Arnold Schoenberg's Personal Creation

Sound combinations with different pitches are no longer centered on a certain sound like traditional music, and discordant chords no longer need to be "solved" into harmonious chords like traditional music. Schoenberg's atonal music style is related to expressionism in his works. Drawing inspiration from expressionist aesthetics, he successively created many atonal works and became the first composer to give up tonality. For example, the one-man show Expectation (1909) and pierrot singing by Moon Fan (19 12).

These works show morbid psychology or emotions such as despair, fear, tension and pain, and the musical language is exaggerated, deformed and grotesque. In pierrot of the Moon, Schoenberg also developed a singing method in common English, which is between speaking and singing. Important works in atonal stage include Five Orchestral Essays (1909) and the drama Lucky Hand (19 13). 1920 is followed by twelve-tone technique period. After long-term exploration, Schoenberg found a new way to organize music materials on the basis of atonal music, forming the so-called twelve-tone music. Composers freely compose a musical sequence with 12 tones in the chromatic scale. Music sequences can be used as they are, or vice versa, vice versa and vice versa. These four musical forms can be moved to any height of the chromatic scale, thus forming 48 styles. Each tone (all or part) in a series can appear one after another to form a tune, or it can appear at the same time to form a chord, thus forming a complete song. In the later period, Schoenberg basically used twelve-tone technique to compose music, and his important works include Variations for Band (1926- 1928), violin concerto (1935- 1936), piano concerto (1942) and so on. Occasionally write tonal works in his later years. Schoenberg wrote four musicals: 1909.

19 13' s one-act drama "One Man's Musical Expectation" and one-act drama "Lucky Hand" are both written freely and atonally. 1930' s one-act drama "Day after Day" is a work with a rigorous twelve-tone system. The unfinished three-act opera Moses and Aaron was composed between1931-1932, and it is also an atonal 12-tone musical work. This is an opera with the nature of oratorio, which tells the story of the Jews leaving Egypt under the leadership of Moses. The characters in the play alternately use traditional singing, recitation and rhythmic speech. Moses only had one orgasm. There are many fascinating performances in the first half of this opera, especially the crazy "Dance of the Golden Calf", but the second half is boring, and most of the time I talk about religion. Although there is no continuity in the development of drama, the music part has a high degree of unity.

Schoenberg's works, except his early works, were mostly difficult to understand and were often given a cold shoulder at that time. After his death, the evaluation of his music has been controversial. Schoenberg's greatest contribution lies in inheriting, developing and finally breaking the romantic music tradition in Germany in the19th century, and systematically creating the music theory and method of sequencing, thus completing the historical task of the transition from romantic music to modern music. In addition to composing music, Schoenberg devoted his life to teaching with great enthusiasm and energy, and trained many world-famous composers. He is a veritable music educator. His atonal music and twelve-tone music had a great influence on the development of music in the 20th century. At first in Germany and Austria, and later in France, Italy, the United States and other countries, many composers have adopted his composition methods. His students, such as Weber and Berger, further developed and perfected his theory of sequential music. Theoretical works include Harmony Acoustics (19 1 1), Music Thought and Logic (1934- 1936, unfinished) and Music Creation Basis (1).