atonality

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Synonyms for atonality

the absence of a key

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References in periodicals archive ?
Again, a simple RIPM search reveals interesting statistics that clearly confirm the journal's much greater interest in those composers who did not write atonal music (see table 4).
Forte's nonsensical account of atonal music issues from an earlier attempt to explain musical understanding mathematically, using modulo twelve arithmetic to model pitch-class sequences and simultaneities.
As a result, their subsequent, above all, atonal music was received in an ambivalent manner and was spoken of as music overly rationalised and "extremely modern".
Macdonald's atonal music shimmered, shocked and satisfied the audience, inspired by I Harwood's effective text.
I think I would have appreciated Philip Glass more had I not been made to study him in my atonal music theory class.
In certain works of atonal music we hear instruments sounding together at different pitches.
Arnold Schoenberg, while first adhering to the romantic style of Wagner, was later important in the development of atonal music so prominent in much 20th century music.
In the course of these essays, Scruton provides a compelling explanation of why atonal music has been unable to win a substantial audience of music lovers: 'music without melody lacks the most important dimension of musical significance' (181).
Scruton holds that musical order is achieved when voices move together towards closures that are harmonically driven and melodically complete, and says that we should see tonality as in part a rhythmical system (the difficulties of atonal music are experienced as much at the rhythmical as at the melodic and harmonic level).
The former film has no sound, and its relationship to the title is quite literal, while the latter is accompanied by atonal music from the 1950s.
With "Adding Machine," Cromer helped make the singing of Joshua Schmidt's often atonal music feel like natural speech, and his approach to "Our Town" similarly dealt with finding a means to lend authenticity to the artificial.
The Schoenbergian 12-tone row (a pattern of the 12 notes of the chromatic scale used as the basis for the harmony and melody of a whole piece) is central to much atonal music, and Ross efficiently shows us how it works.
Atonal music, non-figurative painting, or the disintegration of narrative structures then become models for an art that is anti-capitalist by principle, turning the explosion of traditional forms into objective means of critiquing the dehumanization operative in modern societies.
With respect to the change represented in the revolution to musical language wrought by Schoenberg, Etter adopts the kind of humanist attitude represented by Thomas Mann in Doctor Faustus (1948), as he exposes the brilliant but empty atonal music of Adrian Leverkfihn as dehumanizing both its creator and listeners.
Eisler broke away from the Schoenberg circle and its preoccupations with atonal music and, from 1930, immersed himself in the jazzy cabaret atmosphere of Brecht and Weill.