Editing Anton Webern (section)

====University====
After a trip to [[Bayreuth Festival|Bayreuth]],{{sfn|Jensen|1989|loc=11}} Webern studied [[musicology]] at the [[University of Vienna]] (1902–1906) with [[Guido Adler]], a friend of [[Mahler]], composition student of [[Bruckner]],{{efn|Bruckner told students he was no longer guided by the rules he taught, broadening Adler's [[Normativity|normative]] ideas about music.}} and devoted [[Richard Wagner|Wagnerian]] who had been in contact with both [[Wagner]] and [[Liszt]].{{sfn|Kolneder|1968|loc=20–21}}{{efn|Bruckner, Liszt, and Wagner [[War of the Romantics#Liszt, Wagner, and their followers|all]] wrote of "[[Music of the Future|music of the future]]".}} He quickly joined the [[International Association of Wagner Societies|Wagner Society]], meeting popular conductors and musicians.{{sfn|Bailey Puffett|1998|loc=27}} [[Egon Wellesz]] recalled he and Webern analyzed Beethoven's [[Late string quartets (Beethoven)|late quartets]] at the piano in Adler's seminars.{{efn|They also attended the opera and Mahler's symphonies together.{{sfn|Moldenhauer and Moldenhauer|1978|loc=74, 654}}}} Webern learned the historical development of musical styles and techniques, editing the second volume of Heinrich Isaac's ''[[Choralis Constantinus]]'' as his doctoral thesis.{{efn|In 1925, Guido Adler asked Webern to edit the third edition. Webern declined due to financial and time constraints, instead proposing lectures on [[Instrumentation (music)|instrumentation]] and "modern music (Strauss, Mahler, Reger, Schoenberg) in the manner of ... {{lang|de|Formenlehre}}, [or] formal principles (musical logic) and their connection with ... older masters".{{sfn|Moldenhauer and Moldenhauer|1978|loc=285–287}}}} Hans and Rosaleen Moldenhauer noted Webern's scholarly engagement with Isaac's music as a formative experience for Webern the composer. Webern especially praised Isaac's [[voice leading]] or "subtle organization in the interplay of parts":{{Blockquote|The voices proceed ... in ... equality ... . Each ... has its own [[development (music)|development]] and is a ... self-contained ... structural unit ... . ... Isaac uses ... [[Canon (music)|canon]]ic devices in ... profusion ... . ... Added ... is the keenest observation of tone colourings in ... [[Register (music)|register]]s of the [[human voice]]. This is partly the cause of ... [[Voice crossing|interlacing of voices]] and ... their movement by [[Steps and skips|leaps]].{{sfn|Moldenhauer and Moldenhauer|1978|loc=84–85}}}}

Webern studied [[art history]] and [[philosophy]] under professors [[Max Dvořák]], {{ill|Laurenz Müllner|de}}, and [[Franz Wickhoff]],{{sfnm|Jensen|1989|1loc=11|Moldenhauer and Moldenhauer|1978|2loc=80–82}} joining the [[Kunstverein Nürnberg|Albrecht Dürer Gesellschaft]]{{efn|[[Albrecht Dürer]] Society. He later served on its board.}} in 1903.{{sfn|Jensen|1989|loc=11}} His cousin {{ill|Ernst Diez (Kunsthistoriker)|lt=Ernst Diez|de|Ernst Diez (Kunsthistoriker)|display=1}}, an art historian studying in Graz, may have led him to the work of [[Arnold Böcklin]] and [[Giovanni Segantini]], which he admired along with that of [[Ferdinand Hodler]] and [[Moritz von Schwind]].{{sfn|Johnson|1999|loc=252}} Webern idolized Segantini's [[Landscape painting|landscapes]] on a par with Beethoven's music, [[diary]]ing in 1904:[[File:Giovanni segantini, pascoli di primavera, 1896, 01.jpg|right|thumb|''Spring Pastures'', 1896, by [[Giovanni Segantini]]]]{{Blockquote|I long for an artist in music such as Segantini was in painting. ... [F]ar away from all turmoil of the world, in contemplation of the [[glacier]]s, of eternal ice and snow, of ... mountain giants. ... [A]n [[alpine storms|alpine storm]], ... the radiance of the summer sun on [[Alpine tundra#Flora|flower-covered meadows]]—all these ... in the music, ... of alpine solitude. That man would ... be the Beethoven of our day.{{sfn|Moldenhauer and Moldenhauer|1978|loc=76}}}}

Webern also studied [[nationalism]] and [[Catholic liturgy]],{{sfn|Bailey Puffett|1998|loc=27}} shaped by his mostly provincial Catholic upbringing, which provided little exposure to the relatively cosmopolitan people of Vienna.{{sfnm|Bailey Puffett|1998|1loc=17–18, 28, 38|Moldenhauer and Moldenhauer|1978|2loc=33, 53}} At the time, [[antisemitism]] was resurgent in Austria, fueled by Catholic resentment after [[Jewish emancipation]] in the 1867 [[December Constitution]].{{sfnm|Beller|2006|1loc=135–145, 155–156|Moldenhauer and Moldenhauer|1978|2loc=33, 53}} Webern first viewed his Jewish peers as ostentatious and unfriendly, but his attitude shifted by 1902.{{sfnm|Bailey Puffett|1998|1loc=27–28, 174|Moldenhauer and Moldenhauer|1978|2loc=53, 57}} He quickly and durably made many close friends, most of them Jewish; Kathryn Bailey Puffett wrote that this likely shaped his views.{{sfnm|Bailey Puffett|1998|1loc=27–28, 174|Moldenhauer and Moldenhauer|1978|2loc=53}}