Drawing on published and unpublished sources, this article traces the changing ways in which Schoenberg made his sketches, fragments, and the creative process in general integral aspects of both his identity as a composer and the reception of his music. One side of this story is Schoenberg's well-known concern for how posterity would view him, evident in his obsession with demonstrating his stature as a genius and defining his place in history as the first to break with tonality and as the inventor of "the method of composing with twelve tones related only to one another." But as significant for the present context are the ways that, beginning in the first decade of the century, he started to make his Nachlass known through the dissemination of manuscripts, sketches, and fragments, and by means of discussions of the creative process and compositional techniques in his voluminous writings. Schoenberg's interjection of the act of composition into public musical discourse has clear origins in the nineteenth century, but it also has important implications for the blurring of boundaries between the work, the creative process, the artist, and the audience, a characteristic of twentieth- and twenty-first-century art and now a fundamental feature of our cultural life.
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