|
I mean, Schoenberg did sort of use an atonal form of consonance and dissonance. Listen to the Langstam from his op. 19. Basically, he uses major thirds to represent consonance and minor thirds to represent dissonance, but there sure as hell isn't a V-I in the piece. The climax of the piece is two diminished triads being played simultaneously (minor thirds galore), and the resolution is two augmented triads being played simultaneously (major thirds galore).
|