This week I read two segments of the chapter “Schoenberg’s Poetics of Music) by Carl Dahlhaus. According to his claim, from late nineteenth century on, music went on a different path it was in before. That means, composers, instead of limiting themselves with the theoretical rules and regulations of their current time which was equal with appreciation of critics and the public, started pushing loosening conventions. Better said they re-read the conventions, but in a different manner which suited their inner expressive demands. This resulted in an impressive process of personalization in music, that emanated smaller groups and even just a few individuals following and defending a specific idea and even forming side-streams, that would grow whether abruptly or gradually and become a mainstream; just like what went on with The Second Viennese School at the beginning and its broadening process of acceptance among the society of musicians and critics as well as the audience. I strongly believe this was the direct result of the Romanticism movement, that went to a sort of extreme in the 20th century and caused great changes in the history of music of all time.
Schoenberg, in reaction to the ones questioning the quality and credibility of his music, claimed that his music quite similar to Beethoven’s and Brahms’; The only difference is that the way he proposes his musical ideas is different with them. Just as his the developing variation or serialism served his goal of expressiveness in music. I interpret this as the concept of deconstruction, meaning to make the conventions upside down, (a kind of destruction), and bringing something just new out of it.
I will keep reading about this topic and preparing an analysis of a music by Schoenberg in the next coming weeks.