The New Grove Dictionary of Music and Musicians is the most up-to-date body of musical knowledge ever gathered together. The New Grove composer biographies have been selected from the dictionary to bring the finest of the biographies to a wider audience. Each has been expanded and updated for book publication and contains a comprehensive work-list, index, and fully revised bibliography, in addition to the definitive view of the subject's life and works. Arnold Schoenberg, Anton Webern, and Alban Berg comprise what is known as the 'Second Viennese School.' Their early 20th-century atonal and 12-tone composition marked the abolition of the traditional tonal functions and heralded an entirely new treatment of dissonance. These three biographies by Paul Griffiths (Webern), Oliver Neighbour (Schoenberg), and George Perle (Berg) provide insight into these developments and offer succinct and illuminating discussions of the composers' lives and works.

Each volume of the Dictionary of World Biography contains 250 entries on the lives of the individuals who shaped their times and left their mark on world history. This is not a who's who. Instead, each entry provides an in-depth essay on the life and career of the individual concerned. Essays commence with a quick reference section that provides basic facts on the individual's life and achievements. The extended biography places the life and works of the individual within an historical context, and the summary at the end of each essay provides a synopsis of the individual's place in history. All entries conclude with a fully annotated bibliography.

Each volume of the Dictionary of World Biography contains 250 entries on the lives of the individuals who shaped their times and left their mark on world history. This is not a who's who. Instead, each entry provides an in-depth essay on the life and career of the individual concerned. Essays commence with a quick reference section that provides basic facts on the individual's life and achievements. The extended biography places the life and works of the individual within an historical context, and the summary at the end of each essay provides a synopsis of the individual's place in history. All entries conclude with a fully annotated bibliography.

Examines five great periods -- the Renaissance, Baroque, Classic, Romantic, and Modern -- and discusses every important type of composition from each era.

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Music can answer questions that often confound more discursive modes of thought. Music takes concepts that are all too familiar, reframes these concepts, and returns them to us with incisive clarity and renewed vision. Unity is one of these “all too familiar concepts,” thrown around by politicians, journalists, and pastors as if we all know what it means. By turning to music, especially musical space, the relational structure of unity becomes less abstract and more tangible within our philosophy. Arnold Schoenberg, as an inherently musical thinker, is our guide in this study of unity. His reworking of musical structure, dissonance, and metaphysics transformed the tonal language and aesthetic landscape of twentieth–century music. His philosophy of compositional unity helps us to deconstruct and reconceive how unity can be understood and worked with both aesthetically and theologically. This project also critiques Schoenberg’s often monadic musical metaphysic by turning to Colin Gunton’s conviction that the particularity and unity at the heart of God’s triune being should guide all of our theological endeavors. Throughout, music accompanies our thinking, demonstrating not only how theology can benefit the philosophy of music but also how the philosophy of music can enrich and augment theological discourse.