The Second Viennese School's Approach to composition

Over time, mankind’s music has developed from disorderly to orderly; tonal music was being one of the most brilliant chapters in the 17th century before Schoenberg’s big transformation of music. However, since the pioneer figure of Second Viennese School- Arnold Schoenberg began the atonal music, a new chapter of music composition has been created. Tonality collapse has been seen as the most important step towards music at the late 19th and early 20th century.

(http://www.tourmycountry.com/austria/schoenbergviennaschool.htm)

People tend to swap gingerly between Wagner’s extremely vague composition technique, Scriabin’s mystic chords and Schoenberg’s atonal chords as formulated by his establishment of twelve-tone technique. Atonal music, when considered with regards to sound development and the achievement of the liberation of music; is remarkable. Atonal music allows the freedom of atonality, the twelve-tone technique, the overall sequence of the music in question, incidental music and even the vast majority of electronic music. It was, and continued to be today, a completed revolution for musical thinking as it completely and astonishingly re-established approach to music composition. (http://www.classicfm.com/discover/periods/modern/second-viennese-school-where-start/)

After experiencing tonal music in early 20th century, Vienna city became the centre of the revolution of classical tonality, which was led by three principal members: Arnold Schoenberg, Alban Berg and Anton Webern. The musical thinking of The Second Viennese School began with late romantic expanded tonality then Schonberg’s own expression of tones that is known as atonality and later with 12-tone technique. This musical idea was developed from Schoenberg’s inv...

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...cke, Op. 11 and Suite for piano op. 25 are symbolic works. Just as inevitable as atonal is to music composition; the twelve-tone system is also necessary atonal development. In Suite for Piano op.25, Schoenberg divided the twelve tone row into three tone groups in which consists of four notes each. The single row--E, F, G, bD, bG, bE, bA, D, B, C, A, bflat--forms the basis for this entire suite. Many sequences comprise three or four tone groups, the very characteristic tone group often present at the beginning of the sequence to emphasis the motivation role in the musical statement. Therefore, each time this row is used again, the motivation will be obvious throughout the whole theme. (http://www.allmusic.com/composition/suite-for-piano-op-25-mc0002366320) In other words, the method of using these tone groups empowers the audience to deepen the impression of theme.