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Abstract
The Italian reception of the theoretical writings of Arnold Schoenberg represents a peculiar case study. From the 1950s to the 1960s, editions of Schoenberg’s writings were placed in the series of prestigious publishers within the framework of a project of cultural dissemination. Recently, there has been a renewed interest in Schoenberg’s theoretical writings within the restricted sphere of musicological research. While the first editions were addressed to a broad readership, recent translations are primarily addressed to the academic community. This change in reader identity reflects different translational choices, leading to a veritable reconfiguration of the translation process. In assessing translations of Schoenbergian theoretical terminology, we must consider the role played by the Italian musical and cultural context. Analyzing these praxeological aspects can make a contribution towards a modern translation criticism that considers translation not as the result of absolute lexical choices, but as of a complex cultural and social exchange between individuals and institutions.