CONSOLIDATION
Whatever the motivation, Schoenberg’s career was dedicated henceforth to justifying the claims he had made for his method, elaborating and standardizing procedures so that its neoclassical principles could indeed become law. The greatest emphasis was placed on whatever might enhance the status of the row as Grundgestalt, with the result that principles of symmetry and complementation, already noticeable in Schoenberg’s earliest twelve-tone works, would become the basic determinants of structure. Thus twelve-tone music, for all that it descended from expressionism (at least insofar as some leading composers of the one tendency became leading composers of the other), quickly metamorphosed into a haven for technical research and compositional tours de force. Sharing the predilection of all other neoclassicists for abstract or generic forms, twelve-tone composers went further than any others in ordering the content of their work according to rational structural principles, making content in effect tantamount to form.
- Citation (MLA):
- Richard Taruskin. "Chapter 12 In Search of Utopia." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 6 Dec. 2023. <https://www.oxfordwesternmusic.com/view/Volume4/actrade-9780195384840-div1-012007.xml>.
- Citation (APA):
- Taruskin, R. (n.d.). Chapter 12 In Search of Utopia. In Oxford University Press, Music in the Early Twentieth Century. New York, USA. Retrieved 6 Dec. 2023, from https://www.oxfordwesternmusic.com/view/Volume4/actrade-9780195384840-div1-012007.xml
- Citation (Chicago):
- Richard Taruskin. "Chapter 12 In Search of Utopia." In Music in the Early Twentieth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 6 Dec. 2023, from https://www.oxfordwesternmusic.com/view/Volume4/actrade-9780195384840-div1-012007.xml
