Homepage > Other Musicians > Arnold Schoenberg > The Background Behind Schoenbergʼs Active Pursuit of Atonal Music
This site introduces unknown Emanuel Bach (C. P. E. Bach).
The Background Behind Schoenbergʼs Active Pursuit of Atonal Music
The background behind Arnold Schoenberg’s active engagement with atonal music is rooted in a complex interplay of musical, philosophical, and cultural factors. Below are the main factors that influenced this transition.
1. Recognition of the Limitations of Tonal Music
One major reason Schoenberg chose atonality was his perception of the expressive limitations of traditional tonal music.
- From the Expansion to the Collapse of Tonality: Late Romantic composers (especially Wagner, Mahler, and Richard Strauss) expanded tonality to its limits through chromatic progressions and frequent modulations. This blurred tonal centers, leading to the perceived collapse of tonal structures.
- The Need for New Expression: Schoenberg felt the necessity to go beyond the framework of tonality to express his inner emotions and thoughts more freely.
2. Philosophical and Aesthetic Influences
Schoenbergʼs shift to atonality was influenced by the philosophical and aesthetic trends of his time.
- Influence of Expressionism: Schoenbergʼs atonal works reflect the ideals of **Expressionism**, which aimed to depict extreme emotions and inner conflicts. Expressionism emphasized expressing inner truths and struggles over superficial beauty.
- Freedom of Self-Expression: Atonal music was seen as liberation from the "order" of traditional tonal music, allowing composers to follow their inner voice with creative freedom.
3. Historical and Cultural Context
Schoenbergʼs transition to atonality was also linked to the turbulent historical background of the late 19th and early 20th centuries.
- Social Turmoil and Anxiety: The early 20th century was marked by rising social and cultural tensions leading up to World War I. Amidst the destabilization of existing values and order, Schoenberg sought a new order in music.
- Viennaʼs Cultural Environment: Schoenberg worked in Vienna, a hub of intellectual activity where arts, philosophy, and psychology (especially Freudʼs psychoanalysis) were evolving. These influences prompted Schoenberg to explore new musical directions.
4. Technical Exploration and Drive for Innovation
Schoenberg had a deep interest in the structural aspects of music and aimed to develop new compositional techniques.
- Exploration of Sound Beyond Tonality: Atonality allowed for the exploration of new musical order by treating all notes equally. Schoenberg dismantled the hierarchy of "tonic" and "subordinate" notes in tonal music, treating all pitches equally.
- Development of the Twelve-Tone Technique: To restore order to the perceived chaos of atonality, Schoenberg later developed the twelve-tone technique, where all twelve pitches are used once in a tone row, providing a new structural basis for composition.
5. Examples of Early Atonal Works
Schoenberg’s shift to atonality was gradual, with the following works marking turning points:
- *String Quartet No. 2* (1908): The final movement shows a clear collapse of tonality, hinting at atonality.
- *Erwartung* (1909): This monodrama uses atonality to depict psychological tension and anxiety, completely abandoning tonality.
- *Pierrot Lunaire* (1912): A representative atonal work utilizing *Sprechstimme* (speech-like singing), completely departing from tonal frameworks.
6. Criticism of Atonality and Schoenberg’s Conviction
Schoenberg faced strong criticism from audiences and critics for his atonal music, but he never wavered in his artistic beliefs.
- The Evolution of Art: Schoenberg believed that the evolution of music involved expanding tradition rather than destroying it. He saw atonality not as the destruction of tonal music but as its natural progression.
- Pride as a Pioneer: Schoenberg had a strong sense of mission, believing that he was opening the future of music.
Conclusion
The background of Schoenbergʼs active composition of atonal music includes his recognition of the limits of tonal music, the influence of Expressionism in pursuing the expression of inner emotions, the social and cultural turmoil of his time, and his technical exploration for a new musical order. His atonal music challenged the existing musical framework and was a groundbreaking innovation that opened new possibilities in music history.
I asked ChatGPT4o: “Why did Romantic composers avoid atonality for emotional expression, while Schoenberg adopted it for the same purpose?”
This reflects the differing approaches to how emotions are expressed in music between the Romantic era and Schoenberg (especially in Expressionism). Both pursued emotional expression, but their types of emotions, intentions, and choice of musical language significantly differed.
1. Romantic Emotional Expression: Drama Within Tonality
Romantic composers expressed emotional highs and lows using tonal musical language.
- Directionality through Tonality: Tonal music constructs emotional flow through "tension" (e.g., modulations, dissonances) and "release" (harmonic resolution), providing listeners with a clear emotional trajectory.
- Beauty and Order: Romantic music emphasized aesthetics and order. Even intense emotions and conflicts ultimately resolved within the order of tonality.
2. Schoenbergʼs Emotional Expression: Inner Truth Through Atonality
Schoenberg, particularly during his Expressionist period, used atonality to depict **extreme emotions, mental anxiety, and chaos** beyond the expressive capacity of tonality.
- Expression Beyond Tonal Constraints: Tonal music inherently involves stability and comfort. However, Schoenberg sought to express **extreme emotions (fear, despair, anxiety)** that tonality couldnʼt convey.
- Chaotic Inner Emotions: Atonality lacks a tonal center, creating music without direction, evoking unease and tension, directly reflecting Schoenbergʼs portrayal of **internal turmoil and emotional fluidity**.
Conclusion
Romantic composers used tonality to structure and aesthetically express emotions, while Schoenberg adopted atonality to depict the **raw truth of chaotic, unresolved emotions**. The difference stems from a philosophical choice between "order" and "chaos" in expressing emotions through music.