Anton Webern Personality Type, MBTI
What is the personality type of Anton Webern? Which MBTI personality type best fits? Personality type for Anton Webern from Classical and what is the personality traits.
INTP (5w4)
Anton Webern personality type is INFJ, and his type and function is one of the most admirable and rare ones: Being a true and loving friend, and also the one that will give you all the love and support you need, and can be relied on in any hard times.
This type of person is very rare and it’s not at all easy to find such a one. But if you manage to find such a one in your life, don’t hesitate to fall in love right away, because you will get your heart broken way too many times.
The HSP Anton Webern is a truly magnificent person who has the ability to truly understand all the emotions of his friend, and in this they are so different from other people. It’s almost like they have their own language, and only they can understand it.
They will notice things about their friend, even small things they probably wouldn’t have noticed otherwise. They are truly wonderful friends. They are always willing to help in any situation that arises, no matter how difficult they are.
They are willing to sacrifice themselves for their friends, even just to be there for them in hard times.
Anton Friedrich Wilhelm von Webern (3 December 1883 – 15 September 1945) was an Austrian composer and conductor. Along with his mentor Arnold Schoenberg and his colleague Alban Berg, Webern was in the core of those in the circle of the Second Viennese School, including Theodor W. Adorno, Heinrich Jalowetz, and Ernst Krenek. As an exponent of atonality and twelve-tone technique, Webern exerted influence on contemporaries Luigi Dallapiccola, Křenek, and even Schoenberg himself. As a tutor, Webern guided and variously influenced Arnold Elston, Frederick Dorian (Friederich Deutsch), Matty Niël [nl], Fré Focke [de], Karl Amadeus Hartmann, Philipp Herschkowitz, René Leibowitz, Humphrey Searle, Leopold Spinner, and Stefan Wolpe. Webern's music was among the most radical of its milieu, both in its concision and in its rigorous and resolute apprehension of twelve-tone technique. His innovations in schematic organization of pitch, rhythm, register, timbre, dynamics, articulation, and melodic.
