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''Homotonal'' (same-tonality) is a technical musical term pertaining to the tonal structure of multi-movement compositions. It was introduced into musicology by Hans Keller. According to Keller's definition and usage, a multi-movement composition is 'homotonal' if all of its movements have the same tonic (keynote). 'Homotonality' is by no means uncommon in compositions of the Baroque era: many Baroque multi-movement works based on dance-forms manifest the same tonic—and even the same ''mode'' (major or minor) -- throughout. Thus, for example, J.S. Bach's solo violin partita BWV 1004 is homotonal ''(movements in D minor )'', as is his solo flute partita BWV 1013 ''(movements in A minor )''. Similarly, Vivaldi's sonata for oboe and continuo RV53 (n.d.) is homotonal ''(movements in C minor )''. Homotonality is even encountered in some Baroque concertos: examples include Vivaldi's Cello Concertos RV401 (n.d.) ''(movements in C minor )'' and RV416 (n.d.) ''(movements in G minor )'', and Jean-Marie Leclair's Violin Concerto Op.7 No 1 (1737) ''(movements in D minor )''. With the Classical era, however, the situation changes. Outside of two-movement works (which, classically speaking, will maintain the same tonic for both movements and will thus be homotonal by definition), classical-era homotonality is relatively rare: a classical work in three movements will normally move to a different tonic for its middle movement, and a classical work in four movements will normally have at least one of its middle movements in a key other than the original tonic. The classical composer most closely associated with the homotonal principle is Joseph Haydn. Keller himself was keen to emphasise that different classical composers showed differing degrees of interest in homotonal structure: Musicological reactions to Keller's coinage and concept have not always been either respectful or mature. Musicologist William Drabkin, for example, felt entitled to pass over the issue with the question "doesn't 'homotonality' sound a trifle queer?" 〔William Drabkin, review of Hans Keller, ''The Great Haydn Quartets: Their Interpretation'', Musical Times, Vol. 127, No. 1726 (Nov., 1986), pp. 624-625〕 The term 'homotonality' (referring to ''the manifest retention of a tonic'') should not be confused with 'monotonality' (the theoretical position according to which a tonal structure has only one 'real' tonic, and all modulation is superficial or illusory). ==Examples== Examples of 'homotonal' works (in more than two movements) from the classical era and afterwards are: 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Homotonal」の詳細全文を読む スポンサード リンク
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