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Monotonality
Monotonality is a Music theory, theoretical concept, principally deriving from the theoretical writings of Arnold Schoenberg and Heinrich Schenker, that in any piece of tonal music only one tonic (music), tonic is ever present, modulation (music), modulations being only regions or prolongations within, or extensions of the basic tonality. History Schoenberg laid out his concept of monotonality in his book ''Structural Functions of Harmony'', writing that: "According to this principle, every digression from the tonic is considered to be still within the tonality, whether directly or indirectly, closely or remotely related. In other words, there is only ''one tonality'' in a piece, and every segment formerly considered as another tonality is only a region, a harmonic contrast within that tonality...subordinate to the central power of [its] tonic. Thus comprehension of the harmonic unity within a piece is achieved." See also *Homotonality *Progressive tonality *Prolongation *Schenkeri ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Prolongation
In music theory, prolongation is the process in tonal music through which a pitch, interval, or consonant triad is considered to govern spans of music when not physically sounding. It is a central principle in the music-analytic methodology of Schenkerian analysis, conceived by Austrian theorist Heinrich Schenker. The English term usually translates Schenker's ''Auskomponierung'' (better translated as "composing out" or "elaboration"). According to Fred Lerdahl, "The term 'prolongation' ..usually means 'composing out' (Schenker's own intention for the term is open to debate)." Prolongation can be thought of as a way of generating musical content through the linear elaboration of simple and basic tonal structures with progressively increasing detail and sophistication,William Drabkin. "Prolongation." Grove Music Online. Oxford Music Online. 2 Aug. 2011 . and thus analysis consists of a reduction from detail to structure. Important to the operation of prolongation is the hierarc ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Homotonal
''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 '' ll movements in D minor', as is his solo flute partita BWV 1013 '' ll movements in A minor'. Similarly, Vivaldi's sonata for oboe and continuo RV53 (n.d.) is homotonal '' ll movements in C minor'. Homotonality is even encountered in some Baroque concertos: examples include Vivaldi's Cello Concertos RV401 (n.d.) '' ll movements in C minor' and RV416 (n.d.) '' ll movements in G minor', ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Prolongation
In music theory, prolongation is the process in tonal music through which a pitch, interval, or consonant triad is considered to govern spans of music when not physically sounding. It is a central principle in the music-analytic methodology of Schenkerian analysis, conceived by Austrian theorist Heinrich Schenker. The English term usually translates Schenker's ''Auskomponierung'' (better translated as "composing out" or "elaboration"). According to Fred Lerdahl, "The term 'prolongation' ..usually means 'composing out' (Schenker's own intention for the term is open to debate)." Prolongation can be thought of as a way of generating musical content through the linear elaboration of simple and basic tonal structures with progressively increasing detail and sophistication,William Drabkin. "Prolongation." Grove Music Online. Oxford Music Online. 2 Aug. 2011 . and thus analysis consists of a reduction from detail to structure. Important to the operation of prolongation is the hierarc ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Music Theory
Music theory is the study of the practices and possibilities of music. ''The Oxford Companion to Music'' describes three interrelated uses of the term "music theory". The first is the "rudiments", that are needed to understand music notation (key signatures, time signatures, and rhythmic notation); the second is learning scholars' views on music from antiquity to the present; the third is a sub-topic of musicology that "seeks to define processes and general principles in music". The musicological approach to theory differs from music analysis "in that it takes as its starting-point not the individual work or performance but the fundamental materials from which it is built." Music theory is frequently concerned with describing how musicians and composers make music, including tuning systems and composition methods among other topics. Because of the ever-expanding conception of what constitutes music, a more inclusive definition could be the consideration of any sonic phenomena, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Arnold Schoenberg
Arnold Schoenberg or Schönberg (, ; ; 13 September 187413 July 1951) was an Austrian-American composer, music theorist, teacher, writer, and painter. He is widely considered one of the most influential composers of the 20th century. He was associated with the expressionist movement in German poetry and art, and leader of the Second Viennese School. As a Jewish composer, Schoenberg was targeted by the Nazi Party, which labeled his works as degenerate music and forbade them from being published. He immigrated to the United States in 1933, becoming an American citizen in 1941. Schoenberg's approach, bοth in terms of harmony and development, has shaped much of 20th-century musical thought. Many composers from at least three generations have consciously extended his thinking, whereas others have passionately reacted against it. Schoenberg was known early in his career for simultaneously extending the traditionally opposed German Romantic styles of Brahms and Wagner. Later, hi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Heinrich Schenker
Heinrich Schenker (19 June 1868 – 14 January 1935) was a Galician-born Austrian music theorist whose writings have had a profound influence on subsequent musical analysis. His approach, now termed Schenkerian analysis, was most fully explained in a three volume series entitled ''Neue musikalische Theorien und Phantasien'' (''New Musical Theories and Phantasies''), which included ''Harmony'' (1906), ''Counterpoint'' (1910; 1922) and ''Free Composition'' (1935). Born in Wiśniowczyk, Austrian Galicia, he studied law at University of Vienna and music at what is now the University of Music and Performing Arts Vienna where his teachers included Franz Krenn, Ernst Ludwig, Anton Bruckner and Johann Nepomuk Fuchs. Despite his law degree, he focused primarily on a musical career following graduation, finding minimal success as a composer, conductor and accompanist. From the 20th-century on, Schenker increasingly directed his efforts towards music theory, developing a systemic ap ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tonic (music)
In music, the tonic is the first scale degree () of the diatonic scale (the first note of a scale) and the tonal center or final resolution tone that is commonly used in the final cadence in tonal (musical key-based) classical music, popular music, and traditional music. In the movable do solfège system, the tonic note is sung as ''do''. More generally, the tonic is the note upon which all other notes of a piece are hierarchically referenced. Scales are named after their tonics: for instance, the tonic of the C major scale is the note C. The triad formed on the tonic note, the tonic chord, is thus the most significant chord in these styles of music. In Roman numeral analysis, the tonic chord is typically symbolized by the Roman numeral "I" if it is major and by "i" if it is minor. These chords may also appear as seventh chords: in major, as IM7, or in minor as i7 or rarely iM7: The tonic is distinguished from the root, which is the reference note of a chord, rathe ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Modulation (music)
In music, modulation is the change from one tonality ( tonic, or tonal center) to another. This may or may not be accompanied by a change in key signature (a key change). Modulations articulate or create the structure or form of many pieces, as well as add interest. Treatment of a chord as the tonic for less than a phrase is considered tonicization. Requirements * Harmonic: quasi- tonic, modulating dominant, pivot chordForte (1979), p. 267. *Melodic: recognizable segment of the scale of the quasi-tonic or strategically placed leading-tone *Metric and rhythmic: quasi-tonic and modulating dominant on metrically accented beats, prominent pivot chord The quasi-tonic is the tonic of the new key established by the modulation was semi. The modulating dominant is the dominant of the quasi-tonic. The pivot chord is a predominant to the modulating dominant and a chord common to both the keys of the tonic and the quasi-tonic. For example, in a modulation to the dominant, ii/V–V/V– ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tonality
Tonality is the arrangement of pitches and/or chords of a musical work in a hierarchy of perceived relations, stabilities, attractions and directionality. In this hierarchy, the single pitch or triadic chord with the greatest stability is called the tonic. The root of the tonic chord forms the name given to the key, so in the key of C major, the note C is both the tonic of the scale and the root of the tonic chord (which is C–E–G). Simple folk music songs often start and end with the tonic note. The most common use of the term "is to designate the arrangement of musical phenomena around a referential tonic in European music from about 1600 to about 1910". Contemporary classical music from 1910 to the 2000s may practice or avoid any sort of tonality—but harmony in almost all Western popular music remains tonal. Harmony in jazz includes many but not all tonal characteristics of the European common practice period, usually known as "classical music". "All harmonic idioms in ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Progressive Tonality
Progressive tonality is the music compositional practice whereby a piece of music does not finish in the key in which it began, but instead 'progresses' to an ending in a different key or tonality. To avoid misunderstanding, it should be stressed that in this connection 'different key' means a different tonic, rather than merely a change to a different mode (see: Picardy third and List of major/minor compositions): Gustav Mahler's Second Symphony (1888–94), for example, which moves from a C minor start to an E-flat major conclusion, exhibits 'progressive tonality'—whereas Ludwig van Beethoven's Fifth Symphony (1804–08), which begins in C minor and ends in C major, does not. A work which ends in the key in which it began may be described as exhibiting 'concentric tonality'. The terms 'progressive' and 'concentric' were both introduced into musicology by Dika Newlin in her book ''Bruckner, Mahler, Schoenberg'' (1947).William Kinderman and Harald Krebs, eds. (1996). ''The Sec ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Schenkerian Analysis
Schenkerian analysis is a method of analyzing tonal music based on the theories of Heinrich Schenker (1868–1935). The goal is to demonstrate the organic coherence of the work by showing how it relates to an abstracted deep structure, the ''Ursatz''. This primal structure is roughly the same for any tonal work, but a Schenkerian analysis shows how, in an individual case, that structure develops into a unique work at the "foreground", the level of the score itself. A key theoretical concept is "tonal space". The intervals between the notes of the tonic triad in the background form a ''tonal space'' that is filled with passing and neighbour tones, producing new triads and new tonal spaces that are open for further elaborations until the "surface" of the work (the score) is reached. The analysis uses a specialized symbolic form of musical notation. Although Schenker himself usually presents his analyses in the generative direction, starting from the fundamental structure (''Ursatz'') t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
