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".
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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.
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
395:
48:
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.
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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".
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.
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
1056:
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
1054:
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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
440:
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
1086:
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
1005:
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
816:
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
321:
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
800:
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
786:
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")
559:
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
1078:
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,
1055:
850:
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
799:
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
795:
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
507:
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
1176:
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.
293:
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
952:
928:
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".
953:
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.
796:
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."
367:
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.
346:
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
929:
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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
2397:
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
64:
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.
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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
512:
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.
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
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.
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.
65:
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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
62:
950:
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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.
376:
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.
454:
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–
926:
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
517:
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
3682:
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
1013:
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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
927:
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.
993:
The noun "tonality" and adjective "tonal" are widely applied also, in studies of early and modern Western music, and in non-Western traditional music (
379:
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
1168:(recorded in audio data format) automatically. These methods are often based on a compressed representation of the pitch content in a 12-dimensional
938:
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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".
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242:
At least eight distinct senses of the word "tonality" (and corresponding adjective, "tonal"), some mutually exclusive, have been identified.
87:
of a musical work in a hierarchy of perceived relations, stabilities, attractions, and directionality. In this hierarchy the single pitch or
63:
1012:, in a series of articles, used terms "sixteenth-century tonalities" and "Renaissance tonality". He borrowed German "Tonartentyp" from
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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
3745:. Samson suggests the following discussions of tonality as defined by Fétis, Helmholtz, Riemann, D'Indy, Adler, Yasser, and others:
3576:. LP sound recording, 33⅓ rpm, 12 inch, with bibliography (23 p. ill.) laid in container. : Bit Enki Records. LCC#75-750773 /R.
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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
1083:
6–20, but manifested as a succession of from four to six alternating major and minor triads), defined without reference to a tonic.
2722:
Judd, Cristle Collins. 1992. "Modal Types and "Ut, Re, Mi" Tonalities: Tonal Coherence in Sacred Vocal Polyphony from about 1500".
495:
The consonance and dissonance of different intervals plays an important role in establishing the tonality of a piece or section in
167:
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
916:
3391:, edited by Felix Wörner, Ulrich Scheideler, and Philip Ernst Rupprecht, 11–24. Musikwissenschaft. Stuttgart: Steiner Verlag.
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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".
17:
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2556:, translated by Peter M. Landey. Harmonologia: Studies in Music Theory 13. Hillsdale, New York: Pendragon Press, 2008.
399:(where the caret designates a scale degree) in G major rather than a mere acoustical frequency, in this case 440 Hz".
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1136:, and, especially, Stravinsky) from the stricter kind associated with the 18th century, some writers use the term "
451:(relaxation and tension, respectively), and hierarchical relationships the three most basic concepts in tonality.
210:
tonality, the system of musical organization of the common practice period. Major-minor tonality is also called
3658:
2657:, translated by Arthur Mendel and Otto Ortmann. New York: Associated Music Publishers; London: Schott. 1941–42.
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
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2786:, edited by Edward Gollin and Alexander Rehding, 400–418. Oxford and New York: Oxford University Press.
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2296:. Englewood Cliffs, New Jersey: Prentice-Hall. Reprinted, Mineola New York: Dover Publications, 1987.
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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
51:
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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
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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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2524:
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.
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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
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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
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3059:. Sammlung musikalischer Vorträge 40, ed. Paul Graf Waldersee. Leipzig: Breitkopf und Härtel.
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Systematische Einleitung in die musikalische Setzkunst, nach den Lehrsätzen des Herrn Rameau
612:, distinguished modern music's harmonic organization from that of earlier music, including
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Abhandlung von der Fuge nach dem Grundsätzen der besten deutschen und ausländischen Meister
3148:, translated by Roy E. Carter. Berkeley & Los Angeles: University of California Press.
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began to be seen as the definitive way that a tonality is established in a work of music.
8:
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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
3424:. Paris: David l'aîné. Facsimile reprint, New York: Broude Bros., 1966. Translated by
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Continuum Encyclopedia of Popular Music of the World Part 1 Performance and Production
2928:
Powers, Harold. 1992. "Is Mode Real? Pietro Aron, the Octenary System and Polyphony".
2552:. Brussels: Conservatoire de Musique; Paris: Maurice Schlesinger. English edition, as
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1270:. Dorothy Payne, Byron Almén (7th ed.). New York: McGraw-Hill. pp. 454–455.
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2878:, sixth edition, revised. Berkeley and Los Angeles: University of California Press.
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Dispositiones modorum: die Tonarten in der Musik Palestrinas und seiner Zeitgenossen
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660:("omnitonic order"). The "transitonic" phase of tonality he connected with the late
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3509:. Dimension and Diversity: Studies in 20th-century Music 4. N.p.: Pendragon Press.
3181:. London: Latimer. Reprinted, Picataway, New Jersey: Transaction Publishers, 2008.
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Tonality, Atonality, Pantonality: A Study of Some Trends in Twentieth Century Music
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3583:, edited by Michael Tenzer, 92–119. Oxford and New York: Oxford University Press.
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Judd, Cristle Collins. 1998c. "Josquin's Gospel Motets and Chant-Based Tonality",
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4 ("A Birthday Offering for George Perle", edited by Gary S. Karpinski): 291–300.
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Music, the Arts, and Ideas: Patterns and Predictions in Twentieth-Century Culture
2808:
2570:
2351:
Composition, Chromaticism and the Developmental Process: A New Theory of Tonality
1165:
1129:
862:
857:
852:
775:
744:
740:
640:
in the 1830s and 1840s, finally codifying his theory of tonality in 1844, in his
518:
496:
207:
156:
117:
3935:. Oxford Studies in Music Theory. Oxford and New York: Oxford University Press.
3780:. Oxford Studies in Music Theory. Oxford and New York: Oxford University Press.
3494:. Oxford Studies in Music Theory. Oxford and New York: Oxford University Press.
3374:, second edition. Berkeley and Los Angeles: The University of California Press.
3066:
Vereinfachte Harmonielehre oder die Lehre von den tonalen Funktionen der Akkorde
3046:
Riemann, Hugo. 1875. "Die objective Existenz der Untertöne in der Schallwelle".
2245:. Oxford Studies in Music Theory. Oxford and New York: Oxford University Press.
824:
4091:
3454:
2646:
1970:
1125:
978:
767:
755:
545:
455:
160:
2653:. 3 vols. Mainz, B. Schott's Söhne, 1937–70. First two volumes in English, as
4320:
4273:
4183:
3933:
A Geometry of Music: Harmony and Counterpoint in the Extended Common Practice
3795:
3420:
Elémens de musique, theorique et pratique, suivant les principes de m. Rameau
3334:
2953:
2916:
2904:
2669:
2641:. Münchner Veröffentlichungen zur Musikgeschichte 4. Tutzing: Hans Schneider.
2491:. Translated by Robert O. Gjerdingen. Princeton: Princeton University Press.
2471:
2445:
1285:
1263:
1105:
1009:
840:
771:
751:
581:
500:
437:
191:
129:
92:
88:
84:
80:
3899:, translated by David LeClair. Theoretical Studies. Wilhelmshaven: Noetzel.
3097:
Teaching Approaches in Music Theory: An Overview of Pedagogical Philosophies
2526:
Expression in Pop-Rock Music: A Collection of Critical and Analytical Essays
2368:
Expression in Pop-rock Music: A Collection of Critical and Analytical Essays
4278:
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4148:
4108:
3815:
3706:
3624:
3545:
3476:
3446:
3086:
Riemann, Hugo. 1914–15. "Ideen zu einer 'Lehre von den Tonvorstellungen'".
3029:
3009:
2871:
1221:
1207:
1194:
1080:
994:
801:
718:
553:
537:
479:
331:
315:
295:
286:
264:
206:
rather than a single system, today the term is most often used to refer to
199:
106:
98:
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
4168:
4133:
4118:
3997:
3949:. 1994. "The Babylonian Musical Notation and the Hurrian Melodic Texts".
3753:
3274:
3266:
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.
1244:
1169:
1137:
1121:
408:
152:
148:
102:
39:
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.
3978:
Tonal Harmony: Reference Materials for the Undergraduate Theory Student
3827:
3730:
3572:
Kilmer, Anne Draffkorn, Richard L. Crocker, and Robert R. Brown. 1976.
3176:
2425:
1546:
1109:
965:
648:
as the historically evolving phenomenon with three stages: tonality of
504:
444:
133:
113:
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
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
1033:
832:
828:
759:
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
549:
335:
143:"All harmonic idioms in popular music are tonal, and none is without
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
4305:
4268:
4253:
4138:
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.
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
1815:
147:." Tonality is an organized system of tones (e.g., the tones of a
4076:
3689:
Génération harmonique, ou Traité de musique théorique et pratique
3386:
3207:
Simms, Bryan. 1975. "Choron, Fétis, and the Theory of Tonality".
2989:
Purwins, Hendrik, Benjamin Blankertz, and Klaus Obermayer. 2000.
2988:
2223:
1976:
1655:
1002:
514:
314:
In another sense, tonality means any rational and self-contained
260:
252:
125:
2995:. "International Joint Conference on Neural Networks" 6:270–275.
1330:
136:
includes many but not all tonal characteristics of the European
4284:
4247:
4225:
3077:
Riemann, Hugo. 1905. "Das Problem des harmonischen Dualismus".
2782:
Kopp, David. 2011. "Chromaticism and the Question of Tonality.
2074:
1779:
430:
There is a loose assortment of ideas associated with the term.
35:
4007:
2407:. English translation of the "Sommaire" in John S. Sainsbury,
2327:
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".
47:
4263:
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.
1155:
672:, mm. 9–19 and 24–30), one sees a tonality determined by the
256:
3631:. Berkeley and Los Angeles: University of California Press.
3527:, fourth American edition, revised. New York: Vintage Books.
2257:
1250:
1044:
Riemann's illustration of a non-diatonic cadence possessing
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.
1767:
1629:
1627:
998:
268:
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.
1612:
602:
Dictionnaire historique des musiciens artistes et amateurs
4194:
2243:
Music as Discourse: Semiotic Adventures in Romantic Music
2176:
1827:
835:. In the harmonic kind, tonality is produced through the
325:
3838:. (Reprinted Cambridge, Massachusetts: MIT Press, 1973,
3099:, second edition. : Southern Illinois University Press.
2411:, second edition. London: Sainsbury and Co., Ltd., 1827.
1624:
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:
1600:
1516:
214:(in the title of Carl Dahlhaus, translating the German
3127:. 3 vols. in 4. Vienna and Leipzig: Universal Edition.
1719:
1588:
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
2026:
2014:
2002:
1866:
1528:
1427:
1425:
1320:
1318:
1148:, in its broader sense or use word combinations like
309:
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
2348:
2188:
2062:
1854:
1839:
1791:
1731:
1707:
1683:
1576:
1564:
1552:
1478:
1410:
1184:
3322:
2819:
2389:
Introduction: Sommaire de l'histoire de la musique.
2274:
2147:
2119:
2080:
1785:
1695:
1677:
1452:
1437:
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
1942:
1918:
1422:
1342:
1315:
1305:
1303:
1301:
1299:
1297:
1295:
2937:Powers, Harold. 1996. "Anomalous Modalities". In
2813:Tonality and Atonality in Sixteenth-Century Music
2050:
1803:
1743:
1354:
988:
721:believed tonality, "affinities between tones" or
4318:
2854:14, no. 2:185–201. Reprinted in Allan F. Moore,
2214:, New York, Philosophical Library, 1950, p. 103.
2038:
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
1292:
636:François-Joseph Fétis developed the concept of
237:
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.
402:
4210:
4050:
3609:. 2 vols. Berlin: A. Haude, und J. C. Spener.
3179:Whose Music? A Sociology of Musical Languages
2945:
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
3481:
3418:
3327:. 2001. "Fétis: (1) François-Joseph Fétis".
2645:
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
807:
484:
278:as well as the 144 basic transformations of
3139:, third edition. Vienna: Universal-Edition.
3119:
3088:Jahrbuch der Musikbibliothek Peters 1914–15
2930:Basler Jahrbuch für historische Musikpraxis
2588:
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:
4057:
4043:
3143:
3131:
3085:
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
245:
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
3289:
3201:
3125:Neue musikalische Theorien und Phantasien
2636:
2616:
2600:
2575:(9th ed.). Paris, Brandus et Dufour.
2509:A Creative Approach to Music Fundamentals
2503:
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:
3412:
3389:Tonality 1900–1950: Concept and Practice
3277:. London & New York: A&C Black.
2828:
2807:
2798:
2735:. New York; London: Garland Publishing.
2486:
2463:
2444:
2349:Burnett, Henry, and Roy Nitzberg. 2007.
2068:
1797:
1773:
1522:
1498:
1416:
1404:
1400:
1052:
1039:
60:
46:
3612:
3559:298, no. 5601 (December 13): 2167–2170.
3435:, second edition. New York: Routledge.
3425:
3232:
3076:
3063:
3054:
3045:
3028:
2939:Orlando di Lasso in der Musikgeschichte
2594:Jean-Philippe Rameau: His Life and Work
2523:
2430:Techniques of the Contemporary Composer
2210:, New York, Schirmer, 1942, p. 14, and
1900:
1896:
1892:
1888:
1884:
1594:
1534:
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
14:
4319:
3372:Stravinsky: The Composer and His Works
3215:
3094:
2936:
2927:
2915:
2903:
2382:
2224:Purwins, Blankertz, and Obermayer 2000
2182:
2113:
2109:
2032:
2008:
1996:
1992:
1988:
1977:Wörner, Scheideler, and Rupprecht 2012
1661:
1645:
1482:
1360:
1262:
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".
4198:
4038:
3804:, vol. 7, no. 5 (September): 272–277.
3369:
3206:
2870:
2858:, 283–300. Aldershot: Ashgate, 2007.
2856:Critical Essays in Popular Musicology
2849:
2837:
2764:
2747:
2730:
2608:Die Natur der Harmonik und der Metrik
2568:
2540:
2365:
2308:
2291:
2277:Music: In Theory and Practice, Vol. I
2240:
2194:
2153:
2093:
2056:
1860:
1848:
1809:
1749:
1737:
1725:
1713:
1689:
1633:
1582:
1570:
1558:
1474:
1470:
1458:
1431:
1388:
1380:
1376:
563:
425:
341:
3265:
3008:
2999:
2890:
2781:
2721:
2704:
2661:
2459:, 960–962. Mainz: B. Schott's Söhne.
2424:
2415:
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
362:
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,
24:
3613:Marpurg, Friedrich Wilhelm. 1757.
3405:
3237:. New York and London: Routledge.
2464:Dahlhaus, Carl. 1980. "Tonality".
964:Problems playing these files? See
905:
436:In major and minor harmonies, the
411:", as in "the C-minor tonality of
310:Theoretical arrangement of pitches
25:
4348:
3988:Tonality, Modality, and Atonality
3960:
3581:Analytical Studies in World Music
3451:Analytical Studies in World Music
3218:Introduction to Post-Tonal Theory
1251:Benjamin, Horvit, and Nelson 2008
371:
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.
2200:
2159:
2131:
2099:
2086:
1982:
1954:
1878:
1667:
1639:
1488:
1464:
790:
695:Fetis described as tonality of
587:
568:
528:
3998:Reference Guide to Tonal Music
3717:Understanding Post-Tonal Music
1394:
1366:
1256:
989:Outside common-practice period
831:, and melodic tonality, as in
702:Fétis believed that tonality,
285:For the composer and theorist
13:
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
4064:
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.
1237:
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
7:
3895:Stegemann, Benedikt. 2013.
3778:Tonality and Transformation
3569:. Linz: Godofredo Tampechi.
3032:. 1872. "Üeber Tonalität."
1180:
1162:music information retrieval
1031:rendered so in the seminal
10:
4353:
4224:
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
2233:
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
473:
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
18:Major-minor tonality
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:
4195:
4174:Tonality diamond
4082:Circle of fifths
4059:
4052:
4045:
4036:
4035:
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:
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2520:
2500:
2483:
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2441:
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2412:
2400:
2391:
2379:
2362:
2345:
2330:Donald Jay Grout
2324:
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2288:
2271:
2254:
2227:
2221:
2215:
2204:
2198:
2192:
2186:
2180:
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2163:
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2123:
2117:
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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:
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1699:
1693:
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1659:
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1643:
1637:
1631:
1622:
1619:Girdlestone 1969
1616:
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1370:
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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:
3408:
3406:Further reading
3403:
3325:Katharine Ellis
3004:2, no. 1:45–47.
2647:Hindemith, Paul
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:
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1748:
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1625:
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1593:
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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:
1261:
1257:
1249:
1245:
1240:
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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:
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4339:
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4156:
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4146:
4141:
4136:
4131:
4126:
4121:
4116:
4111:
4106:
4105:
4104:
4094:
4092:Diatonic scale
4089:
4084:
4079:
4073:
4070:
4069:
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:
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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:
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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:
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903:
902:
900:
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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:
9:
6:
4:
3:
2:
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4184:Voice leading
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3923:0-940459-19-1
3920:
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3906:
3902:
3898:
3894:
3891:
3890:0-02-873220-0
3887:
3883:
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3875:
3871:
3868:
3867:0-582-28073-7
3864:
3860:
3856:
3852:
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3845:
3844:0-262-69044-6
3841:
3837:
3836:Harmonielehre
3833:
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3809:
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3803:
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3769:0-306-71658-5
3766:
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3755:
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3747:
3746:
3744:
3743:0-393-02193-9
3740:
3736:
3732:
3729:
3726:
3725:0-07-293624-X
3722:
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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:
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3601:
3598:
3594:
3590:
3586:
3582:
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3575:
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3558:
3554:
3551:
3547:
3546:Harrison, Lou
3544:
3541:
3537:
3533:
3529:
3526:
3522:
3519:
3516:
3515:1-57647-090-3
3512:
3508:
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3486:
3484:
3478:
3475:
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3468:
3464:
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3456:
3452:
3448:
3447:Blum, Stephen
3445:
3442:
3441:0-415-94391-4
3438:
3434:
3430:
3427:
3423:
3421:
3415:
3411:
3410:
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:
2225:
2220:
2213:
2209:
2203:
2196:
2191:
2184:
2179:
2172:
2168:
2162:
2156:, p. 72.
2155:
2150:
2143:
2139:
2134:
2127:
2122:
2115:
2111:
2107:
2102:
2095:
2089:
2082:
2077:
2070:
2069:Lefferts 1995
2065:
2058:
2053:
2046:
2041:
2034:
2029:
2022:
2017:
2010:
2005:
1998:
1994:
1990:
1985:
1979:, p. 11.
1978:
1973:
1966:
1962:
1957:
1951:, p. 23.
1950:
1945:
1938:
1933:
1927:, p. 46.
1926:
1921:
1914:
1910:
1906:
1902:
1898:
1894:
1890:
1886:
1881:
1874:
1869:
1862:
1857:
1850:
1845:
1843:
1835:
1830:
1823:
1818:
1811:
1806:
1799:
1798:Lowinsky 1962
1794:
1787:
1782:
1775:
1774:Dahlhaus 1990
1770:
1763:
1758:
1751:
1746:
1739:
1734:
1727:
1722:
1715:
1710:
1703:
1698:
1691:
1686:
1679:
1675:
1670:
1663:
1658:
1651:
1647:
1642:
1635:
1630:
1628:
1620:
1615:
1609:, p. 26.
1608:
1603:
1596:
1591:
1584:
1579:
1572:
1567:
1560:
1555:
1548:
1543:
1537:, p. 66.
1536:
1531:
1524:
1523:Dahlhaus 1990
1519:
1512:
1507:
1501:, p. 94.
1500:
1499:Mayfield 2013
1496:
1491:
1485:, p. 47.
1484:
1480:
1477:, p. 4;
1476:
1472:
1467:
1461:, p. 46.
1460:
1455:
1448:
1443:
1441:
1433:
1428:
1426:
1418:
1417:Dahlhaus 1990
1413:
1407:, p. 51.
1406:
1405:Dahlhaus 1980
1402:
1401:Dahlhaus 1967
1397:
1390:
1386:
1383:, p. 5;
1382:
1378:
1374:
1369:
1362:
1357:
1350:
1345:
1339:, p. 36.
1338:
1333:
1326:
1321:
1319:
1311:
1306:
1304:
1302:
1300:
1298:
1296:
1287:
1283:
1279:
1273:
1269:
1265:
1259:
1253:, p. 63.
1252:
1247:
1243:
1233:
1230:
1228:
1225:
1223:
1220:
1218:
1215:
1213:
1209:
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1196:
1185:
1178:
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1163:
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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:
986:
984:
980:
969:
967:
945:
921:
920:
901:
892:
888:
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885:
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849:
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834:
830:
826:
822:
820:
815:
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803:
797:
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:
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547:
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524:
520:
516:
511:
506:
502:
501:popular music
498:
492:
481:
471:
469:
465:
461:
457:
452:
450:
446:
442:
439:
438:perfect fifth
434:
431:
423:
421:
416:
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410:
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377:
369:
360:
358:
354:
350:
339:
337:
333:
323:
319:
317:
307:
305:
301:
297:
292:
291:fin-de-siècle
288:
283:
281:
277:
272:
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262:
258:
254:
243:
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:
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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:
963:
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:. Fétis saw
641:
637:
635:
617:
613:
609:
601:
597:
593:
591:
588:19th century
577:
572:
569:18th century
558:
554:grunge music
538:leading-note
535:
532:
529:Tonal musics
494:
480:Musical form
453:
443:
435:
432:
429:
419:
417:
406:
378:
375:
366:
356:
352:
345:
329:
320:
313:
299:
290:
287:George Perle
284:
273:
265:Arabic maqam
249:
241:
231:
227:
223:
219:
215:
211:
203:
200:Castil-Blaze
195:
179:
177:
172:
168:
142:
111:
93:
76:
75:
44:
4169:Sonata form
4134:Neotonality
3882:Kontrapunkt
3731:Samson, Jim
3605:. 1753–54.
3275:Peter Wicke
3123:. 1906–35.
2824:80:231–250.
2726:45:428–467.
2426:Cope, David
2183:Straus 2000
2114:Powers 1982
2110:Powers 1981
2033:Powers 1981
2009:Powers 1996
1997:Powers 1996
1993:Powers 1992
1989:Powers 1981
1939:, p. .
1764:, p. .
1662:Choron 1810
1646:Choron 1810
1513:, p. .
1483:Rogers 2004
1361:Choron 1810
1170:pitch-class
1138:neotonality
1089:Béla Bartók
1017: [
893:, p. )
542:heavy metal
208:major–minor
173:dimensional
153:minor scale
40:tonal range
4321:Categories
4129:Modulation
2803:4:117–147.
2453:: Sachteil
2195:White 1979
2154:Agawu 2009
2094:Judd 1998a
2057:Judd 1998c
1861:Meyer 1967
1849:Meyer 1967
1810:Judd 1998b
1750:Fétis 1864
1738:Fétis 1844
1726:Fétis 1844
1714:Simms 1975
1690:Fétis 1844
1636:, p. xiii.
1634:Brown 2005
1583:Moore 1995
1571:Burns 2000
1559:Moore 1995
1475:Brown 2005
1471:Berry 1976
1459:Brown 2005
1432:Perle 1991
1391:, p. xiii.
1389:Brown 2005
1381:Judd 1998a
1377:Simms 1975
1142:centricity
983:modulation
966:media help
784:Schoenberg
662:Monteverdi
505:folk music
499:music and
445:David Cope
230:, or just
114:folk music
3591:(cloth);
3465:(cloth);
3349:(cloth);
3302:(cloth);
3253:(ebook);
3245:(cloth);
3189:(cloth);
3107:(cloth);
2968:(cloth);
2923:2: 43–86.
2684:(cloth);
2386:. 1810. "
2142:Kopp 2011
2138:Cohn 1996
2126:Kopp 2011
2045:Judd 1992
1965:Hyer 2002
1961:Hyer 2001
1949:Reti 1958
1937:Reti 1958
1925:Rais 1992
1702:Hyer 2002
1674:Hyer 2001
1650:Hyer 2001
1511:Cope 1997
1447:Pitt 1995
1385:Hyer 2001
1373:Reti 1958
1349:Pitt 1995
1325:Tagg 2003
1310:Hyer 2001
1286:812454417
1238:Footnotes
1134:Prokofiev
1126:Hindemith
1114:Bernstein
1074:. In the
1068:Tonalität
1046:Tonalität
1034:New Grove
997:, Indian
891:Reti 1958
833:monophony
829:homophony
760:Hugo Wolf
592:The term
550:punk rock
468:vi–ii–V–I
300:Aufhebung
178:The term
4327:Tonality
4306:Waveform
4301:Tonality
4269:Overtone
4254:Loudness
4139:Ostinato
4066:Tonality
3931:. 2011.
3913:. 1999.
3810:. 1954.
3754:12778863
3733:. 1977.
3671:. 1722.
3627:. 1978.
3565:. 1619.
3540:68-18735
3532:Tonality
3523:. 1954.
3479:. 1821.
3416:. 1752.
3318:(ebook).
3261:(ebook).
3135:. 1922.
3012:. 1958.
2932:16:9–52.
2874:. 1991.
2811:. 1962.
2620:. 1877.
2604:. 1853.
2592:. 1969.
2544:. 1844.
2507:. 2015.
2428:. 1997.
1266:(2013).
1181:See also
1146:tonality
1100:♭
1048:without
942:♮
734:tonality
638:tonalité
594:tonalité
546:new wave
460:I–IV–V–I
420:tonalité
388:♯
382:♭
271:system.
232:tonality
196:tonalité
180:tonalité
145:function
77:Tonality
54:(IV–V–I
4332:Harmony
4077:Cadence
3812:Harmony
3661:. 1955
3557:Science
3310:(pbk);
3090:: 1–26.
3040:Theoria
2583:9892650
2398:musique
2234:Sources
1130:Poulenc
1118:Britten
1003:slendro
848:as such
814:natural
745:cadence
709:Fétis'
600:to the
519:cadence
515:tritone
334:" and "
261:gamelan
253:slendro
169:unified
157:cadence
126:harmony
112:Simple
83:and/or
81:pitches
4285:Sawari
4248:Jivari
4226:Timbre
3939:
3921:
3903:
3888:
3865:
3842:
3828:280916
3826:
3794:, and
3784:
3767:
3752:
3741:
3723:
3715:2008.
3651:
3643:
3635:
3595:
3587:
3538:
3513:
3498:
3469:
3461:
3439:
3395:
3378:
3361:
3353:
3345:
3314:
3306:
3298:
3281:
3257:
3249:
3241:
3224:
3197:(pbk).
3193:
3185:
3168:
3160:
3152:
3115:(pbk).
3111:
3103:
3020:
2980:
2972:
2964:
2882:
2862:
2841:1967.
2790:
2773:
2756:
2739:
2713:
2696:
2688:
2680:
2581:
2560:
2532:
2515:
2495:
2478:
2436:
2405:passim
2374:
2357:
2340:
2319:
2304:(pbk).
2300:
2283:
2266:
2249:
1284:
1274:
1106:Barber
1072:Tonart
1050:Tonart
552:, and
456:ii–V–I
336:atonal
304:Adorno
296:Webern
97:. The
85:chords
36:timbre
4274:Pitch
4264:Noise
3599:(pbk)
3473:(pbk)
3365:(hc).
1021:]
582:triad
332:modal
257:pelog
149:major
107:modes
94:tonic
89:triad
3937:ISBN
3919:ISBN
3901:ISBN
3886:ISBN
3863:ISBN
3840:ISBN
3824:OCLC
3782:ISBN
3765:ISBN
3750:OCLC
3739:ISBN
3721:ISBN
3649:ISBN
3641:ISBN
3633:ISBN
3593:ISBN
3585:ISBN
3536:LCCN
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