, 1978. (Idem. Harmonielehre. Wien: Universal Edition, 1922.)
Schoenberg Nono, Nuria, ed. Arnold Schoenberg Self-Portrait, BEL-1055. Los Angeles: Belmont, 1988.
_________. Arnold Schönberg 1874-1951: Lebensgeschichte in Begegnunen. Klagenfurt und Wien: Ritter, 1998.
Schorske, Carl E. Fin-de-Siècle Vienna: Politics and Culture. Cambridge: Cambridge University Press, 1981. （卡爾‧修斯克。《世紀末的維也納》。黃煜文譯本。臺北：麥田，2002。）
Selz, Peter (Howard). German Expressionist Painting. Berkeley, CA: University of California Press, 1974.
Shaw, Jennifer. “New Performance Sources and Old Modernist Productions: Die Jakobsleiter in the Age of Mechanical Reproduction.” The Journal of Musicology 19, No. 3 (Summer 2002): 434-60.
Simms, Bryan R. Schoenberg, Berg, and Webern: a Companion to the Second Viennese School. Westport, Conn.: Greenwood, 1999.
_________. The Atonal Music of Arnold Schoenberg, 1908-1923. New York: Oxford University Press, 2000.
Smith, Joan Allen. Schoenberg and His Circle: a Viennese Portrait. New York: Schirmer, 1986.
_________. “Schoenberg’s Way.” Perspectives of New Music 18 (Fall & Winter 1980): 258-85.
Soder, Aidan. Sprechstimme in Arnold Schoenberg’s Pierrot lunaire: a Study of Vocal Performance Practice. Lewiston, NY: Edwin Mellen, 2008.
Soufas, Leigh D. “The Speaking Voice in Twentieth-Century Music.” NATS Journal 47, No. 2 (Nov-Dec 1990): 13-15 & 19.
Stadlen, Peter. “Schoenberg’s Speech-Song.” Music and Letters 62, No. 1 (Jan 1981): 1-11.
Steiner, Ena. “Schoenberg’s Quest: Newly Discovered Works from His Early Years.” The Musical Quarterly 60, No. 3 (1974): 401-20.
Sterne, Colin C. Arnold Schoenberg: the Composer as Numerologist. Lewiston, NY: Edwin Mellen, 1993.
Stolba, K. Marie. The Development of Western Music. Boston: McGrow-Hill, 1998.
Strasser, Michael C. “A Survivor from Warsaw as Personal Parable.” Music and Letters 76, No. 1 (Feb 1995): 52-63.
Stravinsky, Igor, and Robert Craft. Conversations with Igor Stravinsky. Berkeley, CA: University of California Press, 1958. （羅伯特‧克拉夫特。《斯特拉文斯基訪談錄》。李毓榛、任光宣譯本。北京：東方，2004。）
_________. Dialogues. Berkeley, CA: University of California Press, 1982.
Strunk, Oliver, ed. Source Readings in Music History. New York: Norton, 1950 (1st ed.), and 1998 (revised edition by Leo Treitler).
Stuckenschmidt, H. H. Schoenberg: His Life, World and Work. Trans. Humphrey Searle. New York: Schirmer, 1978.
_________. “Synthesis and New Experiments: Four Contemporary German Composers.” The Musical Quarterly 38, No. 3 (July 1952): 353-68.
Toye, Francis. “A Case for Musical Nationalism.” The Musical Quarterly 4, No. 1 (1918): 12-22.
Wagner, Richard. Opera and Drama. Translated by William Ashton Ellis. Lincoln, NE: University of Nebraska Press, 1995.
Wellesz, Egon. Arnold Schönberg. (Originally published by London: J. M. Dent & Sons; New York: Dutton, 1925) Reprinted by Westport, Conn.: Greenwood, 1970.
White, Harry. “Is This Song about You? Some Reflections on Music and Nationalism in Germany and Ireland.” International Review of the Aesthetics and Sociology of Music 33, No. 2 (2002): 131-47.
White, Pamela C(ynthia). Schoenberg and the God-Idea: the Opera Moses und Aron. Michigan: Ann Arbor, 1985.
Wolff, Christoph. Music of My Future: the Schoenberg Quartet and Trio. Edited by Reinhold Brinkmann. New Hampshire: Harvard, 2000.
Wölfflin, Heinrich. Principles of Art History: the Problem of the Development of Style in Later Art. Translated by M. D. Hottinger. New York: Dover, 1950. （沃夫林。《藝術史的原則》。曾雅雲譯本。臺北：雄獅，1987。）
Wörner, Karl H. “Arnold Schoenberg and the Theater.” Translated by Willis Wager. The Musical Quarterly 48, No. 4 (Oct 1962): 444-60.
Yasser, Joseph. “A Letter from Arnold Schoenberg.” American Musicological Society 6 (1953): 53-62.
Zweite, Armin. The Blue Rider: in the Lenbachhaus, Munich. Translated by John Ormrod. Munich: Prestel-Verlag, 1989.
王美珠。《音樂．文化．人生：系統音樂學的跨學科研究議題與論文》。臺北：美樂，2001。
尼采。《悲劇的誕生》，新潮文庫45。劉崎譯本。臺北：志文，1974（二版）。
佛洛伊德（Sigmund Freud）。《夢的解析》（Die Traumdeutung）。賴其萬、符傳孝譯本。臺北：志文，1986。
_________。《精神分析引論，精神分析新論》（Vorlesungen zur Einführung in die Psychoanalyse, Neue Folge der Vorlesungen zur Einführung in die Psychoanalyse）。葉頌壽譯本。臺北：志文，1985。
亞里斯多德（Aristotle）。《詩學》（Poetics）。陳中梅譯本。臺北：臺灣商務印書館，2003。林國源。《古希臘劇場美學》。臺北：書林，2000。洪鎌德。《民族主義》。臺北：一橋，2003。
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Boulez, Pierre, conductor. Boulez Conducts Arnold Schoenberg I. Multiple sources and performers. Sony Classical 88697564622. 5 CDs. 2009.
_________. Boulez Conducts Arnold Schoenberg II. Multiple sources and performers. Sony Classical 88697562522. 6 CDs. 2009.
Marton, Eva, soprano. Schoenberg, Wagner. Budapest Symphony Orchestra, conducted by John Carewe and János Kovács. Hungaroton Classic HCD 31748. CD. 1998.
_________. Works by Zemlinsky, Schoenberg, Schreker, Korngold. Budapest Symphony Orchestra, conducted by John Carewe. Hungaroton Classic HCD 31932. CD. 2000.
Schoenberg, Arnold. Choral Works. Philharmonia Orchestra, conducted by Robert Craft, and Jennifer Welch-Babidge (Soprano), David Wilson-Johnson (Rabbi-Narrator), Simon Joly Chorale. NAXOS 8.557525. CD. 2007.
_________. Die Glückliche Hand, Verklärte Nacht. BBC Singers & Symphony Orchestra, New York Philharmonic, conducted by Pierre Boulez. Sony Classical SMK 48 464. CD. 1993.
_________. Gurrelieder. Performed by Tanglewood Festival Chorus & Boston Symphony Orchestra, conducted by Seiji Ozawa. Philips 475 7782. 2CDs. 2006.
_________. Die Jakobsleiter & Chamber Symphony No. 1. Performed by BBS Singers & Symphony Orchestra, and Members of the Ensemble InterContemporain, conducted by Pierre Boulez. Sony Classical SMK 48 462. CD. 1993.
_________. Lieder. Performed by Ellen Faull (Soprano), Helen Vanni (Mezzo-Soprano), Donald Gramm (Bass-Baritone), Cornelis Opthof (Baritone), and Glenn Gould (Piano). Sony Classical SM2K 52 667. 2CDs. 1995.
_________. Moses und Aron. BBC Singers & Symphony Orchestra, Orpheus Boys’ Choir, and Members of the Ensemble InterContemporain, conducted by Pierre Boulez. Sony Classical SM2K 48 456. 2CDs. 1993.
_________. Moses und Aron. Live recording from the Vienna State Opera in 2006. Franz Grundheber (as Moses), Thomas Moser (as Aron), etc., with Orchestra and Chorus of the Vienna State Opera, et al., conducted by Daniele Gatti. Directed for TV by Claus Viller in a 2006 production of the ORF. ARTHAUS MUSIK 101 259. DVD (in NTSC format). 2006.
_________. Schoenberg: Op. 16, 17, 18. Symphonieorchester des Bayerischen Rundfunks, Dir. Hermann Scherchen, Sop. Magda Laszló und Baß Kieth Engen. Orfeo C 274 921 B. CD. 1992.
_________. Pierrot Lunaire, Op. 21, and other vocal repertoire of Schoenberg. Performed and released in CDs as the followings:
Jane Manning (Sprechstimme) and Simon Rattle. Chandos: CHAN 6534 (recorded 1977, released 2003).
Marianne Pousseur (Sprechstimme) and Philippe Herreweghe (conductor). HMC 901390. Harmonia mundi, 1992.
Christine Schäfer and Pierre Boulez. 457 630-2. Deutsche Grammophon, 1998.
Mary Thomas and David Atherton. 425626-2. DECCA, 1990.