Music in transition: a study of tonal expansion and atonality, 1900-1920
The decades from 1900 to 1920 saw important changes in the very language of music. Traditional tonal organization gave way to new forms of musical expression and many of the foundations of modern music were laid. Samson first explores tonal expansion in the music of such nineteenth-centurycomposers as Liszt and Wagner and its reinterpretation in the music of Debussy, Busoni, Bartok, and Stravinsky. He then traces the atonal revolution, revealing the various paths taken by Schoenberg and his followers and describing their very different stylistic development.
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The nineteenthcentury background
The significance of Busoni
New tonal languages
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achieved atonal music augmented triad Bagatelles Bartok bass Berg Berg's Brahms Busoni cadential Chamber Symphony characteristic chord chromatic classical tonality clearly composers compositions Concerto context contrapuntal Debussy Debussy's diatonic diatonic functions dissonance dominant dominant-quality early atonal emphasized expression extended F sharp fifth flat formal German harmonic area harmonic language harmonic types idiom important influence intervallic later music Liszt major major-minor material methods middle-period minor minor thirds modal motive movement musical language nineteenth century opening orchestral pieces overall parallel part-movement patterns pedal points perfect fourth piano pieces Piano Sonata Pierrot Lunaire pitch Poem of Ecstasy procedures progression relationship rhythm rhythmic structure Russian Schoenberg Second Viennese School semitonal serial seventh Skryabin sonata-form Sonatina song Stravinsky style stylistic Szymanowski techniques textures thematicism theme tion tonal centre tonal functions tonal language tonal regions tonal structure tonal-harmonic tonic total chromatic traditional tonal triadic tritone underlying tonal Violin Webern whole-tone scale