This article provides a detailed examination of Hauer’s late 12-tone compositions, identifying the practices and procedures employed across a body of more than 100 pieces.

This article explores the influence of sources outside the institutional framework of organized religion (“occult” sources) on Schoenberg’s aesthetic thinking and writing, especially with regard to the musical idea..

This article examines the spiritual dimension of early twelve-tone theoretical writing, with a focus on the writing and music of Arnold Schoenberg and Josef Matthias Hauer.

This article explores the sources of what Dahlhaus calls Schoenberg’s “aesthetic theology” in the philosophical, literary, and mystical writings of late 19th- and early 20th-century Europe.

This article explores the influence of mysticism in early 20th-century Vienna on the palindromic designs that can found n Berg’s music.

This chapter examines Schoenberg’s theoretical ideas on musical structure with particular emphasis on his Variations for Orchestra, op 31.

This chapter traces the development of the twelve-tone idea in twentieth-century music theory.

This chapter provides a biographical sketch of Hauer’s life and music.

This article explores Schoenberg’s engagement with organicism, casting it as an aesthetic ideal.

This article traces the reception of Schoenberg’s theoretical ideas in the English-language music theory community.