ABSTRACT
Schoenberg's theoretical works, with the exception of the Harmonielehre, remain an outline of a great music-theoretical project. This unfinished project is a consequence of his renunciation of general models for music analysis and is certainly a result of his rejection of scientific methodology for the evaluation of music. This chapter discusses three works from different perspectives. First, the first movement of Mozart's String Quartet K. 465, Dissonance Quartet, is the object for the reconstruction and reworking of Schoenberg's own analysis. Secondly, Beethoven's Diabelli Variations, Op. 120, is approached from the viewpoint of Schoenberg's propositions on theme-and-variations form. Finally, the essay on the third movement–Variationen–of Schoenberg's Serenade Op. 24 illustrates the analytical issues applied to one of Schoenberg's works. Schoenberg's description of the elaboration is concerned with motivic transformation in an attempt to relate its development to the Grundgestalt.
