|
Atonality in its broadest sense is music that lacks a tonal center, or key. ''Atonality'', in this sense, usually describes compositions written from about 1908 to the present day where a hierarchy of pitches focusing on a single, central tone is not used, and the notes of the chromatic scale function independently of one another . More narrowly, the term ''atonality'' describes music that does not conform to the system of tonal hierarchies that characterized classical European music between the seventeenth and nineteenth centuries . "The repertory of atonal music is characterized by the occurrence of pitches in novel combinations, as well as by the occurrence of familiar pitch combinations in unfamiliar environments" . More narrowly still, the term is sometimes used to describe music that is neither tonal nor serial, especially the pre-twelve-tone music of the Second Viennese School, principally Alban Berg, Arnold Schoenberg, and Anton Webern . However, "()s a categorical label, 'atonal' generally means only that the piece is in the Western tradition and is not 'tonal , although there are longer periods, e.g., medieval, renaissance, and modern modal musics to which this definition does not apply. "()erialism arose partly as a means of organizing more coherently the relations used in the preserial 'free atonal' music. ... Thus many useful and crucial insights about even strictly serial music depend only on such basic atonal theory" . Late 19th- and early 20th-century composers such as Alexander Scriabin, Claude Debussy, Béla Bartók, Paul Hindemith, Sergei Prokofiev, Igor Stravinsky, and Edgard Varèse have written music that has been described, in full or in part, as atonal (; ; ; ; ; ; ; ; ; ; ; ). == History == While music without a tonal center had been written previously, for example Franz Liszt's ''Bagatelle sans tonalité'' of 1885, it is with the twentieth century that the term ''atonality'' began to be applied to pieces, particularly those written by Arnold Schoenberg and The Second Viennese School. The term "atonality" was coined in 1907 by Joseph Marx in a scholarly study of tonality, which was later expanded into his doctoral thesis . Their music arose from what was described as the "crisis of tonality" between the late nineteenth century and early twentieth century in classical music. This situation had come about historically through the increasing use over the course of the nineteenth century of ambiguous chords, less probable harmonic inflections, and the more unusual melodic and rhythmic inflections possible within the style() of tonal music. The distinction between the exceptional and the normal became more and more blurred; and, as a result, there was a concomitant loosening of the syntactical bonds through which tones and harmonies had been related to one another. The connections between harmonies were uncertain even on the lowest—chord-to-chord—level. On higher levels, long-range harmonic relationships and implications became so tenuous that they hardly functioned at all. At best, the felt probabilities of the style system had become obscure; at worst, they were approaching a uniformity which provided few guides for either composition or listening. The first phase, known as "free atonality" or "free chromaticism", involved a conscious attempt to avoid traditional diatonic harmony. Works of this period include the opera ''Wozzeck'' (1917–1922) by Alban Berg and ''Pierrot Lunaire'' (1912) by Schoenberg. The second phase, begun after World War I, was exemplified by attempts to create a systematic means of composing without tonality, most famously the method of composing with 12 tones or the twelve-tone technique. This period included Berg's ''Lulu'' and ''Lyric Suite'', Schoenberg's ''Piano Concerto'', his oratorio ''Die Jakobsleiter'' and numerous smaller pieces, as well as his last two string quartets. Schoenberg was the major innovator of the system, but his student, Anton Webern, is anecdotally claimed to have begun linking dynamics and tone color to the primary row, making rows not only of pitches but of other aspects of music as well . However, actual analysis of Webern's twelve-tone works has so far failed to demonstrate the truth of this assertion. One analyst concluded, following a minute examination of the Piano Variations, op. 27, that while the texture of this music may superficially resemble that of some serial music ... its structure does not. None of the patterns within separate nonpitch characteristics makes audible (or even numerical) sense ''in itself''. The point is that these characteristics are still playing their traditional role of differentiation.Twelve-tone technique, combined with the parametrization (separate organization of four aspects of music: pitch, attack character, intensity, and duration) of Olivier Messiaen, would be taken as the inspiration for serialism . Atonality emerged as a pejorative term to condemn music in which chords were organized seemingly with no apparent coherence. In Nazi Germany, atonal music was attacked as "Bolshevik" and labeled as degenerate (''Entartete Musik'') along with other music produced by enemies of the Nazi regime. Many composers had their works banned by the regime, not to be played until after its collapse after World War II. After Schoenberg's death, Igor Stravinsky used the twelve-tone technique . Iannis Xenakis generated pitch sets from mathematical formulae, and also saw the expansion of tonal possibilities as part of a synthesis between the hierarchical principle and the theory of numbers, principles which have dominated music since at least the time of Parmenides . 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「atonality」の詳細全文を読む スポンサード リンク
|