La recepción de la obra dodecafónica de A. Schoenberg y la relación entre su Suite para piano Op.25 y el Cuarteto para cuerdas K.464 de W. A. Mozart

Abstract

The reception of Arnold Schoenberg’s music is marked by the defense of musical autonomy, which pervades theoretical thought throughout the Twentieth Century; and the emphasis on heteronomy, which characterizes more recent approaches .In response to Rose Subotnik´s essay Toward a Deconstruction of Structural Listening: A Critique of Schoenberg, Adorno and Stravinsky, our analysis promotes an approach that considers both the autonomous aspects provided by the series(its properties and its connection with the structure of the work), as well as the relationship between Schoenberg´s work and the classical repertoire. Our study links the Minuet from the Suitefor PianoOp.25with Schoenberg´s own analysis of Mozart´s StringQuartetK464.