Tonality Since 1950

Tonality Since 1950 documents the debate surrounding one of the most basic technical and artistic resources of music in the later 20th century. The flourishing of tonality a return to key, pitch center, and consonance in recent decades has undermined received views of its disintegration or collapse ca. 1910, intensifying the discussion of music's acoustical-theoretical bases, and of its broader cultural and metaphysical meanings. While historians of 20th-century music have often marginalized tonal practices, the present volume offers a new emphasis on emergent historical continuities. Musicians as diverse as Hindemith, the Beatles, Reich, and Saariaho have approached tonality from many different angles: as a figure of nostalgic longing, or as a universal law; as a quoted artefact of music's sedimented stylistic past, or as a timeless harmonic resource. Essays by 15 leading researchers cover a wide repertoire of concert and pop/rock music composed in Europe and America over the past half-century.

Autorentext
Felix Worner is a research associate and Lecturer in the Music Department of the University of Basel and serves as co-editor of the Zeitschrift der Gesellschaft für Musiktheorie. Ullrich Scheideler is Head of Music Theory at Humboldt-University in Berlin and a former editor of the Arnold Schoenberg Critical Edition. Philip Rupprecht is Professor of Music at Duke University. He is the author of British Musical Modernism: the Manchester Group and their Contemporaries and editor of Rethinking Britten.

Klappentext

Tonality Since 1950 documents the debate surrounding one of the most basic technical and artistic resources of music in the later 20th century. The flourishing of tonality - a return to key, pitch center, and consonance - in recent decades has undermined received views of its disintegration or collapse ca. 1910, intensifying the discussion of music's acoustical-theoretical bases, and of its broader cultural and metaphysical meanings. While historians of 20th-century music have often marginalized tonal practices, the present volume offers a new emphasis on emergent historical continuities. Musicians as diverse as Hindemith, the Beatles, Reich, and Saariaho have approached tonality from many different angles: as a figure of nostalgic longing, or as a universal law; as a quoted artefact of music's sedimented stylistic past, or as a timeless harmonic resource. Essays by 15 leading researchers cover a wide repertoire of concert and pop/rock music composed in Europe and America over the past half-century.