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However, Schoenberg's exploitation is mostly related with an analysis of the music by his predecessors. When he analyses the music of his predecessors, he generally do so in light of his own compositional concerns, specifically their interest in motivic relations. Such relations crucially determine musical structure, most obviously in the 'free atonal' music written by Schoenberg during the second decade of the century, the tonal harmony fall away, leaving the structure resting entirely on a foundation of contextually established motivic associations...
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However, Schoenberg's exploitation is mostly related with an analysis of the music by his predecessors. When he analyses the music of his predecessors, he generally do so in light of his own compositional concerns, specifically their interest in motivic relations. Such relations crucially determine musical structure, most obviously in the 'free atonal' music written by Schoenberg during the second decade of the century, the tonal harmony fall away, leaving the structure resting entirely on a foundation of contextually established motivic associations...
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