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Atonalitas

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Revisi sejak 5 Februari 2023 07.39 oleh Deansyahrizky (bicara | kontrib) (Fitur saranan gambar: 1 gambar ditambahkan.)
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"Atonal" beralih ke halaman ini. Untuk penguasa kerajaan Mixtec dari Coixtlahuaca, lihat Atonal II.
Akord Mistik Alexander Scriabin.

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

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

Sumber

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  • Ansermet, Ernest. 1961. Les fondements de la musique dans la conscience humaine. 2 vols. Neuchâtel: La Baconnière.
  • Babbitt, Milton. 1991. "A Life of Learning: Charles Homer Haskins Lecture for 1991". ACLS Occasional Paper 17. New York: American Council of Learned Societies.
  • Baker, James M. 1980. "Scriabin's Implicit Tonality". "Music Theory Spectrum" 2:1–18.
  • Baker, James M. 1986. The Music of Alexander Scriabin. New Haven: Yale University Press.
  • Bertram, Daniel Cole. 2000. "Prokofiev as a Modernist, 1907–1915". PhD diss. New Haven: Yale University.
  • DeLone, Peter, and Gary Wittlich (eds.). 1975. Aspects of Twentieth-Century Music. Englewood Cliffs, New Jersey: Prentice-Hall. ISBN 0-13-049346-5.
  • Du Noyer, Paul (ed.). 2003. "Contemporary", in The Illustrated Encyclopedia of Music: From Rock, Jazz, Blues and Hip Hop to Classical, Folk, World and More, pp. 271–272. London: Flame Tree Publishing. ISBN 1-904041-70-1.
  • Forte, Allen. 1977. The Structure of Atonal Music. New Haven and London: Yale University Press. ISBN 978-0-300-02120-2.
  • Griffiths, Paul. 2001. "Varèse, Edgard [Edgar] (Victor Achille Charles)". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers.
  • Grout, Donald Jay. 1960. A History of Western Music. New York: W. W. Norton.
  • Haydin, Berkat, and Stefan Esser. 2009 (Joseph Marx Society). Chandos, liner notes to "Joseph Marx: Orchestral Songs and Choral Works (accessed 23 October 2014.
  • Katz, Adele T. 1945. Challenge to Musical Traditions: A New Concept of Tonality. New York: Alfred A. Knopf, Inc. Reprint edition, New York: Da Capo, 1972.
  • Kennedy, Michael. 1994. "Atonal." The Oxford Dictionary of Music. Oxford & New York: Oxford University Press. ISBN 0-19-869162-9.
  • Kohlhase, Hans. 1983. "Aussermusikalische Tendenzen im Frühschaffen Paul Hindemiths. Versuch uber die Kammermusik Nr. 1 mit Finale 1921". Hamburger Jahrbuch für Musikwissenschaft 6:183–223.
  • Kostka, Stefan and Payne, Dorothy (1995). Tonal Harmony. Third Edition. ISBN 0-07-300056-6.
  • Lansky, Paul, and George Perle. 2001. "Atonality §2: Differences between Tonality and Atonality". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers.
  • Lansky, Paul, George Perle, and Dave Headlam. 2001. "Atonality". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers.
  • Meyer, Leonard B. 1967. Music, the Arts, and Ideas: Patterns and Predictions in Twentieth-Century Culture. Chicago and London: University of Chicago Press. (Second edition 1994.)
  • Mosch, Ulrich. 2004. Musikalisches Hören serieller Musik: Untersuchungen am Beispiel von Pierre Boulez' «Le Marteau sans maître». Saarbrücken: Pfau-Verag.
  • Obert, Simon. 2004. "Zum Begriff Atonalität: Ein Vergleich von Anton Weberns 'Sechs Bagatellen für Streichquartett' op. 9 und Igor Stravinskijs 'Trois pièces pour quatuor à cordes'". In Das Streichquartett in der ersten Hälfte des 20. Jahrhunderts: Bericht über das Dritte Internationale Symposium Othmar Schoeck in Zürich, 19. und 20. Oktober 2001. Schriftenreihe der Othmar Schoeck-Gesellschaft 4, edited by Beat A. Föllmi and Michael Baumgartner. Tutzing: Schneider.
  • Orvis, Joan. 1974. "Technical and stylistic features of the piano etudes of Stravinsky, Bartók, and Prokofiev". DMus Piano pedagogy: Indiana University.
  • Oster, Ernst. 1960. "Re: A New Concept of Tonality (?)", Journal of Music Theory 4:96.
  • Parks, Richard S. 1985. "Tonal Analogues as Atonal Resources and Their Relation to form in Debussy's Chromatic Etude". Journal of Music Theory 29, no. 1 (Spring): 33–60.
  • Perle, George. 1962. Serial Composition and Atonality: An Introduction to the Music of Schoenberg, Berg, and Webern. University of California Press. ISBN 0-520-07430-0.
  • Perle, George. 1977. 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. ISBN 0-520-03395-7.
  • Rahn, John. 1980. Basic Atonal Theory. New York: Longman, Inc. ISBN 0-582-28117-2.
  • Stegemann, Benedikt. 2013. Theory of Tonality. Theoretical Studies. Wilhelmshaven: Noetzel. ISBN 978-3-7959-0963-5.
  • Rülke, Volker. 2000. "Bartóks Wende zur Atonalität: Die "Études" op. 18". Archiv für Musikwissenschaft 57, no. 3:240–63.
  • Schoenberg, Arnold. 1978. Theory of Harmony, translated by Roy Carter. Berkeley & Los Angeles: University of California Press.
  • Seeger, Charles. 1930. "On Dissonant Counterpoint." Modern Music 7, no. 4:25–31.
  • Simms, Bryan R. 1986. Music of the Twentieth Century: Style and Structure. New York: Schirmer Books. ISBN 0-02-872580-8.
  • Swift, Richard. 1982–83. "A Tonal Analog: The Tone-Centered Music of George Perle". Perspectives of New Music 21, nos. 1/2 (Fall-Winter/Spring-Summer): 257–84. (Subscription Access.)
  • Teboul, Jean-Claude. 1995–96. "Comment analyser le neuvième interlude en si♭ du "Ludus tonalis" de Paul Hindemith? (Hindemith ou Schenker?) ". Ostinato Rigore: Revue Internationale d'Études Musicales, nos. 6–7:215–32.
  • Webern, Anton. 1963. The Path to the New Music, translated by Leo Black. Bryn Mawr. Pennsylvania: Theodore Presser; London: Universal Edition.
  • Westergaard, Peter. 1963. "Webern and 'Total Organization': An Analysis of the Second Movement of Piano Variations, Op. 27." Perspectives of New Music 1, no. 2 (Spring): 107–20.
  • Westergaard, Peter. 1968. "Conversation with Walter Piston". Perspectives of New Music 7, no.1 (Fall-Winter) 3–17.
  • Xenakis, Iannis. 1971. Formalized Music: Thought and Mathematics in Composition. Bloomington and London: Indiana University Press. Revised edition, 1992. Harmonologia Series No. 6. Stuyvesant, NY: Pendragon Press. ISBN 0-945193-24-6.
  • Zimmerman, Daniel J. 2002. "Families without Clusters in the Early Works of Sergei Prokofiev". PhD diss. Chicago: University of Chicago.

Bacaan tambahan

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  • Beach, David (ed.). 1983. "Schenkerian Analysis and Post-Tonal Music", Aspects of Schenkerian Theory. New Haven: Yale University Press.
  • Dahlhaus, Carl. 1966. "Ansermets Polemik gegen Schönberg." Neue Zeitschrift für Musik 127, no. 5:179–83.
  • Forte, Allen. 1963. "Context and Continuity in an Atonal Work: A Set-Theoretic Approach". Perspectives of New Music 1, no. 2 (Spring): 72–82.
  • Forte, Allen. 1964. "A Theory of Set-Complexes for Music". Journal of Music Theory 8, no. 2 (Winter): 136–83.
  • Forte, Allen. 1965. "The Domain and Relations of Set-Complex Theory". Journal of Music Theory 9, no. 1 (Spring): 173–80.
  • Forte, Allen. 1972. Sets and Nonsets in Schoenberg's Atonal Music. Perspectives of New Music 11, no. 1 (Fall–Winter): 43–64.
  • Forte, Allen. 1978a. The Harmonic Organization of The Rite of Spring. New Haven : Yale University Press. ISBN 978-0-300-02201-8.
  • Forte, Allen. 1978b. "Schoenberg's Creative Evolution: The Path to Atonality". The Musical Quarterly 64, no. 2 (April): 133–76.
  • Forte, Allen. 1980. "Aspects of Rhythm in Webern's Atonal Music". Music Theory Spectrum 2:90–109.
  • Forte, Allen. 1998. The Atonal Music of Anton Webern. New Haven and London: Yale University Press. ISBN 978-0-300-07352-2.
  • Forte, Allen, and Roy Travis. 1974. "Analysis Symposium: Webern, Orchestral Pieces (1913): Movement I ('Bewegt')". Journal of Music Theory 18, no. 1 (Spring, pp. 2–43.
  • Krausz, Michael. 1984. "The Tonal and the Foundational: Ansermet on Stravinsky". The Journal of Aesthetics and Art Criticism 42:383–86.
  • Krenek, Ernst. 1953. "Is the Twelve-Tone Technique on the Decline?" The Musical Quarterly 39, no 4 (October): 513–27.
  • Philippot, Michel. 1964. "Ansermet’s Phenomenological Metamorphoses." Translated by Edward Messinger. Perspectives of New Music 2, no. 2 (Spring-Summer): 129–40. Originally published as "Métamorphoses Phénoménologiques." Critique. Revue Générale des Publications Françaises et Etrangères, no. 186 (November 1962).
  • Radano, Ronald M. 1993. New Musical Figurations: Anthony Braxton's Cultural Critique Chicago: University of Chicago Press.

Pranala luar

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