246 Sentences With "atonality" | Random Sentence Generator

Indeed, "Evil Nigger" runs the story in reverse, ending in spaced-out atonality.

In the early 1920s, Schoenberg pushed beyond atonality to invent the 12-tone technique.

A composer's musical language is almost put through a scanner to detect telltale hints of atonality.

The score was Schoenberg's boldest push to date into atonality, though he never embraced that term.

Elements of modernist atonality, Asian-inflected styles, jazz and eerie atmospheric noise course through the taut score.

Berg's piercing music ventures into Expressionist atonality with remnants of Mahlerian harmonic richness, lending tragic stature to Wozzeck's Everyman struggles.

They have released two lovely duo albums — both streaming on Bandcamp — that treat atonality and absence as compatriots to melody.

But in its broad comedy and eccentric atonality, the scene is one of the most traditionally Twin Peaks of the reboot.

Musically, there are already indications that the intense atonality of "A Day in the Life" is a key to the sound of 1967.

A prevailing mood of bucolic lyricism is constantly challenged by slithering atonality and insistent, marchlike rhythms, only to fade off into mechanistic irrelevance.

At the time, downtown Manhattan was an incubator for experimental musicians, who incorporated into their pieces the dissonance and the atonality of city living.

This is Debussyan atonality, which predates Schoenberg's and is very different in spirit: not a lunge into the unknown but a walk on the wild side.

There is fretfulness in even his most lyrical descriptions, and it is remarkable how this paradox is mirrored in the atonality-spiked lushness of the music.

Berg's musical language in the opera is an extraordinary blend of old and new — with some tonal harmony, bursts of Expressionist angst and stretches of atonality.

Mr. Mayer sometimes found himself at odds with compositional trends, preferring the harmonics of tonal music at a time when the dissonance of atonality was in vogue.

It seems easy to make a record that responds to these strange, overwhelming times in which we live with just harshness and atonality, to reflect the chaos with chaos.

The tenor saxophonist and flutist Anna Webber recently put out "Clockwise," an album full of atonality and friction and discomfited momentum — not to mention, some of New York's premier improvising musicians.

Influenced by transformative composers like Janacek, Bartok, Stravinsky and Schoenberg, Mr. Husa evolved from an early neo-Classical idiom through experiments with atonality, serialism, microtonality and indeterminacy to reach his distinctive style.

And, as a composer, Henze's career was like a journey to find connections between musical styles: atonality, post-World War II modernism, echoes of expressive German Romanticism, even jazz and Latin-American music.

In the first decade of the century, Alexander Scriabin reached the border of atonality under the influence of Theosophy; he devised an ear-burning, six-note "mystic chord" that voices a hitherto ineffable divine presence.

The JACK Quartet and the pianist Adam Tendler devote an evening to Copland's atonality, through the Piano Variations of 7, the Piano Quartet of 1950 and the Piano Fantasy of 1955-57.212-505-3474, lpr.

Koellreutter introduced Jobim to serialism, atonality, and other ideas of the European avant-garde, which helped inform his approach arrangement and composition, even if his preferences ultimately led him back to Brazilian popular music in the end.

Justice Beach said ASIC's argument that Westpac should pay A$58 million for 58 instances of wrongdoing had "all the irreconcilable atonality of a Schoenberg composition", an apparent reference to the 20th century expressionist composer Arnold Schoenberg.

And when it comes to new music, although he is too subtle to be prescriptive, the elephant in the room is atonality: Tonal harmony has, for Boulez, been essentially exhausted of its potential over a century ago.

With a darkly combustive left hand and open-ended chord voicings in the right, he helped to define the group's classic sound while paving the way for the boundless abandon of Coltrane's later period (if not its atonality).

In "1911, Blues 'n' Jews," Lebrecht, a music critic and biographer of Gustav Mahler, details the musical revolution of another composer of Vienna's golden age, Arnold Schoenberg, presenting his employment of atonality as an outsider's jab at the Viennese respectable bourgeoisie.

Carpenter utilizes intermittent spurts of atonality and noise as indicators of the amorphous evil's supernatural nature, with longer chords to echo the crawling, blanketing nature of fog—crushing reminders that in these sorts of movies, after time runs out, there's no escape.

Lutyens trained in the 12-tone system of Arnold Schoenberg and aspired to classical composition and production, however she paid her bills by bringing a particular jarring atonality to the early 1960s Hammer Horror films (as well as to their competitor, Amicus Productions).

After A Love Supreme and until his death, Coltrane experimented in atonality and with different personnel in his band, adding a second drummer and other wind instrumentalists such as saxophonist Pharoah Sanders, who would go on to play extensively with Alice after Coltrane's death.

It's not just static—though I certainly have been known to appreciate records that are—they use varying shades of atonality to paint a complicated darkness, twisting feedback and squelches and real-as-fuck riffing around one another in these terrifying and brilliant assemblages.

This churning collection of dark, etheral, odes to the desperate void has long been yearning to be set free on the unsuspecting public like a tempest of raging atonality in a glass of aural unreason, and today is the day that the deed shall be done.

Even as Pulitzer-winning musical styles shifted over the decades, from the Americana of Copland's "Appalachian Spring" (1945) to the fragmented atonality of Donald Martino's "Notturno" (1974) to the joyful genre-bending of Caroline Shaw's "Partita" (2013), the prize has remained almost exclusively the province of classical music.

I'm an advocate for listening to challenging music in challenging times—I think atonality and rhythmic contortions can teach a psyche a lot about resilience—but when it comes down to it, I'm far more likely to spend my nine-ish hours sitting at a desk every day listening to formless synth music than free jazz.

Music with no tonic or ambiguous tonalityFor the cognitive foundations of atonality, see Humphries, Lee. "Atonality, Information, and the Politics of Perception", Enclitic, Vol. III, No. 1 (Spring, 1979). does not provide the frame of reference necessary for this type of analysis.

Schonberg, pp. 256–58 Mahler's music influenced the trio's move from progressive tonalism to atonality (music without a key); although Mahler rejected atonality, he became a fierce defender of the bold originality of Schoenberg's work. At the premiere of the latter's First String Quartet in February 1907, Mahler reportedly was held back from physically attacking the hecklers.La Grange, Vol 3 pp.

There is symbolism in the major tonality (nature), minor tonality (humans), and atonality (chaos) that is covered intensely throughout the first part of Universe.

28 Sept. 2015. These debates are ultimately built on the question of theorists' license to analyze the piece through our modern lens of tonality and atonality.

Schaeffer himself argued that musique concrète, in its initial phase, tended either towards atonality or surrealism, or both, rather than, as it subsequently became, the starting point of a more general musical procedure .

Drei Klavierstücke ("Three Piano Pieces"), Op. 11 is a set of pieces for solo piano written by the Austrian composer Arnold Schoenberg in 1909. They represent an early example of atonality in the composer’s work.

I'll give up a king's crown, if my beloved is happy. Bless us, O Lord, > her and me! Her and me! Shostakovich uses a montage of different styles, including folk music, popular song and atonality.

Bernstein begins the foray into atonality with Debussy's Prélude à l'après-midi d'un faune. This work uses a whole-tone scale, which is atonal but entails sufficient unambiguous containment, according to Bernstein. In his analysis, Bernstein commends the use of atonality in Afternoon of a Faun partially because of the presence of tonality. Bernstein notes, "throughout its course it is constantly referring to, reverting to, or flirting with E major" and "the ending of this piece finally confirms that it was all conceived in the key of E major, right from the beginning" (p. 245).

Musicologists have noted that Adler's works incorporate a wide range of compositional techniques including: free atonality, diatonicism, and serialism. In addition, he is recognized for interweaving dance rhythms, folk themes, ostinati and devices associated with aleatoric music throughout his scores.

The majority of Scriabin's works have opus numbers. His work can be divided into three (somewhat arbitrary) periods, based on increasing atonality: early, 1883–1902 (Opp. 1–29); middle, 1903–1909 (Opp. 30–58); and late, 1910–1915 (Opp. 59–74).

Opera News noted that Ching uses "a more modern musical mode, yet avoiding excessive atonality. The score subtly introduces brief tongue-in-cheek quotations from other works, ranging from Mozart to Sondheim, plus one unmistakable interjection of Shostakovich."Marsh, William.

Malcolm Miller, "Between Two Cultures: A Conversation with Shulamit Ran", Tempo 58, no. 227 (January 2004): 15–32; here 15 and 29. Tal's music is not monolithic. Despite its dominant atonality, Tal's music has undergone changes and modifications over the years.

Wozzeck is generally regarded as the first opera produced in the 20th-century avant-garde style and is also one of the most famous examples of atonality (music that avoids establishing a key) and Sprechgesang. Berg was following in the footsteps of his teacher, Schoenberg, by using free atonality to express emotions and even the thought processes of the characters on the stage. The expression of madness and alienation was amplified with atonal music. The music is atonal: it does not follow the techniques of the major/minor tonality system dominant in the West during the Baroque, Classical, and Romantic periods.

Opera News noted that Ching uses "a more modern musical mode, yet avoiding excessive atonality. The score subtly introduces brief tongue-in-cheek quotations from other works, ranging from Mozart to Sondheim, plus one unmistakable interjection of Shostakovich."Marsh, William. "In review: Memphis".

The Second Sonata uses musical mode as well as tonality, at times blending romantic mood with mathematical rationality. The third Sonata adopts the twelve-tone technique and serialism with unscrupulous critical rethinking, solving the alleged hypothetical atonality of the tonal system in a tonal panchromatism.

He lectured in the United States in 1954, 1959, and 1969, and in Buenos Aires in 1963. Between 1969 and 1984 he directed the Varese Conservatory, in which he joined the music faculty in 1979. Malipiero's early works were composed using a free atonality.

In the late 19th and early 20th century, composers began to struggle against the ordered system of chords and intervals known as "functional tonality". Composers such as Debussy and Strauss found ways to stretch the limits of the tonal system to accommodate their ideas. After a brief period of free atonality, Schoenberg and others began exploring tone rows, in which an ordering of the 12 pitches of the equal-tempered chromatic scale is used as the source material of a composition. This ordered set, often called a row, allowed for new forms of expression and (unlike free atonality) the expansion of underlying structural organizing principles without recourse to common practice harmony .

Shostakovich's works are broadly tonal and in the Romantic tradition, but with elements of atonality and chromaticism. In some of his later works (e.g., the Twelfth Quartet), he made use of tone rows. His output is dominated by his cycles of symphonies and string quartets, each totaling 15.

As in the last movement, this movement presents the emotional contours of the third quartet in microcosm. The movement comprises six ideas repeated to form eighteen short sections. The work starts off with a highly charged glissando motif, but quickly passes through sections of lyric tonality, atonality, and florid ornamentation.

Hauer's tropes.George Perle, Serial Composition and Atonality: An Introduction to the Music of Schoenberg, Berg, and Webern, sixth edition, revised (Berkeley: University of California Press, 1991): 145. . Allen Forte in The Structure of Atonal MusicAllen Forte, The Structure of Atonal Music (New Haven and London: Yale University Press, 1973). (cloth) (pbk).

Szabelski began working in the neoclassical and romanticism modes typical of the early 20th century. He adopted the serialist techniqueSteinberg, Michael. "The Symphony: A Listener's Guide". New York: Oxford University Press, 1998 p. 172 in the 1950s and was one of a number of Polish new wave of composers to embrace atonality.

String Quartet No. 3 is composed in five movements, with the first two and last two movements played without pause. This ultimately results in the work being heard in three large sections. Sections of atonality are superimposed with tonal and expressionist sections. The string quartet is written in a modified arch form.

Crook (1998) claims that the introduction, "Carmina Chromatico", has become, "probably the most analyzed piece of Renaissance music by any composer in any genre,"Crook, David (1998). "Tonal Compass in the Motets of Lasso", Hearing the Motet, p.287. Pesce, Dolores; ed. Oxford. . since Lowinsky's 1961 discussion of the prelude's "triadic atonality".

In Béla Bartók's Bagatelles, and several of Alfredo Casella's Nine Piano Pieces such as No. 4 'In Modo Burlesco' the close intervallic relationship between motive and chord creates or justifies the great harmonic dissonance.Samson, Jim (1977). Music in Transition: A Study of Tonal Expansion and Atonality, 1900-1920, . New York: W.W. Norton & Company. .

The "strict ordering" of the Second Viennese school, on the other hand, "was inevitably tempered by practical considerations: they worked on the basis of an interaction between ordered and unordered pitch collections."Whittall 2008, 24. Rudolph Reti, an early proponent, says: "To replace one structural force (tonality) by another (increased thematic oneness) is indeed the fundamental idea behind the twelve-tone technique", arguing it arose out of Schoenberg's frustrations with free atonality,Reti 1958 providing a "positive premise" for atonality. In Hauer's breakthrough piece Nomos, Op. 19 (1919) he used twelve- tone sections to mark out large formal divisions, such as with the opening five statements of the same twelve-tone series, stated in groups of five notes making twelve five-note phrases.

117 but he was in sympathy with the fashion for "dépouillement" – the "stripping away" of pre-war extravagance to reveal the essentials. Many of his works from the 1920s are noticeably sparer in texture than earlier pieces.Orenstein (1991), pp. 84, 186 and 197 Other influences on him in this period were jazz and atonality.

Without establishing any one style or school, neotonality became the dominant international idea in the 1930s and 1940s (; "new tonalities"). Many of these composers (e.g., Bartók, Hindemith, Prokofiev, and Stravinsky) combine features characteristic of common-practice tonality with features of atonality . The most common means of establishing a tonal centre in neotonality is by "assertion".

This is a list of United States Death Metal (USDM) bands that were originally formed in the United States of America. Death metal is an extreme subgenre of heavy metal music. It typically employs heavily distorted guitars, tremolo picking, deep growling vocals, blast beat drumming, minor keys or atonality, and complex song structures with multiple tempo changes.

Noise rock fuses rock to noise, usually with recognizable "rock" instrumentation, but with greater use of distortion and electronic effects, varying degrees of atonality, improvisation, and white noise. One notable band of this genre is Sonic Youth who took inspiration from the no wave composers Glenn Branca and Rhys Chatham."Rhys Chatham", Kalvos-Damien website. (Accessed 20 October 2009).

Quoted in Gioia (1990), p. 43. (see: aspects of music) Harmolodics seeks to free musical compositions from any tonal center, allowing harmonic progression independent of traditional European notions of tension and release (see: atonality). Harmolodics may loosely be defined as an expression of music in which harmony, movement of sound, and melody all share the same value.

Progressive jazz is a form of big band that is more complex or experimental. It originated in the 1940s with arrangers who drew from modernist composers such as Igor Stravinsky and Paul Hindemith. Its "progressive" features were replete with dissonance, atonality, and brash effects. Progressive jazz was most popularized by the bandleader Stan Kenton during the 1940s.

Atonality and polytonality are among the techniques used in his later works. His final work was the Concerto for solo piano, Op. 74. He died in Hollywood in 1943 and is buried in Hollywood Forever Cemetery. A year after his death the Joseph Achron Memorial Committee was formed, which included twenty well-known composers, instrumentalists, conductors and critics.

Lyatoshinsky presents himself as a demonstrative traditionalist, master of the symphonic writing and tradition of thematic development. At the same time, he considers structural and expressive forms of decay, deformation, mannerism, nihilism, sickness and convalescence. The Symphony establishes the connections with Lyatoshinsky's keen interest in stylistic hybridity expressed through the use of the classical form, motivic development, atonality and primitivism of folk song.

Ernst Heinrich Krenek (, August 23, 1900 – December 22, 1991) was an Austrian, later American, composer of Czech origin. He explored atonality and other modern styles and wrote a number of books, including Music Here and Now (1939), a study of Johannes Ockeghem (1953), and Horizons Circled: Reflections on my Music (1974). Krenek wrote two pieces using the pseudonym Thornton Winsloe.

In his later years, he even relied on atonality and tried > his hand at 12-note composition. – Béhague, Gerard. 2001. "Ecuador. Art > Music"Béhague 2001, 7:871 Though only two of his operas are mentioned in most music literature, he composed another two, together with nine symphonies, several concertos, several ballets. He was both a nationalist and a modernist composer.

While music without a tonal center had been previously written, for example Franz Liszt's Bagatelle sans tonalité of 1885, it is with the coming of 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 arisen over the course of the nineteenth century due to the increasing use of > ambiguous chords, improbable harmonic inflections, and more unusual melodic > and rhythmic inflections than what was possible within the styles of tonal > music.

André Jolivet in 1930 André Jolivet (; 8 August 1905 – 20 December 1974) was a French composer. Known for his devotion to French culture and musical thought, Jolivet drew on his interest in acoustics and atonality, as well as both ancient and modern musical influences, particularly on instruments used in ancient times. He composed in a wide variety of forms for many different types of ensembles.

The concerto and symphony were created and opera caused a sensation. Music moved out of the palace into the concert hall for the masses.The Creators, "The Music of Instruments, From Court to Concert" Music continued to evolve and new forms like atonality were heard in the rush to be creative and innovative.The Creators, "The Music of Innovation" As an example of megalithic architecture, Boorstin selects Stonehenge.

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 8-minute-long second movement is very slow and dark music. The movement is presented in ternary form, another neoclassical influence. Harmonically and melodically, it is less traditional and less oriented to the neoclassical style than the previous movement, at times, stretching tonality to the brink of atonality. The movement's three themes are imitated, frequently while another voice has yet to complete its melodic phrase.

According to Daniel Avorgbedor, Turkson's compositions were "largely rooted in 20th-century avant-garde techniques", in particular in his use of atonality and serialism. Most of his early piano works were of an educational nature. His later compositions included indigenous elements, inspired partly by his earlier research into Efutu music. Most of his works were published by the University of Ife Press in Nigeria.

Many of Antoniou's compositions were commissioned by major orchestras around the world. Over two hundred of his works have been published by Bärenreiter Verlag (Germany), G. Schirmer (USA) and Philippos Nakas (Greece). In terms of style, Antoniou's earlier works hesitated at first between a simple atonality and Bartókian folklorism. He later developed serial techniques and applied them in various refined forms, which continue to characterize his works.

He believes that the combination of tonality and atonality is critical to the appreciation of both. By his own admission, he is obsessed with novel variation in both tone color and texture. He has been recognized as an adept and imaginative orchestrator. He works with both acoustic and electronic instruments in order to have access to as wide a palette of raw sound as possible.

His albums Kantata gia ti Makroniso (Cantata for Makronisos), Fouente Ovehouna (Fuenteovejuna), Troparia gia Foniades (Hymns for Murderers) and Mousiki Praxi Ston Brecht (Musical Practice on Brecht) are characteristic of the climate of Metapolitefsi or Regime Change that was taking place in the period 1975–78. In particular, the Cantata for Makronisos, a pioneering piece in which Mikroutsikos experimented with atonality was extremely well received in international music festivals and an interpretation of particular note was recorded by Maria Dimitriadi. His next album, Stavros tou Notou (Southern Cross), set to the poetry of Nikos Kavvadias, opened up further musical avenues for him, combining theatre, electronic music and atonality (a second album, Grammes ton orizondon, set to the poetry of Kavvadias was released in 1991). With the same devotion to poetry, he continued to set the works of Giannis Ritsos, Alkis Alkaios, François Villon and Constantine P. Cavafy, amongst others.

The middle of the album featured more traditional jazz passages and the presence of a psychedelic harpsichord. "The Smile" was recorded with a rhythmic drum beat, offbeat bass, and a progressive string part. For the songs near the end, the musicians steadily transitioned to heady psychedelia featuring gritty guitars and disorienting organ licks. On "The Mental Traveler", Axelrod said he tried to experiment with atonality but "chickened out".

The aptly named noise rock fuses rock to noise, usually with recognizable "rock" instrumentation, but with greater use of distortion and electronic effects, varying degrees of atonality, improvisation, and white noise. One notable band of this genre is Sonic Youth who took inspiration from the No Wave composers Glenn Branca and Rhys Chatham (himself a student of LaMonte Young)."Rhys Chatham", Kalvos-Damien website. (Accessed 20 October 2009).

His harmonic language is usually based on an expanded/free tonality mixed with occasional polytonality (e.g. as in the Twentieth Symphony) and atonality (e.g. as in the Twelfth String Quartet or the 24 Preludes for Solo Cello). His earlier works exhibit neo-Romantic tendencies and draw significantly on folk-music, whereas his later works, which came with improved social circumstances and greater compositional maturity, are more complex and austere.

Debussy's music is noted for its sensory content and frequent usage of atonality. The two composers invented new musical forms and new sounds. Ravel's piano compositions, such as Jeux d'eau, Miroirs, Le tombeau de Couperin and Gaspard de la nuit, demand considerable virtuosity. His mastery of orchestration is evident in the Rapsodie espagnole, Daphnis et Chloé, his arrangement of Modest Mussorgsky's Pictures at an Exhibition and his orchestral work Boléro (1928).

No Wave was a short-lived rock movement in New York and raised James Chance, DNA, Glenn Branca, Lydia Lunch, the Contortions, Teenage Jesus and the Jerks, Mars began experimenting with noise, dissonance and atonality in addition to non-rock styles. Brian Eno-produced No New York compilation, often considered the quintessential testament to the scene. Swans, and later Sonic Youth were famous in New York City punk scene.

Neoclassicism and expressionism came mostly after 1900. Minimalism started much later in the century and can be seen as a change from the modern to post-modern era, although some date post-modernism from as early as ca. 1930. Aleatory, atonality, serialism, musique concrète, electronic music, and concept music were all developed during this century. Jazz and ethnic folk music became important influences on many composers during this century.

Hans Werner Henze (1 July 1926 – 27 October 2012) was a German composer. His large oeuvre of works is extremely varied in style, having been influenced by serialism, atonality, Stravinsky, Italian music, Arabic music and jazz, as well as traditional schools of German composition. In particular, his stage works reflect "his consistent cultivation of music for the theatre throughout his life". Henze was also known for his political convictions.

Stravinsky himself described his treatment of pitch in Threni as "a kind of 'triadic atonality'", contrasting this with the "tonality repetition" of his ballet scores. Threni makes extensive use of canons. It also uses pitchless chanting in the choir – the first time Stravinsky had done this. The score calls for a large orchestra, but never uses it in tutti, preferring small groups of individually selected instruments at any one time.

These lectures are a useful artifact for us to see one side of the music theory debate in the mid-twentieth century. This debate regarded the future of classical music and the roles both tonality and twelve-tone writing would take. Bernstein was disappointed with the trajectory of classical music in the 1960s, as atonality took more precedence. To examine how music got to this point, Bernstein argued that we have to understand "whence music".

Soli IV "has about it a rather special kind of 'atonality' (since the more 'tonal' intervals, such as fifths, fourths, major- thirds, minor-sevenths, and octaves, are seldom, or never used). Otherwise, melody and melodic counterpoint, proceed freely, each 'antecedent' producing a 'consequent' that in turn becomes the antecedent for a new consequent. It is music that continually evolves from itself. In this sense, the entire piece constitutes a single, long, main 'theme'" .

Death metal band Cannibal Corpse Death metal is an extreme subgenre of heavy metal music. It typically employs heavily distorted guitars, tremolo picking, deep growling vocals, blast beat drumming, minor keys or atonality, and complex song structures with multiple tempo changes. Building from the musical structure of thrash metal and early black metal, death metal emerged during the mid-1980s. Metal acts such as Slayer,Joel McIver Extreme Metal, 2000, Omnibus Press pg.

Diethelm's sonic palette is highly distinctive, and through its expressivity and vitality has an immediate impact on the listener. The composer engaged intensively with the latest tendencies in music, including twelve-tone music, atonality, serialism and aleatorics, but always rejected the straitjacket of dogmatism. Instead, he developed his own characteristic style, influenced by Jenny, Hindemith, Honneger and Hans Martin. His music is characterised by Swiss elements and generally pursues a broad melodic linearity.

After completing his studies, Gold worked as a pianist and toured internationally. The recording of Gottschalk Piano Music (1973) on which he performed was named a "Recording of Special Merit" by Stereo Review. His recordings were also noted by The American Record Guide and The Musical Quarterly. Early on, Edward's music was in the style of atonality (mostly Schoenberg), but with a traditional structural style using atonal and twelve-tone techniques crossed with some Stravinsky.

Composer Fabio Frizzi also contributed to Paura nella città dei morti viventi, ...E tu vivrai nel terrore! L'aldilà, Manhattan Baby, and Fulci's 1990 film Un gatto nel cervello. The film's score was performed on a carillon, accompanied by stringed instruments, synthesisers and piano notes. The score has been described as "simple, elegant and gravely beautiful", and has been noted for "steer[ing] clear of rampant atonality and shrieking strings", unlike typical giallo film scores.

The Tristan chord's significance is in its move away from traditional tonal harmony, and even toward atonality. With this chord, Wagner actually provoked the sound or structure of musical harmony to become more predominant than its function, a notion that was soon explored by Debussy and others. In the words of Robert Erickson, "The Tristan chord is, among other things, an identifiable sound, an entity beyond its functional qualities in a tonal organization" .

In 1947 he offered a short composition, "Thermopylae", to Stan Kenton, who decided to record it. Graettinger then came up with "City of Glass", a four-part tone poem. At this time he was studying composition under Russell Garcia. Graettinger's radical polystylistic soundworld, with its polyphonic density and bracing atonality, while drawing on ideas previously explored by the likes of Charles Ives, Igor Stravinsky, Aaron Copland and even Arnold Schoenberg, still remains truly distinctive.

Ambient house is a musical category founded in the late 1980s that is used to describe acid house featuring ambient music elements and atmospheres. Tracks in the ambient house genre typically feature four-on-the- floor beats, synth pads, and vocal samples integrated in an atmospheric style. Ambient house tracks generally lack a diatonic center and feature much atonality along with synthesized chords. The Dutch Brainvoyager is an example of this genre.

But originality was no virtue; personality was. Great music, like Beethoven's, is admired because the composer's personality shines through; Beethoven's daring originality is now only of historical interest. However, Ryelandt was highly critical of atonality, claiming that the modernists' "empty game of sound combinations brings us no interior enrichment at all," and that the value of works like Honegger's "unforgettable" Jeanne d'Arc au bûcher lay chiefly in their tonal passages.Both quotes in Froyen, p. 20.

Trey Anastasio has credited Vermont-based art music composer, pianist, and teacher Ernie Stires for inspiring him in musical composition and arranging. Stires' music juxtaposes atonal melodies and harmonies against catchy swing rhythms. Stires' influence can be heard on The White Tape, The Man Who Stepped Into Yesterday, Junta, Lawn Boy and Rift. Anastasio used techniques ranging from riff-based and/or verse-chorus songwriting to unusual chord progressions, modes, atonality, polyrhythm, irregular and compound meters, and polyphonic textures.

Franz Marc, The fate of the animals, 1913, oil on canvas. The work was displayed at the exhibition of "Entartete Kunst" ("degenerate art") in Munich, Nazi Germany, 1937. Modernism's stress on freedom of expression, experimentation, radicalism, and primitivism disregards conventional expectations. In many art forms this often meant startling and alienating audiences with bizarre and unpredictable effects, as in the strange and disturbing combinations of motifs in Surrealism or the use of extreme dissonance and atonality in Modernist music.

Tristano's 1953 recording "Descent into the Maelstrom" was another innovation. It was a musical portrayal of Edgar Allan Poe's story of the same title, and was an improvised solo piano piece that used multitracking and had no preconceived harmonic structure, being based instead on the development of motifs. Its atonality anticipated the much later work of pianists such as Cecil Taylor and Borah Bergman. In the following year Tristano's sextet played at the first Newport Jazz Festival.

Jim SamsonSamson, Jim (1977). Music in Transition: A Study of Tonal Expansion and Atonality, 1900-1920, p.156-7. New York: W.W. Norton & Company. points out that it fits in well with Scriabin's predominantly dominant quality sonorities and harmony as it may take on a dominant quality on C or F. This tritone relationship between possible resolutions is important to Scriabin's harmonic language, and it is a property shared by the French sixth (also prominent in his work).

Derek Bailey (29 January 1930 – 25 December 2005) was an English avant-garde guitarist and figure in the free improvisation movement. Bailey abandoned conventional performance techniques found in jazz, exploring atonality, noise, and whatever unusual sounds he could produce with the guitar. Much of his work was released on his own label Incus Records. In addition to solo work, Bailey collaborated frequently with other musicians and recorded with collectives such as Spontaneous Music Ensemble and Company.

Stefan began piano lessons at the age of six, and in 1973 he began studies at the Vienna University for Music and Arts; Renate Kramer- Preisenhammer and Hans Petermandl were two of his teachers. In 1985 Vladar won Vienna's VII Ludwig van Beethoven piano competition. In 1992 he participated in My War Years, a Canadian docudrama about Arnold Schoenberg and this composer's way to atonality. Vladar was awarded the Mozartinterpretationspreis of the Mozartgemeinde Wien in 1994.

He also served as the president of the Austrian Gesellschaft der Autoren, Komponisten und Musikverleger (1970) and the Künstler-Union (1976). As a composer, Uhl synthesized elements from neo-classicism, atonality, serialism and traditional tonal and contrapuntal idioms. His vibrant style combined technical sophistication and musical charm with wit and humour, rhythmic inventiveness, thematic development and advanced harmonic language. He wrote eight film scores, one opera, several choral works, and multiple symphonic and chamber music pieces.

In addition, Lera Auerbach, Alfred Schnittke and John Zorn have worked with Polystylism and other forms of Postmodern music, and Modernist Miriam Gideon combined atonalism and Jewish folk motives in her pieces. Samuel Adler's compositions are also noteworthy for using several contemporary techniques including: atonality, serialism, diatonicism and aleatoric music devices.A Conductor's Guide to Choral- Orchestral Works, Part 1 Jonathan D. Green, Scarecrow Press, Oxford, 1994, Chapter II – Survey of Works p. 14 Samuel Adler on books.google.

Engelmann studied composition with Hermann Heiss and Wolfgang Fortner. He was a regular attendee of the Darmstadt International Summer Courses for New Music, and he was particularly affected by the twelve- tone classes of René Leibowitz (1948) and Ernst Krenek (1951), which helped him move from free atonality to serialism. Eventually, he would publish a history of the courses. In 1947, he began studying musicology with Gennrich Friedrich and Helmut Osthoff, earning a Ph.D in 1952.

The two operas of Schoenberg's pupil Alban Berg, Wozzeck (1925) and Lulu (incomplete at his death in 1935) share many of the same characteristics as described above, though Berg combined his highly personal interpretation of Schoenberg's twelve-tone technique with melodic passages of a more traditionally tonal nature (quite Mahlerian in character) which perhaps partially explains why his operas have remained in standard repertory, despite their controversial music and plots. Schoenberg's theories have influenced (either directly or indirectly) significant numbers of opera composers ever since, even if they themselves did not compose using his techniques. Stravinsky in 1921 Composers thus influenced include the Englishman Benjamin Britten, the German Hans Werner Henze, and the Russian Dmitri Shostakovich. (Philip Glass also makes use of atonality, though his style is generally described as minimalist, usually thought of as another 20th-century development.) However, operatic modernism's use of atonality also sparked a backlash in the form of neoclassicism. An early leader of this movement was Ferruccio Busoni, who in 1913 wrote the libretto for his neoclassical number opera Arlecchino (first performed in 1917).

Similar to the serial passages in his own third symphony and his admiration of Ives' The Unanswered Question, Bernstein's lauding of these works stems not from the use of atonality, but the presence of tonality. In this lecture, some issues arise in the description of Wagner's transformational skills. Again, Bernstein's definition of deep structure is inconsistently applied, because example number 77 on page 236 is not a deep structure. This does not fulfill deep structure's requirement of containing musical prose.

The first conference took place in Puebla’s Convention Center in 2008. Its name is derived from the star Polaris, also named Cynosura by the Greeks, pertaining to the Ursa Minor constellation. Cynosura took place from the 6th to 8 November, with the speakers allotted 21 minutes to present. The conference commemorated the 100-year anniversary of the scandal caused by the String Quartet No.2 in F Sharp Minor by Austrian composter, Arnold Schoenberg, with the atonality that disrupted traditional classic music.

By the time Lyatoshinsky wrote his Symphony No.1 (1918) as his graduation composition, he became influenced by the music of Wagner and atonality. It could be suggested that this was the first Symphony composed in the Ukraine. It was performed and conducted in 1919 by Reinhold Glière who taught the student composer and who recalls (writing at the time of Lyatoshinsky's 60th birthday): ‘I was glad to notice the relation of his first String Quartet to the traditions of Russian musical classics.

His first chamber work, the string sextet Verklärte Nacht, was mostly a late German romantic work, though it was bold in its use of modulations. The first work that was frankly atonal was the second string quartet; the last movement of this quartet, which includes a soprano, has no key signature. Schoenberg further explored atonality with Pierrot Lunaire, for singer, flute or piccolo, clarinet, violin, cello and piano. The singer uses a technique called Sprechstimme, halfway between speech and song.

The Ives biography was nominated for a National Book Critics Circle award in biography and won the Pen-Winship prize for a book on a New England subject. His biography Beethoven: Anguish and Triumph in its first week appeared on the New York Times bestseller list. He has taught at schools including Boston University, Amherst College, Tufts, and Boston Conservatory. Swafford's music, which is highly lyrical and moves freely between tonality and atonality, has been called New Romantic in style.

It has been pointed out that Groven's harmonic principles are not far from the principles of the early Flemish Renaissance composers, such as Dufay and Jacob Obrecht. Like them, he often uses the sixth-chord, with a third at the bottom. Groven often thinks rather polyphonically, and this can also be traced to the hardanger fiddle, as well as to his admiration for Bach. In early years, critics accused him of atonality, but in fact, Groven's music is quite tonal.

Bernard Gilmore's composition style changed significantly throughout the duration of his life. His earlier works, notably the Five Folk Songs for soprano and wind band, are historically themed and utilize a strong sense of melodic foundation. His later works are genuinely innovative in the scheme of modern music, exploring the vast realm of harmonic chromaticism and atonality. However, even in his later works, such as Coffee Date, he retains the purity of the melody, both in lyric text and instrumentation.

Death metal is an extreme subgenre of heavy metal music. It typically employs heavily distorted and low-tuned guitars, played with techniques such as palm muting and tremolo picking, deep growling vocals, aggressive, powerful drumming featuring double kick and blast beat techniques, minor keys or atonality, abrupt tempo, key, and time signature changes, and chromatic chord progressions. The lyrical themes of death metal may include slasher film-style violence,Moynihan, Michael, and Dirik Søderlind (1998). Lords of Chaos (2nd ed.).

Wagner's later musical style introduced new ideas in harmony, melodic process (leitmotif) and operatic structure. Notably from Tristan und Isolde onwards, he explored the limits of the traditional tonal system, which gave keys and chords their identity, pointing the way to atonality in the 20th century. Some music historians date the beginning of modern classical music to the first notes of Tristan, which include the so-called Tristan chord.Deathridge (2008) 114Magee (2000) 208–9 Gustav Mahler Wagner inspired great devotion.

Skeleton Trees sound has been observed as "far more stripped-down" than the Bad Seeds' earlier albums and features "less polished" production. The album features components of multiple genres and has been described generally as an avant-garde album. Several songs contain dissonant musical elements—including the use of unresolved chords, drones, atonality, noise, and vocal melodies which do not conform to the songs' time signatures. Additionally, most of the songs' structures do not follow the standard verse- chorus-verse form.

She is unable to stop a castle being built on the land, a building in which she loses her virginity and dies. Melusine premiered at the opening of the festival Schlosstheater Schwetzingen in 1971, conducted by Reinhard Peters, staged by Rudolf Sellner, with Catherine Gayer in the title role, and Martha Mödl as Pythia. The opera was recorded by Wergo in 2010, from a live performance at the Staatstheater Nürnberg. A 1974 handbook on opera production notes the features of aleatoric passages, dissonances and atonality.

By and by he eschewed the poles of abstract atonality and indeterminacy that were much in favor in the 1960s and 1970s, turning instead to modality, melody, and counterpoint. His compositional goals are expressivity, depth, and spirituality, yet often with a light heart. In Asia, he advised young composers to borrow from Western traditions, saying it will help them speak to international audiences, but he insisted that the soul of their music as well as many of its techniques must come from their own soil.

From 1966 to 2016, he taught at Vassar College, where he was Mary Conover Mellon Professor of Music. Since 1992 he has been composer-in-residence with the American Symphony Orchestra. Richard Wilson's compositions are marked by a stringent yet lyrical atonality which often sets him apart from the established schools of modern American music: minimalism, twelve-tone, neo- romanticism, and avant-garde. Two of his works, Eclogue for solo piano, and his String Quartet No. 3, are considered high points of twentieth-century American music.

In 2011 Tagg started working for the reform of music theory terminology on two fronts. His views are: [1] that conventional music theory terminology, based mainly on the euroclassical and jazz repertoires, is often both inaccurate and ethnocentric – he cites the widespread use of “tonality” to denote just one type of tonality and its simultaneous conceptual opposition to both “atonality” and “modality” as one example of the problem; [2] that the denotation of non-notated musical structures, rarely covered in conventional music theory, needs urgent attention.

Quinet often used established models, such as the passacaglia or old dance forms. For example, his orchestral Variations are cast as a Baroque suite, and the ballet La nef des fous is built as a symphony with a rapid principal theme alternating with slow, expressive passages. His music grew from polytonality to atonality but always remained clear in timbre and texture. In addition to numerous orchestral works, chamber music, two ballets, and some choral works, Quinet wrote one opera, Les Deux bavards, which premiered in 1966.

Replacing pages which in Liszt's earlier compositions had been thick with notes and virtuoso passages was a starkness where every note and rest was carefully weighed and calculated, while the works themselves become more experimental harmonically and formally.Ogdon, 134-5. However, as with his earlier compositions, Liszt's later works continued to abound with forward-looking technical devices. Works such as Bagatelle sans tonalité ("Bagatelle without Tonality") foreshadow in intent, if not in exact manner, composers who would further explore the modern concept of atonality.

Copland's work in the late 1940s and 1950s included use of Schoenberg's twelve-tone system, a development that he had recognized but not fully embraced. He had also believed the atonality of serialized music to run counter to his desire to reach a wide audience. Copland therefore approached dodecaphony with some initial skepticism. While in Europe in 1949, he heard a number of serial works but did not admire much of it because "so often it seemed that individuality was sacrificed to the method".

No wave was a short-lived avant-garde music and art scene that emerged in the late 1970s in downtown New York City. Reacting against punk rock's recycling of rock and roll clichés, no wave musicians instead experimented with noise, dissonance and atonality in addition to a variety of non-rock genres, while often reflecting an abrasive, confrontational, and nihilistic worldview. The term "no wave" was a pun based on the rejection of commercial new wave music.Alison Pearlman, Unpackaging art of the 1980s, p.

Composers such as Strauss, Britten, Shostakovich and Stravinsky adopted and expanded upon this style. Arnold Schoenberg in 1917; portrait by Egon Schiele Operatic modernism truly began in the operas of two Viennese composers, Arnold Schoenberg and his student Alban Berg, both composers and advocates of atonality and its later development (as worked out by Schoenberg), dodecaphony. Schoenberg's early musico-dramatic works, Erwartung (1909, premiered in 1924) and Die glückliche Hand display heavy use of chromatic harmony and dissonance in general. Schoenberg also occasionally used Sprechstimme.

Ziegler played a leading role in promoting the Nazi vision of culture, particularly with regards to "degenerate" music. He was a strong critic of atonality, dismissing it as decadent "cultural Bolshevism".Celia Applegate, Pamela Potter, Music and German National Identity, University of Chicago Press, 2002, p. 208 In may 1938 he curated the Entartete Musik exhibition in Düsseldorf, with Arnold Schoenberg, Alban Berg, Walter Braunfels, Karol Rathaus and Wilhelm Grosz amongst those receiving the strongest condemnation in the pamphlet he wrote to accompany the exhibition.

The Book of the Hanging Gardens (German: '''''), Op. 15, is a fifteen-part song cycle composed by Arnold Schoenberg between 1908 and 1909, setting poems of Stefan George. George's poems, also under the same title, track the failed love affair of two adolescent youths in a garden, ending with the woman's departure and the disintegration of the garden. The song cycle is set for solo voice and piano. The Book of the Hanging Gardens breaks away from conventional musical order through its usage of atonality.

In the early 20th century, impressionism was spreading across Slovenia, which soon produced composers Marij Kogoj and Slavko Osterc. Avant-garde classical music arose in Slovenia in the 1960s, largely due to the work of Uroš Krek, Dane Škerl, Primož Ramovš and Ivo Petrić, who also conducted the Slavko Osterc Ensemble. Jakob Jež, Darijan Božič, Lojze Lebič and Vinko Globokar have since composed enduring works, especially Globokar's L'Armonia, an opera. In the 1950s, Božidar Kantušer was the most progressive of all, by dint of his atonality.

In his review of the premiere performance, critic James Keller of the Santa Fe New Mexican described the "impressive premiere" and noted one of the characteristics of the music of the period of composition which "sent opera-goers on a stroll down memory lane to the 1970s, when academic composers were still expected to worship at the altar of atonality." He continued: > but a score as beautiful as Spratlan's reminds us that even if one might not > care to dine on atonality for breakfast, lunch and dinner every day, an > occasional taste can be toothsome. From a musical standpoint, Life Is a > Dream is an imposing accomplishment, the more so in light of the bland > pablum that has so often been tendered in stage works of more recent > vintage. The New York Times music critic, Anthony Tommasini, gave the opera a positive review, writing:"Overdue Debut for Composer and Exiled Prince" by Anthony Tommasini, The New York Times, 26 July 2010] > ...no question, Life Is a Dream is an important opera, the rare > philosophical work that holds the stage and gives singing actors real > characters to grapple with.

He generally avoided the avant garde, and did not challenge the conventions in the way that contemporaries such as Tippett did. Perhaps, says Brett, "the tide that swept away serialism, atonality and most forms of musical modernism and brought in neo-Romanticism, minimalism and other modes of expression involved with tonality carried with it renewed interest in composers who had been out of step with the times". Britten defined his mission as a composer in very simple terms: composers should aim at "pleasing people today as seriously as we can".

James Joyce statue on North Earl Street, Dublin, by Marjorie FitzGibbon The Modernist movement continued during this period in Soviet Russia. In 1930 composer Dimitri Shostakovich's (1906–1975) opera The Nose was premiered, in which he uses a montage of different styles, including folk music, popular song and atonality. Amongst his influences was Alban Berg's (1985–1935) opera Wozzeck (1925), which "had made a tremendous impression on Shostakovich when it was staged in Leningrad." However, from 1932 Socialist realism began to oust Modernism in the Soviet Union,Sergei V. Ivanov, Unknown Socialist Realism.

Prime, retrograde, inverse, and retrograde-inverse permutations. The Second Viennese School () is the group of composers that comprised Arnold Schoenberg and his pupils and close associates in early 20th-century Vienna, where he lived and taught, sporadically, between 1903 and 1925. Their music was initially characterized by late-Romantic expanded tonality and later, following Schoenberg's own evolution, a totally chromatic expressionism without firm tonal centre, often referred to as atonality; and later still, Schoenberg's serial twelve-tone technique. Though this common development took place, it neither followed a common time-line nor a cooperative path.

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.

There's a movement of extremes, from powerful tonality to near > atonality, and I like this a great deal; it's a stance that very effectively > catches the spirit that makes work in poetry possible nowadays. (Giovanni > Raboni) > Complete bibliography for poetry in La Poesia di Luigi Fontanella, edited by > B. Vincenzi, Cosenza: Macabor, 2018, . Contributions by S. Aglieco, S. Aman, > A. Carrera, S. D'Amaro, M. De Angelis, C. Di Lieto, G. Ferroni, F. Filia, B. > Garavelli, E. Grasso, F. La Porta, C. Mauro, I. Mugnaini, A. Paganardi, G. > Pontiggia, E. Rega, R. Urraro, S. Violante.

Although clearly a composer of the concert art-music genre, his definitive style combines elements of European, American, and Asian musical sources. His music is written for nearly every medium, including orchestral, chamber, band, percussion, electronic, vocal, and even non-western instruments. His two most well-known and performed compositions are Chasin’ Bill for Chinese silk and bamboo ensemble and CRUSH for soprano saxophone and Chinese Guzheng. The nature of his music is eclectic, stemming from maximalism to minimalism, modernism to postmodernism, and fluidly combines tonality and atonality.

The last phase of his composition was marked by a turn to atonality and serialism . Albert first began to explore twelve-tone technique in the second movement of his Quintet for flute, oboe, and string trio (1954), and intensified this tendency in the Theme and Variations for piano (1955), Third Sonata for piano (1956), and Bloeiende lotus (1956), finally forming a complete work on a twelve-tone row with the orchestral work De nacht (1956), followed by the Suite for orchestra (1958) and a succession of chamber music pieces and songs .

Atonal music poses a stark challenge to prolongational hearing and analysis, as its harmonic makeup by definition eschews the long-range controlling force of monotonality, and in most cases purposely abstains from consonant triads, or indeed referential or centric sonorities at all. Music theorist Joseph Straus has attempted to define more rigorously what it is about atonality that precludes prolongational hearing. His own definition of prolongation is "the sense of continuation of a musical object, particularly when not literally present ... prolongation is a cognitive act of the listener".Schachter, Carl and Hedi Siegel, eds. (2006).

The Piano Sonata No. 7, Op. 64, subtitled White Mass, was written by Alexander Scriabin in 1911. As one of the late piano sonatas of Scriabin's career, the music is highly chromatic and almost atonal. George Perle says that, "the primary set upon which the Seventh Sonata is based," is, in linear order as spelled by Scriabin, E, F, G, A, B, C, D, and that the mystic chord may be derived from the quartal spelling of this set (with D and without G).Perle, George (1991). Serial Composition and Atonality, p.41.

The members of the quartet are Charlotte Scott and Emma Parker, violins, Jon Thorne, viola, and Jonathan Byers, cello. The quartet has worked with some of the world's greatest string quartets and studied with Gabor Takács-Nagy at IMS Prussia Cove and members of the Alban Berg Quartet in Cologne. Edward Bhesania of The Strad magazine wrote that "A melt-in-the-ears quality ... made the atonality of the Britten less of a challenge and the Haydn that much sweeter".Edward Bhesania, "The Badke Quartet", The Strad Magazine, July 2010.

Beginning in the early 1920s, Cowell toured widely in North America and Europe as a pianist, playing his own experimental works, seminal explorations of atonality, polytonality, polyrhythms, and non-Western modes. It was on one of these tours that in 1923, his friend Richard Buhlig introduced Cowell to young pianist Grete Sultan in Berlin. They worked closely together--an aspect vital to Grete Sultan's personal and artistic development. Cowell later made such an impression with his tone cluster technique that Béla Bartók requested his permission to adopt it.

Following his retirement from Western, Behrens was active at Toronto's Royal Conservatory of Music (RCM) as Director of Academic Studies at The Glenn Gould School. Behrens has received commissions from Adele Marcus, the Canadian Broadcasting Corporation, the Ontario Arts Council, and Orchestra London among others. In 1965 the Canada Council commissioned his chamber opera The Lay of Thrym (libretto by C.K. Cockburn) as part of their research program on Viking literature, art, and music in Scandinavian countries. The four-scene opera is based on an Icelandic legend and employs atonality and aleatoric and improvisational techniques.

14 Bagatelles, Sz.38, BB 50; 3rd Set, Op. 6, by Hungarian composer Béla Bartók is a set of pieces for solo piano, written in the spring of 1908 and first performed by the composer June 29, 1908, in Berlin. The work was published the following year in Budapest by Rozsnyai Károly. Composed the same year as Ten Easy Pieces, 14 Bagatelles was experimental and signified Bartók's departure from the tonality of 19th century composition. The work borders on atonality, and Bartók adopted some techniques of Debussy and Schoenberg.

Vertical contrast is the combination of multiple styles simultaneously; Emerson frequently played a given style with one hand and a contrasting one with the other. This structure can be seen in works such as "Intermezzo from the Karelia Suite", "Rondo", and others. Emerson's love of modern music such as Copland and Bartok was evident in his open voicings and use of fifths and fourths, "Fanfare" emulating guitar power chords. He also used dissonance, atonality, sonata and fugue forms, exposing rock and roll audiences to a myriad of classical styles from Bach to Stravinsky.

Band members have also cited influences ranging from existentialism and Zen to situationism, the poetry of Baudelaire, British working class 'kitchen sink' literature and films such as Kes and the films of Anthony McCall (McCall's Four Projected Movements was shown as part of an early Crass performance). Crass have said that their musical influences were seldom drawn from rock, but more from classical music (particularly Benjamin Britten, on whose work, Rimbaud states, some of Crass' riffs are based), free jazz, European atonality and avant-garde composers such as John Cage and Karlheinz Stockhausen.

Joe Tompkins wrote that following the 1950s, many "Gothic and supernatural horror movies utilize dissonance, atonality, and unusual configurations of instruments to signify all sorts of anomalous, paranormal activity". He wrote that Black Sunday (1960) and The Haunting (1963) "make use of atonal clusters, which operate in sharp contrast to tonal music and thus provide antagonistic symbols for supernatural evil and good (respectively)". He also highlighted that The Amityville Horror (1979) and Poltergeist (1982) "employ various thematic materials ranging from soft- sounding lullabies to atonal outbursts".Tompkins, Joe.

Following the example of Wagner, Richard Strauss, Zemlinsky and Schreker had pushed traditional tonality to the absolute limits. Now a new group of composers appeared in Vienna who wanted to take music beyond. Operatic modernism truly began in the operas of two composers of the so-called Second Viennese School, Arnold Schoenberg and his acolyte Alban Berg, both advocates of atonality and its later development (as worked out by Schoenberg), dodecaphony. Schoenberg's early musico-dramatic works, Erwartung (1909, premiered in 1924) and Die glückliche Hand display heavy use of chromatic harmony and dissonance in general.

The most successful of his followers was Richard Strauss. Opera flourished in German-speaking lands in the early 20th century in the hands of figures such as Hindemith, Busoni and Weill until Adolf Hitler's seizure of power forced many composers into silence or exile. After World War II young opera writers were inspired by the example of Schoenberg and Berg who had pioneered modernist techniques such as atonality and serialism in the earlier decades of the century. Composers at work in the field of opera today include Hans Werner Henze.

From 1973 to 1976 he was a music editor at Universal Edition in Vienna. Bergamo wrote two symphonies, works for chorus, children’s songs, film scores, and incidental music for radio. His early music is in a late-Romantic style, while his later works show increasing tendencies toward atonality and freedom from traditional forms. Bergamo’s works for winds include: Concerto Abbreviato for clarinet solo, I colori d’argento for flute, harpsichord and chamber ensemble (1967), Concerto per una voce for bassoon (1975), Saxophone Concerto (1991–1993), and Domande senza ripostà for saxophone and piano (1996).

Liszt never lost interest in the question of tonality—a question which, for Liszt, was long standing. As early as 1832 he had attended a series of lectures given by Fétis. From these lectures, Liszt derived the idea of an onde omnitonique, much like a Schoenbergian tone row, that would become a logical replacement for traditional tonality. For him such a row would be part of the historical process from a "unitonic" (tonality) moved to a "pluritonic" (polytonality) and ended in an "omnitonic" (atonality), where every note became a tonic.

Along with John Cage's indeterminate music (music composed with the use of chance operations) and Werner Meyer-Eppler's aleatoricism, serialism was enormously influential in postwar music. Theorists such as Milton Babbitt and George Perle codified serial systems. Perle's 1962 text Serial Composition and Atonality became a standard work on the origins of serial composition in the music of Schoenberg, Berg, and Webern. The serialization of rhythm, dynamics, and other elements of music was partly fostered by the work of Olivier Messiaen and his analysis students, including Karel Goeyvaerts and Boulez, in postwar Paris.

A rule of thumb has been that the designs have much open space, more two-dimensional space, and subdued tone and colour, and been done by artists to evoke traditional brush painting subjects. Modern plays have tended towards western scenic flats, or minimalist atonality to force a greater attention on the actors. Stage lighting still has to catch up to western standards, and does not reflect a photographer's approach to painting in colour and light, quite surprisingly. Korean masks are generally used in shamanistic performances that have increasingly been secularized as folkart dramas.

Perhaps the most obvious stylistic manifestation of modernism in opera is the development of atonality. The move away from traditional tonality in opera had begun with Richard Wagner, and in particular the Tristan chord. Composers such as Richard Strauss, Claude Debussy, Giacomo Puccini, Paul Hindemith, Benjamin Britten and Hans Pfitzner pushed Wagnerian harmony further with a more extreme use of chromaticism and greater use of dissonance. Another aspect of modernist opera is the shift away from long, suspended melodies, to short quick mottos, as first illustrated by Giuseppe Verdi in his Falstaff.

During the 19th century, parallel operatic traditions emerged in central and eastern Europe, particularly in Russia and Bohemia. The 20th century saw many experiments with modern styles, such as atonality and serialism (Arnold Schoenberg and Alban Berg), Neoclassicism (Igor Stravinsky), and Minimalism (Philip Glass and John Adams). With the rise of recording technology, singers such as Enrico Caruso and Maria Callas became known to much wider audiences that went beyond the circle of opera fans. Since the invention of radio and television, operas were also performed on (and written for) these media.

The pieces included on the album were recorded between 1964 and 1966. Albums following in the anthology include the collaborative effort Day Of Niagara, and the Cale compilations Dream Interpretation and Stainless Gamelan. Each song in the trilogy is an exemplar of the burgeoning minimalist music genre, emphasizing atonality, drone, and noise. With some of the earliest recordings of this music being recorded ten years before Lou Reed's avant garde Metal Machine Music (which itself was credited as a huge influence on noise music and punk), Cale was ahead of his time in many respects.

Free jazz practitioners sometimes use such material. Other compositional structures are employed, some detailed and complex. The breakdown of form and rhythmic structure has been seen by some critics to coincide with jazz musicians' exposure to and use of elements from non-Western music, especially African, Arabic, and Indian. The atonality of free jazz is often credited by historians and jazz performers to a return to non-tonal music of the nineteenth century, including field hollers, street cries, and jubilees (part of the "return to the roots" element of free jazz).

"Mirror forms", P, R, I, and RI, of a tone row (from alt= In music, a tone row or note row ( or '), also series or set,George Perle, Serial Composition and Atonality: An Introduction to the Music of Schoenberg, Berg, and Webern, fourth Edition (Berkeley, Los Angeles, and London: University of California Press, 1977): 3. . is a non-repetitive ordering of a set of pitch-classes, typically of the twelve notes in musical set theory of the chromatic scale, though both larger and smaller sets are sometimes found.

In his own compositional growth, he took his place in the progression of new music, from which the German composers were mostly separated during the Nazi regime. He began writing works in the neoclassical style, continued with free atonality and twelve-tone music and eventually arrived at serialism (in 1956). His affection for jazz can sometimes be heard in some of his compositions (more so in his Violin Concerto or Trumpet Concerto). In contrast to the so- called Darmstadt School (Stockhausen, Boulez, Nono, etc.), Zimmermann did not make a radical break with tradition.

The three pieces are marked: # Impromptu: Allegro fluento # Adagio # Allegro non troppo The beginning is reminiscent of Impressionism, but moves to "more abrupt and dissonant material", according to the musicologist Chris Morrison. Nielsen commented on the last pages: "Think of a tipsy fellow trying to keep his dignity and upright position by holding on to a lamp-post!" Morrison writes that the Adagio shows "sudden outbursts" in mostly "tender and haunting music". In the last movement, which he describes as "tough-minded, forceful", Nielsen at times approaches atonality.

107–110 Two years later, after witnessing the horrors of Belsen, Britten composed The Holy Sonnets of John Donne, a work whose bleakness was not matched until his final tenor and piano cycle a quarter of a century later. Britten's technique in this cycle ranges from atonality in the first song to firm tonality later, with a resolute B major chord at the climax of "Death, be not proud". Nocturne (1958) is the last of the orchestral cycles. As in the Serenade, Britten set words by a range of poets, who here include Shakespeare, Coleridge, Keats, Shelley, Tennyson and Wilfred Owen.

Next, a syntactic transformation heightens metrical ambiguity through the loss of a pulse and clear rhythmic distinctions (p. 235). Lastly, Tristans semantic transformation, or "its true semantic quality" is Wagner's strong reliance upon musical metaphor. The piece "is one long series of infinitely slow transformations, metaphor upon metaphor, from the mysterious first phrase through to the climactic heights of passion or of transfiguration, right to the end" (p. 237). Bernstein indicates that the phonological transformation, or the extreme chromaticism of Tristan, is at a breaking point for tonality, so part 3 examines the next step in twentieth-century ambiguity: atonality.

Die Jakobsleiter (Jacob's Ladder) is an oratorio by Arnold Schoenberg that marks his transition from a contextual or free atonality to the twelve-tone technique anticipated in the oratorio's use of hexachords. Though ultimately unfinished by Schoenberg the piece was prepared for performance by Schoenberg student Winfried Zillig at the request of Gertrude Schoenberg. Schoenberg began the libretto in 1914-15, published it in 1917, and began the music in 1915, finishing most of his work on it in 1926, and finished a small amount of orchestration in 1944, leaving 700 measures at his death.Smither, Howard E. (2012).

Humanistic inventions encompass culture in its entirety and are as transformative and important as any in the sciences, although people tend to take them for granted. In the domain of linguistics, for example, many alphabets have been inventions, as are all neologisms (Shakespeare invented about 1,700 words). Literary inventions include the epic, tragedy, comedy, the novel, the sonnet, the Renaissance, neoclassicism, Romanticism, Symbolism, Aestheticism, Socialist Realism, Surrealism, postmodernism, and (according to Freud) psychoanalysis. Among the inventions of artists and musicians are oil painting, printmaking, photography, cinema, musical tonality, atonality, jazz, rock, opera, and the symphony orchestra.

Balada's works from the early 1960s display some of the characteristics of Neoclassicism, but he was ultimately dissatisfied with this technique, and in 1966 began to move towards a more avant-garde style, producing works such as Guernica. Balada felt a need for a change again in 1975, his work from then onward being characterized by the combination of folk dance rhythms with the avant-garde techniques of the previous period. Harmonically, Balada's mature period work displays a combination of the tonality of folk music with atonality. Compositions representative of this period include Homage to Sarasate and Homage to Casals.

Italian music also had little in common with the French reaction to that German music—the impressionism of Claude Debussy, for example, in which melodic development is largely abandoned for the creation of mood and atmosphere through the sounds of individual chords.Ulrich and Pisk, pp. 581–582 European classical music changed greatly in the 20th century. New music abandoned much of the historical, nationally developed schools of harmony and melody in favor of experimental music, atonality, minimalism and electronic music, all of which employ features that have become common to European music in general and not Italy specifically.

The best-known bagatelles are probably those by Ludwig van Beethoven, who published three sets, Op. 33, 119 and 126, and wrote a number of similar works that were unpublished in his lifetime including the piece that is popularly known as Für Elise. Other notable examples are Franz Liszt's Bagatelle sans tonalité (an early exploration into atonality), a set for violin and piano (Op. 13) by François Schubert of which No. 9, The Bee, is often performed, the set by Antonín Dvořák for two violins, cello and harmonium (Op. 47), and sets by Bedřich Smetana, Alexander Tcherepnin and Jean Sibelius.

Locke, B: Opera and Ideology in Prague With the exception of Preciézky and a few individual shorter works, most of Zich's music remains unpublished. Because of his association with Nejedlý, performances of Zich's music often met with bitter controversy in interwar Prague, where critics assessed new compositions based on factional allegiances. The lowest point of this was undoubtedly the premiere of Vina in 1922, which the arch-conservative critic Antonín Šilhan attacked in a vituperative article entitled Finis musicae (The End of Music). Šilhan's argument focused primarily on the opera's orchestral score, where the counterpoint occasionally borders on atonality.

Another movement of the quartet contains passages reminiscent of the music of Gustav Mahler. This use of tonality caused critics to classify him as a neoromantic composer. He compared atonality to abstract art and tonality to concrete art and compared his artistic evolution with Philip Guston's, saying "the tension between concreteness and abstraction" is a fundamental issue for both of them . His music has also been described as neoconservative postmodernism . Of the works Rochberg composed early in his career, the Symphony No. 2 (1955–56) stands out as an accomplished serial composition by an American composer.

Amu wrote extensively for the atenteben choir comprising as large as 16 to 32 players, sometimes in combination with a choir and non-melodic percussion instruments. Professor Emeritus J. H. K. Nketia, Dr K. Aduonum, Professor Akin Euba are among those who have written for atenteben and other African and/or Western instruments. In 1979, the neo-traditional art music composer and founder of the Pan African Orchestra of Ghana, Nana Danso Abiam (b. 1953) introduced chromaticism and atonality in atenteben music with a new fingering mechanism that he had developed at the Institute of African Studies, University of Ghana, Legon.

In the final part of Universe, the composer creates a contrast by using major tones for nature, minor tones for humankind, and atonality for chaos. “Dark Matter” is the evidence of the creation of the Universe, and scientists today have come up with the idea of matter called the “God Particle.” In Say's Universe this is depicted by a numbers-connected-melody related to the expansion of the universe and creating itself out of nothing. The melody progresses with 1note, 2 notes, 3 notes, 4 notes, 5 notes, 6 notes, 7 notes and is represented with a symbol.

From 1992 until his death he taught theory and composition at the Tirana Conservatory. As music secretary during Albania’s period of cultural isolation, Ibrahimi showed himself a capable administrator, exerting a positive influence on Albania’s musical life. Though obliged by his office to defend socialist realism, during his official travels abroad he tried, as much as was possible, to keep up with international musical developments, experimenting in secret with atonality (e.g. in the Cello Sonata, 1975, rev. 1990), expressing a private interest in Xenakis as early as 1981, and inviting to Albania such avant-garde figures as Stabler.

After brief periods teaching in Helsinki, Boston, and Moscow, he devoted himself to composing, teaching, and touring as a virtuoso pianist in Europe and the United States. His writings on music were influential, and covered not only aesthetics but considerations of microtones and other innovative topics. He was based in Berlin from 1894 but spent much of World War I in Switzerland. He began composing in his early years in a late romantic style, but after 1907, when he published his Sketch of a New Esthetic of Music, he developed a more individual style, often with elements of atonality.

Combinatorial properties are not dependent on the order of the notes within a set, but only on the content of the set, and combinatoriality may exist between three tetrachordal and between four trichordal sets, as well as between pairs of hexachords,George Perle, Serial Composition and Atonality: An Introduction to the Music of Schoenberg, Berg, and Webern, fourth edition, revised (Berkeley, Los Angeles, London: University of California Press, 1977), 129–31. and six dyads.Peter Westergaard, "Some Problems Raised by the Rhythmic Procedures in Milton Babbitt's Composition for Twelve Instruments", Perspectives of New Music 4, no. 1 (Autumn-Winter 1965): 109–18.

In a proposal for transforming the journal, he sought to use Anbruch for championing radical modern music against what he called the "stabilized music" of Pfitzner, the later Richard Strauss, as well as the neoclassicism of Stravinsky and Hindemith. During this period he published the essays "Night Music", "On Twelve-Tone Technique" and "Reaction and Progress". Yet his reservations about twelve-tone orthodoxy became steadily more pronounced. According to Adorno, twelve-tone technique's use of atonality can no more be regarded as an authoritative canon than can tonality be relied on to provide instructions for the composer.

In 1996 WERGO recorded his Variations for Orchestra, Das Unendliche (The Infinite) for mezzo-soprano, baritone and orchestra, and his first string quartet, played by the Arditti Quartet. Joseph Stevenson described Variations for Orchestra as "a highly individual, strikingly mysterious one-movement orchestral piece in a post-modern style that mixes tonality and atonality in a freely chromatic technique." Das Unendliche on a poem by Giacomo Leopardi begins with an instrumental reference to the opera Euridice. The string quartet shows elements of American Minimal music and is written in a notation of eight lines, two for each player.

As a result of his intentional isolation from the Parisian musical trends of the time, Durosoir's compositions have a unique character. While not outwardly programmatic, they are often preceded by some verses of poetry which serve as a threshold into his highly personal world of expression. His style is a lean and spare one that is marked by solid construction, sudden contrasts and avoidance of gratuitous ornament. Tonal with a harmonic palette enriched by non-chord tones and altered scales, the music shows a strong need for resolution that occasionally veers off toward regions of atonality.

His output includes orchestral works, ensemble works, chamber music and solo instrumental works. In his music Roukens strives to move away from modernist dogmas in search for a more direct idiom in which present and past, diatonicism and chromaticism, tonality and atonality can coexist in a natural way. In doing so, he tries to be open to as many different kinds and styles of music as possible, whether it be new styles or old styles, high culture or vernacular culture, ‘serious’ or popular music, western music or non-western music. For a long time, Roukens has also been active in pop music.

Marc Giacone is a composer, organist and improviser from Monaco. Born in 1954 at Monaco, he studied pipe organ with the masters Émile Bourdon, Canon Henri Carol, and Jean Wallet, musical improvisation with Pierre Cochereau and musical composition (harmony, counterpoint, orchestration). Composer, electroacoustic researcher, virtuoso improviser, he belongs to the new generation of contemporary musicians for which all the forms of musical expression can find their place in masterpiece and even combine (jazz, fusion, folklore, atonality, dodecaphony, sound effects, etc.). He composes many pieces for organ, harp, piano, flute, trombone, vibraphone, orchestra, synthesizer, cinema, television, radio, etc.

In 1965 Ives won a Grammy Award for his composition "Symphony No. 4" and the American Symphony Orchestra won for their recording of the work. Ives had previously been nominated in 1964 for "New England Holidays" and in 1960 for "Symphony # 2". Igor Stravinsky praised Ives. In 1966 he said: [Ives] was exploring the 1960's during the heyday of Strauss and Debussy. Polytonality; atonality; tone clusters; perspectivistic effects; chance; statistical composition; permutation; add-a-part, practical- joke, and improvisatory music: these were Ives’ discoveries a half-century ago as he quietly set about devouring the contemporary cake before the rest of us even found a seat at the same table.

It was during his student years in the mid-60s that Wagenaar began to develop as a composer. Although fascinated by the concerts given by Pierre Boulez and Bruno Maderna with the Hague Philharmonic, he admits to having "no real grip" at that time on the musical avant-garde, and began to look around for other starting-points for his own music. In addition to his fascination with jazz, an important encounter at that time was with the music of Charles Ives, which taught him the value of inclusivity. It also encouraged his tendency to attempt a synthesis between tonality and atonality, to connect previously disparate systems of musical thought.

The idea that his twelve-tone period "represents a stylistically unified body of works is simply not supported by the musical evidence" , and important musical characteristics—especially those related to motivic development—transcend these boundaries completely. The first of these periods, 1894–1907, is identified in the legacy of the high-Romantic composers of the late nineteenth century, as well as with "expressionist" movements in poetry and art. The second, 1908–1922, is typified by the abandonment of key centers, a move often described (though not by Schoenberg) as "free atonality". The third, from 1923 onward, commences with Schoenberg's invention of dodecaphonic, or "twelve-tone" compositional method.

Setting out to compose atonal music may seem complicated because of both the vagueness and generality of the term. Additionally George Perle explains that, "the 'free' atonality that preceded dodecaphony precludes by definition the possibility of self-consistent, generally applicable compositional procedures" . However, he provides one example as a way to compose atonal pieces, a pre-twelve-tone technique piece by Anton Webern, which rigorously avoids anything that suggests tonality, to choose pitches that do not imply tonality. In other words, reverse the rules of the common practice period so that what was not allowed is required and what was required is not allowed.

Anton Webern in Stettin, October 1912 Anton Friedrich Wilhelm von Webern (; 3 December 188315 September 1945) was an Austrian composer and conductor. Along with his mentor Arnold Schoenberg and his colleague Alban Berg, Webern was in the core of those in the circle of the Second Viennese School, including Ernst Krenek and Theodor W. Adorno. As an exponent of atonality and twelve-tone technique, Webern exerted influence on contemporaries Luigi Dallapiccola, Křenek, and even Schoenberg himself. As a tutor, Webern guided and variously influenced Arnold Elston, Frederick Dorian (Friederich Deutsch), , , Karl Amadeus Hartmann, Philipp Herschkowitz, René Leibowitz, Humphrey Searle, Leopold Spinner, and Stefan Wolpe.

In 1980 she composed a work for children for narrator and orchestra, El zapatero prodigioso after the Hans Christian Andersen tale "The Shoemaker and the Elves"; commissioned by the Conservatory, it was later taken up by the Puerto Rican Symphony Orchestra, becoming the first work by a Puerto Rican woman in their repertoire. Unusually for Alejandro, the piece is tonal; much of her work tends instead towards atonality. She has composed for a variety of instrumental combinations, including a good deal of orchestral music; she has also produced chamber music, songs, piano works, and pieces for tape and synthesizer, and has been active as well as a choral arranger.

Much of the music he wrote during this period was influenced by J.R.R. Tolkien's The Lord of the Rings. His musical language was eclectic, ranging from non-serial atonality to tertian and modal harmonies, frequently contrapuntal, and had a high degree of metric/rhythmic animation. This musical language reflected his previous occupation as a commercial musician in jazz, funk, and rock genres. However, he had an abiding love for the music of Gustav Mahler and Igor Stravinsky which manifested itself in dark, somber musical moods. One of McCarthy’s early work is “Rimbasly” composed for the marimba and synthesizer, commissioned in 1989 by Michael Buritt of Eastman School of Music.

Multiple reviews highlight Goodall's habit of unexpectedly referencing modern pop culture; East states that the "populism... grate[s] at times". Hewett calls attention to the fact that the last two chapters covering the 20th century focus on pop music; Kelly considers these chapters to raise "provocative" issues. Goodall's treatment of the atonal movement and especially its exponent Schoenberg also draws criticism from several reviewers. Lezard calls attention to Goodall's dismissive treatment of both atonality and serialism, criticising the work as falling within what he terms the "grand British tradition of near-philistinism"; Hewett describes the material on Schoenberg as "wrong-headed" and a "serious blot" on the work as a whole.

The composer planned a further collaboration with this poet, but it was never completed. Ribemont-Dessaignes is quoted as saying that there is a 'vital intensity' in Martinů's music, which reflects, and is perfectly in harmony with, the action. Very much of its time, the score references "the wit of Les Six, La Revue Nègre and the first tangos in Paris... snatches of atonality", while "quirky, wistful music, calling for a jazz pianist and a barbershop quartet, puts on a smile in the face of life’s bitterness". The score calls for a banjo, saxophone, flexatone as well as an accordion, the latter also used in Julietta.

In 1996, Rolling Stone critic Neil Strauss included the album on his list of the "100 Most Influential Alternative Albums" of all time. In a review for AllMusic, Rick Anderson described Unrest as "one of Henry Cow's better efforts". He called "Bittern Storm Over Ulm" a "brilliant demolition" of "Got to Hurry" by the Yardbirds, and liked the "stately" "Solemn Music" with its "atonal but pretty counterpoint between Frith and Cooper". Anderson felt that the improvised material is "more spotty", but was impressed by "Deluge" and the way it demonstrated how well the group could negotiate the "fine the line ... between bracing free atonality and mindless cacophony".

He redid the main theme about seven times through the music production due to this need to reassess the game. The main theme was initially recorded using orchestra, then Sakimoto removed elements such as the guitar and bass, then adjusted the theme using a synthesizer before redoing segments such as the guitar piece on their own before incorporating them into the theme. The rejected main theme was used as a hopeful tune that played during the game's ending. The battle themes were designed around the concept of a "modern battle" divorced from a fantasy scenario by using modern musical instruments, constructed to create a sense of atonality.

Although Vermeulen's writings on music give the impression that he was completely consistent in applying his polymelodic concept from the beginning until the end of a piece, most of his compositions contain several passages with only one or two voices, embedded in marvellous harmonies. Open, simple textures alternate with very complex ones, as does quasi-tonality with atonal constellations. Early on, a spirit of freedom and urge for innovation prompted Vermeulen to abandon tonality and reject the traditional form schemes. In the First Cello Sonata free atonality breaks through in spurts, which from his Second Symphony onwards determines melody and harmony in his oeuvre.

Over the course of a long and prolific career, Ficher employed a variety of styles and techniques, including neoromanticism, neoclassicism, polytonality, twelve-tone technique, serialism, and free atonality, without ever restricting himself to a single methodology . His Jewish heritage is reflected especially in his early works, though the Second Symphony, written in 1933, also uses emotional and rhapsodic Hebrew thematic material, in reaction to news of the Nazi campaign against the Jews in Europe (Slonimsky 1945, 89). This aspect also appears in some later works, especially the cantata Kadish, op. 112 (1969), while the Russian tradition is plain in the two Anton Chekhov operas .

Ved Buens Ende was formed in Oslo in 1993 by the drummer Carl-Michael Eide and guitarist Vicotnik, who were then joined by bassist Skoll. Prior to this, Carl-Michael Eide had been playing in Ulver and Vicotnik in his own project Manes which eventually became Ved Buens Ende, not to be confused with other Norwegian band Manes, known as Perifa, and later, Manii. They were signed to the British label Misanthropy Records. The band was unique by their mixture of many unusual musical elements for Metal, such as atonality and dissonance, a very prominent bass sound as well as Eide's crooning and Vicotnik's characteristic shrieks.

At this time Adorno struck up a correspondence with the composer Ernst Krenek, discussing problems of atonality and twelve-tone technique. In a 1934 letter he sounded a related criticism of Schoenberg: At this point Adorno reversed his earlier priorities: now his musical activities came second to the development of a philosophical theory of aesthetics. Thus, in the middle of 1929 he accepted Paul Tillich's offer to present an habilitation on Kierkegaard, which Adorno eventually submitted under the title The Construction of the Aesthetic. At the time, Kierkegaard's philosophy exerted a strong influence, chiefly through its claim to pose an alternative to Idealism and Hegel's philosophy of history.

The subtitle of the entire work "Visions of Albion" was also added at that time. With the Symphony No. 4, Kenosis, completed in 1986, Strutt moved right away from tonality as a source of structural method, and the composition consequently exhibits a high degree of atonality. This one movement symphony, lasting 20 minutes, features a large array of percussion instruments (marimba, bass marimba, vibraphone, xylophone, crotales, tubular bells, Swiss cowbells, tuned gongs, glockenspiel, tamtam, side-drum, suspended cymbol, wood-block, clash cymbols, bass drum, tambourine, wind machine and güiro) set in a normal sized orchestra (triple woodwind, etc.). In fact, 78 players are required in all, including four percussionists.

In Vienna, Arnold Schoenberg developed atonality, out of the expressionism that arose in the early part of the 20th century. He later developed the twelve-tone technique which was developed further by his disciples Alban Berg and Anton Webern; later composers (including Pierre Boulez) developed it further still . Stravinsky (in his last works) explored twelve-tone technique, too, as did many other composers; indeed, even Scott Bradley used the technique in his scores for the Tom and Jerry cartoons . Igor Stravinsky After the First World War, many composers started returning to the past for inspiration and wrote works that draw elements (form, harmony, melody, structure) from it.

Brouwer's music has been noted for its use of imagery, memorable melodies, and accessible and engaging nature while making "no obvious concessions toward styles of the day." In the words of Sarah Bryan Miller of the St. Louis Post Dispatch, Brouwer is "accessible and engaging for a wide range of audiences... not afraid to be spiky when spikiness is indicated, but there’s never a sense in any of these works that she’s using atonality for its own sake.” Furthermore, Brouwer's music has been noted for having "a keen balance between contemporary and tonal language." Fanfare magazine described Brouwer's music as having "a sense of stylistic independence and an openness of spirit.

This album embraces atonality and abandons most conventional concepts of modes, scales and pitch. Emancipated from the constant attraction towards the tonic that underpins the Western tonal tradition, the gradually shifting music originally eschewed any conventional instrumentation, save for treated keyboards. During the 1990s, Eno worked increasingly with self-generating musical systems, the results of which he called generative music. This allows the listener to hear music that slowly unfolds in almost infinite non-repeating combinations of sound.The Cambridge Companion to Electronic Music pp118-119 Ed. Nick Collins () In one instance of generative music, Eno calculated that it would take almost 10,000 years to hear the entire possibilities of one individual piece.

Tonality and atonality are not applied in a strictly antithetical manner, therefore the ideas of the American minimalists Reich and Riley are very present. This music has colour and a rhythmic pulse; it creates characteristic sounds without losing itself in descriptive patterns. Miss Fortune moved to London in March 2012, garnering at least two negative reviews. Edward Seckerson in The Independent (London) wrote of "Miss Fortune in name and deed" and described the opera as "silly and naive" and "a waste of talent and resources", with a libretto that "vacillates between the banal and the unintentionally comedic (or is that irony?), full of truisms and clunky metaphors" and "about as streetwise as a visitor from Venus".

In 1994, he was appointed as musical advisor of the Vice Minister of Culture in Paraguay and member of the National Advisor Board of Culture. Godoy's creative style is characterized by the presence of elements derived from popular music with an harmonic contemporary treatment, including his last compositions, with an obvious tendency to atonality. His work as a music teacher has produced the appearance of young talents that honor the Paraguayan art today and who have been a public and critical success. In that sense, he stands out with the brilliant and exquisite composer and virtuosic guitarist, Luz Maria Bobadilla, who was admitted to study for four years with the great master, due to her outstanding quality of performance.

The lack of continuity in musical flow or its multilayered organization, short-lived musical ideas, and hastiness of expression (M. Bergamo), are among the most pronounced traits of his interwar creative period. According to Marija Masnikosa “it is difficult to differentiate clear stages in the course of Logar's creative path, and even more difficult to determine the direction he followed in his development as a composer” (Masnikosa, 2008:10). His grounding in classic forms, the continual presence of humor, his jolly spirit, and tendency for constant switches—from tonality to atonality, from thematic to athematism—and the absence of folk content in the majority of his works represent the most pronounced traits of Logar's entire oeuvre.

The band's next album, 2013's Colored Sands, represents a significant evolution in this style of metal, with critics noting that the "huge wall of dissonant lead work and dizzying rhythm riffs have been crafted into something far more atmospheric, but with the heaviness and weight only Gorguts could take to this level, making Colored Sands not only near-immaculately put together, but perhaps one of the most absorbing albums of their genre." Gorguts' influence on metal has been extensive. They are routinely credited as being key pioneers in the use of dissonance and atonality in metal. They are considered key influences on a range of bands, including Ulcerate, Spawn of Possession, Obscura, Beyond Creation, and many others.

Cattle near a River, painting by an imitator of Cuyp (suspected 18th century). In addition to the scarcely documented and confirmed biography of Cuyp's life, and even more so than his amalgamated style from his three main influences, there are yet other factors that have led to the misattribution and confusion over Aelbert Cuyp's works for hundreds of years. His highly influenced style which incorporated Italianate lighting from Jan Both, broken brush technique and atonality from Jan van Goyen, and his ever-developing style from his father Jacob Gerritsz Cuyp was studied acutely by his most prominent follower, Abraham van Calraet. Calraet mimicked Cuyp's style, incorporating the same aspects, and produced similar landscapes to that of the latter.

The first movement consists of two opposing sections: the "museum" (tonality) and the "uncertain present" (atonality). Even though Schnittke labelled the beginning of the first movement as neo-classical, most scholars tend to agree that it has more baroque or neo-baroque references than neo-classical ones. The concerto starts in G minor, but its chord progression doesn't come anywhere near a cadence, and keeps drifting further from the original key in thirds: E major, A major, F major, D major, B-flat major, G major, C minor, and A major. The second section, marked by the sudden sound of the BACH bells in measure 28, announces the "explosion of the museum".

On the Metacritic website, which aggregates various media and press reviews and assigns a normalised rating out of 100, More Arriving received a score of 87. The Quietus called the album "confrontational" and "musically far-reaching" and praised its "bursts of reggae wooziness, gnarled free-jazz atonality, and electronic noise". Supreme Standard called the album "biting and acerbic, funny and furious, and [featuring] some of its creator’s finest, most accessible compositions to date" and made it Album Of The Week upon its release.The Guardian praised the "Carnatic rhythms and lyrical dexterity" of the track "Mumbay", where "MC Mawali puns in Hindi on the colonial resonance of “Bombay” compared to the rightwing nationalism of “Mumbai”".

He thus facilitated the recognition of musicology at the university as an autonomous discipline and enabled many musicians to find a more stable professional situation. He was also Inspector General of Music at the Ministry of National Education and director of the Schola Cantorum in Paris from 1962 until c. 1982. His erudition and eclecticism, but also his distinct character and marked opinions, made him one of the principal figures in the post-war French musical life. Always remained in the post-Debussy French tradition with a modal language close to Ravel, Roussel and Honegger and firmly opposed the atonality and serialism "avant- gardes" (very much in vogue in the post-war years).

The final part is an energetic Allegro vivace, but a return to the Adagio brings the work to what Robert Simpson calls an ending of "calm severity," with the key of F major ultimately triumphant. In his admirably thorough study of Carl Nielsen and his music, Robert Simpson points out what inventive use the composer made of tonality, and this at a time when other composers threw it over for atonality. Despite the storm and stress in the concerto, the composer has kept his forces down almost to chamber music proportions. In addition to the solo clarinet, the only other instruments called for in the score are two bassoons, two horns, snare drum and strings.

In particular the reaction of periodicals such as Die Musik and Zeitschrift für Musik was exceptionally hostile. A few days later, on December 7, Goebbels made a speech equating atonality with "the Jewish intellectual infection," while the January 1935 issue of Die Musik suggested that any reviewer who had written anything favourable about the suite should be dismissed. In January 1935, the Russian-born American violinist Louis Krasner, who had championed Berg's work in the United States, had approached Berg to commission a violin concerto. Berg was reluctant to set aside Lulu for this, but the money ($1,500) was welcomed, as Berg was in financial difficulties, financially and artistically ruined by the Reichskulturkammer (Nazi cultural committee).

Later, his name would come to personify innovations in atonality (although Schoenberg himself detested that term) that would become the most polemical feature of 20th-century art music. In the 1920s, Schoenberg developed the twelve-tone technique, an influential compositional method of manipulating an ordered series of all twelve notes in the chromatic scale. He also coined the term developing variation and was the first modern composer to embrace ways of developing motifs without resorting to the dominance of a centralized melodic idea. Schoenberg was also an influential teacher of composition; his students included Alban Berg, Anton Webern, Hanns Eisler, Egon Wellesz, Nikos Skalkottas, Stefania Turkewich, and later John Cage, Lou Harrison, Earl Kim, Robert Gerhard, Leon Kirchner, Dika Newlin, and other prominent musicians.

It floats between heaven and earth like a Gregorian chant; it glides over signposts marking traditional divisions; it slips so furtively between various keys that it frees itself effortlessly from their grasp, and one must await the first appearance of a harmonic underpinning before the melody takes graceful leave of this causal atonality" . Paraphrases are a "respeaking" in plain words of the events of the text with little interpretation or addition, such as the following description of the "Bourée" of Bach's Third Suite: "An anacrusis, an initial phrase in D major. The figure marked (a) is immediately repeated, descending through a third, and it is employed throughout the piece. This phrase is immediately elided into its consequent, which modulates from D to A major.

Influenced by the musical traditions of Greece (in particular the ones of his native Epirus) and ancient Greek drama, his music also came to reflect his interest in new techniques such as free atonality, novel instrumental combinations, post-modernism, minimalism and electronic music. He won a number of major prizes, including the Maria Callas award from the Hellenic Broadcasting Corporation in 1997 and the prestigious J. A. Papaioannou award from the Athens Academy in 1999. He taught violin and later on theory at the Greek National Conservatory for twenty years, until he was appointed vice president of the conservatory in 1997. He played for twenty years in the Greek National Opera as a violist and later served on the board of the Athens State Orchestra.

Italian classical music grew gradually more experimental and progressive into the mid-20th century, while popular tastes have tended to stick with well established composers and compositions of the past. The 2004–2005 program at the Teatro San Carlo in Naples is typical of modern Italy: of the eight operas represented, the most recent was Puccini. In symphonic music, of the 26 composers whose music was played, 21 of them were from the 19th century or earlier, composers who use the melodies and harmonies typical of the Romantic era. This focus is common to other European traditions, and is known as postmodernism, a school of thought that draws on earlier harmonic and melodic concepts that pre-date the conceptions of atonality and dissonance.

John Antill in his ballet Corroboree, Peter Sculthorpe and others began to incorporate elements of Aboriginal music, Richard Meale drew influence from south-east Asia (notably using the harmonic properties of the Balinese gamelan), while Nigel Butterley combined his penchant for International modernism with an own individual voice. By the beginning of the 1960s other strong influences emerged in Australian classical music, with composers incorporating disparate elements into their work, ranging from Aboriginal and south-east Asian music and instruments, American jazz and blues, to the belated discovery of European atonality and the avante-garde. Composers like Don Banks, Don Kay, Malcolm Williamson and Colin Brumby epitomise this period. Others who adhered to more traditional idioms include Arthur Benjamin, George Dreyfus, Peggy Glanville- Hicks and Robert Hughes.

Both of these positions have been challenged. While it is conceded to be Villa-Lobos's most dissonant work, analysis shows this is a case of polytonality, rather than atonality, and while the use of short repeated motifs with variations and rhythmic transformations are the essence of primitivist rhythmic animation, these procedures are also the very definition of symphonic thematic development . The composer characterised the work as the "Dance Chôros", and construed the fragmented and contrapuntally intertwined opening themes as "sensually complex and atonal in order to deliberately give the feeling of nervousness of a crowd that is gathering to dance" . The work appears to be conceived as an exploration of the possibilities of concatenation of sound blocks assembled from ostinato figurations.

In 2004, he produced the music score for the BBC science fiction documentary series Space Odyssey: Voyage to the Planets, released as Voyage to the Planets and Beyond in the United States. Davis' magnum opus is the Matrix franchise: The Matrix, The Matrix Reloaded, The Matrix Revolutions, and The Animatrix. It was set apart from other film scores of its time for its atonality and avant garde style of composition, with influences from polytonal minimalist works like John Adams' Short Ride in a Fast Machine and cluster-like as well as aleatoric techniques prominent in the works of composer Witold Lutosławski. In addition to orchestrating and conducting his own scores, Don Davis has done orchestration work for many other composers.

After moving to San Francisco, Royal Trux released the experimental double-album Twin Infinitives. After Twin Infinitives, Royal Trux released an untitled album (sometimes referred to as the Skulls record because of its sleeve artwork). Forgoing the experimentalism of Twin Infinitives, the band instead opted for a more lo-fi approach, recording on an 8-track. The arguably atypical lyricism and sonic atonality of their first two albums was largely abandoned in favor of a more stripped, direct sound. Following the release of their untitled album, Hagerty and Herrema were joined by guitarist Michael Kaiser and drummer Ian Willers Liner notes of Royal Trux album Cats and Dogs, Drag City 1993 to complete their fourth full-length, Cats and Dogs.

The album established a mixture of the fast, poppy sound the band had established with Suburban Teenage Wasteland Blues but mixed it with more atonality and more abstract song structures. Bassist Jim Cherry was fired from the band in 1999 and went on to play in Pulley and Zero Down, but died of heart failure in 2002. He was initially replaced by Craig Riker (later known for his tenure in Deadsy), but the fit was not right, so the band recruited Chris Aiken, whose musical background had a strong impact on the 2000 eight-song EP, The Element of Sonic Defiance. In 2002 the band released their fourth full-length album An American Paradox, their first release to appear in the Billboard 200.

In the 20th century, Jewish composers were pioneers of avant-garde and contemporary music. Arnold Schoenberg in his middle and later periods devised the twelve-tone technique and was a primary advocate of atonality, a system of composition which was later used by Jewish composers Paul Dessau and René Leibowitz. George Rochberg and Milton Babbitt were leading composers in the school of serialism, Steve Reich and Philip Glass worked with minimalism, George Perle devised his own form of twelve-tone tonality, Leo Ornstein helped develop the tone cluster, Morton Feldman and Armand Lunel were noted composers of chance music (the latter is also considered the inventor of spatialization), and Mario Davidovsky was famous for writing a series of compositions mixing acoustic and electronic music.

Neoclassicism was a style cultivated between the two world wars, which sought to revive the balanced forms and clearly perceptible thematic processes of the 17th and 18th centuries, in a repudiation of what were seen as exaggerated gestures and formlessness of late Romanticism. Because these composers generally replaced the functional tonality of their models with extended tonality, modality, or atonality, the term is often taken to imply parody or distortion of the Baroque or Classical style . Famous examples include Prokofiev's Classical Symphony and Stravinsky's Pulcinella, Symphony of Psalms, and Concerto in E-flat "Dumbarton Oaks". Paul Hindemith (Symphony: Mathis der Maler), Darius Milhaud, Francis Poulenc (Concert champêtre), and Manuel de Falla (El retablo de maese Pedro, Harpsichord Concerto) also used this style.

His compositions are diverse and original with their origins in Buenos Aires, Nisinman also takes inspiration from other forms and techniques creating a personal style that breaks the traditions and rules of the "Musica Porteña" (Music of Buenos Aires city). He developed a particular tango style, combining traditional elements with colorful distortions based on atonality and contemporary music. He has written music for a diverse range of groups, from symphony orchestra to string quartet and in 2004 he wrote his first chamber opera Señor Retorcimientos which premiered in Basel. He was composer in residence at the Oxford Chamber Music Festival in 2008, and has participated as composer/ performer in different festivals including; Kuhmo Chamber Music Festival (Finland), Sonoro Festival (Bucharest) Consonances (St Nazaire- France).

Some critics suggest that, like Gretchen, Mephistopheles can be seen as an abstraction—in this case, one of the destructive aspects of Faust's character, with Faust mocking his humanity by taking on Mephistopheles' character. Regardless of which interpretation a listener chooses, since Mephistopheles, Satan, the Spirit of Negation, is not capable of creating his own themes, he takes all of Faust's themes from the first movement and mutilates them into ironic and diabolical distortions. Here Liszt's mastery of thematic metamorphosis shows itself in its full power – therefore we may understand this movement as a modified recapitulation of the first one. The music is pushed to the very verge of atonality by use of high chromaticism, rhythmic leaps and fantastic scherzo-like sections.

He was one of the most important composers of Novi Sad, he urged the building of the new opera house there (Opera of Serbian National Theatre), he was one of the founders of Vojvodina Academy of Arts and Sciences, Philharmony and Music High school. In the middle of his art-work was the symphony orchestra. He wrote four symphonies, Symphony No. 1 (1951), Sinfonia lesta (1965), and two Third Symphonies, from 1969 and 1974 . Other orchestral works include the symphonic poem Maskal, Metamorfosis B-A-C-H for strings, the ballets Katarina Izmailova, Golden Demon, and Circa, the cantata "Vojvodina" (text by Miroslav Antić), and two operas, Prometheus and Gilgamesh. Brucci’s style is basically conventional, but attempted to incorporate new ideas, such as bitonality, polytonality, and atonality.

Jolivet's aesthetic ideals underwent many changes throughout his career. His initial desire as an adolescent was to write music for the theater, which inspired his first compositions, including music for a ballet. Claude Debussy, Paul Dukas, and Maurice Ravel were to be his next influences after he heard a concert of their work in 1919; he composed several piano pieces while training to become a teacher before going to study with Le Flem. Schoenberg and Varèse were strongly evident in his first period of maturity as a composer, during which his style drew heavily upon atonality and modernistic ideas. Mana (1933), the beginning of his "magic period", was a work in six parts for piano, with each part named after one of the six objects Varèse left with him before moving to the United States.

In 1945 he published a paper declaring that "true French music owes nothing to Stravinsky", though both composers drew heavily upon themes of ancient music in their work; Jolivet and La jeune France rejected neoclassicism in favor of a less mechanical and progressive and instead a more spiritual style of composition. Later, during World War II, Jolivet shifted away from atonality and toward a more tonal and lyrical style of composition. After a few years of working in this more simplistic style, during which time he wrote the comic opera Dolorès, ou Le miracle de la femme laide (1942) and the ballet Guignol et Pandore (1943), he arrived at a compromise between this and his earlier more experimental work. The First Piano Sonata, written in 1945, shows elements of both these styles.

San Francisco's vibrant post-punk scene was centered on such groups as Chrome, the Residents, Tuxedomoon and MX-80, whose influences extended to multimedia experimentation, cabaret and the dramatic theory of Antonin Artaud's Theater of Cruelty. Also emerging during this period was downtown New York's no wave movement, a short-lived art, and music scene that began in part as a reaction against punk's recycling of traditionalist rock tropes and often reflected an abrasive, confrontational and nihilistic worldview. No wave musicians such as the Contortions, Teenage Jesus and the Jerks, Mars, DNA, Theoretical Girls, and Rhys Chatham instead experimented with noise, dissonance and atonality in addition to non-rock styles. The former four groups were included on the Eno-produced No New York compilation (1978), often considered the quintessential testament to the scene.

At the time of its Paris premiere, this Chôros was called "Le fou huitième" (The Mad Eighth), for its extravagant scoring and unconventional performing techniques, as well as for its superimposition of multiple opposing rhythms and tonalities . It has been described as Villa- Lobos's most fauvist and "modern" composition from the 1920s, formally the most irregular, most violent, and "tropical" of all Villa-Lobos's works, whose leading feature is its almost complete atonality and dissonance . It has been claimed there is virtually nothing in this work that could be called a "theme", and the work "is not about thematic groups and their symphonic development". Instead, its material consists of motifs, phrases, and thematic fragments, mostly consisting of between three and five diatonic or chromatic notes and note repetitions .

This principle even became the premise of empirical investigation in the guise of "probe-tone" experiments testing listeners' familiarity with a row after exposure to its various forms (as would occur in a 12-tone work) . In other words the supposition in critiques of serialism has been that, if a composition is so intricately structured by and around a series, that series should ultimately be clearly perceived or that a listener ought to become aware of its presence or importance. Babbitt denied this: Seemingly in accord with Babbitt's statement, but ranging over such issues as perception, aesthetic value, and the "poietic fallacy", Walter offers a more extensive explanation of the serialism (and atonality) controversy. Within the community of modern music, exactly what constituted serialism was also a matter of debate.

At first sticking to neoclassical styles of composition, Powell increasingly explored atonality, or "non-tonal" music as he called it, as well as the serialism advocated by Austrian composer Arnold Schoenberg. After receiving his degree, Powell embarked on a career as a music educator, first at Mannes College of Music and Queens College in his native New York City, then returning to Yale in 1958, succeeding Hindemith as chair of the composition faculty and director of one of the nation's first electronic music studios. Powell composed several electronic pieces in the 1960s, some of which were performed at the Electric Circus in New York's East Village, a venue that also saw performances by groundbreaking rock music acts like The Velvet Underground and The Grateful Dead. But Powell did not completely turn his back on jazz.

Difficult to describe but generally in the broad category of Neoromanticism (music), his music runs the gamut of pure tonality to avant-garde atonality. Of his extended motet, Today's Lord's Prayer, noted organist and choir director Joanne Vollendorf Rickards wrote > Our choir was honored...to perform the premiere of Today's Lord's Prayer, > ... [a] spine tingling anthem. It was truly spectacular.[Christ Church > Detroit Chronicles, June 1997, p. 3] His Piano Pieces no. 1 and no.2 composed in his college years are intensely atonal and show the influence of Karlheinz Stockhausen. Since then, however, he has turned to a more approachable style following the tradition of 20th- century masters including Igor Stravinsky, Dmitri Shostakovich, Béla Bartók and Arnold Schoenberg, the latter who taught his teachers Earl Kim and Leon Kirchner.

In the war and post-war eras, as pressure built to assert a national identity in the face of the looming superpower of the United States and the "motherland" Britain, composers looked to their surroundings for inspiration. John Antill and Peter Sculthorpe began to incorporate elements of Aboriginal music, and Richard Meale drew influence from south-east Asia (notably using the harmonic properties of the Balinese Gamelan, as had Percy Grainger in an earlier generation). By the beginning of the 1960s, Australian classical music erupted with influences, with composers incorporating disparate elements into their work, ranging from Aboriginal and south-east Asian music and instruments, to American jazz and blues, to the belated discovery of European atonality and the avant-garde. Composers like Don Banks, Don Kay, Malcolm Williamson and Colin Brumby epitomise this period.

Previn's recording repertoire as a conductor is focused on the standards of classical and romantic music, excepting opera in general, favoring the symphonic music of Hector Berlioz, Johannes Brahms and Richard Strauss and with a special emphasis on violin and piano concertos and ballets. Just a few of Previn's recordings deal with music before Joseph Haydn and Wolfgang Amadeus Mozart (both favourites of Previn's programmes) or contemporary avant- garde art music based on atonality, minimalism, serialism, stochastic music etc. Instead, in 20th-century music Previn's repertoire highlights specific composers of late romanticism and modernism like Samuel Barber, Benjamin Britten, George Gershwin, Erich Wolfgang Korngold, Sergei Prokofiev, Sergei Rachmaninoff, Maurice Ravel, Dmitri Shostakovich, Richard Strauss, Ralph Vaughan Williams, Harold Shapero and William Walton. Previn recorded mostly for EMI, Telarc and Deutsche Grammophon.

Early works of Mihovil Logar, conceived in Prague and upon his return from the Conservatory feature bold musical language, expanded tonality that often crosses into atonality, and rhapsodic, contingently free form, qualifying this period of the composer's work to often be labeled as expressionistic (Peričić, Masnikosa). Moreover, given the identifiable romanticist influences in this phase of Logar's work, it is possible to say that “his oeuvre consists of compositions that, next to each other differ much in their structural elements” (M. Bergamo). Certain authors emphasize peppiness and humor as attributes of his music (and personality) which, depending on the (musical) context turn at instances into parody and grotesque. It has been noted that “Logar's routinely tertiary-structured chords are always…'contorted' by the ardent non-chord tones, and in an always unpredictable and irregular succession—suddenly dissonant or unexpectedly tonal” (Masnikosa, 2008: 10).

Jeff Pressing of the University of Melbourne notes "Ogunde" as an example of a song that "juxtapose[s] lyrical directness with eruptions of broken quasi-atonality". PopMatters reviewer James Beaudreau further notes that Coltrane's performance in "Ogunde" reflects the personal style that he evolved prior to his death: "ecstatic, brightly focused, and with a kaleidoscopic vibrato". According to Beaudreau, the starting phrase of "Ogunde", which features Coltrane, "sounds like an ending, as if the whole of the music could be summed up in a single noble cadence". The song is characterized by a sequence that features multiple performers and sounds and includes a fourteen-minute period, starting at 2:40, for which Coltrane is completely absent, and which is dominated by the sounds of Sanders' saxophone and Alice Coltrane's piano, as well as lengthy solos by Coltrane, Sanders, and Alice.

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, typically contain features such as a lack of central tonality, pervading harmonic dissonance rather than consonance, and a general absence of traditional melodic progressions. This period of atonality became commonly associated with the expressionist movement, despite the fact that Schoenberg rarely referred to the term "expressionism" in his writings. Whether or not he wanted to be associated with the movement, Schoenberg expresses an unambiguous positivity with his discovery of this new style in a program note for the 1910 first performance of The Book of the Hanging Gardens: Schoenberg's libretto transcends the tragic love poems of George and become a deeper reflection of Schoenberg's mood during this period when viewing his personal life.

The trio is in three movements: #Allegro #Lento #Tema con variazioni The opening Allegro is dominated by the interval of the perfect fourth, and in general alternates pairs of the instruments, rather than using all three together. Although they are not the basis of the entire work, Berkeley's use of fourths in the opening of this movement resembles the free atonality of the Chamber Symphony No. 1 by Arnold Schoenberg, but this sound was also very much in the air amongst British composers at that time, in particular Michael Tippett's Piano Concerto . The character of this movement rests largely on its springy rhythms, moving at the end to a calm close in F major . The Lento is a slow dirge with a more lively middle section, and the only movement that shows much affinity with the Brahms trio (; ).

One of the greatest italian composers of all time, Bettinelli is an author of symphonic, choral, opera, and chamber music. His younger works incorporated a contrapuntal neoclassicism, influenced by Igor Stravinsky, Paul Hindemith, and Béla Bartók, not to mention the Italian composers Alfredo Casella, Goffredo Petrassi and Gian Francesco Malipiero. His later music evolved constantly, incorporating new elements, such as atonality and 12-tone music, to blend it into a free chromatic language, always expressing formal structures and becoming one of the most personal achievements in Twentieth century italian music along with Casella, Malipiero, Ghedini, Dallapiccola and Petrassi. Of particular note are his orchestral output which makes him the most important italian composers of symphonies of the second half of Twentieth century and his choral works, as he collected and set many traditional Italian folk songs that had heretofore only survived through oral tradition.

Patife Band ("patife" is a word in Portuguese meaning "stooge" or "knucklehead") is a Brazilian post-punk band formed in São Paulo in 1983 by Paulo Barnabé, initially under the name Paulo Patife Band. They are considered to be one of the major exponents of the "Vanguarda Paulistana" movement. Characterized by its heavily experimental and almost non-descript musical style, that uses dodecaphonism and atonality as main principles of composition and flirts with many different genres such as jazz, punk rock, traditional Brazilian music and popular music, it was favorably compared to American band Pere Ubu,Patife Band and one critic at some point called their sound "a crossing between King Crimson and Fear".Sete Doses de Cachaça: Série Coisa Fina: 18 – Patife Band The band was disestablished in 1990, but reformed briefly in 2003 with a new line-up and releasing a live album.

Though just intonation in its simplest form (5-limit) may seem to suggest a necessarily tonal logic, it need not be the case. Some music of Kraig Grady and Daniel James Wolf uses just intonation scales designed by Erv Wilson explicitly for a consonant form of atonality, and many of Ben Johnston's early works, like the Sonata for Microtonal Piano and String Quartet No. 2, use serialism to elide the predominance of a tonal centre. Alternatively, composers such as La Monte Young, Ben Johnston, James Tenney, Marc Sabat, Wolfgang von Schweinitz, Michael Harrison (musician), and Catherine Lamb have sought a new kind tonality and harmony – one based on the perception and experience of sound, which not only allows for the more familiar consonant structures, but also extends them beyond the 5-limit into a nuanced and diverse network of relationships between tones. Yuri Landman devised a just intonation musical scale from an atonal prepared guitar playing technique based on adding a third bridge under the strings.

The St Luke Passion (full title: Passio et mors Domini nostri Jesu Christi secundum Lucam, or the Passion and Death of Our Lord Jesus Christ According to St Luke) is a work for chorus and orchestra written in 1966 by Polish composer Krzysztof Penderecki, which, considered within the context of the officially atheistic Polish People's Republic and other Eastern Bloc countries, makes its potentially subversive subject matter even that much more remarkable. Penderecki wrote the work to commemorate a millennium of Polish Christianity following the baptism and conversion of Polish duke Mieszko I in 966 AD. Penderecki's setting is one of several musical settings of the Passion story and contains text from the Gospel of Luke as well as other sources such as the Stabat Mater. Despite the Passion's almost total atonality and use of avant- garde musical techniques, the musical public appreciated the work's stark power and direct emotional impact and the piece was performed several more times soon after its premiere on 30 March 1966.

With the creation of her own studio White developed her own brand of electronic music which explored new timbral and harmonic resources without renouncing the order and logic instilled by her classical training. Early on, Ruth became intrigued by electronic music possibilities. According to The Norton/Grove Dictionary of Women Composers, > “White’s involvement in electronic music was precipitated by a belief that > all experiments in traditional media from impressionism to atonality, > polytonality and the like, were closed paths – that ‘this’ medium, with its > fundamental key relationships, had been exhausted, had reached its zenith by > the end of the nineteenth century, and, since then, its basic principles > were being systematically destroyed. She also found much early electronic > music ‘chaotic and senseless’, eventually concluding that those ‘unshaped > and arbitrary sounds being made were noise and just that.” Early on in White’s career, her love of educational recordings was evident. Beginning in 1955 where she worked with Marilyn Horne and Richard Robinson on the recording Lullabies From ‘Round the World.

Alan Walker (1989), p. 296. Nevertheless, he persevered with the work, conducting another performance (along with his symphonic poem Die Ideale and his second piano concerto) in Prague on 11 March 1858. Princess Carolyne prepared a programme for this concert to help the audience follow the unusual form of the symphony.Alan Walker (1989), p. 317 and pp. 488–489. Like his symphonic poems Tasso and Les préludes, the Dante Symphony is an innovatory work, featuring numerous orchestral and harmonic advances: wind effects, progressive harmonies that generally avoid the tonic-dominant bias of contemporary music, experiments in atonality, unusual key signatures and time signatures, fluctuating tempi, chamber-music interludes, and the use of unusual musical forms. The Symphony is also one of the first to make use of progressive tonality, beginning and ending in the radically different keys of D minor and B major, respectively, anticipating its use in the symphonies of Gustav Mahler by forty years.

Rather, his works merge the traditions of earlier composers and post- World War II innovations and translate them into his own idiosyncratic style. His music also contains distant echoes of jazz as can be heard in the plucked double bass strings at the very beginning of his First Symphony and his frequent use of syncopated rhythms. He often calls for the use of Ray Robinson-style cup mutes by the brass section, which seems to indicate the influence of big band music. Dutilleux was greatly enamoured of vocalists, especially the jazz singer Sarah Vaughan and the great French chanson singers. Some of Dutilleux's trademarks include very refined orchestral textures; complex rhythms; a preference for atonality and modality over tonality; the use of pedal points that serve as atonal pitch centers;"This use of pivot chords (or pivot notes) is a constant of Dutilleux's mature style, and provides a point of reference for the listener within an essentially atonal context" (Potter 2007, 53).

1–2 minutes Opening of the finale The short finale, marked Presto and in time, is a perpetuum mobile in "relatively simple" binary form consisting of parallel octaves played sotto voce e legato (similarly to the Prelude in E minor, Op. 28 No. 14) and not a single rest or chord until the final bars with a sudden fortissimo B bass octave and a B minor chord ending the whole piece. In this movement, "a complicated chromaticism is worked out in implied three- and four-part harmony entirely by means of one doubled monophonic line";Rosen (1995), p. 298 very similarly, the 5 measures that begin Bach's Fugue in A minor (BWV 543) imply a four-part harmony through a single monophonic line.Rosen (1995), p. 290 Garrick Ohlsson remarked that the movement is "extraordinary, because he’s written the weirdest movement he's ever written in his whole life, something which truly looks to the 20th century and post- romanticism and atonality".

During this time, Lyatoshinsky established contacts and worked collaboratively with the administrators of the local Concert Hall and Radio Committee; he took charge and led operations to save and transport Ukrainian musical manuscripts to the areas of non- conflict. At this time Lyatoshinsky approached the transitional moment in his music, achieving the necessary compromise between pessimistic decadence and revitalisation. It is characterised by the demands of the renewal in the face of anxiety and despair, reviving a vital driving force by means of modernistic fusion of atonality with the motivic realisation of folk song, encapsulated in the polyphonic writing. In 1946, Lytoshinsky's Ukrainian Quintet was honoured with the Stalin prize (in 1952 he received another Stalin prize, this time for the music in film about a Ukrainian national poet and a revolutionary hero Taras Shevchenko). In 1951, the composer re-discovers energy despite previous set- backs and carries on writing his Third Symphony which develops themes of heroic struggles placed against pessimistic dejection which were interpreted by his contemporaries as epic philosophical themes of war and peace.

Krenek's music encompassed a variety of styles and reflects many of the principal musical influences of the 20th century. His early work is in a late- Romantic idiom, showing the influence of his teacher Franz Schreker, but around 1920 he turned to atonality, under the influence of Ernst Kurth's textbook, Grundlagen des linearen Kontrapunkts, and the tenets of Busoni, Schnabel, Erdmann, and Scherchen, amongst others.. A visit to Paris, during which he became familiar with the work of Igor Stravinsky (Pulcinella was especially influential) and Les Six, led him to adopt a neo-classical style around 1924. Shortly afterward, he turned to neoromanticism and incorporated jazz influences into his opera Jonny spielt auf (Jonny Strikes Up, 1926) and one-act opera Schwergewicht (1928). Other neoromantic works of this period were modeled on music of Franz Schubert, a prime example being Reisebuch aus den österreichischen Alpen (1929). Krenek abandoned the neoromantic style in the late 1920s to embrace Arnold Schoenberg's twelve-tone technique, the method exclusively employed in Krenek's opera Karl V (1931–33) and most of his later pieces.

At the beginning of the 1960s Australian classical music erupted with influences, with composers incorporating disparate elements into their work, ranging from Aboriginal and Southeast Asian music and instruments, to American jazz and blues, and belatedly discovering European atonality and the avant-garde. Composers like Don Banks (1923–1980), Don Kay, Malcolm Williamson and Colin Brumby (1933–2018) epitomize this period. In recent times composers including Liza Lim, Nigel Westlake, Ross Edwards, Graeme Koehne, Julian Cochran, Georges Lentz, Elena Kats-Chernin, Richard Mills, Brett Dean and Carl Vine have embodied the pinnacle of established Australian composers. Well-known Australian classical performers include: sopranos Dame Joan Sutherland, Dame Joan Hammond, Joan Carden, Yvonne Kenny, and Emma Matthews; pianists Roger Woodward, Eileen Joyce, Geoffrey Tozer, Leslie Howard and Ian Munro; guitarists John Williams and Slava Grigoryan; horn player Barry Tuckwell; oboist Diana Doherty; violinists Richard Tognetti and Elizabeth Wallfisch; cellist David Pereira; orchestras including the Sydney Symphony Orchestra, the Melbourne Symphony Orchestra, the Australian Chamber Orchestra and the Australian Brandenburg Orchestra; and conductors Sir Charles Mackerras, and Simone Young.

Many of the concertos written in the early 20th century belong more to the late Romantic school than to any modernistic movement. Masterpieces were written by Edward Elgar (a violin concerto and a cello concerto), Sergei Rachmaninoff and Nikolai Medtner (four and three piano concertos, respectively), Jean Sibelius (a violin concerto), Frederick Delius (a violin concerto, a cello concerto, a piano concerto and a double concerto for violin and cello), Karol Szymanowski (two violin concertos and a "Symphonie Concertante" for piano), and Richard Strauss (two horn concertos, a violin concerto, Don Quixote—a tone poem that features the cello as a soloist—and among later works, an oboe concerto). However, in the first decades of the 20th century, several composers such as Debussy, Schoenberg, Berg, Hindemith, Stravinsky, Prokofiev and Bartók started experimenting with ideas that were to have far-reaching consequences for the way music is written and, in some cases, performed. Some of these innovations include a more frequent use of modality, the exploration of non-western scales, the development of atonality and neotonality, the wider acceptance of dissonances, the invention of the twelve-tone technique of composition and the use of polyrhythms and complex time signatures.

Glenn Giffin in the Denver Post describes Gamer as proposing in Arkhê “a grand program--creation and evolution...The composer uses various means to present this:...by bands of sound and much shifting back and forth between sections in orchestral drones with now one section and then another receiving prominence...[and] through musical cells that get manipulated and expanded to form a large structure.” According to the American Record Guide "Carlton Gamer's Arkhê freely moves between the poles of tonality and atonality...[its] harmonies [are] often dense to the point of clusters." Fanfare remarks that, "[This] work opens with a long crescendo on the note A (for Alpha, …) and soon erupts into a Big Bang of fascinating noises." The composer himself describes this piece as using "an externally imposed scheme to derive the duration of each section of the work, [based] upon the miniaturization of a geological time-scale formulated by recent scientific research." An evolutionary idea also informs Gamer’s Choros, as described by Mark Arnest in the Colorado Springs Gazette Telegraph: In Part 1 of this work, Bios, the underlying program deals with the evolution of life; in Part 2, Choros, the evolution of humankind.

Following the commission from the officials of the Odessa's Opera and Ballet theatre, Lyatoshinsky made the trip to Tadzhikistan in order to study folk music and compose a ballet about the life of local people. As a result, Lyatoshinsky composed Three Musical Pieces for the violin and the piano based on the folk music of Tadzhikistan (the region very little known or even unheard of before Stalin's nationalism idea). ‹see L's letters, in Grecenko› Amongst Lyatoshinsky's compositions is an arrangement of a Jewish folk song ‘Genzelex’ (Little Geese). In it, he preserved an original melody and decorated it harmonically, using F major and d minor tonalities and added complex chords within the harmony. (This composition remained in the archives of the composer until it was re- discovered in 2000.) From 1935 to 1938 and from 1941 to 1944 Lyatoshinsky taught concurrently at the Moscow Conservatory. Lyatoshinsky wrote his Second Symphony in B flat (1936) in his favourite modernistic style, obviously knowing that this was not quite what was expected of him. He is ‘painting’ disturbing images of the dark reality of Soviet life, often using means of atonality. Written in the conventional three- movement form, the symphony is full of contrasting moods and severely dramatic conflicts.