His innovative compositions and teachings transformed the traditional boundaries of tonality, paving the way for a new era in Western music. Closer acquaintance with the more remote consonances - the dissonances, that is, - gradually eliminated the difficulty of comprehension and finally admitted not only the emancipation of dominant and other seventh chords, dimished sevenths and augmented triads, but also the emancipation of Wagner's, Strauss's, Moussorgky's, Debussy's, Mahler's, Puccini's, and Reger's more remote dissonances. In the above example, as is typical, the retrograde inversion contains three points where the sequence of two pitches are identical to the prime row. Arnold Schoenberg, the celebrated Austrian composer, was a true trailblazer in the world of music. Traditionally they are divided into three periods though this division is arguably arbitrary as the music in each of these periods is considerably varied. Jontow. Find many great new & used options and get the best deals for SCHOENBERG by Malcolm MacDonald (2008, Hardcover). Aufgebotsz. I called this procedure Method of Composing with Twleve Tones Which are Related Only with One Another. He wanted to find a new principle of unification that would help him to control the rich harmonic and melodic resources now at his disposal. [39] Here he was the first composer in residence at the Music Academy of the West summer conservatory.[40]. The tone row chosen as the basis of the piece is called the prime series (P). In his twenties, Schoenberg earned a living by orchestrating operettas, while composing his own works, such as the string sextet Verklrte Nacht ("Transfigured Night") (1899). The Director, Edgar Bainton, rejected him for being Jewish and for having "modernist ideas and dangerous tendencies." Having considered many candidates, he offered teaching positions to Schoenberg and Franz Schreker in 1912. 40 (1940), and the Theme and Variations for Band, Op. One no longer expected preparations of Wagner's dissonances or resolutions of Strauss' discords; one was not disturbed by Debussy's non-functional harmonies, or by the harsh counterpoint of later composers. Although usually atonal, twelve tone music need not beseveral pieces by Berg, for instance, have tonal elements. Hill, Richard S. 1936. [29][30][31][32][33][34] Composers Leonard Rosenman and George Tremblay and the Hollywood orchestrator Edward B. Powell studied with Schoenberg at this time. Along with Mahlers Eighth Symphony (Symphony of a Thousand), the Gurrelieder represents the peak of the post-Romantic monumental style. Exhibition: Composition with Twelve Tones. The technique became widely used by the fifties, taken up by composers such as Milton Babbitt, Luciano Berio, Pierre Boulez, Luigi Dallapiccola, Ernst Krenek, Riccardo Malipiero, and, after Schoenberg's death, Igor Stravinsky. In 1910 he met Edward Clark, an English music journalist then working in Germany. In the 1920s, Schoenberg developed the twelve-tone technique, an influential compositional method of manipulating an ordered series of all twelve notes in the chromatic scale. These may be used as "pivots" between set forms, sometimes used by Anton Webern and Arnold Schoenberg.[25]. Some of these composers extended the technique to control aspects other than the pitches of notes (such as duration, method of attack and so on), thus producing serial music. https://en.wikipedia.org/w/index.php?title=Arnold_Schoenberg&oldid=1141192116. Strauss turned to a more conservative idiom in his own work after 1909, and at that point dismissed Schoenberg. Nowadays, it is frequently regarded as either extinct or overly academic; as early as 1962 theorist Charles Wuorinen said that "most of the Europeans say that they have 'gone beyond' and 'exhausted' the twelve-tone system," whereas in America, "the twelve-tone system has . This page was last edited on 23 February 2023, at 20:54. from Arnold Schoenberg, "Composition with Twelve Tones" in Leonard Stein, ed. Schoenbergs major American works show ever-increasing mastery and freedom in the handling of the 12-tone method. Request Permissions, Journal of the American Musicological Society, Published By: University of California Press. [4] Arnold was largely self-taught. [11] He dreaded his sixty-fifth birthday in 1939 so much that a friend asked the composer and astrologer Dane Rudhyar to prepare Schoenberg's horoscope. 9 (1906), a work remarkable for its tonal development of whole-tone and quartal harmony, and its initiation of dynamic and unusual ensemble relationships, involving dramatic interruption and unpredictable instrumental allegiances; many of these features would typify the timbre-oriented chamber music aesthetic of the coming century. [28], For example, the layout of all possible 'even' cross partitions is as follows:[29], One possible realization out of many for the order numbers of the 34 cross partition, and one variation of that, are:[29]. Some even subjected all elements of music to the serial process. Thus the parts were differentiated as clearly as they had formerly been by the tonal and structural functions of harmony. 16 (1909), the influential Pierrot Lunaire, Op. Nevertheless, the desire for a conscious control of the new means and forms will arise in every artist's mind; and he will wish to know consciously the laws and rules which govern the forms which he has conceived 'as in a dream'. Schoenberg Twelve Tone - Free download as PDF File (.pdf), Text File (.txt) or view presentation slides online. In the last hundred years, the concept of harmony has changed tremendously through the development of chromaticism. IV Enter a tone row by touching the staff or playing the piano keyboard (on iPad). VII Sept, 1838 II, Taborstr. Hemmung (Arnold Schnberg) [Restraint] (1930), 2. [10], During the summer of 1908, Schoenberg's wife Mathilde left him for several months for a young Austrian painter, Richard Gerstl (who committed suicide in that November after Mathilde returned to her marriage). This is in stark contrast to the rules and conventions or major and minor tonality which . 38 (begun in 1906, completed in 1939), the Variations on a Recitative in D minor, Op. Despite more than forty years of advocacy and the production of "books devoted to the explanation of this difficult repertory to non-specialist audiences", it would seem that in particular, "British attempts to popularize music of this kind can now safely be said to have failed". This means, of course, that no tone is repeated within the series and that it uses all twelve tones of the chromatic scale, though in a different order. Der neue Klassizismus [The new classicism] (Arnold Schnberg) (1925), 9. The Sources of Schoenberg's "Aesthetic Theology". Later, Schoenberg was to develop the most influential version of the dodecaphonic (also known as twelve-tone) method of composition, which in French and English was given the alternative name serialism by Ren Leibowitz and Humphrey Searle in 1947. The combination of the retrograde and inversion transformations is known as the retrograde inversion (RI). Arved Ashby, Schoenberg, Boulez, and Twelve-Tone Composition as "Ideal Type", Journal of the American Musicological Society, Vol. On February 23, 1913, his Gurrelieder (begun in 1900) was first performed in Vienna. The term emancipation of the dissonance refers to its comprehensibility, which is considered equivalent to the consonance's comprehensibility. He seriously considered the offer, but he declined. Thema (1920) 4. 23 Five Pieces for Piano Sehr langsam (1920) Sehr rasch (1920) Langsam (1923) Schwungvoll (1920/1923) Walzer (1923) Op. [32], Ten features of Schoenberg's mature twelve-tone practice are characteristic, interdependent, and interactive:[33]. A style based on this premise treats dissonaces like consonances and renounces a tonal center. 2 in E minor, Op. [24], Schoenberg continued in his post until the Nazi regime Machtergreifung came to power in 1933. Establishing functions demanded different successions of harmonies than roving functions; a bridge, a transition, demanded other successions than a codetta; harmonic variation could be executed intelligently and logically only with due consideration of the fundamental meaning of the harmonies. At first he. He died on Friday, 13 July 1951, shortly before midnight. Unentrinnbar [Inescapable] (Arnold Schnberg), 2. The only motivic elements that persist throughout the work are those that are perpetually dissolved, varied, and re-combined, in a technique, identified primarily in Brahms's music, that Schoenberg called "developing variation". "Sets, Invariance and Partitions". Until that period all of Schoenbergs works had been strictly tonal; that is, each of them had been in a specific key, centred upon a specific tone. It seemed that Schoenberg had reached the peak of his career. Moods and pictures, though extra-musical, thus became constructive elements, incorporated in the musical functions; they produced a sort of emotional comprehensibility. This item is part of a JSTOR Collection. 39 (1938)the Kol Nidre is a prayer sung in synagogues at the beginning of the service on the eve of Yom Kippur (Day of Atonement)and the Prelude to the Genesis Suite for orchestra and mixed chorus, Op. Schoenbergs most-important atonal compositions include Five Orchestral Pieces, Op. Schoenberg was unhappy about this and initiated an exchange of letters with Mann following the novel's publication. The final two movements, again using poetry by George, incorporate a soprano vocal line, breaking with previous string-quartet practice, and daringly weaken the links with traditional tonality. 10, with soprano. "Schoenberg's Tone-Rows and the Tonal System of the Future". A little later I discovered how to construct larger forms by following a text or a poem. He immigrated to the United States via Paris, where he formally returned to the Jewish faith, which he had abandoned in his youth. V Along with his twelve-tone works, 1930 marks Schoenberg's return to tonality, with numbers 4 and 6 of the Six Pieces for Male Chorus Op. For terms and use, please refer to our Terms and Conditions Entdecke Stil und Idee Arnold Schnberg neues Buch 9780806530956 in groer Auswahl Vergleichen Angebote und Preise Online kaufen bei eBay Kostenlose Lieferung fr viele Artikel! After many unsuccessful attempts during a period of apporximately twelve years, I laid the foundations for a new procedure in musical construction which seemed fitted to replace those structural differentiations provided formerly by tonal harmonies. In 1933, after long meditation, he returned to Judaism, because he realised that "his racial and religious heritage was inescapable", and to take up an unmistakable position on the side opposing Nazism. 30 (1927); the opera Von Heute auf Morgen, Op. [13] According to Norman, this is a reference to Schoenberg's apparent "destiny" as the "Emancipator of Dissonance". [69] as fellow members of the expressionist group Der Blaue Reiter. Beginning with songs and string quartets written around the turn of the century, Schoenberg's concerns as a composer positioned him uniquely among his peers, in that his procedures exhibited characteristics of both Brahms and Wagner, who for most contemporary listeners, were considered polar opposites, representing mutually exclusive directions in the legacy of German music. [12], The "strict ordering" of the Second Viennese school, on the other hand, "was inevitably tempered by practical considerations: they worked on the basis of an interaction between ordered and unordered pitch collections. [7][8], In 1898 Schoenberg converted to Christianity in the Lutheran church. Listen to Schoenberg's 12-Tone Works Listen to Schoenberg's 12-Tone Works Op. This technique was taken up by many of his students, who constituted the so-called Second Viennese School. During the first year and a half, Schoenberg did not let any of his own works be performed. Verbundenheit (Arnold Schnberg) [Obligation] (1929), Op. "The Zwlftonspiel of Josef Matthias Hauer". Sample of "Sehr langsam" from String Trio Op. He held major teaching positions at the University of Southern California (193536) and at the University of California at Los Angeles (193644). "New Symmetric Transformations". At the Vienna premire of the Gurre-Lieder in 1913, he received an ovation that lasted a quarter of an hour and culminated with Schoenberg's being presented with a laurel crown. [23] (see musical cryptogram). Form the basic set, three additional sets are automatically derived: (1) the inversion; (2) the retrograde; and (3) the retrograde inversion. In. [16], An example of Bradley's use of the technique to convey building tension occurs in the Tom & Jerry short "Puttin' on the Dog", from 1944. Frequent guests included Otto Klemperer (who studied composition privately with Schoenberg beginning in April 1936), Edgard Varse, Joseph Achron, Louis Gruenberg, Ernst Toch, and, on occasion, well-known actors such as Harpo Marx and Peter Lorre. In the early 1920s in an effort to think differently about musical composition, Austrian composer Arnold Schnberg set rules for composition so that no one t. 29 (1925). 15, based on the collection of the same name by the German mystical poet Stefan George. Pressburg 2. Utilizing the technique of Sprechstimme, or melodramatically spoken recitation, the work pairs a female vocalist with a small ensemble of five musicians. [66], Adrian Leverkhn, the protagonist of Thomas Mann's novel Doctor Faustus (1947), is a composer whose use of twelve-tone technique parallels the innovations of Arnold Schoenberg. [17] Apart from his work in cartoon scores, Bradley also composed tone poems that were performed in concert in California. (Some rows have fewer due to symmetry; see the sections on derived rows and invariance below.). 35, the other pieces being dodecaphonic. [contradictory] Other composers have created systematic use of the chromatic scale, but Schoenberg's method is considered to be historically and aesthetically most significant.[5]. The process of transcending tonality can be observed at the beginning of the last movement of his Second String Quartet (190708). This was the first composition without any reference at all to a key.[11]. Trio (1921-1923) 3. For serialism did not achieve popularity; the process of familiarization for which he and his contemporaries were waiting never occurred. In Europe, the work of Hans Keller, Luigi Rognoni[it], and Ren Leibowitz has had a measurable influence in spreading Schoenberg's musical legacy outside of Germany and Austria. One of the largest, most distinguished, and innovative of the university presses today, its collection of print and online journals spans topics in the humanities and social sciences, with concentrations in sociology, musicology, history, religion, cultural and area studies, ornithology, law, and literature. 37 (1936); the Piano Concerto, Op. One of the best known twelve-note compositions is Variations for Orchestra by Arnold Schoenberg. Listen to Schoenberg's 12-Tone Works. If Schoenberg really believed what he said (and it is hard to be quite sure about this), then it represents one of the most poignant moments in the history of music. One of its consequences was the so-called impressionistic use of harmonies, especially practised by Debussy. Stravinsky also preferred the inverse-retrograde, rather than the retrograde-inverse, treating the former as the compositionally predominant, "untransposed" form.[31]. 585-625. 25, the first 12-tone piece. Writer Sean O'Brien comments that "written in the shadow of Hitler, Doktor Faustus observes the rise of Nazism, but its relationship to political history is oblique".[68]. Schoenberg's significant compositions in the repertory of modern art music extend over a period of more than 50 years. In 1911, unable to make a decent living in Vienna, he had moved to Berlin. [16] Instead, audiences at the Society's concerts heard difficult contemporary compositions by Scriabin, Debussy, Mahler, Webern, Berg, Reger, and other leading figures of early 20th-century music.[17]. [10] Additionally, John Covach argues that the strict distinction between the two, emphasized by authors including Perle, is overemphasized: The distinction often made between Hauer and the Schoenberg schoolthat the former's music is based on unordered hexachords while the latter's is based on an ordered seriesis false: while he did write pieces that could be thought of as "trope pieces", much of Hauer's twelve-tone music employs an ordered series. The first of these periods, 18941907, is identified in the legacy of the high-Romantic composers of the late nineteenth century, as well as with "expressionist" movements in poetry and art. Founded in 1893, University of California Press, Journals and Digital Publishing Division, disseminates scholarship of enduring value. Pauline Nachod aus Pragwurde in der Wochenschrift fr politische, religise und Cultur-Interessenangezeigt. John Covach. He later made an orchestral version of this, which became one of his most popular pieces. Gurrelieder was received with wild enthusiasm by the audience, but the embittered Schoenberg could no longer appreciate or acknowledge their response. 2020. Founded in 1948, the Journal of the American Musicological Society welcomes topics from all fields of musical inquiry, including historical musicology, critical theory, music analysis, iconography and organology, performance practice, aesthetics and hermeneutics, ethnomusicology, gender and sexuality, popular music and cultural studies. As people became more acquainted with these higher overtones, it became more commonplace to use more adventurous harmonies.] "Set Structure as a Compositional Determinant". For instance, only a consonance was suitable for an ending. The method of composing with twelve tones grew out of a necessity. However, not all prime series will yield so many variations because transposed transformations may be identical to each other. Untransposed, it is notated as P0. 31 (1928); Piano Pieces, Opp. He regarded it as the equivalent in music of Albert Einstein's discoveries in physics. Near the end of July 1921, Schoenberg told a pupil, Today I have discovered something which will assure the supremacy of German music for the next 100 years. That something was a method of composition with 12 tones related only to one another. The twelve-tone techniquealso known as dodecaphony, twelve-tone serialism, and (in British usage) twelve-note compositionis a method of musical composition first devised by Austrian composer Josef Matthias Hauer,[not verified in body] who published his "law of the twelve tones" in 1919. [55], Schoenberg criticized Igor Stravinsky's new neoclassical trend in the poem "Der neue Klassizismus" (in which he derogates Neoclassicism, and obliquely refers to Stravinsky as "Der kleine Modernsky"), which he used as text for the third of his Drei Satiren, Op. In the early 1920s, he worked at evolving a means of order that would make his musical texture simpler and clearer. His success as a teacher continued to grow. Thus the structure of his unfinished opera Moses und Aron is unlike that of his Phantasy for Violin and Piano, Op. Schoenberg announced it characteristically, during a walk with his friend Josef Rufer, when he said, "I have made a discovery which will ensure the supremacy of German music for the next hundred years". .. It has been mentioned that the basic set is used in mirror forms. Marsch (1921) 2. 36 (1934/36), the Kol Nidre, Op. 15 (19081909), his Five Orchestral Pieces, Op. Many important composers who had originally not subscribed to or actively opposed the technique, such as Aaron Copland and Igor Stravinsky,[clarification needed] eventually adopted it in their music. Sonett Nr. Combinatoriality is a side-effect of derived rows where combining different segments or sets such that the pitch class content of the result fulfills certain criteria, usually the combination of hexachords which complete the full chromatic. The ear had gradually become acquainted with a great number of dissonances, and so had lost the fear of their 'sense-interrupting' effect. 16 (1909); the monodrama Erwartung, Op. Schoenberg was a painter of considerable ability, whose works were considered good enough to exhibit alongside those of Franz Marc and Wassily Kandinsky. Musicians associated with Schoenberg have had a profound influence upon contemporary music performance practice in the US (e.g., Louis Krasner, Eugene Lehner and Rudolf Kolisch at the New England Conservatory of Music; Eduard Steuermann and Felix Galimir at the Juilliard School). Digital realizationChristoph Edtmayr, Eike Fe, Opening HoursMonday Friday 10 am to 5 pm; closed on legal holidays and on April 7, 2023, Entrance feeAdults 6Discount: senior citizens, visitors with special needs, groups, Vienna City Card, Free admissionchildren and young people 26 and under, Gazing into the soul with Schnberg (2022-2023), Richard Strauss Arnold Schnberg (2011), Arnold Schnberg - An Exhibition to be heard (2000-2006), Arnold Schnbergs Brilliant Moves (2004), Schnberg, Mahler, Zemlinsky, Schreker (2003), Schnberg, Kandinsky, Blauer Reiter (2000), Arnold Schnbergs Viennese Circle (1999/2000). His secretary and student (and nephew of Schoenberg's mother-in-law Henriette Kolisch), was Richard Hoffmann, Viennese-born but who lived in New Zealand in 19351947, and Schoenberg had since childhood been fascinated with islands, and with New Zealand in particular, possibly because of the beauty of the postage stamps issued by that country.[38]. He must find, if not laws or rules, at least ways to justify the dissonant character of these harmonies and their successions. By avoiding the establishment of a key, modulation is excluded, since modulation means leaving an established tonality and establishing another tonality. [i.e. On this Wikipedia the language links are at the top of the page across from the article title. It may also be transposed up or down to any pitch level. He moved to Los Angeles, where he taught at the University of Southern California and the University of California, Los Angeles, both of which later named a music building on their respective campuses Schoenberg Hall. The urgency of musical constructions lacking in tonal centers, or traditional dissonance-consonance relationships, however, can be traced as far back as his Chamber Symphony No. In a scene where the mouse, wearing a dog mask, runs across a yard of dogs "in disguise", a chromatic scale represents both the mouse's movements, and the approach of a suspicious dog, mirrored octaves lower. During the summer of 1910, Schoenberg wrote his Harmonielehre (Theory of Harmony, Schoenberg 1922), which remains one of the most influential music-theory books. 24 Serenade 1. But political events proved his undoing. Glck (Arnold Schnberg) [Luck] (1929), 5. [41] This possibly began in 1908 with the composition of the thirteenth song of the song cycle Das Buch der Hngenden Grten Op. 214245 "Composition with Twelve Tones (1) (1941)", 245249 "Composition with Twelve Tones (2) (c. 1948)". His wife Gertrud reported in a telegram to her sister-in-law Ottilie the next day that Arnold died at 11:45pm, 15 minutes before midnight. Variation: Listesso tempo; aber etwas langsamer, Frau Ihr habt euch also ber mich unterhalten?, Frau Nun werde ich mir auch die Haare frben, Frau Glaubst Du wirklich, du kannst mich erwrmen, Frau Aber wirklich: verstndest du mich,, Frau Baby, lies, was auf dieser Schachtel steht, Freundin und Snger Oho, oho, oho, was seh ich da?, 1. Music, 23.10.2020 05:41, batopusong81 3. Wright, James and Alan Gillmor (eds.). [18], Rock guitarist Ron Jarzombek used a twelve-tone system for composing Blotted Science's extended play The Animation of Entomology. His often polemical views of music history and aesthetics were crucial to many significant 20th-century musicologists and critics, including Theodor W. Adorno, Charles Rosen, and Carl Dahlhaus, as well as the pianists Artur Schnabel, Rudolf Serkin, Eduard Steuermann, and Glenn Gould. 39, for chorus and orchestra (1938), the Ode to Napoleon Buonaparte, Op. It is worth noting that the relation between the Basic Set and its Inversion is the same as between a Major Scale and a Minor Scale.] Invariance is defined as the "properties of a set that are preserved under [any given] operation, as well as those relationships between a set and the so-operationally transformed set that inhere in the operation",[26] a definition very close to that of mathematical invariance. Schoenberg, inventor of twelve-tone technique Twelve-tone technique also known as dodecaphony, twelve-tone serialism, and (in British usage) twelve-note composition is a method of musical composition devised by Austrian composer Arnold Schoenberg (1874-1951). His teaching was well received, and he was writing important works: the Third String Quartet, Op. The first compositions of this new style were written by me around 1908 and, soon afterwards by my pupils, Anton von Webern and Alban Berg. 33a Klavierstck and also by Berg but Dallapicolla used them more than any other composer.[30]. [10][21] They had three children: Nuria Dorothea (born 1932), Ronald Rudolf (born 1937), and Lawrence Adam (born 1941). It was during the absence of his wife that he composed "You lean against a silver-willow" (German: Du lehnest wider eine Silberweide), the thirteenth song in the cycle Das Buch der Hngenden Grten, Op. Thus if one's tone row was 0 e 7 4 2 9 3 8 t 1 5 6, one's cross partitions from above would be: Cross partitions are used in Schoenberg's Op. Personally, I refuse to believe that in the great masterworks [of opera, such as Don Giovanni, or Orfeo] pieces are connected only by the superficial coherence of the dramatic proceedings. In around 1934, he applied for a position of teacher of harmony and theory at the New South Wales State Conservatorium in Sydney. Schoenberg's fellow countryman and contemporary Hauer also developed a similar system using unordered hexachords or tropesbut with no connection to Schoenberg's twelve-tone technique. 54, No. An extensive music composition and analysis tool. In the 12-tone method, each composition is formed from a special row or series of 12 different tones. In 1941 Arnold Schoenberg presented a lecture at the University of California at Los Angeles entitiled "Composition With Twelve Tones"--a lecture which . Journal of the American Musicological Society For others with the surname, see, Third Reich and move to the United States, Third period: Twelve-tone and tonal works, Text: "Die Trauung von Samuel Schnberg aus Pressburg mit der Jgf. 17 (1909). The telegram telling of the great success of that performance was one of the last things to bring Schoenberg pleasure before his death 11 days later. Am Scheideweg [At the crossroads] (Arnold Schnberg) (1925), 2. The introduction of my method of composing with twelve tones does not facilitate composing; on the contrary, it makes it more difficult. Schoenberg's music from 1908 onward experiments in a variety of ways with the absence of traditional keys or tonal centers. 217 von Petrarca (19221923), 1. The twelve tone technique was preceded by "freely" atonal pieces of 19081923 which, though "free", often have as an "integrative element a minute intervallic cell" which in addition to expansion may be transformed as with a tone row, and in which individual notes may "function as pivotal elements, to permit overlapping statements of a basic cell or the linking of two or more basic cells". [26] This happened after his attempts to move to Britain came to nothing. The technique is a means of ensuring that all 12 notes of the chromatic scale are sounded as often as . At the same time, neither I nor my pupils were conscious of the reasons for these features. During this final period, he composed several notable works, including the difficult Violin Concerto, Op. However, such a change became necessary when there occurred simultaneously a development which ended in what I call the emancipation of the dissonance. A fresh perspective on two well-known personalities, Schoenberg's Correspondence with Alma Mahler documents a modern music friendship beginning in fin-de-siecle Vienna and ending in 1950s Los . Clark became his sole English student, and in his later capacity as a producer for the BBC he was responsible for introducing many of Schoenberg's works, and Schoenberg himself, to Britain (as well as Webern, Berg and others). [64], Ben Earle (2003) found that Schoenberg, while revered by experts and taught to "generations of students" on degree courses, remained unloved by the public. The exhibition also provides a vivid rendering of musical procedures: informative animations make the twelve-tone method comprehensible in sound and image. This is known as invariance. They included Anton Webern, Alban Berg, and Hanns Eisler, all of whom were profoundly influenced by Schoenberg. From the very beginning such compositions differed from all preceding music, not harmonically but also melodically, thematically and motivally.