Abstract
<jats:p>Anton Webern is recognised as one of the pivotal figures of atonality and precursors to post-war serialism. However, his earlier, tonal works have been largely neglected and shrouded in clichés. A study of both the generative elements of Webern's aesthetic imagination, and the philosophical signatures of musical modernity, this first book-length account of Webern's tonal music explores the complex and variegated ways in which the young composer engaged with, and sought to contribute to, the cultural discourses of fin-de-siècle modernism, well before he self-consciously embarked upon his famous 'path' to the New Music. While acknowledging the rapid stylistic transformation that Webern's musical language underwent, the author suggests that earliness in Webern is not simply a chronological term but is rather best understood in terms of a constitutive tension between phenomenological and dialectical modes of musical thought.</jats:p>