VOCAL DIALECT IN THE COMPOSITIONS OF THE SECOND VIENNESE SCHOOL

Th e music of the twentieth century, especially the vocal music, was marked in its evolution by the changes perfected by Arnold Schönberg, who succeeded in capturing the trends of the time – primarily through his 1912 work, Pierrot Lunaire, which became a pattern for the next generation. Schönberg had the same means and techniques of composition as his contemporaries, but chose to present them in a reinterpreted, personal and reorganized form, in his continuous search for new structures to replace those lost, caused by the disintegration of the tonal center. Th e human voice was an important element in Schönberg’s compositions as well as in the works of his disciples; Anton Webern presented an intractable vocal score, meanwhile Alban Berg pleaded for the use of the entire range of vocal possibilities