Beckett built spontaneity into his crystalline dramatic structures like Berg used tonality.

Evidence

In some scenes, Beckett counterbalanced the musical arrangement of the repetitions and analogies by using apparent spontaneity. As with Alban Berg, who composed according to the twelve-tone technique, but in such a way that there was considerable room for tonal elements, so in Beckett’s plays there were many insertions within the crystalline structure which had obvious, sharp significanceeven though in the context of the play this was disguised by cynicism, weariness or speaking in broken phrases. — Rolf Wiggershaus, The Frankfurt School, 2243

Categorization

• XREF: The Berg comparison mirrors Adorno’s own twelve-tone analysis and echoes his 1949 Philosophy of New Music — the reader’s earlier chapters on Adorno’s musical theory. — connects to: Beckett’s crystalline dramatic structure concealed sharp insertions like Berg’s tonality; Beckett’s later work substituted phonetic and gestural structure for discursive meaning. — Rolf Wiggershaus, The Frankfurt School: Its History,…, 2239; Beckett builds Endgame’s minimal structure by parodying dramatic categories with musical-form principles. — Rolf Wiggershaus, The Frankfurt School: Its History,…, 553