Covach, p. 1 Concerning The Spiritual in Music: The Twelve-Tone Aesthetics of Josef Matthias Hauer John Covach (University of Rochester) (Presented at the National Conference of the College Music Socie- ty, Washington D.C., October 1990, and at the New England Con- ference of Music Theorists, April 1991.) As the title of my paper indicates, today I am going to talk to you about the “twelve-tone aesthetics" of Josef Matthias Hauer. As the title of my paper also might seem to indicate, hope to draw some parallels between Hauer's writings and Wassily Kandinsky's influential book, Concerning the Spiritual in Art of 1911. In fact, I will argue a little later that the similarity of concern with the spiritual side of painting and music shared by these two men suggests some wide-ranging consequences for the interpretation of music theory and aesthetics in Austria and Germany in the period between 1919 and 1933--a period which most theorists consider to be an especially rich one, even if one considers only the writings left to us by Schoenberg and Schenker. Josef Matthias Hauer was born in 1883, living for the most part in Wiener Neustadt (a small town outside Vienna) until he moved to Vienna in 1915, After that, he remained in Vienna until his death in 1959, Hauer was trained as an elementary school teacher, but this career did not suit him and after the First World War he was put on a medical retirement, apparently because of a nervous condition. Hauer was trained as a pianist and also developed some reputation as a cellist. After 1908 some time, Hauer became more and more interested in musical composition,Covach, p. 2 writing first in a tonal style, then turning, after 1911, to a more atonal language. Hauer's music up to 1919 is a blend of tonal, modal, and atonal elements, and his major work from this first period is the Apokalyptische Phantasie, Op. 5 of 1913, a work for orchestra of about ten minutes‘ duration. In 1919, Hauer composed his Nomos, Op. 19, a piece which he claimed was the first piece composed in full consciousness of what he termed the "twelve-tone law." Hauer's twelve-tone law is essentially what we today call aggregate composition: the con- stant circulation of the twelve-pc aggregate. I have elsewhere dealt with whether or not this piece ie Hauer's first really twelve-tone work (the peree sie andor), and so I will not cover that ground again for you here today, It suffices to say that by 1921 Hauer was involved with composing in an extremely thorough-going twelve-tone manner, and that he continued to deve- lop his version of the twelve-tone system into his last pieces, the last dating from 1958. The evidence we have suggests that from the very beginning of Hauer's interest in an atonal pitch language, Hauer was con- cerned with its transcendental potential; he later described his move into the atonal world, which occurred in 1911 or 1912, as his "spiritual rebirth." If this rhetoric sounds unduly flam- bouyant to modern ears, let me remind you that Kandinsky's book appeared in 1911, with the Blaue Reiter Almanac appearing in 1912; and students of the Second Viennese School will remember Schoenberg's essay, "The Relationship to the Text," which ap- peared in that issue--an essay which extols the unknown powers ofCovach, p. 3 intuitive, irrational musical expression. Hauer's exploration of the spiritual potential of atonal music was perhaps not so unusual for its time. What was dif- ferent in Hauer's approach (and it is Schoenberg in fact who points this out) is that Hauer attempted to discover the order of the cosmos in music; not satisfied with the received Western notion of music as personal expression, or even as expression of anything human, Hauer sought out some objective principle on which he might build a new musical language. For Hauer, music should not ultimately boiltdown to the subjective expression of some human composer, it should rather open a door to a new state of consciousness--a state of consciousness not accessible by rational thought or language. This quest for an objective prin- cipglcis motivated, at least partially, by Hauer's close associa~ tion with the Austrian philospher-theologian Ferdinand Ebner and or" Ebner's notion of Icheinsamkeit solitude." Again, I will avoid unpacking this relationship because I have done that else- where; what we can take away from this is that even Hauer's search for an objective principle on which to build his music was not entirely out of step with the times, even if he can be distinguished by his rejection of the artist-as-expressive genius model. During the First World War, Hauer was a assigned a desk job in Vienna, and it was during this period that he began making his first music-theoretical investigations. In 1917 Hauer wrote a study which he entitled Farbenkreis der Temperatur. In this document Hauer argues for the notion that, far from being some make-shift compromise, equal temperament is really the most per~Covach, p. 4 fect system of tuning we have available because it unifies the character of each interval. Hauer's arguments are substantially developed in his 1918 treatise, Ueber die Klangfarbe, which he prepared with the help of his friend Ebner. This document served, in turn, as the foundation for Hauer's most developed version of his theory, which appeared in 1920 under the title Vom Wesen des Musikalischen. Unlike the previous versions, which were not in wide distribution (the first was never published, and the second was "vanity press"), Hauer's 1920 Vom Wesen des Musi- kalischen enjoyed relatively wide distribution in the German- speaking countries. A slightly revised version appeared in 1923 It is in the 1926 version of as Lehrbuch der Zwoelftonmusi what I term Hauer's "tone-color theory" that we can detect the objective principle upon which Hauer based his aesthetics, and consequently, his music, That objective principle is the twelve- tone law. It is important to understand, though, that the twelve-tone law solves some crucial aesthetic problems for Hauer. In Vom Wesen des Musikalischen, Hauer responds to Schoen- “tone- berg's famous remark made at the end of his Harmonielehr: color melodies ... in such a domain, who dares ask for theory. Hauer objects to the Klangfarbenmelodie notion. He makes a distinction between what is physical in music and what is mental- spiritual (geistig). Tone-color, understood as timbre, is purely a physical occufence. But if one aspires to the truly spiritual in music, one must shut out as much as possible the "noise" of the physical world, For Hauer, music exists in the mind of the composer and in the mind of the listener. In order for theCovach, p. 5 musical impression to move from one mind to the other, however, it is necessary for physical means to be employed: the medium of sound, or imagined sound, is the only option available. Hauer clearly sees this as a potential problem, because the physical sound is only ever a diluted and imperfect version of the musical image held internally in the musical mind, The physical world distorts the musical image (through the noise which accompanies any pitch, and through intonation imperfections), As Hauer sees it, Schoenberg is entirely too caught up in this physical world of noises; any organization of timbres for their own sake amounts to an unmusical fetishization. In a private letter to Hermann Bahr, Haver even went so far as to describe Schoenberg as mired in stinking materialism, calling Schoenberg fundamentally unmusi- cal. So what then is Hauer's solution to the tone-color question? For Hauer, the color of music resides in the interval. In con- trast to timbre, Hauer views the interval as "spiritually per- ceived." An interval is essentially a kind of mental-spiritual gesture, a movement of the musical mind. & melody, for example, is not a set of pitches in the external world, but rather a succession of internally generated mental movements or gestures. Those who, therefore, attempt to investigate music by measuring the physical features of sound (and Haver surely has Helmholtz in nd here) are fundamentally in error; music, when properly oe vwnceneh) perceived, is spiritual. This question of the proper mode of musical perception is taken up further by Hauer. One never perceives music rationally, as one understands language, but rather always intuitively: musicCovach, p. 6 speaks to a higher faculty than mere rational perception, one must cultivate the power of “intuitive hearing." Intuitive hear- ing is an ability to create or recreate the spiritual content in the music out of the coarse physical sound: one penetrates the physical to hear into the realm of the spiritual. Since Hauer takes the spiritually perceived interval as the basic building block of his theory, tuning becomes a concern. Hauer proposes that equal temperament, since it eliminates the differences which arise between intervals in other tuning sys- tems, is the most appropriate to atonal music. That is, in equal temperament, a major third, for example, is always the same size. For Hauer, this means that the character of the gesture captured by the major third, its color, is standardized throughout the twelve-pe aggregate. That tempered intervals do not arise in nature is not a problem for Hauer; in fact, this confirms his main point: tempered tuning is a “spiritualization" of the imper- fect physical world. The perfect totality resides not in the physical world, but rather in the musical mind. Hauer supports his arguments throughout Vom Wesen des Musi- kalischen with quotations taken from Goethe's Earbenlehre. In support of his equal temperament argument, for example, he cites Goethe's color circle. Goethe points out that nowhere in the physical world does the entire spectrum present itself complete- ly; the notion of a color circle is one which is generated in the mind. Hauer, following Goethe's model (though Hauer insists his tone-color theory was already fix und fertig by the time he read Goethe), arranges the intervals in a circle of fifths, assigningCovach, p. 7 to each interval a character which corresponds to a color on Goethe's circle. (See Example 1). It is important to note that Haver does not claim that intervals are colors, or even that a particular interval should suggest a color; what he claims is that the character of the color, and the character of the inter- val correspond. Intervals and colors, as Goethe also maintains, are not the same thing, though they may spring from a common source. Equal temperament, then, provides a musical environment where all like intervals are equal; since atonal music takes intervals as the basic building block, equal temperament is the only solution, Hauer, in fact, defines tonal music as fundamen- tally grounded in the physical; certain tones become predominant and attract others, These tonal attractions create what Hauer calls leading-tone tracks (Leittongeleise); for example, the leading tone may be played slightly sharp due to the attraction of the tonic,-fex-examplex Thus tonality resists the kind of intuitive hearing that Hauer advocates. Only atonal music, which eliminates the pull of any one note over another, creates the proper equal-tempered environment, and permits the listener to renounce the physical world of sensuous tonality. So far, then, color is interval; music must be perceived spiritually and intuitively; equal temperament allows the spiri tual perception of the interval; and the spiritual perception of the interval occurs in its purest form in atonal music. Now here is the move which is crucial: in order to assure that the atonal environment is maintained, all twelve pc's should be constantly circulated. Here is the way Hauer put it in 1920:Covach, p. 8 But in atonal music, which arises out of the "totali- ty," only the Intervals matter. They express musical cha- racter, no longer through major or minor or through charac teristic instruments (thus through one color), but rather directly through the totality of intervals, which are best and most purely rendered on an equal-tempered instrument. In atonal music there are no more tonics, dominants, sub- dominants, scale degrees, resolutions, consonances or disso- nances, but rather only the twelve intervals of equal tem- perament; their "scale" arises out of the twelve tempered half steps. In atonal music, both the purely physical, material, and the trivial, sentimental, are, as much as possible, shut out and their “law,” their "nomos," is that, within a given tone-series, no tone is permitted to be repeated or left out (the basic law of melody anyway: in order that no tone acquires physical preponderance {{taking on an} over-riding tonic significance}, also so that no scale-degree functions of leading-tone tracks arise. Thus to the player and listener it is solely a matter of the purely musical phenomenon of the interval, in its "spiritua- lization"). ~~ For Hauer, then, the twelve-tone law is an answer to his principal aesthetic problem--a problem which might be summarized as follows: How can music transcend the realm of personal expres- sion and reach a level of objective contemplation of the cosmos? The answer comes with the discovery of the twelve-tone law: as an objective fact of the tones, the twelve-tone universe frees the composer from the physical realm completely and provides an environment for purely spiritual contemplation, But this contem- plation is a function not of rational thought, but rather one which resides at the intuitive level. Now no matter how one feels about the accuracy or tenkbility of Hauer's tone-color theory, and I must remind you that I have summarized his ideas rather drastically, a couple of points have a significance for our understanding of the history of the twelve-tone system; first, Hauer's adoption of the twelve-tone system, and his subsequent exploration and development of it, areCovach, p. 9 a result of his aesthetic position; that is, Hauer did not adopt the twelve-tone system so that he could return to writing sonata forms and rondos, He was not seeking some structural principst which could replace tonality (and I am not picking on Schoenberg here as much as on the Schoenberg secondary literature). Hauer, instead, believed that he had discovered something higher than tonality, something which truly was "concerning the spiritual in music." In fact, almost all of Hauer's writing carries the common thread of Siueyd attempting to come to terms with the spiritual in music. This brings me back to where I started and perhaps now, with that brief sketch of Hauer's tone-color theory in mind, I can attempt to indicate the points of contact that Hauer's writings have with Kandinsky's Concerning the Spiritual in Art--points of contact that I believe are very suggestive with regard toa number of other figures in music. Kandinsky published his short book in 1911. Sixten Ringbom, in his book The Sounding Cosmos, has demonstrated that Kandinsky was very much under the influence of Rudolf Steiner's ideas during the period surrounding the writing of his book. By exa- mining documents in the Kandinsky estate, Ringbom has been able to determine that Kandinsky not only read certain Steiner books, but also that he had attended some of Steiner's lectures in Berlin, Kandinsky seems to have been most interested in ner's discussion of Goethe and especially in Steiner's lec- ture entitled "Goethe as the Founder of a New Science of Aesthe- tics." Ringbom's analysis of Kandinsky's writings and painting leads him to suggest that Kandinsky was principally concernedCovach, p. 16 with representing the world beyond the physical, a world of the spiritual. Kandinsky and Hauer, then, can be seen to be seeking very similar things; both believe that some spiritual reality exists behind the physical one, While Kandinsky's thought can be linked, through Ringbom's documentary evidence, directly to Ru- dolf Steiner, no such direct link has as yet been uncovered in the case of Hauer, But Hauer's idea of intuitive hearing and Steiner's interpretation of Goethe's super-sensory seeing are strikingly similar, and the resonance between Hauer and Steiner is further reinforced by the fact that Hauer constantly quotes Goethe. I have made a detailed comparison of Steiner's interpre~ tation of Goethe and Haver's theoretical writings in my doctoral et titel ey eek dissertation, and since, time is short; let me just summarize sby saying that I have come to conclude that no direct link would have been necessary for Steiner's ideas to have influenced Hauer. Rudolf Steiner was in his youth a prodigy in Goethe scholarship, by the time he was thirty-five he had edited Goethe's scientific works for two Goethe editions (one of which was the prestigious Weimar edition) and published numerous books and commentaries on Goethe's science, epistomology, and world view. Steiner had also spent many years in Vienna in the 1830's and was a well-known figure, frequenting the famous Caf Griensteidl where he fee- tt chely argued with Hermann Bahr. Thus Steiner's ideas were,well known to the Viennese artists and intelligensia. Further, by the time Hauer came to Vienna in 1915 there was already a fairly developed occult scene there. A principalCovach, p. 11 figure in that scene was Friederick Eckstein, who was the first president of the Viennese branch of the Theosophical Society. Eckstein was friendly at various times with Bruckner, Mahler, Hugo Wolf, and surprisingly, Freud, (My colleague at the Univer- sity of Rochester, William McGrath, tells me that he attended a Freud conference in Toronto last fall where he heard a convincing paper on Freud and the occult. Apparently Freud was quite in- terested in matters occult during the 1926's, no doubt a subject in which his friend Eckstein could act as expert guide.) Now steiner was quite friendly with Eckstein too, and Eckstein intro- duced Steiner around within the occult community. So by the time Hauer arrived in Vienna, it would have been more unusual if he had not crossed paths with the occult community. In fact, after Hauer went public with his tone-color theory he was in contact with both Hermann Bahr and Rudolf Steiner. Even if Hauer never read Steiner's commentaries on Goethe's Farbenlehre, he could easily have picked up the gist of Steiner's views in café conver- sation. To return for a moment to the Kandinsky-Hauer resonance, I am not suggesting that Hauer was influenced by Kandinsky's book. what I am suggesting though is something with potentially more far-reaching consequences. I am suggesting that there was a Viennese “occult underground" (to use James Webb's term) whose dissemination of occult philosophy effected many artists of the period. One need only recall that Schoenberg was reading the work of Strindberg and Balzac, both of whom were under the in- fluence of the Swedish mystic Emanuel Swedenborg. Balzac's Séra- phita was deeply indebted to Swedenborg's writings and SchoenbergCovach, p. 12 even quotes Swedenborg in his famous article "Composition with Twelve Tones." Strindberg's “Jacob Wrestling" was also written under the influence of Swedenborg's philosophy. Considering the common influence of Swedenborg, it is easy to see how Schoenberg might have believed he could set both the Strindberg and the Balzac texts in Die Jakobsleiter. Now yhat I am suggesting is not some sort of sinister cult cover-up, or that there was a secret society meeting in a candle~ lit basement somewhere. All the evidence seems to point to the fact that much discussion of what might be thought of today as de- occult matters was quite common in the café scene of fi siécle Vienna. This suggestion, though, is somewhat at odds with the typical picture of fin-de-siécle Vienna we receive from Carl Schorske or Janik and Toulmin, where Karl Kraus attacks Die Freie Presse and Adolf Loos shocks the Austrian Emperor with "the building with no eyebrows." But the suggestion of an occult underground in Vienna is not too incongruous with our current view; after all, it isa small step from the philosophy of Henri Bergson or Arthur Schopenhauer (the two most read philosophers of the day) to the ideas of Swedenborg and Rudolf Steiner. In fact, the notion that the interpretation of Gocthe's scientific writings which reached Schoenberg's circle was an occult one (and probably Steiner's) explains a lot. For example, how did those composers get interested in Goethe's Farbenlehre in the first place? German artists frequently appeal to Goethe as the ultimate authority but why not quote Faust, Wilhelm Meister, or the Autobiography? Why refer to a theory of color which wasCovach, p. 13 largely debunked by then (and by no less a German scientific authority than Helmholtz)? And why does it seem as if none of the composers who quote the Farbenlehre have ever read the whole five-volume work? The quotations one finds in both Webern and Hauer always seem to come from the last three sections of the didactic part, a piece of the work which total no more than 75, pages in the Charles Eastlake translation. I am suggesting that this is because the attention of these artists was drawn to the Farbenlehre by occultists; the German occultists, who mostly followed Steiner, had a large part of their world view riding on this interpretation of Goethe's views. The artists did not read the entire Farbenlehre because it is, for the most part, a long and dry scientific study with one relatively short stretch that is rich and very suggestive for the artist. The artists read that part. (In support of this assertion, I would like to men- tion that Robert Wason has directed my attention to the dis- sertation of Karlheinz Essl, completed in 1989 at the University of Vienna. ssl had the opportunity to study Webern's personal copy of the Farbenlehre, and he reports that Webern did a fair amount of underlining in his copy, but all of it in the introduc- tory essay by the editor, Gunther Ipsen, and hardly any in the Goethe text proper.) To summarize, then, I believe that as odd as many of Hauer's ideas may seem to us post-World-War-II Americans, these ideas were not nearly so odd to his contemporaries and fellow country- men. It is true that Hauer's ideas met with much misunderstand- ing in their day, but this seems to me to have more to do with Hauer's polemical delivery of most of his ideas than with theCovach, p. 14 ideas themselves; Hauer may have been odd, his writing is surely odd, but many of the ideas, I would assert, were almost common currency in their day. As I suggested a moment ago, there is no clear line to be drawn between the occult and what might be termed "legitimate philosophy" in early twentieth-century Vienna (and this statement is valid for most of Burope during this time as well). If one imagines a continuum on which, say, Kant occupies one extreme, and the founder of the Theosophical movement, Helena Petrovna Blavatsky occupies the other, much writing on art, literature, and music of the period would gravitate either towards the cen- ter, or towards the occult pole. To take Hauer as a case in point: his writing can be placed in the context of a number of intellectual traditions, at least one of which stretches back to antiquity. Hauer's view that music reflects the order of the cosmos can be seen in many ways as Pythagorean, as a kind of modern-day speculative music theory. It is worth noting that, as Joscelyn Godwin has pointed out, a revival of this brand of theorizing began in the 1870's with Albert Freiherr von Thimus's 2-volume Die harmonikale Symbolik des Alterthums, a work which provided the foundation for the later work of Hans Kayser, Rudolf Haase, and Ernest McClain. This line of "harmonical" thought, which seeks out the correspon- ogee of gle dences between,Pythagorean "cosmic harmony" and their alleged manifestations in the physical world, certainly passes at times in_to what we might today consider occult philosophy. This tradition is certainly responsible for turn-of-the-century Vien-Covach, p. 15 umber mysticism," many examples of which can be found in nese " the work of Schoenberg and Berg, for instance. It is perhaps also interesting to note that the Vienna Hochschule fuer Musik currently supports an "Institute for Harmonical Research," which maintains and updates the late Hans Kayser's library, as well as offering various seminars and courses. Hauer's assertion that the contemplation of the twelve-tone universe is a contemplation of the only true reality can also be viewed as a response to Kant's philosophy: viewed in Kantian terms, Hauer believes that the "thing-in-itself" is knowablegbut not through any of the twelve Kantian categories (that is, through perceptions organized by the understanding). One comes to know the "thing-in-itself" through intuitive hearing. Hauer's position in this regard is not so different from that of Arthur Schopenhauer, who believed that the Will is the "thing-in-it- self"; and, according to Schopenhauer at least, it is in music that we are able to,experience the Will. In fact, Schopenhauer's aesthetics of absolute music was a powerful intellectual force in the second half of the nineteenth century. Carl Dahlhaus has often observed that Schopenhauer's musical metaphysics were the common property of every German or Austrian composer at the turn of the century. Hauer's position can perhaps be best distin- quished from Schopenhauer's by its basically optimistic charac- ter; while for Schopenhauer the Will is the source of all pain and suffering in the world and is ultimately best renounced, wer's twelve-tone reality is the ultimate point of spiritual arrival. The resonance found between many of Haver's ‘ideas and thoseCovach, p. 16 of the occultists is clearly not an exceptional instance. Besides the obvious parallels with such outspoken occultists as Alexander Scriabin and Cerjl Scott, there are also numerous parallels to be drawn with 19th- and 20th-century literature and painting. As Dore Ashton has pointed out, Balzac's fascination with the writings of the Swedish mystic Emannuel Swedenborg is apparent in many of his “philosophical novels." Ashton demon- strates how Balzac's story entitled "The Unknown Masterpiece," for example, in many ways forecasts the concerns of later artists such as Picasso and Kandinsky, both of whom knew the Balzac story. It is also well-known that this same story was held in special regard by Cézanne, and that Cézanne identified strongly with the story's central character Frenhofer, a painter who strove so uncompromisingly to capture the true essence of his subject that the resultant portrait was unintelligible to his contemporaries. Viewed from this perspective, Schoenberg's in- terest in Balzac's mystical novel, Séraphita, another Swedenborg- inspired work, is not so unusual. I am therefore suggesting that in turn-of-the-century Vienna (or Berlin), the divisions between legitimate and occult philoso- phy were not as clear as one might presume. This was an intel- lectual environment in which the ideas Swedenborg, Schopenhauer, Eduard Hanslick, and Rudolf Steiner could be combined without a sense of incompatibility. Both Hauer's and Kandinsky's theories provide, I think, a clear instance of this kind of intellectual eclecticism. Further, I would like to suggest that Rudolf Steiner played a major role, in the German-speaking world atCovach, p. 17 least, in the blending of the legitimate and occult philosophies. As a leading occultist after 1900, Steiner was able to exert considerable influence in the Austro-German occult underground. In addition to his writings about Goethe, Steiner also edited a collection of Schopenhauer's writings. Steiner was also a stu- dent of German literature in his college days and would certainly have known the writings of Ludwig Tieck and Wilhelm Heinrich Wackenroeder, two central figures in the history of the idea of absolute music as traced by Dahlhaus, It was through his ability to find support for many of his occult ideas in German literature and philosophy, that Steiner could be viewed as convincing not only by occultists, but also by German intellectuals generally. If this occult component was as pervasive as I have des- cribed it to be, then what does this fact suggest for the inter- pretation of the writings of, say, Schoenberg or Webern. I will let others speak to the Webern issue, but I believe Steiner's interpretation of Goethe's super-sensory seeing could help us to better understand Schoenberg's concepts of Grundgestalt and musi- kalische Gedanke. William Pastille's work has made theorists aware of Schenker's understanding of Goethe. What if Schenker too got his Goethe from the occultists? Consider the writings of the Schenker student Victor Zuckerkandl, who received his doc- torate at the University of Vienna in 1927. Zuckerkandl's wri- tings are full of references to the ancient wisdom of music, and his notion of the "third stage" where musical motion occurs could almost be mistaken for Hauer's writing (see p. 145 of Sound and Symbol) . To summarize, then: the writings of Josef Matthias HauerCovach, p. 18 give us some indication of how the occult figures into the histo- ry of the twelve-tone idea; a common occult resonance with Kan— dinsky suggests the presence of an occult component in the intel- lectual milieu of early twentieth-century German thought general- ly; and the thought of Rudolf Steiner illustrates how legitimate and occult philosophies can become intertwined and even be viewed as mutually supporting. A fuller understanding and accounting of occult influences promises to contribute to a more informed interpretation of certain music theories and aesthetic philosophies, though consi- deration of matters occult will certainly be more valuable in the interpretation of some writers than it is for others, These newly won perspectives can also direct analysis; such perspec- tives may lead us to focus, as Schoenberg said, not so much on how a work is made, as on what it is; after coming to understand that a work is structured in some way, we may come to ask why it should be so."concerning the Spiritual in Music: The Twelve-Tone Aesthetics of Josef Matthias Hauer." John R. Covach (University of Rochester). ‘tno, ‘fagay tY Si na Example 1: Heuer's tone-color circle as it appears in Yon Wiesen des Musikalischen.References Dore Ashton. A Fable of Modern art. Berkele University of California Press, 1991. Honoré de Balzac, Séraphita. Blauvelt, New York: Freedeeds Library, 1986, John R. Covach, "Nomos: The Twelve-Tone Law of Josef Matthias Hauer." Paper presented to Music Theory Canada 1999 (Winter) and the Indiana Symposium on Music Theory (Winter 1999). "The Music and Theories of Josef Matthias Hauer.’ dissertation, University of Michigan, 1996, Ph.D. . "The Zwoelftonspiel of Josef Matthais Hauer." Paper Presented to the New Conference of Music Theorists (Winter 1989) and the Society for Music Theory (Fall 1989). Carl Dablhaus. The Idea of Absolute Music, trans. Roger Lustig. Chicago: University of Chicago Press, 1989. Ferdinand Ebner. Schriften in Drei Baenden, ed. Franz Seyr. Munich: Koessel Verlag, 1963. Joscelyn Godwin. "The Revival of Speculative Music." Musical Quarterly, vol. 68, no. 3 (1982 373-389. Rudolf Haase. Aufsaetze zur Geschichte der Harmonik. Bern: Kreis Josef Matthias Hauer. Deutung des Melos: Hine Frage an die Kuenstler und Denker unserer Zeit. Leipzig, Vienna, and Zorich: B.P. Tal, 1923. “Farbenkreis der Temperatur, 15 July 1917." Ms. in the possession of the Musiksammlung, Oesterreichische National- bibliothek, Vienna. + Lehrbuch der Zwoelftonmusik: Vom Wesen des Musika~ Tischen. Berlin-Lichterfeld: Schlesinger, 1923, Klangfarbe, Op. 13. Vienna: By the author, « Ueber 918. - Yom Wesen des Musikalischen. Vienna: Waldheim-Eberle BG., 1926. trans. M.T.H. Wassily Kandinsky. Concerning the Spiritual in Art Sadler. New York: Dover Publications, 1977, — Wassily Kandinsky and Franz Marc, eds. The Blaue Reiter Almanac, new edition ed. Klaus Lankheit. New York: Da Capo Press, 1974,Roger Lipsey. An Art of Our Own: The Spiritual in Twentieth. century Art. Boston and Shaftesbury: Shambhala, 198 Boulder and Londo Ernest McClain. The Myth of Invarianc Shambhala, 1978. witliam Pastille. : The Musical Philosophy of Heinrich Schenker." Ph.D, dissertation, Cornell, 1985. Sixten Ringbom. The Sounding Cosmos: A Study in the Spiritualism of Kandinsky and t the Genesis of Abstract Painting. Acta Reademi, 1078. Reademiae Aboensis, Series A, 38/2. Abo In William Rothstein. "The Americanization of Heinrich Schenker." Theory Only, vol. 9, no. 1 (1986): 5-17. Arnold Schoenberg. Style and Idea, ed. Leonard Stein, trans. Leo Black. Berkeley and Los Angeles: University of California Press, 1984. Rudolf Steiner. Goethean Science, trans. William Lindeman. Spring valley, New York: Mercury Press, 1988. = Goethe as the Founder of a New Science of Aesthetics, trans. G. Metaxa. London: Rudolf Steiner Publishing Company, 1922. w, trans. W. Lindeman. Spring Valley: + Goethe Mercury Press, « The Science of Knowing: Outline of an Epistomology Tmpifcit in the Goethean World View, trans. W. Lindeman. Spring Valley: Mercury Press, 198 Emanuel Swedenborg. The Essential Swedenborg, ed. Sig Synnest- vedt. New York: Swedenborg Foundation, 1984. Janes Webb. The Occult Establishment. La Salle, Illinois: Open Court, 1985. The Occult Underground. La Salle: Open Court, 1988. Anton Von Webern, The Path to the New Music, ed. Willi Reich, trans. Leo Black. Vienna: Universal, 1963. ctor Zuckerkandl. Man the Musician, trans. Norman Guterman. Bollingen Series XLIV-2, Princeton: Princeton University Press, 1973. Sound and Symbol: Music in the External World, trans. Williard Trask. Bollingen Series XLIV-1. Princeton? Prince- ton University Press, 1973.