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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]
This serialist style, and atonality in general, was the subject of much of his theoretical writings. His 1962 book, Serial Composition and Atonality: An Introduction to the Music of Schoenberg, Berg, and Webern remains a standard text for 20th-century classical music theory.
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 ...
20th-century classical music is art music that was written between the years 1901 and 2000, inclusive. Musical style diverged during the 20th century as it never had ...
Ernst Heinrich Krenek (Czech: [ˈkr̝ɛnɛk], 23 August 1900 – 22 December 1991) was an Austrian, later American, composer.He explored atonality and other modern styles and wrote a number of books, including Music Here and Now (1939), a study of Johannes Ockeghem (1953), and Horizons Circled: Reflections on my Music (1974).
Tonality and Atonality in Sixteenth-Century Music (Berkeley, 1961) (ed. with B.J. Blackburn) Josquin des Prez: New York 1971 (proceedings of an international symposium) Cipriano de Rore's Venus Motet: its Poetic and Pictorial Sources (Provo, UT, 1986) Music in the Culture of the Renaissance and other Essays, ed. Bonnie J. Blackburn (Chicago, 1989)
Marx was born in Graz and pursued studies in philosophy, art history, German studies, and music at Graz University, earning several degrees including a doctorate in 1909. His thesis was an expansion of a 1907 scholarly study of tonality, in which he coined the term "atonality". [ 2 ]
In the 20th century, a line of development of musical progress continued; every composer still known today has contributed something to it. This old longing for progress and modernity – through conscious separation from tradition and convention – can, however, take on a fetish-like character in Western society, which is shaped by science and technology.