Index of Zuckerkandl's typed manuscripts, with titles and numbers of pages. Includes essays and lectures. Dates indicated range from 1930 to 1950, though many have no date indicated.
Typed document stating Zuckerkandl's dates and the locations of unpublished manuscripts (New York Public Library [NYPL] and Austrian National Library [ONB]). Handwritten note about "Der musikalische Mensch" [i.e., Sound and Symbol, vol. 2: Man the Musician] shows dates of acquisition and directors at NYPL (20 July, 1994, Jean Bowen) and ONB (28 July, 1994, Helmut W. Lang).
Zuckerkandl compiles music examples. Page one contains [8?] examples; several are copied from the journal "Das deutsche Volkslied: Zeitschrift für seine Kenntnis und Pflege," edited by Josef Pommer. Page two contains a version of "Brader Tantz zu Wien" from the Partitur ex Vienna, [transcribed?] from an unspecified source.
Biographical note on Viktor Zuckerkandl and his works. Top of first page reads “for last page(s) of book” [possibly Sound and Symbol II: Man the Musician].
Item lists titles for sale in Princeton University Press’s [winter] 1976 catalog. Second volume of Sound and Symbol [Man the Musician] listed under paperbacks.
Item lists titles for sale in Princeton University Press’s Spring 1976 catalog. Second volume of Sound and Symbol [Man the Musician] listed under paperbacks.
The memorandum of agreement outlines the terms agreed upon between Müller-Hofmann and Princeton University Press. 1. Müller-Hofmann grants exclusive rights to publish and 2. guarantees that [Viktor] Zuckerkandl is the sole author of the work and the work does not infringe any copyright, contain any unlawful or libelous matter, and does not invade the privacy of any other individual. 3. The Press assumes all publishing and printing expenses [paragraph substantially crossed out]. [Fourth point in the contract missing or omitted, see Memorandum of 1956-06-12]. 5-6. Müller-Hofmann commits to deliver the entire manuscript and associated materials [Both paragraphs completely crossed out]. 7. Both Müller-Hofmann and the Press agree to full cooperation in the editing process, as well as in the event of 8. author’s alterations or editing errors [both paragraphs completely crossed out]. 9. Müller-Hofmann agrees to revise subsequent editions and to supply additional material if necessary [paragraph completely crossed out]. 10. The Press provides insurance of materials to the amount provided by Müller-Hofmann. 11. Müller-Hofmann and the Press agree to a bi-annual royalty payment rate and schedule on U.S. and international sales. 12. Müller-Hofmann grants exclusive sales and licensing rights to the Press. 13. Müller-Hofmann is entitled to 10 free copies and discounted copies. 14. Müller-Hofmann and the Press agree to the terms of termination of contract. 15. Müller-Hofmann agrees to present the Press the first offer of publication on Zuckerkandl’s next work [paragraph completely crossed out]. 16. Müller-Hofmann and the Press agree to the terms of transfer or assignment of rights to heirs and/or others [signed by Müller-Hofmann and Rudolf Ritsema].
List of Mrs. Marianne Zuckerkandl's jewelry and their value in Swiss Francs, to be donated to the library of St. John's College Annapolis, per the written request of Viktor Zuckerkandl.
The memorandum of agreement outlines the terms agreed upon between Zuckerkandl and Princeton University Press. 1. Zuckerkandl grants exclusive rights to publish and 2. guarantees that he is the sole author of the work and the work does not infringe any copyright, contain any unlawful or libelous matter, and does not invade the privacy of any other individual. 3. The Press assumes all publishing and printing expenses. 4. Zuckerkandl agrees not to publish the same or similar material with any other publisher and 5-6. commits to deliver the entire manuscript and associated materials. 7. Both Zuckerkandl and the Press agree to full cooperation in the editing process, as well as in the event of 8. author’s alterations or editing errors. 9. Zuckerkandl agrees to revise subsequent editions and to supply additional material if necessary. 10. The Press provides insurance of materials to the amount provided by Zuckerkandl. 11. Zuckerkandl and the Press agree to a bi-annual royalty payment rate and schedule on U.S. and international sales. 12. Zuckerkandl grants exclusive sales and licensing rights to the Press. 13. Zuckerkandl is entitled to 10 free copies and discounted copies. 14. Zuckerkandl and the Press agree to the terms of termination of contract. 15. Zuckerkandl agrees to present the Press the first offer of publication on his next work. 16. Zuckerkandl and the Press agree to the terms of transfer or assignment of rights to heirs and/or others.
A reviewer for Princeton University Press notes their impressions of Zuckerkandl's Law and freedom in the tonal world (eventually published as The Sense of Music). They suggest corrections to the manuscript. Zuckerkandl's responses to the suggestions appear as marginalia.
Sessions completes a Princeton University Press Reader's Report regarding Zuckerkandl's manuscript, Law and freedom in the tonal world (eventually published as The Sense of Music). He recommends that the manuscript should be published, suggesting that Zuckerkandl revise the chapter on "meter and rhythm." Sessions states that he has been in contact with Zuckerkandl about this issue.
Possibly a letter draft (to Jung?), written after a seminar on Faust. Zuckerkandl writes that Faust refuses to be understood as part of certain fundamental categories; not because he is an exception, but because he reflects the reality of experience. Goethe thus provides an alternative framework to understanding the self, of polarity, i.e. a dynamic event or interaction between two poles, rather than dualism, i.e. a static identification with one of the two poles. To this Goethe adds a vertical axis of "Steigerung" (increase or improvement). Zuckerkandl then lists examples of events which establish Faust as a character defined as tension between two poles. Zuckerkandl corrected typos and added page numbers in pen.
Zuckerkandl presents music theory to non-professionals. He begins by working "one note at a time," introducing concepts such as the construction of scales, major and minor modality, scale degrees, and meter and rhythm. Zuckerkandl then builds on this foundation, discussing ornamental tones and introductory Roman numeral analysis. By the end of the book, readers should be able to read simple [Schenkerian] “skeletons.”
Appendix A provides a visual way of explaining the creation of seven-note scales. Appendix B supplies an introductory discussion of rhythm and meter. Appendix D is a supplementary pedagogical example in which Zuckerkandl demonstrates how he would approach presenting the first movement from Beethoven's Appassionata to students. Appendix D contains many score examples and [Schenkerian] "skeletons" from the movement.
Zuckerkandl presents music theory to non-professionals, focusing on relating listening experience to concepts from music theory. In the first half of this book, Zuckerkandl describes the behaviour of pitches within the diatonic system, explains major/minor modality, explores intervals, shows the construction of tertian chords, and introduces the relationship between rhythm, meter, and pitch. Zuckerkandl then builds on this foundation in the second half of the book, discussing ornamental tones and Schenkerian concepts such as "the fundamental line" and foreground, middleground, and background layers.
Zuckerkandl explores the relationship between music and concepts of reality. He differentiates between “outer” and “inner” worlds, relating the “outer” to scientific inquiry and materialist approaches in philosophy. Zuckerkandl asserts that music is more closely connected to “inner” rather than “outer” reality. In the document, Zuckerkandl refers to a copyright case in which a popular music singer was accused of plagiarism by a colleague; the courts found that both had "plagiarized" Schubert. An analysis comparing this unnamed German pop song and Schubert's "Die böse Farbe" is included in Appendix I.
Zuckerkandl explores the experience of space through listening. Drawing from mathematics, philosophy, and psychology, Zuckerkandl compares ideas regarding objects in physical space to that of pitches in musical space. He claims that pitch space is a "place-less space" ("ortloser Raum"). Zuckerkandl concludes that the laws of nature are "only half" understood through numbers and mathematics; the world must also be musical.
Zuckerkandl explores the spatial and temporal experience of music. The text is comprised of four sections: pitch, movement, time, and space; section headers have been pencilled in. In the first section, Zuckerkandl explains that pitches do not refer to objects in the real world, but rather, to other pitches. They form a self-contained "force-field" determined by the behaviour of the pitches ("Kraftfeld"). In his discussion of movement, Zuckerkandl outlines problems with conceptualizing pitch movement as an object "in different positions in space" ("an verschiedenen Stellen des Raumes"). In the section on time, Zuckerkandl asserts that music is particularly affected by time in the form of rhythm. In the final section on space, Zuckerkandl concludes that musical space is “directional” ("gerichteter Raum").
Zuckerkandl explores the spatial and temporal experience of music. The text is comprised of four sections: pitch, movement, time, and space; section headers have been pencilled in. In the first section, Zuckerkandl explains that pitches in a diatonic scale form a self-contained "force-field" ("Kraftfeld"). Zuckerkandl’s discussion of movement outlines problems with conceptualizing pitch movement as an object "in different positions in pitch-space" ("an verschiedenen Stellen des Tonraumes"). In the section on time, Zuckerkandl asserts that music is particularly affected by time in the form of rhythm. In the final section on space, Zuckerkandl adapts Palagyi's idea of "fliessender Raum" and applies it to pitch-space.
Zuckerkandl drafts an outline for an essay that explores "how [...] people [should] be prepared for the function of [becoming] a musical audience." Zuckerkandl suggests the American people "need some kind of musical education" to accomplish this. He critiques current offerings at liberal arts colleges, namely, the "Music Appreciation" course. Zuckerkandl concludes by explaining and exalting the Great Books Program at St. John's College.
Zuckerkandl explores Aristotle’s use of the word “mimesis” in relation to the arts. Zuckerkandl focuses on determining how the arts derive “significance” or develop meaning. Zuckerkandl determines that the arts can become meaningful 1) because they refer to or depict extant objects or situations in the real world, or 2) the medium utilizes its elements in such a way that the assemblage of parts becomes meaningful. Zuckerkandl dubs these “transcendent” and “immanent” meanings, respectively. He cites music as an example of an art form that possesses both transcendent and immanent meaning.
Zuckerkandl explores why there is such "widespread dissatisfaction with musical education in the American college." He asserts that the American music education system was adopted from nineteenth-century Europe and explores problems with this practice. Specifically, Zuckerkandl asserts that European schools were concerned with producing professional musicians rather than listeners or audiences. Nineteenth-century German education thus "fits less perfectly the needs of twentieth-century America," where the "chief demand is for an understanding of the music made."
Zuckerkandl muses on the advent of the LP and its potential applications in music education. He suggests recording an “elementary music course” that would help non-professionals deepen their appreciation of music.
Zuckerkandl introduces the reader to the works of Erich Kahler in celebration of his 70th birthday. The manuscript concludes with a list of Kahler's published works alongside short descriptions of their contents.
Zuckerkandl speculates as to how music books available to interested non-professional individuals can be improved. He suggests that while readers wish to understand their experience of music (they seek a particular kind of "Verstehen"), books presently offer approaches that are either too technical, or focus on biographical and historical scholarship. Zuckerkandl acknowledges that a book that discusses musical experience for lay people does not exist. To remedy this, Zuckerkandl suggests a book that presents music similarly to literature and art history. In addition, Zuckerkandl recommends a multimedia approach that includes both written text and audio examples so that the listener needn't rely on their imagination or recollection of music. Zuckerkandl then briefly explores ways of connecting book and LP (referred to as "die Verbindung von Buch und Platte").
Zuckerkandl speculates as to how music books available to interested non-professional individuals can be improved. He suggests that while readers wish to understand their experience of music (they seek a particular kind of "Verstehen"), books presently offer approaches that are either too technical, or focus on biographical and historical scholarship. Zuckerkandl acknowledges that a book that discusses musical experience for lay people does not exist. To remedy this, Zuckerkandl suggests a book that presents music similarly to literature and art history. In addition, Zuckerkandl recommends a multimedia approach that includes both written text and audio examples so that the listener needn't rely on their imagination or recollection of music. Zuckerkandl then briefly explores ways of connecting book and LP (referred to as "die Verbindung von Buch und Platte").
Complete draft, eventually published as "Das Österreichische in der Musik" in Spectrum Austriae. Handwritten annotations are incoporated into the published version. Contains one unnumbered page of unused material that outlines previous attempts by others to write about Austrian music.
Zuckerkandl explores the creation of works of art. He is particularly concerned with the roles of “growth” and “work” (“Wachstum” and “Werk”). Using examples from music by Bach and Beethoven, Zuckerkandl demonstrates coalescing of growth (“Wachstum”) and work (“Werk”). Zuckerkandl considers if machines are capable of composing as humans do. This draft is very close to the published form.
Zuckerkandl examines the nature of singing and speaking as a human activity. He asserts that speaking is logical and concrete, singing connects people to the abstract or spiritual. He asserts that both are needed in order for people to fully describe their relationship with the world.
Short outline of a proposal to summarize what is new in the modern era via the field in which it is most clearly expressed, i.e. philosophy. Zuckerkandl proposes works on the following thinkers, under the collective title "Creators of the modern intellectual world": Bergson, Husserl, Scheler, Dacque, Frobenius, Spengler, Jung, Klage, Schroedinger, Stefan George, and Goethe.
Article on the advantages of a new German-language publisher's location in Vienna. Being outside the borders of the German Reich, the publisher can function as a multilingual advocate for European unity, and publish works not based on political affiliations, but based on quality alone. Zuckerkandl additionally remarks that the publisher can take new aesthetic approaches to literature, as all intellectual areas (poetry, science, literature, etc.) blend together in modern works.
