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Abstract
Is Arnold Schoenberg's music from opus 11 onwards really "atonal", in the sense that it is no longer subject to the constraints of tonal harmony? According to Leonhard Deutsch, a Viennese music pedagogue and a contemporary of Schoenberg, tonal harmony was still an essential structural element of this music. Michiel Schuijer will investigate the validity of Deutsch's idea, and will also trace its development in analyses by others. Schuijer's article is in four parts, the first two of which will follow below. The remaining parts will be published in the next issue.