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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 ...
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 ...
The syntonic temperament is a rank-2 temperament defined by its period (just perfect octave, 1 / 2 ), its generator (just perfect fifth, 3 / 2 ) and its comma sequence (which starts with the syntonic comma, 81 / 80 , which names the temperament). The construction of the syntonic temperament's note-space is shown in video 2 ...
Young powered the Hawks to a wild 124-121 win over the Utah Jazz on Tuesday night with one of the most ridiculous shots of his career. Young's shot was only half of the finish at the Delta Center.
Spoilers ahead! We've warned you. We mean it. Read no further until you really want some clues or you've completely given up and want the answers ASAP. Get ready for all of today's NYT ...
Progressive tonality in the late nineteenth century no doubt reflects the increasingly programmatic and narrative orientation of 'late Romantic' music. Thus it occurs in five of the symphonies of Mahler (nos. 2, 4, 5, 7, and 9) but never at all in the symphonies of his predecessors Brahms or Bruckner.