Instrumental 12-note works (composed from 1920)
E. Stein: ‘Anton Webern’, Neue Musik-Zeitung, xlix (1928), 517–19
W. Reich: ‘Eine neue Sinfonie von Anton Webern’, Melos, xi (1930), 146–7 [op.21]
E. Stein: ‘Webern's New Quartet’, Tempo, no.4 (1939), 6–7 [op.28]
R. Leibowitz: Qu'est-ce que la musique de douze sons? Le Concerto pour neuf instruments, op.24, d'Anton Webern (Liège, 1948)
K. Stockhausen: ‘Weberns Konzert für 9 Instrumente Op.24: Analyse des ersten Satzes’, Melos, xx (1953), 343–8; repr. in idem: Texte, i: Zur elektronischen und instrumentalen Musik: Aufsätze 1952–1962 zur Theorie des Komponierens, ed. D. Schnebel (Cologne, 1963/R), 24–31
L. Spinner: ‘Analyse einer Periode: Konzert für 9 Instrumente, op.24, 2. Satz’, ibid., 51–5; Eng. trans. in Die Reihe, ii (1958, rev. 1959), 46–50
W.F. Goebel: ‘Weberns Sinfonie’, Melos, xxviii (1961), 359–62 [op.21]
D. Lewin: ‘A Metrical Problem in Webern's Op.27’, JMT, vi (1962), 124–32
P. Westergaard: ‘Some Problems in Rhythmic Theory and Analysis’, PNM, i/1 (1962), 180–91; repr. in Perspectives in Contemporary Music Theory, ed. B. Boretz and E.T. Cone (New York, 1972), 226–37 [op.27]
P. Westergaard: ‘Webern and “Total Organization”: an Analysis of the Second Movement of Piano Variations, Op.27’, PNM, i/2 (1963), 107–20
F. Döhl: ‘Weberns Opus 27’, Melos, xxx (1963), 400–03
W. Kolneder: ‘Klang in Punkt und Linie: Anton Weberns Variationen op.27’, Vergleichende Interpretationskunde, ed. S. Borris and others (Berlin, 1963), 49–55
E. Krenek: ‘Anton Weberns magisches Quadrat’, Forum, xii (1965), 395–6 [op.24]
W. Austin: ‘Webern and the Tradition of the Symphony’, AWP (Seattle, 1966), 78–85 [op.21]
S. Borris: ‘Structural Analysis of Webern's Symphony Op.21’, Paul A. Pisk: Essays in his Honor, ed. J. Glowacki (Austin, 1966), 231–42
B. Fennelly: ‘Structure and Process in Webern's Opus 22’, JMT, x ( 1966), 300–28
H. Grüss: ‘Zu Weberns Quartett, Op.22’, BMw, viii (1966), 241–7
H. Riley: ‘A Study in Constructivist Procedures: Webern's “Variations for Piano”, Op.27, First Movement’, MR, xxvii (1966), 207–10
L. Smith: ‘Composition and Precomposition in the Music of Webern’, AWP (Seattle, 1966), 86–101
H. Deppert: ‘Rhythmische Reihentechnik in Weberns Orchestervariationen Op.30’, Festschrift Karl Marx, ed. E. Karkoschka (Stuttgart, 1967), 84–93
J.R. Jones: ‘Some Aspects of Rhythm and Meter in Webern's Opus 27’, PNM, vii/1 (1968), 103–9
S. Goldthwaite: ‘Historical Awareness in Anton Webern's Symphony, Op.21’, Essays in Musicology in Honor of Dragan Plamenac, ed. G. Reese and R.J. Snow (Pittsburgh, 1969/R), 65–81
H.W. Hitchcock: ‘A Footnote on Webern's Variations’, PNM, viii/2 (1969–70), 123–6 [op.21]
M. Starr: ‘Webern's Palindrome’, ibid., 127–42 [op.21]
M.E. Fiore: ‘Webern's Use of Motive in the Piano Variations’, The Computer and Music, ed. H.B. Lincoln (New York and London, 1970), 115–22
J.A. Huff: ‘Webern's Op.28: Serial Organization of Time Spans in the Last Movement’, MR, xxxi (1970), 255–6
W. Gruhn: ‘Reihenform und Werkgestalt bei Anton Webern (Die Variationen der Sinfonie Op.21)’, Zeitschrift für Musiktheorie, ii/2 (1971), 31–8
G. Perle: ‘Webern's Twelve-Tone Sketches’, MQ, lvii (1971), 1–25
H. Deppert: Studien zur Kompositionstechnik im instrumentalen Spätwerk Anton Weberns (Darmstadt, 1972)
F. Döhl: ‘Zum Formbegriff Weberns: Weberns Analyse des Streichquartetts Op.28 nebst einigen Bemerkungen zu Weberns Analyse eigener Werke’, ÖMz, xxvii (1972), 131–48
H.-P. Raiss: ‘Anton Webern: Symphonie Op.21, 2. Satz (1928)’, Neue Musik seit 1945, ed. H. Vogt (Stuttgart, 1972, 3/1982), 209–28
J. Cholopov: ‘Die Spiegelsymmetrie in Anton Weberns Variationen für Klavier Op.27’, AMw, xxx (1973), 26–43
J.W. Reid: ‘Properties of the Set Explored in Webern's Variations, Op.30’, PNM, xii/1–2 (1973–4), 344–50
D. Cohen: ‘Anton Webern and the Magic Square’, PNM, xiii/1 (1974), 213–15 [op.24]
R. Smalley: ‘Webern's Sketches’, Tempo, no.112 (1975), 1–12; no.113 (1975), 29–40; no.114 (1975), 14–22
W.M. Stroh: Webern: Symphonie Op.21 (Munich, 1975)
E.P. Dagnes: ‘Symmetrical Structures in Webern: an Analytical Overview of the Symphonie, Movement II, Variation 3’, In Theory Only, i/9–10 ( 1975–6), 33–51
C. Wintle: ‘Analysis and Performance: Webern's Concerto Op.24/ii’, MAn, i (1982), 73–99
R. Busch: ‘Wie Berg die richtige Reihe fand’, AW, ii (Munich, 1984), 365–87
D. Schnebel: ‘Die Variationen für Klavier Op.27’ [1952], ibid., 162–217
E. Kerr: ‘The Variations of Webern's Symphony Op.21: Some Observations on Rhythmic Organization and the Use of Numerology’, In Theory Only, viii/2 (1984–5), 5–14
A. Richter: ‘Anton von Webern: Kinderstück (1924)’, Üben und Musizieren, ii (1985), 170–74
R. Busch: ‘Taktgruppen in Weberns Konzert Op.24’, Musica, xl (1986), 532–7
L. Spinner: ‘Zwei Scherzo-Analysen’, in R. Busch: Leopold Spinner (Bonn, 1987), 180–91 [op.28]
R. Wason: ‘Webern's Variations for Piano, Op.27: Musical Structure and the Performance Score’, Intégral, i (1987), 57–103
K. Bailey: ‘Willi Reich's Webern’, Tempo, no.165 (1988), 18–22 [op.27]
D.L. Lynn: ‘12-Tone Symmetry: Webern's Thematic Sketches for the Sinfonie, Op.21, Second Movement’, MT, cxxxi (1990), 644–6
H. Oesch: ‘Webern und das SATOR-Palindrom’, Quellenstudien I: Gustav Mahler – Igor Strawinsky– Anton Webern– Frank Martin (Winterthur, 1991), 101–56 [op.24]
D. Lewin: ‘A Metrical Problem in Webern's Op.27’, MAn, xii (1993), 343–54
K. Bailey: ‘Rhythm and Metre in Webern's Late Works’, JRMA, cxx (1995), 251–80
K. Bailey: ‘Symmetry as Nemesis: Webern and the First Movement of the Concerto, opus 24’, JMT, xl (1996), 245–310
A. Whittall: ‘Music–discourse–dialogue: Webern's Variations, Op.30’, WS (Cambridge, 1996), 264–97