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Atonality in its broadest sense is music that lacks a tonal center, or key. 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. [1]
This is an incomplete list of atonal musical compositions. Pieces are listed by composer. ... Béla Bartók. Eight Improvisations on Hungarian Peasant Songs, Op. 20 ...
The Book of the Hanging Gardens served as the start to the atonal period in Schoenberg's music. Atonal compositions, referred to as "pantonal" by Schoenberg, [1] typically contain features such as a lack of central tonality, pervading harmonic dissonance rather than consonance, and a general absence of traditional melodic progressions.
Merle Hazard (born Jonathan A. Shayne) is an American satirist known for penning and performing country songs about unconventional topics, including economics, atonal music, and physics. Shayne started releasing music as Merle Hazard in 2007, his stage name a pun on the economic phenomenon moral hazard and the country singer Merle Haggard.
The twelve-tone technique—also known as dodecaphony, twelve-tone serialism, and (in British usage) twelve-note composition—is a method of musical composition.The technique is a means of ensuring that all 12 notes of the chromatic scale are sounded equally often in a piece of music while preventing the emphasis of any one note [3] through the use of tone rows, orderings of the 12 pitch classes.
Arnold Schoenberg or Schönberg [a] (13 September 1874 – 13 July 1951) was an Austrian and American composer, music theorist, teacher and writer. He was among the first modernists who transformed the practice of harmony in 20th-century classical music, and a central element of his music was its use of motives as a means of coherence.
Music and Text in the Works of Arnold Schoenberg: The Critical Years, 1908–22. ISBN 0835709949. Metzer, David. 1994. "The New York Reception of Pierrot lunaire: The 1923 Premiere and Its Aftermath". The Musical Quarterly 78, no. 4 (Winter): 669–99. Roig-Francolí, Miguel A. 2001. "A Theory of Pitch-Class-Set Extension in Atonal Music".
Though his refined, intelligent, atonal songs require advanced musicianship, the natural declamation and pliant, expressive vocal lines make them gratifying to sing." [4] His compiled set of Five Early Songs are highlighted by Carmen et al., requiring "an intelligent singer with good technique and musicianship."