Schoenberg's transition to atonality (1904-1908): the use of intervallic symmetry and the tonal-atonal relationship in Schoenberg's pre-atonal compositions

The dissertation explores the use of interval cycles and their relationships with the tonal framework in Schoenberg’s pre-atonal compositions from 1904 to 1908. While some scholars view the role of interval cycles in these compositions as subsidiary to the overall tonal framework, I should argue that Schoenberg establishes the interval cycles as an integral part of the overall harmonic language in his pre-atonal music. The use of common elements plays a key role in linking the realms of diatonicism and cyclicinterval construction. Four Schoenberg compositions of this period are examined closely. Chapter 2 explores the relationship between the D-minor tonality and octatonic construct in the First String Quartet (1904-1905). While Maria Niederberger points to the importance of the alternating succession of perfect fourths and major thirds (i.e., interval 5:4 compound cyclic construction, for instance, E#-A#-C-F-A-D-F -B) as the octatonic Grundgestalt of the quartet (the latter 5:4 ratio construction in scalar form: E#-F-F -A#-A-B-C-D), I shall explore the formal and structural importance of the relationship of this 5:4 octatonic construct along with its equivalent 2:1 compound cyclic-interval form. These are presented contrapuntally during the first foreground appearance of the 5:4 compound cyclic collection. Chapter 3 explores how Schoenberg establishes the diatonic triad as the intersection of interval cycles. In Ein Stelldichein (1905, unfinished), Schoenberg establishes the B#-major triad as the intersection of the two whole-tone collections in the opening passage. In addition, the establishment of the interval-4 cycle, B#-D-G#, is achieved through long-range preparation of D and G# as key areas in subsequent sections. In the First Chamber Symphony (1905-1906), Schoenberg unfolds the whole-tone and perfect-fourth cycles toward a cadence on the Neapolitan F major before resolving to the E-major tonic. Throughout the piece, the interval cycles play a vital role in establishing tonic and various local key areas. Chapter 4 explores all four movements of Schoenberg’s Second String Quartet (1907-8). In the first three movements, the cycles are generated from the intervallic structure of the opening triad of the respective movements. The last movement exhibits a unique procedure of defining the whole-tone collections and establishing the tonic F -major triad.