atonality


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Related to atonality: polytonality
  • noun

Synonyms for atonality

the absence of a key

Synonyms

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References in periodicals archive ?
Reinhold Brinkmann has observed: "Schoenberg's foundation of the Viennese atonality as a new paradigm for contemporary music, besides being embedded in a music-historical process, was indeed the reflection of a very specific and problematic historical, social, cultural and psychical situation in Vienna around 1900" (Reinhold Brinkmann, "Schoenberg the Contemporary: A View from Behind" in Constructive Dissonance: Arnold Schoenberg and the Transformations of Twentieth-Century Culture, ed.
Coined by Nicolas Slonimsky to describe music, which, in reaction to excessive tonal chromaticism and atonality, reverts to the resources of the diatonic scale.
unconventional" exploration of atonality in the Second String
In 1941, on the cusp of joining the Trotskyists, he published his first scholarly essay on the theory of atonality.
Joe puts it this way: "The CD blends together the atonality of Native American music, and the chromaticism and instrumentation of modern music.
Yet dissonances are attained not from the posotion of free or other types of atonality, but by means of complicating the traditional formations of Classical-Romantic harmony.
As for the Stravinsky, aside from an actual textual echo ("blind eyes") the atonality and jagged intervals provided a welcome contrast to the Purcell and Schubert references.
Though it meandered close to atonality, the Serenade was readily accessible on a first hearing and was a delightful piece we wished we had heard before.
Running a little more than 16 minutes, this fun little piece of atonality is comprised of four movements -- "Klosterilia," "Dudelsack," "Dorfgesang," and "Kukeri-Tanz.
discussing Debussy's flirtations with atonality in his works).
Rorem is frequently called an American romanticist composer, one who early on disavowed the lure of atonality.
The very name used to send people rushing away, fearful that atonality or serialism would offend delicate musical souls.
Equally provocative is the essay on contemporary music, in which tonality and atonality are discussed in the context of Mahler and Schoenberg.
It was not, then, mere modern composers, armed with atonality and serialism, who were equipped to deal with the complexity of 'primitive' music, but 'hyper-modern' composers.
Even though the opera presents illicit love, an illegitimate child, duels, murder, curses, and demonic influence, Faust is not a story that can be wedded to dissonances, atonality, and the clashing chords of [Berg's] Wozzeck.