Compare and constrast the use of melody and instrumentation in Schoenberg's Der Kranke Mond from Pierrot Lunaire

In Schoenberg's Der Kranke Mond (1912), both melody and instrumentation are used to reflect the eerie, expressionistic style of the music. Schoenberg uses solo voice and flute throughout Der Kranke Mond, an unusual, non-traditional ensemble, which creates a stark, bare texture throughout the work. Moreover, neither the voice, nor flute part play any similar material (such as repetitive motifs), meaning that the parts appear completely unrelated. In this respect, Schoenberg suggests that the voice and flute parts exist in different worlds, highlighting the irrational, nightmarish backdrop of the text. Schoenberg's of melody throughout this work is highly chromatic, demonstrated in bars 1-2, where all 12 notes of the chromatic scale are sounded. This foregrounds the atonal nature of the work, hinting at Schoenberg's later 12-tone practice. The melodic writing makes frequent use of angular leaps, such as the diminished octave in the vocal part at the end of the work, and largely avoids use of repeated material. One exception to this rule, however, is the repeated vocal phrase at the end of the work (which makes use of rhythmic augmentation), which functions as a structural device to emphasise the end of the work. Alternatively, Schoenberg's rare use of repetition here might be considered a reflection of Pierrot's disturbed mental state; the repetition emphasises his irrationality, having been driven mad by 'the sick moon'.