Topic
Atonality
About: Atonality is a research topic. Over the lifetime, 126 publications have been published within this topic receiving 1463 citations. The topic is also known as: atonal & atonal music.
Papers published on a yearly basis
Papers
1 Jan 1986
TL;DR: Spectromorphology as mentioned in this paper is an approach to sound materials and musical structures which concentrates on the spectrum of available pitches and their shaping in time, and is a way of perceiving and conceiving these new values resulting from a chain of influences which has accelerated since the turn of the century.
Abstract: The development of Western music in the twentieth century is dominated by an historic bifurcation in musical language: tonality with its metrically organized harmonic and melodic relationships has continued to be the vernacular language, absorbed unconsciously from birth, while the other fork, in its most recent guise, is represented by spectro-morphology2. Spectromorphology is an approach to sound materials and musical structures which concentrates on the spectrum of available pitches and their shaping in time. In embracing the total framework of pitch and time it implies that the vernacular language is confined to a small area of the musical universe. Developments such as atonality, total serialism, the expansion of percussion instruments, and the advent of electroacoustic media, all contribute to the recognition of the inherent musicality in all sounds. But it is sound recording, electronic technology, and most recently the computer, which have opened up a musical exploration not previously possible. Spectro-morphology is a way of perceiving and conceiving these new values resulting from a chain of influences which has accelerated since the turn of the century. As such it is an heir to Western musical tradition which at the same time changes musical criteria and demands new perceptions.
320 citations
Book•
1 Jan 1984
TL;DR: The Twilight of the tonal system in Twentieth-century music is discussed in this paper, where the role of chance and choice in Twenty-First-Century Music is discussed.
Abstract: 1. The Twilight of the Tonal System. 2. Scale Formations in Twentieth-Century Music. 3. The Vertical Dimension: Chords and Simultaneities. 4. The Horizontal Dimension: Melody and Voice Leading. 5. Harmonic Progression and Tonality. 6. Developments in Rhythm. 7. Form in Twentieth-Century Music. 8. Imports and Allusions. 9. Nonserial Atonality. 10. Classical Serialism. 11. Timbre and Texture: Acoustic. 12. Timbre and Texture: Electronic. 13. Serialism After 1945. 14. The Roles of Chance and Choice in Twentieth-Century Music. 15. Minimalism and Neoromanticism. Bibliography. Index.
134 citations
Book•
1 Jan 1968
TL;DR: Perle as discussed by the authors employed the new and more consistent terminology for the identification of transpositional levels of twelve-tone sets that he first proposed in Twelve-Tone Tonality (1977).
Abstract: Widely recognized as the definitive work in its field ever since its original publication in 1962, Serial Composition and Atonality remains an unsurpassed introduction to the technical features of what is probably the most revolutionary body of work since the beginnings of polyphony. In the analysis of specific compositions there is first and last of all a concern with the musical surface--an attempt to trace connections and distinctions there before offering any deeper-level constructions, and to offer none where their effects are not obvious on more immediate levels of musical experience. In this sixth edition of the book, George Perle employs the new and more consistent terminology for the identification of transpositional levels of twelve-tone sets that he first proposed in Twelve-Tone Tonality (1977).
118 citations
Book•
30 Jun 1994
TL;DR: The development of a Modernist Aesthetic: New Languages for Painting and Music: 1) Matisse and Expression 2) Kandinsky and Abstraction 3) Schoenberg and Atonality 4) Braque, Picasso and Cubism 5) Language and Innovation as discussed by the authors.
Abstract: Introduction. I. The Dynamics of Change: 1) Scepticism and Confrontation 2) The Withdrawal from Consensual Languages 3) Technique and Idea. II. The Development of a Modernist Aesthetic: New Languages for Painting and Music: 1) Matisse and Expression 2) Kandinsky and Abstraction 3) Schoenberg and Atonality 4) Braque, Picasso and Cubism 5) Language and Innovation. III. The Modernist Self: 1) Internal Divisions: Conrad, Nietzsche, Freud, Mann, Joyce, and Eliot 2) Subjectivity and Primitivism: The Demoiselles d'Avignon, Erwartung, and the Rite of spring. IV. The City: 1) The Individual and the Collective 2) The Futurists 3) Paris: the Poet in the City 4) Beyond the Stream of Consciousness: Simultaneism, Collage, and Parole in liberta 5) Berlin. V. London and the Reception of Modernist Ideas 1) From Hulme to Imagism 2) Post Impressionism 3) Futurism 4) Abstraction, Classicism, and Vorticism. VI. Aspects of the Avant-Garde 1) Diffusion and Adaptation 2) Progress and the Avant-Garde 3) Irrationalism and the Social 4) A Political Conclusion?. Notes Index.
94 citations
TL;DR: In fact, no significant body of theoretical writing has emerged to deal with the nature of twentieth-century music that is centric (i.e., organized in terms of tone center) but not tonally functional as discussed by the authors.
Abstract: ANYONE WHO undertakes an investigation of the essential relationships of tones in the works of Stravinsky may find himself somewhat at a disadvantage as a result of the fact that no significant body of theoretical writing has emerged to deal with the nature of twentieth-century music that is centric (i.e. organized in terms of tone center) but not tonally functional.1 There are, to be sure, a number of labels in circulation for referring to this music: pantonality, pandiatonicism, antitonality, modality, tonicality-even "atonality" has been stretched to embrace it. But their function is largely identification, and where any one of them presumes to represent a theory, this is more likely to be descriptive of surface detail than in the nature of an interpretation of internal relations or structural significance. Moreover, instead of searching for the differentia of the music they designate by ascertaining, for example, its own unifying principles, the tendency has been to rely rather too heavily on the established rules of formation.
89 citations
Related Topics (5)
Performance Metrics
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| 2021 | 2 |
| 2020 | 5 |
| 2019 | 3 |
| 2018 | 4 |
| 2017 | 5 |
| 2016 | 4 |