“Schenkerian-Schoenbergian Analysis” and Hidden Repetition in the Opening Movement of Beethoven's Piano Sonata Op. 10, No. 1

Abstract

A process akin to Schoenberg’s “musical idea” accounts to a large
 degree for motivic coherence in the first movement of Beethoven’s Piano Sonata Op. 10, No.
 1. My article illustrates this process by means of a synthesis of Schenker’s and
 Schoenberg’s approaches to analysis. I use Schenkerian analysis to identify potential
 motives at various levels of musical structure, then interpret the treatment of some of
 these segments according to Schoenberg’s model. I also show how the primary motivic
 process interacts with other such processes in the first movement.