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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. In this context "stability" approximately means ...
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 ...
The twelve-tone technique—also known as dodecaphony, twelve-tone serialism, and (in British usage) twelve-note composition—is a method of musical composition.The technique is a means of ensuring that all 12 notes of the chromatic scale are sounded equally often in a piece of music while preventing the emphasis of any one note [3] through the use of tone rows, orderings of the 12 pitch classes.
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 ...
Post-tonal music theory is the set of theories put forward to describe music written outside of, or 'after', the tonal system of the common practice period.It revolves around the idea of 'emancipating dissonance', that is, freeing the structure of music from the familiar harmonic patterns that are derived from natural overtones.
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For example, 1 / 1 , 5 / 4 , and 3 / 2 (just major chord) form an otonality because they can be written as 4 / 4 , 5 / 4 , 6 / 4 . This in turn can be written as an extended ratio 4:5:6. Every otonality is therefore composed of members of a harmonic series. Similarly, the ratios of a utonality share ...