This thesis shows how Andrew Eason’s Schoenbergian closing concept can be used on a broader repertoire of non-tonal music to provide formal readings. It shows this by using the Schoenbergian closing concept, which this study refers to as the Schoenbergian cadence, to analyse Schoenberg’s music and three other composers, and how the Schoenbergian cadence applies to music beyond the strict focus of Eason’s “Cadence as Gesture in the writings of Arnold Schoenberg”. The Schoenbergian cadence is defined in both material and non-material terms, and this study makes its analyses with the understanding that this music is of a repertoire which is either historically or conceptually related to that of Schoenberg, and which uses the same cadence concept is analysable with the same approach. At the end of his conclusions, Eason writes that his essay would be useful for analysts in forming a new path into non-tonal music. It is my intention that this study forms that new path into non-tonal music for composers. Specifically, I refer to composers who have training in a Western-European, classical or post-classical approach to composition, who would take classes in harmony, counterpoint, and form. It is my intention that the approach to the music which is taken in this study, would give these composers and students of composition a way into the piece of non-tonal music’s repertoire explored herein.
William Patrick Lappin (Thu,) studied this question.