Atonalitas

"Atonal" beralih ke halaman ini. Untuk penguasa kerajaan Mixtec dari Coixtlahuaca, lihat Atonal II.

Akord Mistik Alexander Scriabin.

Atonalitas dalam pengartian terluasnya adalah musik yang kurang nada utama, atau kunci. Dalam pengartian ini, atonalitas biasanya ditujukan kepada komposisi-komposisi yang dibuat dari sekitar tahun 1908 sampai saat ini, dimana sejumlah karya berfokus pada sebuah irama yang tak memakai nada utama.

Para komponis akhir abad ke-19 dan awal abad ke-20 seperti Alexander Scriabin, Claude Debussy, Béla Bartók, Paul Hindemith, Sergei Prokofiev, Igor Stravinsky, dan Edgard Varèse menulis musik yang dikatakan bersifat atonal, baik secara keseluruhan atau sebagian (Baker 1980; Baker 1986; Bertram 2000; Griffiths 2001; Kohlhase 1983; Lansky and Perle 2001; Obert 2004; Orvis 1974; Parks 1985; Rülke 2000; Teboul 1995–96; Zimmerman 2002).

Sumber

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• 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.
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Bacaan tambahan

• 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, no. 5:179–83.
• Forte, Allen. 1963. "Context and Continuity in an Atonal Work: A Set-Theoretic Approach". Perspectives of New Music 1, no. 2 (Spring): 72–82.
• Forte, Allen. 1964. "A Theory of Set-Complexes for Music". Journal of Music Theory 8, no. 2 (Winter): 136–83.
• Forte, Allen. 1965. "The Domain and Relations of Set-Complex Theory". Journal of Music Theory 9, no. 1 (Spring): 173–80.
• Forte, Allen. 1972. Sets and Nonsets in Schoenberg's Atonal Music. Perspectives of New Music 11, no. 1 (Fall–Winter): 43–64.
• Forte, Allen. 1978a. The Harmonic Organization of The Rite of Spring. New Haven : Yale University Press. ISBN 978-0-300-02201-8.
• Forte, Allen. 1978b. "Schoenberg's Creative Evolution: The Path to Atonality". The Musical Quarterly 64, no. 2 (April): 133–76.
• Forte, Allen. 1980. "Aspects of Rhythm in Webern's Atonal Music". Music Theory Spectrum 2:90–109.
• Forte, Allen. 1998. The Atonal Music of Anton Webern. New Haven and London: Yale University Press. ISBN 978-0-300-07352-2.
• Forte, Allen, and Roy Travis. 1974. "Analysis Symposium: Webern, Orchestral Pieces (1913): Movement I ('Bewegt')". Journal of Music Theory 18, no. 1 (Spring, pp. 2–43.
• Krausz, Michael. 1984. "The Tonal and the Foundational: Ansermet on Stravinsky". The Journal of Aesthetics and Art Criticism 42:383–86.
• Krenek, Ernst. 1953. "Is the Twelve-Tone Technique on the Decline?" The Musical Quarterly 39, no 4 (October): 513–27.
• Philippot, Michel. 1964. "Ansermet’s Phenomenological Metamorphoses." Translated by Edward Messinger. Perspectives of New Music 2, no. 2 (Spring-Summer): 129–40. Originally published as "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 Chicago: University of Chicago Press.

Pranala luar

• An Introduction to Atonal Music Analysis Diarsipkan 2021-02-10 di Wayback Machine. by Robert T. Kelly.
• Atonality, Information, and the Politics of Perception by Lee Humphries