Prof. Ethan Haimo

Ethan Haimo



Stravinsky Retrospectives (co-editor, Paul Johnson) University of Nebraska Press (1987).

____ (paperback edition), 1997.

Schoenberg's Serial Odyssey: the Evolution of his Twelve-tone Method, 1914-1928, Oxford University Press (1990).

____ (paperback edition), 1992.

Haydn's Symphonic Forms: Essays in Compositional Logic, Oxford University Press (1995).

Schoenberg’s Transformation of Musical Language, Cambridge University Press, (2006).

----- (paperback edition), 2009

Schoenberg's Early Correspondence, (co-author: Sabine Feisst) Oxford University Press (2016).

----- (paperback edition), forthcoming.


Scholarly Edition

Ethan Haimo and Nancy D'Antuono, editors, Domenico Cimarosa’s L’infedeltà fedele (Recent Researches in Music of the Classical Era, A-R Editions), 2 volumes, 2012.

Articles in Journals and Books:

‘Rhythmic Theory and Analysis,’ In Theory Only 4/1 (1978), 18-35.
‘Generated Collections and Interval Control in Debussy’s Preludes,’ In Theory Only 4/8 (1979), 3-15.
‘Scale and Collection,’ In Theory Only 5/3 (1979), 25-7.
‘Inversional Invariants in Diatonic Music,’ In Theory Only 5/4 (1981), 21-7.
‘Secondary and Disjunct Order-Position Relationships in Webern’s Op. 20,’ Perspectives of New Music 24/2 (1986), 406-19.
‘Problems of Hierarchy in Stravinsky’s Octet,’ in Stravinsky Retrospectives, Lincoln, 1987, 36-54.
‘Isomorphic Partitioning and Schoenberg’s Fourth String Quartet,’ Journal of Music Theory 28/1 (1984), 47-72 [co-author, Paul Johnson].
‘Editing Schoenberg’s Twelve-tone Music,’ Journal of the Arnold Schoenberg Institute 8/2 (1984), 141-57.
‘Remote Keys and Multi-movement Unity: Haydn in the 1790s,’ The Musical Quarterly 74/2 (1990), 242-68.
‘Redating Schoenberg’s Passacaglia for Orchestra,’ Journal of the American Musicological Society 40 (1987), 471-94.
‘Schoenberg’s Unknown Twelve-tone Fragments,’ Journal of the Arnold Schoenberg Institute 11/1 (1988), 52-69.
‘Haydn’s Altered Reprise,’ Journal of Music Theory 32/2 (1988), 335-51.
‘Aspects of Set Structure in Schoenberg’s Opp. 36 and 37,’ Israel Studies in Musicology 5 (1990), 131-45.
‘The Evolution of Schoenberg’s Twelve-tone Method,’ in The Schoenberg Companion, ed. by Walter Bailey (Greenwood Press, 1998), 101-28.
‘Schoenberg’s Mature Twelve-tone Compositions,’ in The Schoenberg Companion (1998), 129-56.
‘Schoenberg’s Late Twelve-tone Compositions,’ in The Schoenberg Companion (1998), 157-76.
‘Schoenberg and the Origins of Atonality,’ in Constructive Dissonance: Arnold Schoenberg and the Transformations of Twentieth-Century Culture, ed. by Julianne Brand and Christopher Hailey (University of California Press, 1997), 71-86.
‘Atonality, Analysis, and the Intentional Fallacy,’ Music Theory Spectrum 18/2 (1996), 167-99.
‘Developing Variation and Schoenberg’s Serial Music,’ Music Analysis 16/3 (1997), 349-65.
‘Schoenberg’s Programmatic Compositions and the Ideology of Absolute Music,’ Orbis Musicae, 13 (2003), 177-84.
‘Begleitungsmusik zu einer Lichtspielszene, op. 34,’ in Schoenberg, Interpretationen seiner Werke, ed. Gerold Gruber (Vienna, 2002), 511-26.
‘Variationen für Orchester, op. 31,’ in Schoenberg, Interpretationen seiner Werke, ed. Gerold Gruber (Vienna, 2002), 460-81.
‘Tonal Analogies in Schoenberg’s Fourth String Quartet,’ Journal of the Arnold Schönberg Center 4 (2002), 219-28.
‘Pierrot Lunaire; A Cycle?’ in ‘Pierrot lunaire’ Albert Giraud—Otto Erich Hartleben—Arnold Schoenberg: Une collection d’études musico-littéraires. ed. Mark Delaere and Jan Herman (Leuven, 2004), 145-56..
‘The Interaction Between Art and Music in Schoenberg’s Career: A Reexamination’
Journal of the Arnold Schönberg Center, 6 (2004), 77-88.
‘Schoenberg, Bach, and B-A-C-H’, in Journal of the Arnold Schönberg Center, forthcoming.
‘Schoenberg’s Radical Athematicism’ in Cambridge Companion to Schoenberg, forthcoming.
‘Parallel Minor as a Destabilizing Agent in the Music of Haydn, Beethoven, and Mozart’, in Tijdschrift voor Muziektheorie 10/2 (2005), 190-200.

Other Publications:

Review: Brahms and the Principle of Developing Variation by Walter Frisch. Journal of the Arnold Schoenberg Institute 8/1 (1984), 78-82.
Letter on Contemporary Music Theory, Perspectives of New Music 22 (1983-4), 583-5.
‘Arnold Schoenberg’ in Blackwell Jewish Companion.
Review: Schoenberg and the New Music by Carl Dahlhaus, Journal of Music Theory 33/1 (1989), 210-14.
Review: The Not Quite Innocent Bystander by Edward Steuermann. Notes 47/3 (1991), 767.
Review: Schoenbergs Oper Moses und Aron by Christian Martin Schmidt. Notes 47/3 (1991), 766-7.
Review: Remaking the Past by Joseph Straus. Journal of Musicological Research 12/suppl. (1992), 139S-46S.
Review: Schoenberg's Error by William Thomson. Journal of Musicological Research 13/3-4 (1993), 290-304.
Review: Quellenstudien I, ed. by Hans Oesch. Notes 49/2 (1993).
Review: Haydn, String Quartets Op. 50 by W. Dean Sutcliffe. Journal of Musicological Research 14 (1994), 97-101.
Communication: Journal of American Musicological Society, response to Taruskin, 1993.
Review: Arnold Schoenberg, The Musical Idea (ed. and tr. by Patricia Carpenter and Severine Neff), Times Literary Supplement (May 31, 1996), 21.
CD Liner Notes: for Schoenberg’s Opera, Moses und Aron, Royal Concertgebouw Orchestra, conducted by Pierre Boulez (Deutsche Grammophon Gesellschaft, No. 449 172-2).
‘Linear Analysis--A Cure for Pitch-Class Set Analysis?: A Reply,’ Music Theory Online, 3.3 (May, 1997).
Response to David Headlam: Music Theory Spectrum 19/2 (1997), 299.
Review: Haydn Studies (ed. W. Dean Sutcliffe) and Haydn: the ‘Paris’ Symphonies by Bernard Harrison, Times Literary Supplement, Spring 1999.
Review: The Atonal Music of Arnold Schoenberg, by Bryan Simms, Current Musicology 70 (Fall, 2000), 111-21.
Review: The Cambridge Companion to Stravinsky, ed. by Jonathan Cross, Slavic Review (2005).