ABSTRACT
Schoenberg belongs to a generation of musicians, of composers and theorists, who aspired to perpetuate the tradition of German and classical Viennese music. Music theory and analysis in the nineteenth century was characterized by the development of notions drawn from the previous century. The perception of structural unity may be observed in Schoenberg's analytical theories. Schoenberg's projected Formenlehre, unfortunately never completed, involves more than the descriptive approach outlined in Fundamentals of Musical Composition. Schoenberg adopts two normative archetypes for small musical structures, namely the sentence and the period. These provide a framework for the presentation of a musical idea. Sechter, undoubtedly the leading Viennese theorist of the nineteenth century, exerted influence on future generations of Viennese theorists and composers; among these were Bruckner and, later, Schoenberg. In Schoenberg's works, the notion of substitution may be seen as merely related to pure chromaticism and a consequence of the emancipation of the dissonance.
