Search results
Results From The WOW.Com Content Network
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 ...
Since modulation is defined as a change of tonic (tonality or tonal center), the change between minor and its parallel major or the reverse is technically not a modulation but a change in mode. Major tonic harmony that concludes music in minor contains what is known as a Picardy third .
Main page; Contents; Current events; Random article; About Wikipedia; Contact us; Special pages; Help; Learn to edit; Community portal; Recent changes; Upload file
Neotonality (or neocentricity) is an inclusive term referring to musical compositions of the twentieth century in which the tonality of the common-practice period (i.e. functional harmony and tonic-dominant relationships) is replaced by one or several nontraditional tonal conceptions, such as tonal assertion or contrapuntal motion around a central chord.
From these lectures, Liszt derived the idea of an onde omnitonique, much like a Schoenbergian tone row, that would become a logical replacement for traditional tonality. For him such a row would be part of the historical process from a "unitonic" (tonality) moved to a "pluritonic" ( polytonality ) and ended in an "omnitonic" ( atonality ...
This may be representative of Schoenberg entering the "new world" of atonality. [14] In 1909, Schoenberg composed the one-act 'monodrama' Erwartung (Expectation). This is a thirty-minute, highly expressionist work in which atonal music accompanies a musical drama centered around a nameless woman.
Melodies can be based on a diatonic scale and maintain its tonal characteristics but contain many accidentals, up to all twelve tones of the chromatic scale, such as the opening of Henry Purcell's "Thy Hand, Belinda" from Dido and Aeneas (1689) with figured bass), which features eleven of twelve pitches while chromatically descending by half steps, [1] the missing pitch being sung later.