Tijdschrift voor muziektheorie vol:9 issue:2 pages:105-114
In musicological literature, The Obligatory Recitative, the final orchestral piece from Schoenberg's Op. 16 cycle, is reputed for its unanalysability. After revisiting Adorno's concept of une musique informelle and comparing several analytical strategies that have been used to approach this music, the present article endeavours dto draw the outlines of a new analytical strategy. It is hoped that, by combining a 'top-down' with a 'bottom-up' apporach within the overall framework of Schoenberg's onw analytical techniques, this strategy will enable a renewed access to the piece.