This study on the musical thoughts of Arnold Schoenberg and Paul Hindemith builds on the awareness that basic connections exist between music and architecture. Such an approach does not imply that these two manifestations of human creativity are considered immediately comparable; neither are they looked upon as representing two sides of the same coin. Rather, connections are drawn on an epistemological plane, focusing on questions about artistic material, form, and function. Reflections on such issues are central to Schoenberg and Hindemith in a way that invokes the term musical functionalism as a useful tool for an exploration of their thoughts on music. Before commencing the discussion on these two composers’ views on the basics of their work and vocation, this book touches upon fundamental problems that are encountered when categorizing stylistic terms. Particularly in their traditional use, many terms have a tendency to demarcate the territory of works of art too rigidly. The reception histories of Schoenberg and Hindemith respectively have been influenced by this kind of demarcation. Hence, in addition to the value of an in-depth examination of these individual composers’ musical thoughts in a broader perspective of 20th-century art, the concept of musical functionalism may also contribute to a wider view on Schoenberg and Hindemith as contemporary giants in the history of music.

It is impossible to mention everyone whose encouragement and interest have sustained this project. I can express my profound gratitude only to those most immediately involved. Ståle Wikshåland, University of Oslo, proved to be a most valuable interlocutor during the first stages of this book. The Faculty of Humanities at the Norwegian University of Science and Technology (NTNU) provided generous support in connection with research visits, archival studies, and translation issues. Translations were also funded by The Research Council of Norway; I am particularly grateful to John Anthony for his keen assistance in the last stages of the English elaboration. I am also indebted to Heidi M. Breivik for her technical assistance on some of the music examples. Most of my thanks should, however, go to the editor of this book, Siglind Bruhn. Without her kind encouragement, never-failing patience, and fruitful suggestions, this publication would never have seen the light of day.