ABSTRACT
This chapter is divided into three parts. The first identifies some potential issues with our common set theoretical approaches to twentieth- and twenty-first-century concert music, at least as used in the undergraduate curriculum. The second part includes a sample assignment (on “Heimweh,” the fifteenth song from Schoenberg’s Pierrot Lunaire) that offers a variety of interpretive questions intended to guide our students toward productively plumbing the depths of non-tonal music. The third part offers additional thoughts about how broadening our methodologies can also help us broaden the repertoire we cover.
