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Atonality in its broadest sense is music that lacks a tonal center, or key. [1] Atonality, in this sense, usually describes compositions written from about the early 20th-century to the present day, where a hierarchy of harmonies focusing on a single, central triad is not used, and the notes of the chromatic scale function independently of one another. [2]
Tonality is the arrangement of pitches and / or chords of a musical work in a hierarchy of perceived relations, stabilities, attractions, and directionality.. In this hierarchy, the single pitch or the root of a triad with the greatest stability in a melody or in its harmony is called the tonic.
Works such as Bagatelle sans tonalité ("Bagatelle without Tonality") foreshadow in intent, if not in exact manner, composers who would further explore the modern concept of atonality. [2] Liszt's work also foreshadowed the impressionism that would characterize the work of Debussy and Ravel , as shown in Les Jeux d'Eaux à la Villa d'Este (The ...
Other composers with atonal pieces include Harrison Birtwistle & Peter Maxwell Davies, [54] Jacob Druckman, Barbara Kolb, [55] Henry Cowell, Claude Debussy, Brian Ferneyhough, [56] Alexander Goehr, [57] Lou Harrison, Mårten Hagström, Paul Hindemith, Karel Husa, Charles Ives, György Ligeti, Witold Lutosławski, George Perle, [58] Sergei Prokofiev, David Raksin, [59] Nikolai Roslavets, [60 ...
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In music, modulation is the change from one tonality (tonic, or tonal center) to another. This may or may not be accompanied by a change in key signature (a key change ). Modulations articulate or create the structure or form of many pieces, as well as add interest.