Top > Other Musicians > Arnold Schoenberg > The Background to Schoenbergʼs Active Composition of Atonal Music
This site introduces unknown composer Emanuel Bach (C. P. E. Bach). This English version was translated from Japanese one by ChatGPT.
The Background to Schoenbergʼs Active Composition of Atonal Music
The background to Arnold Schoenbergʼs active composition of atonal music involves a complex interplay of musical, philosophical, and cultural factors. Below, I will outline and explain the main factors.
1. Recognition of the Limits of Tonal Music
A major reason Schoenberg chose atonality was his perception of the limitations of traditional tonal music in terms of expressive range.
- From Expansion to Collapse of Tonality: Late Romantic composers, particularly Wagner, Mahler, and Richard Strauss, pushed tonality to its limits using chromaticism and frequent modulations. This led to a sense of ambiguity in tonal centers and a perception that the framework of tonality was collapsing.
- The Need for New Expression: Schoenberg felt the need to transcend the framework of tonality to express his inner emotions and thoughts.
2. Philosophical and Aesthetic Influences
The transition to atonal music was influenced by the philosophy and aesthetics of the time.
- Influence of Expressionism: Schoenbergʼs atonal works were influenced by Expressionism, which aimed to depict extreme emotions and inner conflicts. Expressionism prioritized expressing inner truths and anguish over superficial beauty.
- Free Self-Expression: Atonal music was seen as a means of liberation from the “order” of traditional tonal music, allowing composers to follow their inner voices freely.
3. Historical and Cultural Factors
Schoenbergʼs transition to atonality is also related to the turbulent historical context of the late 19th and early 20th centuries.
- Social Turmoil and Anxiety: The early 20th century was a time of heightened social and cultural tension leading up to World War I. Amidst the destabilization of existing values and order, Schoenberg sought to explore new musical orders.
- The Cultural Environment of Vienna: Vienna, where Schoenberg was active, was an intellectual hub for evolving arts, philosophy, and psychology (especially Freudʼs psychoanalysis). Influenced by these, Schoenberg explored new musical directions.
4. Technical Exploration and Innovation
Schoenberg had a strong interest in the structural aspects of music and sought to develop new compositional techniques.
- Exploration of Sound Beyond Tonality: Atonality was used as a means to explore new musical orders by treating all notes equally. Schoenberg aimed to dismantle the hierarchy of “tonic” and “subordinate” notes based on tonality, treating all notes equally.
- Development of the Twelve-Tone Technique: Amidst the chaotic impression of atonal music, Schoenberg later developed the twelve-tone technique as a means to restore order. This technique involved creating a series using all 12 notes once, providing a new structure for composition.
5. Specific Examples of Early Atonal Works
Schoenbergʼs transition to atonality progressed gradually, with the following works considered turning points.
- String Quartet No. 2 (1908): The final movement prominently displayed the collapse of tonality, showing signs of atonality.
- Erwartung [Expectation] (1909): This monodrama depicted psychological tension and anxiety through atonality, completely abandoning tonality.
- Pierrot Lunaire (1912): A representative work of Schoenbergʼs atonal period, using Sprechstimme (a speech-like singing method) to completely break away from tonal frameworks.
6. Criticism of Atonality and Schoenbergʼs Convictions
Atonal music faced strong criticism from audiences and critics of the time, but Schoenberg never wavered in his musical convictions.
- Evolution of Art: Schoenberg believed that the evolution of music lay in “expanding tradition, not destroying it.” He saw atonality as a natural result of this evolution, not the destruction of tonal music.
- Pride as a Pioneer: Schoenberg had a strong sense of mission, believing he was paving the way for the future of music.
Conclusion
The background to Schoenbergʼs active composition of atonal music includes recognition of the limits of tonal music, the pursuit of expressionism to convey inner emotions, the social and cultural turmoil of the time, and technical exploration of new musical orders. His atonal music was a challenge to transcend the existing musical framework and simultaneously an innovation that opened new possibilities in music history.
I asked ChatGPT4o: "In Romanticism, atonality was avoided for emotional expression, but Schoenberg incorporated it for that purpose. What does this mean?"
This is due to the difference in approaches between Romanticism and Schoenberg (especially Expressionism) regarding how to express emotions in music. Both pursued emotional expression, but there are significant differences in the types and purposes of emotions they wanted to express and the choice of musical language.
1. Emotional Expression in Romanticism: Drama Within Tonality
In Romanticism, emotions and narratives were expressed using a musical language based on tonality.
- Directionality Through Tonality: In tonal music, the flow of emotions is constructed through “tension (e.g., modulation or dissonance)” and “release (tonal stability or chord resolution).” Tonality provides directionality for music, ensuring emotions are organized and clearly conveyed to the listener.
- Beauty and Order: Romantic music emphasized aesthetic sense and order, resolving intense emotions and conflicts within the framework of tonality.
Example: In symphonies by Beethoven or Mahler, deep anguish and conflict are depicted, but ultimately a sense of release based on tonality is provided.
2. Emotional Expression in Schoenberg: Inner Truth Through Atonality
In Schoenbergʼs work (especially during the Expressionist period), atonality was chosen to depict extreme emotions and psychological anxiety or confusion that could not be fully expressed through traditional tonality.
- Expression Beyond the Constraints of Tonality: The “order” of tonal music involves a certain stability and relief. However, the emotional expression Schoenberg aimed for was **extreme emotions (fear, despair, anxiety, etc.)** beyond stability and order. Tonality was seen as too restrictive for appropriately expressing these emotions.
- Chaotic Inner Emotions: Atonality, lacking a tonal “center,” results in music without direction, causing listeners to feel strong anxiety and tension. This directly reflects the inner chaos and fluidity of emotions Schoenberg wanted to express.
Example: In Erwartung (1909), tonality is completely abandoned, directly depicting psychological states of loneliness, confusion, and anxiety.
3. Philosophical Differences in Emotional Expression
Philosophy of Romanticism:
- Emotions are expressed as ordered reflections of human beauty and sublimity.
- Universality of Emotions: Even personal emotions are elevated to universal values (beauty, love, salvation, etc.) and shared with listeners.
- Tonal music functioned to guarantee this order and universality.
Philosophy of Schoenberg (Expressionism):
- Emotions are expressed as inner and subjective, reflecting chaos, contradiction, and extreme experiences as they are.
- Personal and Fragmented Truth: In contrast to the universality of Romanticism, Expressionism focused on personal emotions and psychological states, aiming to depict their complexity and instability as they are.
- Atonality was a means to uncompromisingly express this personal “truth.”
4. Differences in Historical Context
- **The Romantic Era (19th century)** sought to musically organize emotions as “beautiful,” as society and culture still valued harmony and order.
- **Schoenbergʼs Era (early 20th century)** was a time of unstable social conditions and changing values leading up to World War I. Emotions of this era were so inner and chaotic that they could not be expressed through harmony and order. Atonality was a means to musically express the unstable psychology of this era.
5. Specific Examples
- Romantic music (e.g., Mahlerʼs Symphony No. 5) depicts deep sorrow and anguish but ultimately provides salvation or resolution within the framework of tonality.
- Schoenbergʼs Erwartung [Expectation] completely abandons the framework of tonality, depicting a chaotic psychological state where emotions have no resolution or salvation.
Conclusion
In Romanticism, tonality was used to express emotions in an ordered and aesthetic manner, while Schoenberg adopted atonality to depict the truth of chaotic emotions that reject order and resolution. The difference between the two lies in the philosophical choice of whether to choose “order” or “chaos” when expressing emotions in music.