Abstract
The study discusses whether prolongational organization occurs in Schoenberg's op. 19/2. The four conditions of prolongation postulated by Joseph Straus are adopted as the basis of the discussion, but the method of identifying harmonies with pitch-class sets is rejected. This is justified partly on perceptual grounds. Using a conception of intervals and harmonies with restricted octave equivalence, an analysis is presented showing a structure in which the four conditions are fulfilled to a significant degree. Additional examples showing comparable organization in Schoenberg's op. 11 are presented.
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