Chromatic Function in Schoenberg’s Little Piano Piece, op. 19, no. 1

Abstract

The revival of Formenlehre studies has initiated a renewed interest in formal functions in atonal music. Schoenberg, who pioneered the study of formal functions, did not extensively analyze his atonal music from a formal point of view. Recent scholars, however, have drawn parallels between the formal construction of his atonal music and common-practice tonal music. One impediment to such analysis is the lack of a theory of counterpoint and harmony upon which formal-functional analysis rests. I propose a normative contrapuntal-harmonic structure for Schoenberg’s atonal music I call the “chromatic cadence.” I trace its origins to voice-leading techniques used by Schoenberg in his earlier tonal music and develop fundamental principles that guide the analysis and identification of the cadence in his atonal music. I conclude with a detailed analysis of Schoenberg’s piano piece, op. 19, no. 1, in which I examine the interrelationship of its motivic construction, contrapuntal-harmonic structure, and its formal functions.