Ethan Haimo

Atonality, Analysis, and the Intentional Fallacy

Despite criticisms, Allen Fortes theory of atonal music remains a widely used basis for analyzing atonal music, particularly that of Schoenberg. A re-examination of Fortes premises questions whether his method is suitable for the analysis of Schoenbergs music. Schoenbergs manuscripts and writings lack any evidence that Schoenberg intentionally composed with pitch-class sets. In the past, the practice of justifying analytical observations by recourse to the composers intentions has led some to reject the findings, invoking the intentional fallacy. However, the intentional fallacy has been hotly disputed and should not be used to reject all uses of the composers intentions. Indeed, certain kinds of statements not only permit but mandate consideration of the composers intentions. A close examination of Fortes analysis of Schoenbergs op. 11 no. 1 reveals that his analysis fails the criterion of testability. An alternative analytical approach is proposed, one which is more in conformity with what is known of Schoenbergs compositional thought from the period. This content downloaded from 157.55.39.144 on Wed, 07 Sep 2016 05:44:58 UTC All use subject to http://about.jstor.org/terms

Redating Schoenberg's Passacaglia for Orchestra

Schoenbergs never completed Passacaglia for Orchestra has occupied a significant position in the history of the development of his twelve-tone method. This fragment was thought to date from 1920-that is, before any of Schoenbergs completed serial compositions-but, significantly, it seems to anticipate compositional procedures and techniques from a later period in Schoenbergs serial development. The fragment was given the date of 1920 because on one page Schoenberg dated the manuscript. However, that date was not clearly written. In this study it is shown that the Passacaglia dates not from 1920, but from 1926, and that it is not an independent composition, but a first draft for the Variations for Orchestra.