Early in his career, the composer Arnold Schoenberg maintained correspondence with many notable figures: Gustav Mahler, Heinrich Schenker, Guido Adler, Arnold Rose, Richard Strauss, Alexander Zemlinsky, and Anton von Webern, to name a few. In this volume of Oxford's Schoenberg in Words series, Ethan Haimo and Sabine Feisst present English translations of the entirety of Arnold Schoenberg's early correspondence, from the earliest extant letters in 1891 to those written in the aftermath of the controversial premieres of his String Quartet No. 1, Op. 7, and the Kammersymphonie, Op. 9. The letters provide a wealth of information on many of the crucial stages in Schoenberg's early career, offering invaluable insights into his daily life and working habits. New details emerge about his activities at Wolzogen's Buntes Theater in Berlin, his frequently confrontational interactions with his first publisher (Dreililien Verlag), the reactions of friends and critics to the premieres of his works, his role in the founding of the Vereinigung schaffender Tonkunstler, his activities as a teacher, and his (all too often unsuccessful) attempts to convince musicians to perform his music. Presented alongside the editors' extensive running commentary, the more than 300 letters in this volume create a vivid picture of the young Schoenberg and his times.

In response to increasing mobility and migration in Europe, the European Directive 2010/64/EU on strengthening the rights to interpretation and translation in criminal proceedings has highlighted the importance of quality in legal translation and interpreting. At the same time, the economic situation is putting pressure on public services and translation/interpreting service providers alike, jeopardizing quality standards and fair access to justice. With regard to interpreting, the use of videoconference technology is now being widely considered as a potential solution for gaining cost-effective and timely access to qualified legal interpreters. However, this gives rise to many questions, including: how technological mediation through videoconferencing affects the quality of interpreting; how this is related to the actual videoconference setting and the distribution of participants; and ultimately whether the different forms of video-mediated interpreting are sufficiently reliable for legal communication. It is against this backdrop that the AVIDICUS Project (2008-11), co-funded by the European Commission's Directorate-General Justice, set out to research the quality and viability of video-mediated interpreting in criminal proceedings. This volume, which is based on the final AVIDICUS Symposium in 2011, presents a cross-section of the findings from AVIDICUS and complementary research initiatives, as well as recommendations for judicial services, legal practitioners and police officers, and legal interpreters.

Arnold Schoenberg was a polarizing figure in twentieth century music, and his works and ideas have had considerable and lasting impact on Western musical life. A refugee from Nazi Europe, he spent an important part of his creative life in the United States (1933-1951), where he produced a rich variety of works and distinguished himself as an influential teacher. However, while his European career has received much scholarly attention, surprisingly little has been written about the genesis and context of his works composed in America, his interactions with Americans and other emigres, and the substantial, complex, and fascinating performance and reception history of his music in this country.
Author Sabine Feisst illuminates Schoenberg's legacy and sheds a corrective light on a variety of myths about his sojourn. Looking at the first American performances of his works and the dissemination of his ideas among American composers in the 1910s, 1920s and early 1930s, she convincingly debunks the myths surrounding Schoenberg's alleged isolation in the US. Whereas most previous accounts of his time in the US have portrayed him as unwilling to adapt to American culture, this book presents a more nuanced picture, revealing a Schoenberg who came to terms with his various national identities in his life and work. Feisst dispels lingering negative impressions about Schoenberg's teaching style by focusing on his methods themselves as well as on his powerful influence on such well-known students as John Cage, Lou Harrison, and Dika Newlin. Schoenberg's influence is not limited to those who followed immediately in his footsteps-a wide range of composers, from Stravinsky adherents to experimentalists to jazz and film composers, were equally indebted to Schoenberg, as were key figures in music theory like Milton Babbitt and David Lewin. In sum, Schoenberg's New World contributes to a new understanding of one of the most important pioneers of musical modernism."

A NEW YORK TIMES BESTSELLER Do we have free will? Is the universe compatible with God? Do we live in a computer simulation? Does the universe think? Physicists are great at complicated research, but they are less good at telling us why it matters. In this entertaining and groundbreaking book, theoretical physicist Sabine Hossenfelder breaks down why we should care. Drawing on the latest research in quantum mechanics, black holes, string theory and particle physics, Existential Physics explains what modern physics can tell us about the big questions. Filled with counterintuitive insights and including interviews with other leading scientists, this clear and yet profound book will reshape your understanding of science and the limits of what we can know.