Tonality - Knowledge (XXG)

706:, was entirely cultural, saying, "For the elements of music, nature provides nothing but a multitude of tones differing in pitch, duration, and intensity by the greater or least degree ... The conception of the relationships that exist among them is awakened in the intellect, and, by the action of sensitivity on the one hand, and will on the other, the mind coordinates the tones into different series, each of which corresponds to a particular class of emotions, sentiments, and ideas. Hence these series become various types of tonalities." "But one will say, 'What is the principle behind these scales, and what, if not acoustic phenomena and the laws of mathematics, has set the order of their tones?' I respond that this principle is purely metaphysical . We conceive this order and the melodic and harmonic phenomena that spring from it out of our conformation and education." 533:"The larger portion of the world's folk and art music can be categorized as tonal," as long as the definition is as follows: "Tonal music gives priority to a single tone or tonic. In this kind of music all the constituent tones and resulting tonal relationships are heard and identified relative to their tonic". In this sense, "All harmonic idioms in popular music are tonal, and none is without function". However, "within the continuing hegemony of tonality there is evidence for a relatively separate tradition of genuine folk musics, which do not operate completely or even mainly according to the assumptions or rules of tonality. … throughout the reign of tonality there seem to have existed subterranean folk musical traditions organized on principles different from tonality, and often modal: Celtic songs and blues are obvious examples". 1041: 873: 289:, tonality is not "a matter of 'tone-centeredness', whether based on a 'natural' hierarchy of pitches derived from the overtone series or an 'artificial' pre compositional ordering of the pitch material; nor is it essentially connected to the kinds of pitch structures one finds in traditional diatonic music". This sense (like some of the others) is susceptible to ideological employment, as Schoenberg, did by relying on the idea of a progressive development in musical resources "to compress divergent 441:

dominant triad must be preceded by a chord progression that establishes the dominant as the penultimate goal of a motion that is completed by moving on to the tonic. In this final dominant-to-tonic progression, the leading tone normally ascends by semitone motion to the tonic scale degree. A dominant seventh chord always consist of a major triad with an added minor seventh above the root. To achieve this in minor keys, the seventh scale degree must be raised to create a major triad on the dominant.

907: 540:/tonic relationship is "axiomatic to the definition of common-practice tonality", and a fundamental feature of rock music's identity is the absence of a diatonic leading tone, the harmonic practices of rock music, "while sharing many features with classical tonality, are nonetheless distinct". Power chords are especially problematic when trying to apply classical functional tonality to certain varieties of popular music. Genres such as 2632:. Second English edition, translated, thoroughly revised and corrected, rendered conformal to the 4th (and last) German ed. of 1877, with numerous additional notes and a new additional appendix bringing down information to 1885, and especially adapted to the use of music students, by Alexander J. Ellis. With a new introduction (1954) by Henry Margenau. New York, Dover Publications, 1954. 395: 322:

often hypostatized in musicological discourse, converted from a theoretical structure into a musical reality. In this sense, it is understood as a Platonic form or prediscursive musical essence that suffuses music with intelligible sense, which exists before its concrete embodiment in music, and can thus be theorized and discussed apart from actual musical contexts".

48: 689:. The romantic tonality of Berlioz and especially Wagner he related to "omnitonic order" with its "insatiable desire for modulation". His prophetic vision of the omnitonic order (though he didn't approve it personally) as the way of further development of tonality was a remarkable innovation to historic and theoretic concepts of the 19th century. 1189: 1023:, who related it to Palestrina, translated it into English as "tonal type", and systematically applied the concept of "tonal types" to Renaissance sacred and paraliturgical polyphony. Cristle Collins Judd (the author of many articles and a thesis dedicated to the early pitch systems) found "tonalities" in this sense in motets of 282:. By the middle of the 20th century, it had become "evident that triadic structure does not necessarily generate a tone center, that non-triadic harmonic formations may be made to function as referential elements, and that the assumption of a twelve-tone complex does not preclude the existence of tone centers". 804:, tonality is not "a matter of 'tone-centeredness', whether based on a 'natural' hierarchy of pitches derived from the overtone series or an 'artificial' pre compositional ordering of the pitch material; nor is it essentially connected to the kinds of pitch structures one finds in traditional diatonic music". 155:) in which one tone (the tonic) becomes the central point for the remaining tones. The other tones in a tonal piece are all defined in terms of their relationship to the tonic. In tonality, the tonic (tonal center) is the tone of complete relaxation and stability, the target toward which other tones lead. The 1103:

and back to a unison A again, providing a framing "deep structure" based on a tritone relationship that nevertheless is not analogous to a tonic-dominant axis, but rather remains within the single functional domain of the tonic, A. To distinguish this species of tonality (found also, for example, in

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The wide usage of "tonality" and "tonal" has been supported by several other musicologists (of diverse provenance). A possible reason for this broader usage of terms "tonality" and "tonal" is the attempt to translate German "Tonart" as "tonality" and "Tonarten-" prefix as "tonal" (for example, it is

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is often implied and understood by the listener even if it is not present. To function as a tonic, a chord must be either a major or a minor triad. Dominant function requires a major-quality triad with a root a perfect fifth above the affiliated tonic and containing the leading tone of the key. This

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In the 20th century, music that no longer conformed to the strict definition of common-practice tonality could nevertheless still involve musical phenomena (harmonies, cadential formulae, harmonic progressions, melodic gestures, formal categories) arranged or understood in relation to a referential

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etc.), to the "systematic arrangements of pitch phenomena and relations between them". Felix Wörner, Ullrich Scheideler, and Philip Rupprecht in the introduction to a collection of essays dedicated to the concept and practice of tonality between 1900 and 1950 describe it generally as "the awareness

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or inherent in acoustical phenomena, whether it is inherent in the human nervous system or a psychological construct, whether it is inborn or learned, and to what degree it is all these things. A viewpoint held by many theorists since the third quarter of the 19th century, following the publication

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For example, "Sainsbury, who had Choron translated into English in 1825, rendered the first occurrence of tonalité as a 'system of modes' before matching it with the neologism 'tonality'. While tonality qua system constitutes a theoretical (and thus imaginative) abstraction from actual music, it is

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become "evident that triadic structure does not necessarily generate a tone center, that non-triadic harmonic formations may be made to function as referential elements, and that the assumption of a twelve-tone complex does not preclude the existence of tone centers". For the composer and theorist

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described this kind of tonality (with references to the music of Wagner, Mahler, and himself, amongst others) as "aufgehobene Tonalität" and "schwebende Tonalität", usually rendered in English as "suspended" ("not in effect", "cancelled") tonality and "fluctuating" ("suspended", "not yet decided")

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Much jazz is tonal, but "functional tonality in jazz has different properties than that of common-practice classical music. These properties are represented by a unique set of rules dictating the unfolding of harmonic function, voice-leading conventions, and the overall behavior of chord tones and

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of the late 20th century, however, the same chromatic chord relations cited by Riemann came to be regarded as a fundamental example of nontonal triadic relations, reinterpreted as a product of the hexatonic cycle (the six-pitch-class set forming a scale of alternating minor thirds and semitones,

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produces the effect of tonality", and that all other chord successions, diatonic or not, being more or less similar to the tonic-dominant, are "the composer's free invention." He describes melodic tonality (the term coined independently and 10 years earlier by Estonian composer Jaan Soonvald) as

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Tonality may be considered generally, with no restrictions on the date or place the music was produced, and little restriction on the materials and methods used. This definition includes pre-17th century western music, as well as much non-western music. By the middle of the 20th century, it had

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In the early 20th century, the tonality that had prevailed since the 17th century was seen to have reached a crisis or break down point. Because of the "...increased use of the ambiguous chords, the less probable harmonic progressions, and the more unusual melodic and rhythmic inflections," the

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song in the key of C Major, almost all of the triadic chords in the song will be Major or minor chords which are stable and consonant (e.g., in the key of C Major, commonly-used chords include D minor, F Major, G Major, etc.). The most commonly used dissonant chord in a pop song context is the

1027:. Judd also wrote of "chant-based tonality", meaning "tonal" polyphonic compositions based on plainchant. Peter Lefferts found "tonal types" in the French polyphonic chanson of the 14th century, Italian musicologists Marco Mangani and Daniele Sabaino in the late Renaissance music, and so on. 782:, and others, we find a variety of harmonic and linear procedures that have the effect of weakening functional tonality. These procedures may produce a suspension of tonality or may create a sense of tonal ambiguity, even to the point that at times the sense of tonality is completely lost. 851:

being "entirely different from the classical type," wherein, "the whole line is to be understood as a musical unit mainly through its relationship to this basic note ," this note not always being the tonic as interpreted according to harmonic tonality. His examples are ancient Jewish and

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is used, displaying the musical signal on a log frequency scale. Although a radical (over)simplification of the concept of tonality, such methods can predict the key of classical Western music well for most pieces. Other methods also take into consideration the sequentiality of music.

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compositional practices into a single historical lineage in which his own music brings one historical era to a close and begins the next." From this point of view, twelve-tone music could be regarded "either as the natural and inevitable culmination of an organic motivic process

1056: 175:. Music is unified if it is exhaustively referable to a precompositional system generated by a single constructive principle derived from a basic scale-type; it is dimensional if it can nonetheless be distinguished from that precompositional ordering". 556:"took power chords into new arenas, often with a reduced emphasis on tonal function. These genres are often expressed in two parts—a bass line doubled in fifths, and a single vocal part. Power chord technique was often allied with modal procedure". 713:

was very popular. In France alone the book was printed between 1844 and 1903 twenty times. The 1st edition was printed in Paris and Brussels in 1844, the 9th edition was printed in Paris in 1864, and the 20th edition was printed in Paris in 1903.

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syntax of functional harmony loosened to the point where, "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."

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In a general way, tonality can refer to a wide variety of musical phenomena (harmonies, cadential formulae, harmonic progressions, melodic gestures, formal categories) as arranged or understood in relation to a referential tonic.

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In some literature, tonality is a generic term applied to pre-modern music, referring to the eight modes of the Western church, implying that important historical continuities underlie music before and after the emergence of the

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and, above all, by the unprepared seventh chord (with major third) on the dominant". Among most subtle representatives of "pluritonic order" there were Mozart and Rossini; this stage he saw as the culmination and perfection of

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Dictionnaire historique des musiciens artistes et amateurs, morts ou vivants: qui se sont illustrés en une partie quelconque de la musique et des arts qui y sont relatifs ... ; précédé d'un sommaire de l'histoire de la

952: 729:, that the major third and perfect fifth were the only "directly intelligible" intervals, and that I, IV, and V, the tonic, subdominant, and dominant were related by the perfect fifths between their root notes. 624:

around the year 1595, but it was more than a century later that the full application of tonal harmony finally supplanted the older reliance on the melodic orientation of the church modes, in the music of the

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chord built on the fifth scale degree; in the key of C Major, this would be a G dominant seventh chord, or G7 chord, which contains the pitches G, B, D and F. This dominant seventh chord contains a dissonant

470:; and the major–minor parallelism: minor v–i–VII–III equals major iii–vi–V–I; or minor III–VII–i–v equals major I–V–vi–iii. The last of these progressions is characterized by "retrograde" harmonic motion. 872: 250:

The word tonality may describe any systematic organization of pitch phenomena in any music at all, including pre-17th century western music as well as much non-western music, such as music based on the

105:, so in the key of C major the tone C can be both the tonic of the scale and the root of the tonic triad. The tonic can be a different tone in the same scale, when the work is said to be in one of the 928: 1172:

profile (chromagram) and a subsequent procedure that finds the best match between this representation and one of the prototype vectors of the 24 minor and major keys. For implementation, often the

338:", the term tonality is used to imply that tonal music is discontinuous as a form of cultural expression from modal music (before 1600) on the one hand and atonal music (after 1910) on the other. 953: 608:) to describe the arrangement of the dominant and subdominant above and below the tonic—a constellation that had been made familiar by Rameau. According to Choron, this pattern, which he called 3202:

Silberman, Peter Scott. 2006. "Neighbor Spaces: A Theory of Harmonic Embellishment for Twentieth-Century Neotonal Music". PhD diss. Rochester: University of Rochester, Eastman School of Music.

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and other Eastern music, and he points out how these melodies often may be interrupted at any point and returned to the tonic, yet harmonically tonal melodies, such as that from Mozart's

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Janata, Petr, Jeffery L. Birk, John D. Van Horn, Marc Leman, Barbara Tillmann, and Jamshed J. Bharucha. 2002. "The Cortical Topography of Tonal Structures Underlying Western Music."

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article "Mode", etc.). Therefore, two different German words "Tonart" and "Tonalität" have sometimes been translated as "tonality" although they are not the same words in German.

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In a slightly different sense to the one above, tonality can also be used to refer to musical phenomena perceived or preinterpreted in terms of the categories of tonal theories.

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pattern," and include many points "from which it is impossible, that is, illogical, unless we want to destroy the innermost sense of the whole line" to return to the tonic.

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Carl Dahlhaus lists the characteristic schemata of tonal harmony, "typified in the compositional formulas of the 16th and early 17th centuries," as the "complete cadence" I–

929: 699:(establishing one key and remaining in that key for the duration of the piece). The principal example of this "unitonic order" tonality he saw in the Western plainchant. 977:

Consequently, he argues, melodically tonal melodies resist harmonization and only reemerge in western music after, "harmonic tonality was abandoned," as in the music of

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interval between the notes B and F. In pop music, the listener will expect this tritone to be resolved to a consonant, stable chord (in this case, typically a C Major

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Nouveau Systême de Musique Theorique, où l'on découvre le Principe de toutes les Regles necessaires à la Pratique, Pour servir d'Introduction au Traité de l'Harmonie

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songs often start and end with the tonic note. The most common use of the term "is to designate the arrangement of musical phenomena around a referential tonic in

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The Theory of Harmony: An Inquiry into the Natural Principles of Harmony; with an Examination of the Chief Systems of Harmony from Rameau to the Present Day

580:(1722) is the earliest effort to explain tonal harmony through a coherent system based on acoustical principles, built upon the functional unit being the 3748:

Beswick, Delbert M. 1950. "The Problem of Tonality in Seventeenth Century Music". Ph.D. thesis. Chapel Hill: University of North Carolina. p. 1–29.

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The noun "tonality" and adjective "tonal" are widely applied also, in studies of early and modern Western music, and in non-Western traditional music (

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This is a psychophysical sense, where for example "listeners tend to hear a given pitch as, for instance, an A above middle C, an augmented 4th above E

1093: 1168:(recorded in audio data format) automatically. These methods are often based on a compressed representation of the pitch content in a 12-dimensional 2946:

Powers, Harold S., James Cowdery, Ruth Davis, Stephen Jones, Allan Marett, Marc Perlman, James Porter, Richard Widdess, Frans Wiering. 2001. "Mode"

306:), the dialectical synthesis of late Romantic motivic practice on the one hand with a musical sublimation of tonality as pure system on the other". 3876:, translated by John Rothgeb and Jürgen Thym; edited by John Rothgeb. 2 vols. New York: Schirmer Books; London: Collier Macmillan. Translation of 72:"Tonal music is built around these tonic and dominant arrival points , and they form one of the fundamental building blocks of musical structure". 916: 3940: 3904: 3785: 3652: 3636: 3596: 3588: 3499: 3470: 3462: 3396: 3354: 3346: 3315: 3307: 3299: 3282: 3258: 3250: 3242: 3194: 3186: 2973: 2965: 2863: 2791: 2689: 2681: 2561: 2516: 2375: 2358: 2341: 2284: 2267: 2250: 1275: 242:

At least eight distinct senses of the word "tonality" (and corresponding adjective, "tonal"), some mutually exclusive, have been identified.

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of a musical work in a hierarchy of perceived relations, stabilities, attractions, and directionality. In this hierarchy the single pitch or

1216: 65: 1012:, in a series of articles, used terms "sixteenth-century tonalities" and "Renaissance tonality". He borrowed German "Tonartentyp" from 4056: 3362: 2981: 2697: 951: 676:

on the tonic, by the sixth chord assigned to the chords on the third and seventh degrees of the scale, by the optional choice of the

3922: 3889: 3866: 3843: 3768: 3745:. Samson suggests the following discussions of tonality as defined by Fétis, Helmholtz, Riemann, D'Indy, Adler, Yasser, and others: 3742: 3724: 3644: 3576:. LP sound recording, 33⅓ rpm, 12 inch, with bibliography (23 p. ill.) laid in container. : Bit Enki Records. LCC#75-750773 /R. 3514: 3440: 3379: 3225: 3169: 3161: 3153: 3112: 3104: 3021: 2883: 2774: 2757: 2740: 2714: 2673: 2533: 2496: 2479: 2437: 2320: 2301: 1097:

do not involve a composed-out triad, but rather a diverging-converging pair of chromatic lines moving from a unison A to an octave E

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6–20, but manifested as a succession of from four to six alternating major and minor triads), defined without reference to a tonic.

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Judd, Cristle Collins. 1992. "Modal Types and "Ut, Re, Mi" Tonalities: Tonal Coherence in Sacred Vocal Polyphony from about 1500".

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The consonance and dissonance of different intervals plays an important role in establishing the tonality of a piece or section in

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chord resolves to the tonic chord plays an important role in establishing the tonality of a piece. "Tonal music is music that is

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Mangani, Marco, and Daniele Sabaino. 2008. "Tonal Types and Modal Attribution in Late Renaissance Polyphony: New Observations".

2709:, edited by Thomas Christensen, 726–52. Cambridge, New York, Port Melbourne, Madrid, and Cape Town: Cambridge University Press. 2366:

Burns, Lori. 2000. "Analytic Methodologies for Rock Music: Harmonic and Voice-Leading Strategies in Tori Amos's 'Crucify'". In

3391:, edited by Felix Wörner, Ulrich Scheideler, and Philip Ernst Rupprecht, 11–24. Musikwissenschaft. Stuttgart: Steiner Verlag. 3658: 1070:

specifically to include chromatic as well as diatonic relationships to a tonic, in contrast to the usual diatonic concept of

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Cohn, Richard. 1996. "Maximally Smooth Cycles, Hexatonic Systems, and the Analysis of Late-Romantic Triadic Progressions".

927: 2504: 605: 121: 2556:, translated by Peter M. Landey. Harmonologia: Studies in Music Theory 13. Hillsdale, New York: Pendragon Press, 2008. 3338: 2957: 1161: 399:(where the caret designates a scale degree) in G major rather than a mere acoustical frequency, in this case 440 Hz". 2541: 2383: 187: 183: 2311: 3987: 3413: 1136:, and, especially, Stravinsky) from the stricter kind associated with the 18th century, some writers use the term " 412: 451:(relaxation and tension, respectively), and hierarchical relationships the three most basic concepts in tonality. 62: 4086: 3602: 490: 448: 51: 210:

tonality, the system of musical organization of the common practice period. Major-minor tonality is also called

2657:, translated by Arthur Mendel and Otto Ortmann. New York: Associated Music Publishers; London: Schott. 1941–42. 2456: 763: 536:

According to Allan Moore, "part of the heritage of rock lies within common-practice tonality" but, because the

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Traité complet de la théorie et de la pratique de l'harmonie contenant la doctrine de la science et de l'art

1211: 467: 4049: 3946: 3819: 2991: 348: 137: 1013: 459: 63: 4336: 4241: 3910: 3800: 2786:, edited by Edward Gollin and Alexander Rehding, 400–418. Oxford and New York: Oxford University Press. 2617: 1075: 279: 2296:. Englewood Cliffs, New Jersey: Prentice-Hall. Reprinted, Mineola New York: Dover Publications, 1987. 4209: 4163: 4158: 3668: 2799:

Lefferts, Peter. 1995. "Signature-Systems and Tonal Types in the Fourteenth-Century French Chanson".

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This sense also applies to the tonic/dominant/subdominant harmonic constellations in the theories of

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Music and Twentieth-Century Tonality: Harmonic Progression Based on Modality and the Interval Cycles

620:(plainchant). According to Choron, the beginnings of this modern tonality are found in the music of 202:

in 1821. Although Fétis used it as a general term for a system of musical organization and spoke of

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Démonstration du Principe de L'Harmonie, Servant de base à tout l'Art Musical théorique et pratique

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Everett, Walter. 2000. "Confessions from Blueberry Hell, or, Pitch Can Be a Sticky Substance". In

58:, in which we see the chords F major, G major, and then C major, in four-part harmony) in C major. 4295: 4128: 3791: 2941:, edited by Bernhold Schmid, 221–242. Munich: Verlag der Bayerischen Akademie der Wissenschaften. 982: 779: 661: 621: 31: 3967: 3951: 2394: 2260:

Techniques and Materials of Music: From the Common Practice Period through the Twentieth Century

846:. He argues that in the progression I–x–V–I (and all progressions), V–I is the only step "which 418:

In some languages, indeed, the word for "key" and that for "tonality" are the same, e.g. French

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Serial Composition and Atonality: An Introduction to the Music of Schoenberg, Berg, and Webern

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One area of disagreement going back to the origin of the term tonality is whether tonality is

783: 630: 626: 541: 522: 303: 144: 55: 3059:. Sammlung musikalischer Vorträge 40, ed. Paul Graf Waldersee. Leipzig: Breitkopf und Härtel. 4331: 4258: 4173: 4096: 4081: 4015: 3615:

Systematische Einleitung in die musikalische Setzkunst, nach den Lehrsätzen des Herrn Rameau

2838: 2601: 2329: 1226: 1202: 1133: 1117: 1024: 836: 726: 612:, distinguished modern music's harmonic organization from that of earlier music, including 509: 463: 164: 3607:

Abhandlung von der Fuge nach dem Grundsätzen der besten deutschen und ausländischen Meister

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began to be seen as the definitive way that a tonality is established in a work of music.

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English translation by Mark McCune as "Hugo Riemann's 'Ueber Tonalität': A Translation".

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Die Lehre von den Tonempfindungen als physiologische Grundlage für die Theorie der Musik

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Manuel, Peter. 2006. "Flamenco in Focus: An Analysis of a Performance of Soleares". In

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Wörner, Felix, Ulrich Scheideler, and Philip Ernst Rupprecht. 2012. "Introduction". In

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The Craft of Tonal Counterpoint, with Examples from the Music of Johann Sebastian Bach

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Powers, Harold. 1992. "Is Mode Real? Pietro Aron, the Octenary System and Polyphony".

2552:. Brussels: Conservatoire de Musique; Paris: Maurice Schlesinger. English edition, as 1270:. Dorothy Payne, Byron Almén (7th ed.). New York: McGraw-Hill. pp. 454–455. 4320: 4273: 4183: 3795: 3334: 2953: 2916: 2904: 2669: 2511:, eleventh edition. Cengage Advantage Books. Stamford, Connecticut: Engage Learning. 2471: 2445: 1263: 1105: 1009: 840: 771: 751: 581: 500: 437: 191: 129: 92: 88: 84: 80: 2878:, sixth edition, revised. Berkeley and Los Angeles: University of California Press. 2639:

Dispositiones modorum: die Tonarten in der Musik Palestrinas und seiner Zeitgenossen

660:("omnitonic order"). The "transitonic" phase of tonality he connected with the late 4278: 4178: 4153: 4148: 4108: 3815: 3706: 3624: 3545: 3509:. Dimension and Diversity: Studies in 20th-century Music 4. N.p.: Pendragon Press. 3476: 3446: 3181:. London: Latimer. Reprinted, Picataway, New Jersey: Transaction Publishers, 2008. 3029: 3014:

Tonality, Atonality, Pantonality: A Study of Some Trends in Twentieth Century Music

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Judd, Cristle Collins. 1998c. "Josquin's Gospel Motets and Chant-Based Tonality",

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Composition, Chromaticism and the Developmental Process: A New Theory of Tonality

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in the 1830s and 1840s, finally codifying his theory of tonality in 1844, in his

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Vereinfachte Harmonielehre oder die Lehre von den tonalen Funktionen der Akkorde

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2368:

Expression in Pop-rock Music: A Collection of Critical and Analytical Essays

1033: 832: 828: 759: 549: 335: 3086:

Riemann, Hugo. 1914–15. "Ideen zu einer 'Lehre von den Tonvorstellungen'".

206:

rather than a single system, today the term is most often used to refer to

17: 3853:, translated and edited by Ernst Oster. New York: Longman. Translation of 2630:

On the Sensations of Tone as a Physiological Basis for the Theory of Music

827:

differentiates between harmonic tonality of the traditional kind found in

4305: 4268: 4253: 4138: 3997: 3949:. 1994. "The Babylonian Musical Notation and the Hurrian Melodic Texts". 3753: 2992:

A New Method for Tracking Modulations in Tonal Music in Audio Data Format

2403:. 2 vols. 1:xi–xcii. Paris: Valade et Lenormant, 1810–1811, p. xxxvj and 2315:. Eastman Studies in Music 27. Rochester: University of Rochester Press. 3735:

Music in Transition: A Study of Tonal Expansion and Atonality, 1900–1920

3177:

Shepherd, John, Phil Virden, Graham Vulliamy, and Trevor Wishart. 1977.

2582: 821:, holds that diatonic scales and tonality arise from natural overtones. 318:

of musical pitches, existing prior to any concrete embodiment in music.

47: 4076: 3978:

Tonal Harmony: Reference Materials for the Undergraduate Theory Student

3827: 3572:

Kilmer, Anne Draffkorn, Richard L. Crocker, and Robert R. Brown. 1976.

1546: 1002: 648:

as the historically evolving phenomenon with three stages: tonality of

514: 260: 252: 125: 2769:, edited by Cristle Collins Judd, 3–13. New York: Garland Publishing. 2752:, edited by Cristle Collins Judd, 3–13. New York: Garland Publishing. 124:

from 1910 to the 2000s may practice or avoid any sort of tonality—but

30:

This article is about the musical system. For linguistic feature, see

4284: 4247: 4225: 3574:

Sounds from Silence, Recent Discoveries in Ancient Near Eastern Music

2907:. 1981. "Tonal Types and Modal Categories in Renaissance Polyphony". 2748:

Judd, Cristle Collins. 1998b. "Introduction: Analyzing Early Music",

2409:

A Dictionary of Musicians, from the Earliest Ages to the Present Time

743:

and others, pushed back the date when modern tonality began, and the

596:(tonality) was first used in 1810 by Alexandre Choron in the preface 143:"All harmonic idioms in popular music are tonal, and none is without 35: 3798:. 1996. "Natural Musical Intervals: Evidence from Infant Listeners" 3701:

Reichert, Georg. 1962. "Tonart und Tonalität in der älteren Musik".

3539: 3273:, edited by John Shepherd, David Horn, Dave Laing, Paul Oliver, and 3068:. London & New York: Augener. (2d ed. 1903.) Translated 1895 as 1268:

Tonal harmony : with an introduction to twentieth-century music

1164:, techniques have been developed to determine the key of a piece of 2850:

Moore, Allan F. 1995. "The So-called 'Flattened Seventh' in Rock".

2528:, edited by Walter Everett, 269–346. New York: Garland Publishing. 2370:, edited by Walter Everett, 213–246. New York: Garland Publishing. 4263: 4011:: "explains and demonstrates some of the key concepts of tonality" 3492:

Audacious Euphony: Chromatic Harmony and the Triad's Second Nature

3070:

Harmony Simplified, or the Theory of the Tonal Functions of Chords

1052: 1039: 256: 147:." Tonality is an organized system of tones (e.g., the tones of a 60: 46: 3689:

Génération harmonique, ou Traité de musique théorique et pratique

3207:

Simms, Bryan. 1975. "Choron, Fétis, and the Theory of Tonality".

2989:

Purwins, Hendrik, Benjamin Blankertz, and Klaus Obermayer. 2000.

2223: 1976: 314:

In another sense, tonality means any rational and self-contained

2995:. "International Joint Conference on Neural Networks" 6:270–275. 998: 268: 136:

includes many but not all tonal characteristics of the European

4198: 4038: 3077:

Riemann, Hugo. 1905. "Das Problem des harmonischen Dualismus".

2782:

Kopp, David. 2011. "Chromaticism and the Question of Tonality.

430:

There is a loose assortment of ideas associated with the term.

4007: 2407:. English translation of the "Sommaire" in John S. Sainsbury, 2258:

Benjamin, Thomas; Michael M. Horvit, and Robert Nelson. 2008.

2166: 1087:

tonic. For example, the closing bars of the first movement of

668:

thus: "In the passage quoted here from Monteverdi's madrigal (

433:"Tonal harmonies must always include the third of the chord". 3763:. London: Novello. (Reprinted New York: Da Capo Press, 1969. 2717:(mostly reprint of Hyer 2001, but with some essential edits). 2596:, revised and enlarged edition. New York: Dover Publications. 672:, mm. 9–19 and 24–30), one sees a tonality determined by the 3631:. Berkeley and Los Angeles: University of California Press. 3527:, fourth American edition, revised. New York: Vintage Books. 1250: 1044:

Riemann's illustration of a non-diatonic cadence possessing

905: 680:

or the sixth chord on the sixth degree, and finally, by the

642:

Traité complet de la théorie et de la pratique de l'harmonie

4034: 3449:. 2006. "Navā'i: A Musical Genre of Northeastern Iran". In 2919:. 1982. "Modal representations in polyphonic offertories". 2815:. Berkeley and Los Angeles: University of California Press. 1629: 1627: 3684:. Paris: L'Imprimerie de Jean-Baptiste-Christophe Ballard. 3000:

Rais, Mark. 1992. "Jaan Soonvald and His Musical System".

2262:, seventh edition. Belmont, California: Thomson Schirmer. 602:

Dictionnaire historique des musiciens artistes et amateurs

4194: 2243:

Music as Discourse: Semiotic Adventures in Romantic Music

835:. In the harmonic kind, tonality is produced through the 3838:. (Reprinted Cambridge, Massachusetts: MIT Press, 1973, 3099:, second edition. : Southern Illinois University Press. 2411:, second edition. London: Sainsbury and Co., Ltd., 1827. 359:(after 1600) being one of emphasis rather than of kind. 3457:, 41–57. Oxford and New York: Oxford University Press. 2628:. Fourth edition. Braunschweig: F. Vieweg. English, as 2554:

Complete Treatise on the Theory and Practice of Harmony

1844: 1842: 214:(in the title of Carl Dahlhaus, translating the German 3127:. 3 vols. in 4. Vienna and Leipzig: Universal Edition. 1442: 1440: 407:

The word tonality is sometimes used as a synonym for "

3674:

Traité de l'harmonie réduite à ses principes naturels

3507:

Debussy and the Veil of Tonality: Essays on His Music

3220:, second edition. Upper Saddle River: Prentice-Hall. 2092:

It can be traced, e.g., in the articles collected in

1427: 1425: 1320: 1318: 1148:, in its broader sense or use word combinations like 4026:

A model of analysis for the tonal harmonic discourse

2833:, second edition. Boston: Schirmer Cengage Learning. 2784:

The Oxford Handbook of Neo-Riemannian Music Theories

1478: 2389:

Introduction: Sommaire de l'histoire de la musique.

2080: 1785: 1677: 1336: 3709:, 10. Kassel: Bärenreiter Verlag, pp. 97–104. 3487:. Paris: Au magazin de musique de la Lyre moderne. 2845:. Chicago and London: University of Chicago Press. 2312:Explaining Tonality: Schenkerian Theory and Beyond 1305: 1303: 1301: 1299: 1297: 1295: 2937:Powers, Harold. 1996. "Anomalous Modalities". In 2813:Tonality and Atonality in Sixteenth-Century Music 721:believed tonality, "affinities between tones" or 2854:14, no. 2:185–201. Reprinted in Allan F. Moore, 2214:, New York, Philosophical Library, 1950, p. 103. 3665:. New York: Simon & Schuster. LCC#54-12361. 3330:The New Grove Dictionary of Music and Musicians 2949:The New Grove Dictionary of Music and Musicians 2665:The New Grove Dictionary of Music and Musicians 2467:The New Grove Dictionary of Music and Musicians 636:François-Joseph Fétis developed the concept of 101:of the tonic triad forms the name given to the 3617:, Leipzig: J. G. I. Breitkopf. Translation of 3233:Susanni, Paolo, and Elliott Antokoletz. 2012. 4210: 4050: 3609:. 2 vols. Berlin: A. Haude, und J. C. Spener. 3179:Whose Music? A Sociology of Musical Languages 2909:Journal of the American Musicological Society 2724:Journal of the American Musicological Society 2707:The Cambridge History of Western Music Theory 2105: 391:minor triad, a dominant in relation to D, or 8: 3481: 3418: 3327:. 2001. "Fétis: (1) François-Joseph Fétis". 2622: 2606: 2546: 2395: 2392:" In Alexandre Choron and François Fayolle, 2387: 1912: 1547:Shepherd, Virden, Vulliamy, and Wishart 1977 817:in 1862 of the first edition of Helmholtz's 278:as well as the 144 basic transformations of 3139:, third edition. Vienna: Universal-Edition. 3088:Jahrbuch der Musikbibliothek Peters 1914–15 2930:Basler Jahrbuch für historische Musikpraxis 1908: 1618: 917:Normally: "Ein Mädchen oder Weibchen" from 883:ⓧ (circled x) = possible but not inevitable 38:. For use of this term in photography, see 4217: 4203: 4195: 4057: 4043: 4035: 3016:. Westport, Connecticut: Greenwood Press. 2577:For more bibliographical information, see 2489:Studies in the Origin of Harmonic Tonality 2474:, 19:51–55. London: Macmillan Publishers. 2336:, eighth edition. New York: W. W. Norton. 2279:, seventh edition. New York: McGraw Hill. 1904: 1833: 1821: 1156:Computational methods to determine the key 739:Theorists such as Hugo Riemann, and later 604:(which he published in collaboration with 91:with the greatest stability is called the 3917:. San Marino, California: Everett Books. 3878:Neue musikalische Theorien und Phantasien 3855:Neue musikalische Theorien und Phantasien 3832:Neue musikalische Theorien und Phantasien 3292:Jazz Theory: From Basic to Advanced Study 3125:Neue musikalische Theorien und Phantasien 2575:(9th ed.). Paris, Brandus et Dufour. 2509:A Creative Approach to Music Fundamentals 2275:Benward, Bruce, and Marilyn Saker. 2003. 2170: 2020: 1872: 1761: 1606: 1494: 1094:Music for Strings, Percussion and Celesta 351:around 1600, with the difference between 3822:. Chicago: University of Chicago Press. 3618: 3389:Tonality 1900–1950: Concept and Practice 3277:. London & New York: A&C Black. 2735:. New York; London: Garland Publishing. 2349:Burnett, Henry, and Roy Nitzberg. 2007. 2068: 1797: 1773: 1522: 1498: 1416: 1404: 1400: 3559:298, no. 5601 (December 13): 2167–2170. 3435:, second edition. New York: Routledge. 3425: 2939:Orlando di Lasso in der Musikgeschichte 2594:Jean-Philippe Rameau: His Life and Work 2430:Techniques of the Contemporary Composer 2210:, New York, Schirmer, 1942, p. 14, and 1900: 1896: 1892: 1888: 1884: 1594: 1534: 1243: 1140:", while others prefer to use the term 1066:In 1882, Hugo Riemann defined the term 664:. He described his earliest example of 263:, or employing the modal nuclei of the 27:Harmonic structure with a central pitch 3372:Stravinsky: The Composer and His Works 2224:Purwins, Blankertz, and Obermayer 2000 2182: 2113: 2109: 2032: 2008: 1996: 1992: 1988: 1977:Wörner, Scheideler, and Rupprecht 2012 1661: 1645: 1482: 1360: 963: 750:In the music of some late-Romantic or 725:, was entirely natural and, following 326:Contrast with modal and atonal systems 140:, usually known as "classical music". 3804:, vol. 7, no. 5 (September): 272–277. 2858:, 283–300. Aldershot: Ashgate, 2007. 2856:Critical Essays in Popular Musicology 2608:Die Natur der Harmonik und der Metrik 2277:Music: In Theory and Practice, Vol. I 2194: 2153: 2093: 2056: 1860: 1848: 1809: 1749: 1737: 1725: 1713: 1689: 1633: 1582: 1570: 1558: 1474: 1470: 1458: 1431: 1388: 1380: 1376: 7: 2459:, 960–962. Mainz: B. Schott's Söhne. 2141: 2137: 2125: 2044: 1964: 1960: 1948: 1936: 1924: 1701: 1673: 1649: 1510: 1446: 1384: 1372: 1348: 1324: 1309: 890: 598:Sommaire de l'histoire de la musique 3915:Tonality in Music: A General Theory 3534:. New York: Philosophical Library. 2897:International Journal of Musicology 2208:Models for Beginners in Composition 2167:Burkholder, Grout, and Palisca 2009 1144:, and still others retain the term 880:x = return to tonic near inevitable 656:("pluritonic order") and, finally, 3613:Marpurg, Friedrich Wilhelm. 1757. 3237:. New York and London: Routledge. 2464:Dahlhaus, Carl. 1980. "Tonality". 964:Problems playing these files? See 436:In major and minor harmonies, the 411:", as in "the C-minor tonality of 310:Theoretical arrangement of pitches 25: 3988:Tonality, Modality, and Atonality 3581:Analytical Studies in World Music 3451:Analytical Studies in World Music 3218:Introduction to Post-Tonal Theory 1251:Benjamin, Horvit, and Nelson 2008 2960:. London: Macmillan Publishers. 2676:. London: Macmillan Publishers. 2655:The Craft of Musical Composition 2612:. Leipzig: Breitkopf und Härtel. 2173:, pp. v, 2, 33, 37, 58, 65, 108. 1217:Peter Westergaard's tonal theory 1187: 948: 924: 871: 732:It is in this era that the word 393: 259:pitch collections of Indonesian 120:from about 1600 to about 1910". 3968:Music Fundamentals: Tonal Music 3639:(first edition reprinted 1996, 3483:Dictionnaire de musique moderne 3341:. London: Macmillan Publishers 2767:Tonal Structures of Early Music 2750:Tonal Structures of Early Music 2733:Tonal Structures in Early Music 2705:Hyer, Brian. 2002. "Tonality". 2662:Hyer, Brian. 2001. "Tonality". 2569:Fétis, François-Joseph (1864). 2332:, and Claude V. Palisca. 2009. 695:Fetis described as tonality of 3998:Reference Guide to Tonal Music 3717:Understanding Post-Tonal Music 989:Outside common-practice period 831:, and melodic tonality, as in 702:Fétis believed that tonality, 285:For the composer and theorist 1: 3694:Rameau, Jean-Philippe. 1750. 3687:Rameau, Jean-Philippe. 1737. 3680:Rameau, Jean-Philippe. 1726. 3081:101:3–5, 23–26, 43–46, 67–70. 2731:Judd, Cristle Collins.1998a. 2294:Structural Functions in Music 606:François-Joseph-Marie Fayolle 3333:, second edition, edited by 3211:19, no. 1 (Spring): 112–138. 2952:, second edition, edited by 2911:34, no. 3 (Autumn): 428–470. 2801:Plainsong and Medieval Music 2668:, second edition, edited by 2637:Hermelink, Siegfried. 1960. 2432:. New York: Schirmer Books. 861:below, are actually "strict 521:(coming to rest point) or a 503:. For example, for a simple 238:Characteristics and features 159:(a rest point) in which the 122:Contemporary classical music 3895:Stegemann, Benedikt. 2013. 3778:Tonality and Transformation 3569:. Linz: Godofredo Tampechi. 3032:. 1872. "Üeber Tonalität." 1162:music information retrieval 1031:rendered so in the seminal 4353: 4016:Algebra of Tonal Functions 3872:Schenker, Heinrich. 1987. 3849:Schenker, Heinrich. 1979. 3814:, edited and annotated by 3737:. New York: W. W. Norton. 3698:. Paris: Durand et Pissot. 3603:Marpurg, Friedrich Wilhelm 3370:White, Eric Walter. 1979. 3290:Terefenko, Dariusz. 2014. 3144:Schoenberg, Arnold. 1978. 3079:Neue Zeitschrift für Musik 3034:Neue Zeitschrift für Musik 2334:A History of Western Music 736:was popularized by Fétis. 652:("transitonic order"), of 616:(ancient Greek modes) and 488: 477: 466:progression I–IV–vii°–iii– 413:Beethoven's Fifth Symphony 132:remains tonal. Harmony in 29: 4232: 4087:Consonance and dissonance 4072: 4020:Sonantometry.blogspot.com 3955:75, no. 2 (May): 161–179. 3719:. New York: McGraw-Hill. 3663:The Agony of Modern Music 3550:Contemporary Music Review 3414:Alembert, Jean le Rond d' 3095:Rogers, Michael R. 2004. 1479:Burnett and Nitzberg 2007 981:: "melodic tonality plus 939:Impossible return after B 808:Theoretical underpinnings 629:—most especially that of 491:Consonance and dissonance 485:Consonance and dissonance 449:consonance and dissonance 52:Perfect authentic cadence 3759:Shirlaw, Matthew. 1917. 3713:Roig-Francolí, Miguel A. 3525:A Short History of Music 3431:Benjamin, Thomas. 2003. 3216:Straus, Joseph N. 2000. 2829:Mayfield, Connie. 2013. 2457:Hans Heinrich Eggebrecht 2420:15, no. 1 (March): 9–40. 2081:Mangani and Sabaino 2008 1824:, pp. 444, 459–460. 1786:Wangermée and Ellis 2001 1678:Wangermée and Ellis 2001 1337:Benward & Saker 2003 886:O (circle) = impossible 819:On the Sensation of Tone 787:tonality, respectively. 764:Pyotr Ilyich Tchaikovsky 224:common practice tonality 184:Alexandre-Étienne Choron 4144:Otonality and utonality 4030:BW.Musique.UMontreal.ca 3947:West, Martin Litchfield 3703:Musikalische Zeitfragen 3647:; second edition 1995, 3323:Wangermée, Robert, and 3294:. New York: Routledge. 3209:Journal of Music Theory 3048:Allgemeine Musikzeitung 2651:Unterweisung im Tonsatz 1212:Otonality and utonality 1166:classical Western music 618:tonalité ecclésiastique 385:, the minor 3rd in an F 316:theoretical arrangement 246:Systematic organization 34:. For tone colour, see 3820:Elisabeth Mann-Borgese 3792:Schellenberg, E. Glenn 3482: 3419: 3057:Die Natur der Harmonik 3002:Leonardo Music Journal 2623: 2618:Helmholtz, Hermann von 2607: 2547: 2542:Fétis, François-Joseph 2487:Dahlhaus, Carl. 1990. 2396: 2388: 2328:Burkholder, J. Peter, 2309:Brown, Matthew. 2005. 2292:Berry, Wallace. 1976. 1063: 1061: 985:is modern tonality". 910: 525:to an A minor chord). 349:common practice period 190:in 1840. According to 138:common practice period 128:in almost all Western 79:is the arrangement of 73: 69: 4242:Fundamental frequency 3801:Psychological Science 3776:Rings, Steven. 2011. 3691:. Paris: Prault fils. 3669:Rameau, Jean-Philippe 3530:Gustin, Molly. 1969. 3490:Cohn, Richard. 2012. 3064:Riemann, Hugo. 1893. 3055:Riemann, Hugo. 1882. 2590:Girdlestone, Cuthbert 2448:. 1967. "Tonalität". 2169:, pp. 838, 885; 1076:neo-Riemannian theory 1060: 1043: 909: 560:chordal extensions". 298:) or as a historical 280:twelve-tone technique 216:harmonische Tonalität 188:François-Joseph Fétis 68: 50: 4164:Schenkerian analysis 4159:Progressive tonality 3629:Twelve-Tone Tonality 3505:DeVoto, Mark. 2004. 3036:68. 443–445, 451–454 2891:Pitt, David. 1995. " 2451:Riemann Musiklexikon 2140:, p. 18, et passim; 2108:, §V, 1, et passim; 1232:Schenkerian analysis 1174:constant-Q transform 574:Jean-Philippe Rameau 276:Jean-Philippe Rameau 194:, however, the term 186:and was borrowed by 3982:RobertKelleyPhd.com 3952:Music & Letters 3269:. 2003. "Harmony". 3050:2:205–206, 213–215. 2921:Early Music History 2241:Agawu, Kofi. 2009. 2226:, pp. 270–272. 2206:Arnold Schoenberg, 2185:, pp. 112–114. 1776:, pp. 101–102. 1014:Siegfried Hermelink 723:Tonverwandtschaften 650:ordre transitonique 584:, with inversions. 578:Treatise on Harmony 228:functional tonality 198:was only coined by 4296:Sympathetic string 4102:Secondary function 3897:Theory of Tonality 3808:Schenker, Heinrich 3548:. 1992. "Entune." 3156:. Reprinted 1983, 3133:Schoenberg, Arnold 3121:Schenker, Heinrich 3072:. London: Augener. 3042:1 (1985): 132–150. 2505:Duckworth, William 2116:, pp. 59, 61. 2106:Powers et al. 2001 1664:, pp. xxxviii, xl. 1064: 1062: 1006:of key in music". 911: 780:Alexander Scriabin 754:composers such as 654:ordre pluritonique 622:Claudio Monteverdi 614:tonalité des Grecs 564:History and theory 462:, I–IV–I–V–I; the 426:Other perspectives 355:(before 1600) and 342:Pre-modern concept 330:To contrast with " 204:types de tonalités 74: 70: 32:tone (linguistics) 4314: 4313: 4291:Spectral envelope 4192: 4191: 4097:Diatonic function 4002:TonalityGUIDE.com 3992:SolomonsMusic.net 3941:978-0-19-533667-2 3905:978-3-7959-0963-5 3830:. Translation of 3786:978-0-19-538427-7 3677:. Paris: Ballard. 3653:978-0-520-20142-2 3637:978-0-520-03387-0 3597:978-0-19-517789-3 3589:978-0-19-517788-6 3500:978-0-19-977269-8 3471:978-0-19-517789-3 3463:978-0-19-517788-6 3397:978-3-515-10160-8 3355:978-0-333-60800-5 3347:978-1-56159-239-5 3316:978-0-203-38000-0 3308:978-0-415-53761-2 3300:978-0-415-53759-9 3283:978-1-84714-472-0 3259:978-0-203-11929-7 3251:978-1-136-31421-6 3243:978-0-415-80888-0 3195:978-0-87855-815-5 3187:978-0-87855-384-6 3146:Theory of Harmony 2974:978-0-333-60800-5 2966:978-1-56159-239-5 2893:What Is Tonality? 2864:978-0-7546-2647-3 2839:Meyer, Leonard B. 2831:Theory Essentials 2822:Acta Musicologica 2792:978-0-19-532133-3 2690:978-0-333-60800-5 2682:978-1-56159-239-5 2602:Hauptmann, Moritz 2562:978-1-57647-111-1 2517:978-1-285-44620-2 2384:Choron, Alexandre 2376:978-0-8153-3160-5 2359:978-0-7546-5162-8 2342:978-0-393-93125-9 2285:978-0-07-294262-0 2268:978-0-495-18977-0 2251:978-0-19-537024-9 1913:Hindemith 1937–70 1728:, pp. 11–12. 1648:, pp. xxxvii–xl; 1277:978-0-07-802514-3 1264:Kostka, Stefan M. 1150:extended tonality 1058: 975: 974: 954: 930: 863:harmonic-rhythmic 844:chord progression 693:Tonalité ancienne 658:ordre omnitonique 631:Francesco Durante 627:Neapolitan School 523:deceptive cadence 403:Synonym for "key" 363:Referential tonic 353:tonalité ancienne 220:diatonic tonality 212:harmonic tonality 66: 56:chord progression 16:(Redirected from 4344: 4219: 4212: 4205: 4196: 4174:Tonality diamond 4082:Circle of fifths 4059: 4052: 4045: 4036: 3929:Tymoczko, Dmitri 3911:Thomson, William 3851:Free Composition 3818:; translated by 3796:Sandra E. Trehub 3659:Pleasants, Henry 3621: 3567:Harmonices mundi 3563:Kepler, Johannes 3521:Einstein, Alfred 3485: 3428: 3422: 3400: 3383: 3366: 3319: 3286: 3262: 3229: 3212: 3203: 3198: 3173: 3164:. Pbk ed. 1983, 3140: 3128: 3116: 3091: 3082: 3073: 3060: 3051: 3037: 3025: 3005: 2996: 2985: 2942: 2933: 2924: 2912: 2900: 2887: 2867: 2846: 2834: 2825: 2816: 2809:Lowinsky, Edward 2804: 2795: 2778: 2761: 2744: 2727: 2718: 2701: 2658: 2642: 2633: 2626: 2613: 2610: 2597: 2576: 2565: 2550: 2537: 2520: 2500: 2483: 2460: 2441: 2421: 2412: 2400: 2391: 2379: 2362: 2345: 2330:Donald Jay Grout 2324: 2305: 2288: 2271: 2254: 2227: 2221: 2215: 2204: 2198: 2192: 2186: 2180: 2174: 2163: 2157: 2151: 2145: 2135: 2129: 2123: 2117: 2103: 2097: 2090: 2084: 2078: 2072: 2066: 2060: 2054: 2048: 2042: 2036: 2030: 2024: 2018: 2012: 2006: 2000: 1986: 1980: 1974: 1968: 1958: 1952: 1946: 1940: 1934: 1928: 1922: 1916: 1909:Schenker 1906–35 1882: 1876: 1870: 1864: 1858: 1852: 1846: 1837: 1831: 1825: 1819: 1813: 1807: 1801: 1795: 1789: 1783: 1777: 1771: 1765: 1759: 1753: 1747: 1741: 1735: 1729: 1723: 1717: 1711: 1705: 1699: 1693: 1687: 1681: 1671: 1665: 1659: 1653: 1643: 1637: 1631: 1622: 1619:Girdlestone 1969 1616: 1610: 1604: 1598: 1592: 1586: 1580: 1574: 1568: 1562: 1556: 1550: 1544: 1538: 1532: 1526: 1520: 1514: 1508: 1502: 1492: 1486: 1468: 1462: 1456: 1450: 1444: 1435: 1429: 1420: 1414: 1408: 1398: 1392: 1370: 1364: 1358: 1352: 1346: 1340: 1334: 1328: 1322: 1313: 1307: 1290: 1289: 1260: 1254: 1248: 1227:Tonality diamond 1203:History of music 1197: 1192: 1191: 1190: 1102: 1101: 1081:Forte's set-type 1059: 1025:Josquin des Prez 1022: 956: 955: 944: 943: 932: 931: 908: 875: 868: 867: 727:Moritz Hauptmann 704:tonalité moderne 697:ordre unitonique 687:tonalité moderne 666:tonalité moderne 646:tonalité moderne 610:tonalité moderne 510:dominant seventh 464:circle of fifths 398: 397: 390: 389: 384: 383: 357:tonalité moderne 182:originated with 165:dominant seventh 67: 21: 4352: 4351: 4347: 4346: 4345: 4343: 4342: 4341: 4317: 4316: 4315: 4310: 4259:Microinflection 4237:Colors of noise 4228: 4223: 4193: 4188: 4124:Major and minor 4114:Just intonation 4068: 4063: 4008:Tonalcentre.org 3972:BigComposer.com 3963: 3958: 3612: 3412: 3408: 3406:Further reading 3403: 3386: 3369: 3325:Katharine Ellis 3322: 3289: 3265: 3232: 3215: 3206: 3201: 3176: 3143: 3131: 3119: 3094: 3085: 3076: 3063: 3054: 3045: 3028: 3008: 3004:2, no. 1:45–47. 2999: 2988: 2945: 2936: 2927: 2915: 2903: 2890: 2870: 2849: 2837: 2828: 2819: 2807: 2798: 2781: 2764: 2747: 2730: 2721: 2704: 2661: 2647:Hindemith, Paul 2645: 2636: 2616: 2600: 2588: 2568: 2540: 2523: 2503: 2486: 2463: 2444: 2424: 2415: 2382: 2365: 2348: 2327: 2308: 2291: 2274: 2257: 2240: 2236: 2231: 2230: 2222: 2218: 2205: 2201: 2193: 2189: 2181: 2177: 2164: 2160: 2152: 2148: 2136: 2132: 2124: 2120: 2112:, p. 441; 2104: 2100: 2091: 2087: 2079: 2075: 2067: 2063: 2055: 2051: 2043: 2039: 2031: 2027: 2019: 2015: 2007: 2003: 1991:, p. 439; 1987: 1983: 1975: 1971: 1959: 1955: 1947: 1943: 1935: 1931: 1923: 1919: 1905:Riemann 1914–15 1883: 1879: 1871: 1867: 1859: 1855: 1847: 1840: 1834:Schoenberg 1978 1832: 1828: 1822:Schoenberg 1922 1820: 1816: 1808: 1804: 1796: 1792: 1784: 1780: 1772: 1768: 1760: 1756: 1748: 1744: 1736: 1732: 1724: 1720: 1712: 1708: 1700: 1696: 1688: 1684: 1672: 1668: 1660: 1656: 1644: 1640: 1632: 1625: 1617: 1613: 1605: 1601: 1593: 1589: 1581: 1577: 1569: 1565: 1557: 1553: 1545: 1541: 1533: 1529: 1521: 1517: 1509: 1505: 1497:, p. 225; 1493: 1489: 1469: 1465: 1457: 1453: 1445: 1438: 1430: 1423: 1415: 1411: 1403:, p. 960; 1399: 1395: 1379:, p. 119; 1371: 1367: 1359: 1355: 1347: 1343: 1335: 1331: 1323: 1316: 1308: 1293: 1278: 1262: 1261: 1257: 1249: 1245: 1240: 1193: 1188: 1186: 1183: 1158: 1099: 1098: 1053: 1016: 991: 971: 970: 962: 960: 959: 958: 957: 949: 946: 941: 940: 935: 934: 933: 925: 922: 919:The Magic Flute 912: 906: 858:The Magic Flute 853:Gregorian chant 810: 793: 776:Richard Strauss 741:Edward Lowinsky 590: 571: 566: 531: 497:common practice 493: 487: 482: 476: 447:considers key, 428: 405: 392: 387: 386: 381: 380: 374: 365: 344: 328: 312: 248: 240: 109:of the scale. 71: 61: 59: 43: 28: 23: 22: 15: 12: 11: 5: 4350: 4348: 4340: 4339: 4334: 4329: 4319: 4318: 4312: 4311: 4309: 4308: 4303: 4298: 4293: 4288: 4281: 4276: 4271: 4266: 4261: 4256: 4251: 4244: 4239: 4233: 4230: 4229: 4224: 4222: 4221: 4214: 4207: 4199: 4190: 4189: 4187: 4186: 4181: 4176: 4171: 4166: 4161: 4156: 4151: 4146: 4141: 4136: 4131: 4126: 4121: 4116: 4111: 4106: 4105: 4104: 4094: 4092:Diatonic scale 4089: 4084: 4079: 4073: 4070: 4069: 4064: 4062: 4061: 4054: 4047: 4039: 4033: 4032: 4022: 4012: 4004: 3994: 3984: 3974: 3962: 3961:External links 3959: 3957: 3956: 3944: 3926: 3908: 3893: 3870: 3859:Der freie Satz 3847: 3805: 3789: 3774: 3773: 3772: 3757: 3728: 3710: 3699: 3692: 3685: 3678: 3666: 3656: 3622: 3610: 3600: 3577: 3570: 3560: 3553: 3552:6, no. 2:9–10. 3543: 3528: 3518: 3503: 3488: 3474: 3455:Michael Tenzer 3444: 3429: 3409: 3407: 3404: 3402: 3401: 3384: 3367: 3363:978-0195170672 3320: 3287: 3263: 3230: 3213: 3204: 3199: 3174: 3141: 3129: 3117: 3092: 3083: 3074: 3061: 3052: 3043: 3026: 3006: 2997: 2986: 2982:978-0195170672 2943: 2934: 2925: 2917:Powers, Harold 2913: 2905:Powers, Harold 2901: 2888: 2868: 2847: 2835: 2826: 2817: 2805: 2796: 2779: 2762: 2745: 2728: 2719: 2702: 2698:978-0195170672 2659: 2643: 2634: 2614: 2598: 2586: 2572:Traité complet 2566: 2538: 2521: 2501: 2484: 2461: 2446:Dahlhaus, Carl 2442: 2422: 2418:Music Analysis 2413: 2380: 2363: 2346: 2325: 2306: 2289: 2272: 2255: 2237: 2235: 2232: 2229: 2228: 2216: 2212:Style and Idea 2199: 2197:, p. 558. 2187: 2175: 2171:Silberman 2006 2158: 2146: 2144:, p. 401. 2130: 2128:, p. 401. 2118: 2098: 2085: 2073: 2061: 2049: 2037: 2035:, p. 439. 2025: 2021:Hermelink 1960 2013: 2011:, p. 226. 2001: 1999:, p. 221. 1995:, p. 12; 1981: 1969: 1953: 1941: 1929: 1917: 1877: 1873:Helmholtz 1877 1865: 1863:, p. 236. 1853: 1851:, p. 241. 1838: 1836:, p. 383. 1826: 1814: 1802: 1790: 1778: 1766: 1762:Hauptmann 1853 1754: 1742: 1740:, p. 249. 1730: 1718: 1716:, p. 132. 1706: 1704:, p. 748. 1694: 1692:, p. 171. 1682: 1666: 1654: 1638: 1623: 1621:, p. 520. 1611: 1607:Terefenko 2014 1599: 1597:, p. 331. 1587: 1585:, p. 187. 1575: 1573:, p. 213. 1563: 1561:, p. 191. 1551: 1549:, p. 156. 1539: 1527: 1525:, p. 102. 1515: 1503: 1495:Duckworth 2015 1487: 1481:, p. 97; 1473:, p. 54; 1463: 1451: 1449:, p. 291. 1436: 1421: 1409: 1393: 1365: 1353: 1351:, p. 299. 1341: 1329: 1327:, p. 534. 1314: 1291: 1276: 1255: 1242: 1241: 1239: 1236: 1235: 1234: 1229: 1224: 1219: 1214: 1205: 1199: 1198: 1182: 1179: 1157: 1154: 990: 987: 979:Claude Debussy 973: 972: 961: 947: 937: 936: 923: 915: 914: 913: 904: 903: 902: 900: 899: 898: 897: 896: 895: 894: 884: 881: 809: 806: 792: 789: 768:Anton Bruckner 756:Richard Wagner 711:Traité complet 682:accord parfait 678:accord parfait 674:accord parfait 670:Cruda amarilli 589: 586: 570: 567: 565: 562: 530: 527: 489:Main article: 486: 483: 478:Main article: 475: 472: 427: 424: 404: 401: 373: 372:Tonal theories 370: 364: 361: 343: 340: 327: 324: 311: 308: 267:or the Indian 247: 244: 239: 236: 161:dominant chord 118:European music 26: 24: 14: 13: 10: 9: 6: 4: 3: 2: 4349: 4338: 4335: 4333: 4330: 4328: 4325: 4324: 4322: 4307: 4304: 4302: 4299: 4297: 4294: 4292: 4289: 4287: 4286: 4282: 4280: 4277: 4275: 4272: 4270: 4267: 4265: 4262: 4260: 4257: 4255: 4252: 4250: 4249: 4245: 4243: 4240: 4238: 4235: 4234: 4231: 4227: 4220: 4215: 4213: 4208: 4206: 4201: 4200: 4197: 4185: 4184:Voice leading 4182: 4180: 4177: 4175: 4172: 4170: 4167: 4165: 4162: 4160: 4157: 4155: 4152: 4150: 4147: 4145: 4142: 4140: 4137: 4135: 4132: 4130: 4127: 4125: 4122: 4120: 4117: 4115: 4112: 4110: 4107: 4103: 4100: 4099: 4098: 4095: 4093: 4090: 4088: 4085: 4083: 4080: 4078: 4075: 4074: 4071: 4067: 4060: 4055: 4053: 4048: 4046: 4041: 4040: 4037: 4031: 4027: 4023: 4021: 4017: 4013: 4010: 4009: 4005: 4003: 3999: 3995: 3993: 3989: 3985: 3983: 3979: 3975: 3973: 3969: 3965: 3964: 3960: 3954: 3953: 3948: 3945: 3942: 3938: 3934: 3930: 3927: 3924: 3923:0-940459-19-1 3920: 3916: 3912: 3909: 3906: 3902: 3898: 3894: 3891: 3890:0-02-873220-0 3887: 3883: 3879: 3875: 3871: 3868: 3867:0-582-28073-7 3864: 3860: 3856: 3852: 3848: 3845: 3844:0-262-69044-6 3841: 3837: 3836:Harmonielehre 3833: 3829: 3825: 3821: 3817: 3813: 3809: 3806: 3803: 3802: 3797: 3793: 3790: 3787: 3783: 3779: 3775: 3770: 3769:0-306-71658-5 3766: 3762: 3758: 3755: 3751: 3747: 3746: 3744: 3743:0-393-02193-9 3740: 3736: 3732: 3729: 3726: 3725:0-07-293624-X 3722: 3718: 3714: 3711: 3708: 3704: 3700: 3697: 3693: 3690: 3686: 3683: 3679: 3676: 3675: 3670: 3667: 3664: 3660: 3657: 3654: 3650: 3646: 3645:0-520-20142-6 3642: 3638: 3634: 3630: 3626: 3625:Perle, George 3623: 3620: 3619:Alembert 1752 3616: 3611: 3608: 3604: 3601: 3598: 3594: 3590: 3586: 3582: 3578: 3575: 3571: 3568: 3564: 3561: 3558: 3554: 3551: 3547: 3546:Harrison, Lou 3544: 3541: 3537: 3533: 3529: 3526: 3522: 3519: 3516: 3515:1-57647-090-3 3512: 3508: 3504: 3501: 3497: 3493: 3489: 3486: 3484: 3478: 3475: 3472: 3468: 3464: 3460: 3456: 3452: 3448: 3447:Blum, Stephen 3445: 3442: 3441:0-415-94391-4 3438: 3434: 3430: 3427: 3423: 3421: 3415: 3411: 3410: 3405: 3398: 3394: 3390: 3385: 3381: 3380:0-520-03985-8 3377: 3373: 3368: 3364: 3360: 3356: 3352: 3348: 3344: 3340: 3336: 3335:Stanley Sadie 3332: 3331: 3326: 3321: 3317: 3313: 3309: 3305: 3301: 3297: 3293: 3288: 3284: 3280: 3276: 3272: 3268: 3264: 3260: 3256: 3252: 3248: 3244: 3240: 3236: 3231: 3227: 3226:0-13-014331-6 3223: 3219: 3214: 3210: 3205: 3200: 3196: 3192: 3188: 3184: 3180: 3175: 3171: 3170:0-520-04944-6 3167: 3163: 3162:0-520-04945-4 3159: 3155: 3154:0-520-03464-3 3151: 3147: 3142: 3138: 3137:Harmonielehre 3134: 3130: 3126: 3122: 3118: 3114: 3113:0-8093-2595-0 3110: 3106: 3105:0-8093-1147-X 3102: 3098: 3093: 3089: 3084: 3080: 3075: 3071: 3067: 3062: 3058: 3053: 3049: 3044: 3041: 3035: 3031: 3030:Riemann, Hugo 3027: 3023: 3022:0-313-20478-0 3019: 3015: 3011: 3010:Reti, Rudolph 3007: 3003: 2998: 2994: 2993: 2987: 2983: 2979: 2975: 2971: 2967: 2963: 2959: 2955: 2954:Stanley Sadie 2951: 2950: 2944: 2940: 2935: 2931: 2926: 2922: 2918: 2914: 2910: 2906: 2902: 2898: 2894: 2889: 2885: 2884:0-520-07430-0 2881: 2877: 2873: 2872:Perle, George 2869: 2865: 2861: 2857: 2853: 2852:Popular Music 2848: 2844: 2840: 2836: 2832: 2827: 2823: 2818: 2814: 2810: 2806: 2802: 2797: 2793: 2789: 2785: 2780: 2776: 2775:0-8153-2388-3 2772: 2768: 2763: 2759: 2758:0-8153-2388-3 2755: 2751: 2746: 2742: 2741:0-8153-2388-3 2738: 2734: 2729: 2725: 2720: 2716: 2715:0-521-62371-5 2712: 2708: 2703: 2699: 2695: 2691: 2687: 2683: 2679: 2675: 2671: 2670:Stanley Sadie 2667: 2666: 2660: 2656: 2652: 2648: 2644: 2640: 2635: 2631: 2627: 2625: 2619: 2615: 2611: 2609: 2603: 2599: 2595: 2591: 2587: 2584: 2580: 2574: 2573: 2567: 2563: 2559: 2555: 2551: 2549: 2543: 2539: 2535: 2534:0-8153-3160-6 2531: 2527: 2522: 2518: 2514: 2510: 2506: 2502: 2498: 2497:0-691-09135-8 2494: 2490: 2485: 2481: 2480:0-333-23111-2 2477: 2473: 2472:Stanley Sadie 2469: 2468: 2462: 2458: 2454: 2452: 2447: 2443: 2439: 2438:0-02-864737-8 2435: 2431: 2427: 2423: 2419: 2414: 2410: 2406: 2402: 2401: 2399: 2390: 2385: 2381: 2377: 2373: 2369: 2364: 2360: 2356: 2352: 2347: 2343: 2339: 2335: 2331: 2326: 2322: 2321:1-58046-160-3 2318: 2314: 2313: 2307: 2303: 2302:0-486-25384-8 2299: 2295: 2290: 2286: 2282: 2278: 2273: 2269: 2265: 2261: 2256: 2252: 2248: 2244: 2239: 2238: 2233: 2225: 2220: 2217: 2213: 2209: 2203: 2200: 2196: 2191: 2188: 2184: 2179: 2176: 2172: 2168: 2162: 2159: 2156:, p. 72. 2155: 2150: 2147: 2143: 2139: 2134: 2131: 2127: 2122: 2119: 2115: 2111: 2107: 2102: 2099: 2095: 2089: 2086: 2082: 2077: 2074: 2070: 2069:Lefferts 1995 2065: 2062: 2058: 2053: 2050: 2046: 2041: 2038: 2034: 2029: 2026: 2022: 2017: 2014: 2010: 2005: 2002: 1998: 1994: 1990: 1985: 1982: 1979:, p. 11. 1978: 1973: 1970: 1966: 1962: 1957: 1954: 1951:, p. 23. 1950: 1945: 1942: 1938: 1933: 1930: 1927:, p. 46. 1926: 1921: 1918: 1914: 1910: 1906: 1902: 1898: 1894: 1890: 1886: 1881: 1878: 1874: 1869: 1866: 1862: 1857: 1854: 1850: 1845: 1843: 1839: 1835: 1830: 1827: 1823: 1818: 1815: 1811: 1806: 1803: 1799: 1798:Lowinsky 1962 1794: 1791: 1787: 1782: 1779: 1775: 1774:Dahlhaus 1990 1770: 1767: 1763: 1758: 1755: 1751: 1746: 1743: 1739: 1734: 1731: 1727: 1722: 1719: 1715: 1710: 1707: 1703: 1698: 1695: 1691: 1686: 1683: 1679: 1675: 1670: 1667: 1663: 1658: 1655: 1651: 1647: 1642: 1639: 1635: 1630: 1628: 1624: 1620: 1615: 1612: 1609:, p. 26. 1608: 1603: 1600: 1596: 1591: 1588: 1584: 1579: 1576: 1572: 1567: 1564: 1560: 1555: 1552: 1548: 1543: 1540: 1537:, p. 66. 1536: 1531: 1528: 1524: 1523:Dahlhaus 1990 1519: 1516: 1512: 1507: 1504: 1501:, p. 94. 1500: 1499:Mayfield 2013 1496: 1491: 1488: 1485:, p. 47. 1484: 1480: 1477:, p. 4; 1476: 1472: 1467: 1464: 1461:, p. 46. 1460: 1455: 1452: 1448: 1443: 1441: 1437: 1433: 1428: 1426: 1422: 1418: 1417:Dahlhaus 1990 1413: 1410: 1407:, p. 51. 1406: 1405:Dahlhaus 1980 1402: 1401:Dahlhaus 1967 1397: 1394: 1390: 1386: 1383:, p. 5; 1382: 1378: 1374: 1369: 1366: 1362: 1357: 1354: 1350: 1345: 1342: 1339:, p. 36. 1338: 1333: 1330: 1326: 1321: 1319: 1315: 1311: 1306: 1304: 1302: 1300: 1298: 1296: 1292: 1287: 1283: 1279: 1273: 1269: 1265: 1259: 1256: 1253:, p. 63. 1252: 1247: 1244: 1237: 1233: 1230: 1228: 1225: 1223: 1220: 1218: 1215: 1213: 1209: 1206: 1204: 1201: 1200: 1196: 1185: 1180: 1178: 1175: 1171: 1167: 1163: 1155: 1153: 1151: 1147: 1143: 1139: 1135: 1131: 1127: 1123: 1119: 1115: 1111: 1107: 1104:the music of 1096: 1095: 1090: 1084: 1082: 1077: 1073: 1069: 1051: 1047: 1042: 1038: 1036: 1035: 1028: 1026: 1020: 1015: 1011: 1010:Harold Powers 1007: 1004: 1001:, Indonesian 1000: 996: 988: 986: 984: 980: 969: 967: 945: 921: 920: 901: 892: 888: 887: 885: 882: 879: 878: 877: 876: 874: 870: 869: 866: 864: 860: 859: 854: 849: 845: 842: 838: 834: 830: 826: 822: 820: 815: 807: 805: 803: 797: 790: 788: 785: 781: 777: 773: 772:Gustav Mahler 769: 765: 761: 757: 753: 752:post-Romantic 748: 746: 742: 737: 735: 730: 728: 724: 720: 717:In contrast, 715: 712: 707: 705: 700: 698: 694: 690: 688: 683: 679: 675: 671: 667: 663: 659: 655: 651: 647: 643: 639: 634: 632: 628: 623: 619: 615: 611: 607: 603: 599: 595: 587: 585: 583: 579: 575: 568: 563: 561: 557: 555: 551: 547: 543: 539: 534: 528: 526: 524: 520: 516: 511: 506: 502: 501:popular music 498: 492: 484: 481: 473: 471: 469: 465: 461: 457: 452: 450: 446: 442: 439: 438:perfect fifth 434: 431: 425: 423: 421: 416: 414: 410: 402: 400: 396: 377: 371: 369: 362: 360: 358: 354: 350: 341: 339: 337: 333: 325: 323: 319: 317: 309: 307: 305: 301: 297: 292: 291:fin-de-siècle 288: 283: 281: 277: 272: 270: 266: 262: 258: 254: 245: 243: 237: 235: 233: 229: 225: 221: 217: 213: 209: 205: 201: 197: 193: 192:Carl Dahlhaus 189: 185: 181: 176: 174: 170: 166: 162: 158: 154: 150: 146: 141: 139: 135: 131: 130:popular music 127: 123: 119: 115: 110: 108: 104: 100: 96: 95: 90: 86: 82: 78: 57: 53: 49: 45: 41: 37: 33: 19: 4337:Music theory 4300: 4283: 4279:Rustle noise 4246: 4179:Tonicization 4154:Polytonality 4149:Parallel key 4109:Figured bass 4065: 4029: 4019: 4006: 4001: 3991: 3981: 3971: 3950: 3932: 3914: 3896: 3881: 3877: 3874:Counterpoint 3873: 3858: 3854: 3850: 3835: 3831: 3816:Oswald Jonas 3811: 3799: 3777: 3760: 3734: 3716: 3707:Walter Wiora 3705:, edited by 3702: 3695: 3688: 3681: 3672: 3662: 3628: 3614: 3606: 3580: 3573: 3566: 3556: 3549: 3531: 3524: 3506: 3491: 3480: 3477:Castil-Blaze 3453:, edited by 3450: 3432: 3426:Marpurg 1757 3417: 3388: 3371: 3339:John Tyrrell 3328: 3291: 3270: 3267:Tagg, Philip 3234: 3217: 3208: 3178: 3145: 3136: 3124: 3096: 3087: 3078: 3069: 3065: 3056: 3047: 3039: 3033: 3013: 3001: 2990: 2958:John Tyrrell 2947: 2938: 2929: 2920: 2908: 2896: 2875: 2855: 2851: 2842: 2830: 2821: 2812: 2800: 2783: 2766: 2749: 2732: 2723: 2706: 2674:John Tyrrell 2663: 2654: 2650: 2638: 2629: 2621: 2605: 2593: 2571: 2553: 2545: 2525: 2508: 2488: 2470:, edited by 2465: 2455:, edited by 2449: 2429: 2417: 2408: 2404: 2393: 2367: 2350: 2333: 2310: 2293: 2276: 2259: 2242: 2219: 2211: 2207: 2202: 2190: 2178: 2161: 2149: 2133: 2121: 2101: 2088: 2076: 2064: 2052: 2040: 2028: 2016: 2004: 1984: 1972: 1956: 1944: 1932: 1920: 1901:Riemann 1905 1897:Riemann 1893 1893:Riemann 1882 1889:Riemann 1875 1885:Riemann 1872 1880: 1868: 1856: 1829: 1817: 1805: 1793: 1781: 1769: 1757: 1745: 1733: 1721: 1709: 1697: 1685: 1669: 1657: 1641: 1614: 1602: 1595:Everett 2000 1590: 1578: 1566: 1554: 1542: 1535:Susanni 2012 1530: 1518: 1506: 1490: 1466: 1454: 1434:, p. 8. 1412: 1396: 1368: 1356: 1344: 1332: 1267: 1258: 1246: 1222:Polytonality 1208:Harry Partch 1195:Music portal 1159: 1149: 1145: 1141: 1092: 1085: 1071: 1067: 1065: 1049: 1045: 1032: 1029: 1008: 995:Arabic maqam 992: 976: 918: 856: 847: 825:Rudolph Réti 823: 818: 813: 811: 802:George Perle 798: 794: 791:20th century 749: 738: 733: 731: 722: 719:Hugo Riemann 716: 710: 708: 703: 701: 696: 692: 691: 686: 681: 677: 673: 669: 665: 657: 653: 649: 645: 644:. 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