Atonalitas






Atonalis chorda Prometheana, ab Alexandro Scriabin excogitata. Sono Play info.


Atonalitas sensu latissimo musicam describit quae core tonali vel clavi caret. Ea hoc sensu plerumque compositiones a circa 1908 ad praesens compositas comprehendit in quibus hierarchia sonorum singulum tonum gravissimum vehementius dicens non adhibetur, et notae gradus chromatici inter se libere coniunguntur (Kennedy 1994). Vocabulum sensu artiore musicam describit quae systemati hierarchiarum tonalium quod designabat musicam classicam Europaeam inter saecula septimo decimo et undevicensimo haud obtemperat (Perle et Headlam 2001).


Sensu iam artiore, vocabulum atonalitas musicam aliquando describit quae nec tonalis nec serialis est, praecipue ante excogitationem musicae tonorum duodecim Scholae Vindobonensis Alterius, imprimis compositorum Albani Berg, Arnoldi Schoenberg, et Antonii Webern (Lansky, Perle, et Headlam 2001). Apud autem Ioannem Rahn, professorem compositionis musicae et theoriae in Universitate Vasingtoniae, "ut nomen categoriae, atonalis plerumque significat solum rem esse in memoria Occidentali et haud esse tonalem.[1] Praeterea, "ortus est serialismus partim ut via ad ordinandas cum maiore cohaerentia coniunctiones in praeseriali musica 'libere atonali' adhibitas. . . . Ergo multae intellegentiae utiles gravesque de musica tantum sensu stricto seriali solum ex tali theoria atonali principali dependent. [2]


Compositores saeculi undevicensimi exeuntis et vicensimi ineuntis, inter quos Alexander Skrjabin, Claudius Debussy, Béla Bartók, Paulus Hindemith, Sergius Prokofiev, Inguarus Strawiński, et Edgardus Varèse, musicam composuerunt quae omnino vel partim atonalem describi potest (Baker 1980, 1986; Bertram 2000; Griffiths 2001; Kohlhase 1983; Lansky et Perle 2001; Obert 2004; Orvis 1974; Parks 1985; Rülke 2000; Teboul 1995–1996; Zimmerman 2002).




Index






  • 1 Nexus interni


  • 2 Notae


  • 3 Bibliographia


  • 4 Bibliographia addita


  • 5 Nexus externi




Nexus interni



  • Emancipatio dissonantiae

  • Expressionismus (musica)

  • Klangfarbenmelodie

  • Serialismus

  • Sonitus (musica)

  • Tonus



Notae |




  1. ↑ Anglice: "as a categorical label, 'atonal' generally means only that the piece is in the Western tradition and is not 'tonal'" (Rahn 1980:1).


  2. ↑ Anglice: "serialism arose partly as a means of organizing more coherently the relations used in the preserial 'free atonal' music. . . . Thus many useful and crucial insights about even strictly serial music depend only on such basic atonal theory" (Rahn 1980:2).



Bibliographia |




  • Ansermet, Ernest. 1961. Les fondements de la musique dans la conscience humaine. 2 v. Neuchâtel: La Baconnière.

  • Baker, James M. 1980. Scriabin's Implicit Tonality. Music Theory Spectrum 2:1–18.

  • Baker, James M. 1986. The Music of Alexander Scriabin. Portu Novo: Yale University Press.

  • Bertram, Daniel Cole. 2000. Prokofiev as a Modernist, 1907–1915. PhD diss. Portu Novo: Yale University.

  • DeLone, Peter, et Gary Wittlich, eds. 1975. Aspects of Twentieth-Century Music. Englewood Cliffs, Novae Caesareae: Prentice-Hall. ISBN 0-13-049346-5.

  • Du Noyer, Paul, ed. 2003. Contemporary. In The Illustrated Encyclopedia of Music: From Rock, Jazz, Blues and Hip Hop to Classical, Folk, World and More, pp. 271–272. Londinii: Flame Tree Publishing. ISBN 1-904041-70-1


  • Griffiths, Paul. 2001. Varèse, Edgard [Edgar] (Victor Achille Charles). The New Grove Dictionary of Music and Musicians, ed. 2a., ed. Stanley Sadie et John Tyrrell. Londinii: Macmillan Publishers.


  • Grout, Donald Jay. 1960. A History of Western Music. Novi Eboraci: W. W. Norton.

  • Katz, Adele T. 1945. Challenge to Musical Traditions: A New Concept of Tonality. Novi Eboraci: Alfred A. Knopf, Inc. Editio reimpressa: Novi Eboraci: Da Capo, 1972.


  • Kennedy, Michael. 1994. Atonal. The Oxford Dictionary of Music. Oxoniae et Novi Eboraci: Oxford University Press. ISBN 0-19-869162-9

  • Kohlhase, Hans. 1983. Aussermusikalische Tendenzen im Frühschaffen Paul Hindemiths. Versuch uber die Kammermusik Nr. 1 mit Finale 1921. Hamburger Jahrbuch für Musikwissenschaft 6:183–223.


  • Lansky, Paul, et George Perle. 2001. Atonality §2: Differences between Tonality and Atonality. The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. Londinii: Macmillan Publishers.

  • Lansky, Paul, George Perle, et Dave Headlam. 2001. Atonality. The New Grove Dictionary of Music and Musicians. Editio 2a., ed. Stanley Sadie et John Tyrrell. Londinii: Macmillan Publishers.


  • Meyer, Leonard B. 1967. Music, the Arts, and Ideas: Patterns and Predictions in Twentieth-Century Culture. Sicagi et Londinii: University of Chicago Press. (Ed. 2a., 1994.)

  • Mosch, Ulrich. 2004. Musikalisches Hören serieller Musik: Untersuchungen am Beispiel von Pierre Boulez' «Le Marteau sans maître». Saarbrücken: Pfau-Verag.

  • Obert, Simon. 2004. "Zum Begriff Atonalität: Ein Vergleich von Anton Weberns 'Sechs Bagatellen für Streichquartett' op. 9 und Igor Stravinskijs 'Trois pièces pour quatuor à cordes'". In Das Streichquartett in der ersten Hälfte des 20. Jahrhunderts: Bericht über das Dritte Internationale Symposium Othmar Schoeck in Zürich, 19. und 20. Oktober 2001. Schriftenreihe der Othmar Schoeck-Gesellschaft 4, edited by Beat A. Föllmi and Michael Baumgartner. Tutzing: Schneider.

  • Orvis, Joan. 1974. Technical and stylistic features of the piano etudes of Stravinsky, Bartók, and Prokofiev. DMus Piano pedagogy: Indiana University.

  • Oster, Ernst. 1960. Re: A New Concept of Tonality(?). Journal of Music Theory 4:96.

  • Parks, Richard S. 1985. Tonal Analogues as Atonal Resources and Their Relation to form in Debussy's Chromatic Etude. Journal of Music Theory 29(1:33–60.


  • Perle, George. 1962. Serial Composition and Atonality: An Introduction to the Music of Schoenberg, Berg, and Webern. University of California Press. ISBN 0-520-07430-0.

  • Perle, George. 1977. Serial Composition and Atonality: An Introduction to the Music of Schoenberg, Berg, and Webern. Ed. 4a. Berkeley, Angelopolite, Londinii: University of California Press. ISBN 0-520-03395-7.

  • Rahn, John. 1980. Basic Atonal Theory. Novi Eboraci: Longman, Inc. ISBN 0-582-28117-2.

  • Rülke, Volker. 2000. Bartóks Wende zur Atonalität: Die "Études" op. 18. Archiv für Musikwissenschaft 57(3):240–263.


  • Schoenberg, Arnold. 1978. Theory of Harmony, conv. Roy Carter. Berkeley & Los Angeles: University of California Press.


  • Seeger, Charles. 1930. On Dissonant Counterpoint. Modern Music 7(4):25–31.

  • Simms, Bryan R. 1986. Music of the Twentieth Century: Style and Structure. New York: Schirmer Books. ISBN 0-02-872580-8.


  • Swift, Richard. 1982–1983. A Tonal Analog: The Tone-Centered Music of George Perle. Perspectives of New Music 21(1/2):257–84.

  • Teboul, Jean-Claude. 1995–1996. Comment analyser le neuvième interlude en si? du "Ludus tonalis" de Paul Hindemith? (Hindemith ou Schenker?). Ostinato Rigore: Revue Internationale d'Études Musicales, nos. 6–7:215–32.


  • Webern, Anton. 1963. The Path to the New Music, translated by Leo Black. Bryn Mawr, Pennsylvania: Theodore Presser; Londinii: Universal Edition.


  • Westergaard, Peter. 1963. Webern and 'Total Organization': An Analysis of the Second Movement of Piano Variations, Op. 27. Perspectives of New Music 1(2):107–20.

  • Westergaard, Peter. 1968. Conversatio cum Walter Piston. Perspectives of New Music 7(1):3-17.


  • Xenakis, Iannis. 1971. Formalized Music: Thought and Mathematics in Composition. Bloomington et Londinii: Indiana University Press. Revised edition, 1992. Harmonologia Series No. 6. Stuyvesant, NY: Pendragon Press. ISBN 0-945193-24-6/

  • Zimmerman, Daniel J. 2002. "Families without Clusters in the Early Works of Sergei Prokofiev". PhD diss. Sicagi: University of Chicago.



Bibliographia addita |



  • Beach, David, ed. 1983. Schenkerian Analysis and Post-Tonal Music. Aspects of Schenkerian Theory. New Haven: Yale University Press.

  • Dahlhaus, Carl. 1966. Ansermets Polemik gegen Schönberg. Neue Zeitschrift für Musik 127(5):179–183.

  • Krausz, Michael. 1984. The Tonal and the Foundational: Ansermet on Stravinsky. The Journal of Aesthetics and Art Criticism 42:383–386.

  • Philippot, Michel. 1964. Ansermet’s Phenomenological Metamorphoses. Conv. Edward Messinger. Perspectives of New Music 2(2):129–140. Primum editum ut "Métamorphoses Phénoménologiques." Critique: Revue Générale des Publications Françaises et Etrangères, no. 186 (November 1962).

  • Radano, Ronald M. 1993. New Musical Figurations: Anthony Braxton's Cultural Critique Sicagi: University of Chicago Press.



Nexus externi |




  • An Introduction to Atonal Music Analysis, a Robert T. Kelly, apud www.robertkelleyphd.com


  • Atonality, Information, and the Politics of Perception, a Lee Humphries, apud www.thinkingapplied.com




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