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< Talk:Tonality
Fétis![]()
I don't know who F['e]tis is and this info is now in the first paragraph.Hyacinth 06:12, 10 Jan 2004 (UTC)
'The term tonality seems to have been introduced into music by the Belgian composer and musicologist Joseph Fétis around the middle of the nineteenth century. It was meant to signify a musical state, which had for several centuries already been in general use, according to which a musical group is conceived (by the composer as well as the listener) as a unit related to, and so to speak derived from, a central tonal fundament, the tonic. This tonal fundament is understood as one note, or, in a more comprehensive sense, as the full triad-harmony of a note, be it major or minor. In fact, the word tonality was probably chosen merely as a linguistically pleasant abberviation of tonicality (thus also presaging atonality instead of the tongue-twisting atonicality).'(Reti, 1958, Tonality: Harmonic Tonality)
Outline
In this article tonality is described as a set of rules, which are actual guidelines created after the fact, and not as a system of relations and perceptions. Hyacinth
Criticism of the Outline
Note that most or all of the problems identified here have been corrected.
The article, as written, isn't very useful at all to someone without a strong working knowledge of music theory and musicology. Also, style of prose is more appropriate for a graduate-level college essay than for an encyclopaedia. For example, there is no need to sum up a section - if you need to sum up, you haven't done a good enough job breaking down the information into digestible bits. Along those lines, paragraphs and sentences should be shorter, and the whole thing needs to be further subdivided into sub-sections.
Also the content is wanting. First, remember that 'tonal music' redirects here. Zcommander total management for files & folders 3 4. This can't just be an article about the theory of tonality! If I wanted to know about tonality and tonal music, I'd probably want to see the following information (i.e., this is my propsoed outline):
Dave 21:19, Jun 26, 2005 (UTC)
Practical Sets
Compositional resources
I propose that compositional resources in the common practice period can be described in terms of practical sets.
The ultimate source set is the harmonic series. Common Practice composers and theoreticians have responded to this basic fact of nature by creating sets of:
Major scales,minor scales (all flavors),diatonic triads and extensions (tertian structures.)cadences, non-harmonic tones, secondary functions, partwriting procedures.harmonic progression practices,and thereconciliation of dissonance and consonance. Transition technics such as modulation were developed to tie everything together as coherently as possible.
To mold these basic resources into what Suzanne Langer would call 'significant forms' composers craft phrases, melodies and genres and seek meaningful unity, variety and symmetical and asymmetical balance. This constitutes the raw materials of grammar and rhetoric of musical ideas within style periods, nationalities, individual composers and even specific works. In other words the common practice period languages provided ample room for individuality for a very long period of time.
Impressionistic Set Repertoire
The revolutionary vision of the impressionist composers expanded the repertoire of sets described above to include:
Modes,whole tone scales,pentatonic scales,quartal and quintal chords,pan diatonic, pan pentatonic and pan whole tone structures.
New grammar such as planing and new types of modulations were invented to bind this expanded wealth of resources together. A heightened interest in timbre and new rhythmic designs added even more dimension to the new language.
The genius of Debussy and Ravel was to create a great number of works that effectively blended old and new resources into significant forms. There seems to have been no trial and error or 'mannererist' period of experimentation involving gimmicky failures and half successes. They also proved that the musical wheel could be effectively reinvented.
Beyond Impressionism
The challenge to composers ever since has been to craft a personal language whose new and old sets can be combined into expressive and formally significant compositions. In this quest 20th century composers often forgot that the audience is the client for their products. Verbose and convoluted annotations were typically provided to beg for respect for fundamentally unlikable experiments.
Enough! As 21st. century composers we must now direct our efforts to successfully serve the only population who, in the final analysis, justifies our existence. To paraphrase Bill Clinton's famous campaign slogan, 'It's the audience, stupid.'
Robert C. Howard
Titles?
The article currenlty has sections titled 'Vocabulary of Tonal Organization' and 'Tonal Theory' and 'History'. What exactly do those title mean? Is the 'Vocabulary of Tonal Organization' the vocabulary use to describe organization according to traditional theory? Is 'Theory' then the history of theory? Is 'History' the history of the 'use' of tonality, or the history of the theory of tonality, or both? Hyacinth 05:54, 10 May 2004 (UTC)
The article has an accumulation of material. The Vocabulary of tonal organization is a description of chord names and functions - which is required to able to read tonal analysis of almost any kind. The theory and history sections should probably be rewritten to make each clearer. The current article is defective in that it spends a great deal of time on some POVs which, while interesting, are not the dominant meanings of the word as it is generally used.
Stirling Newberry I would have to say that Reti gets a good deal more attention in the article than he does in the real world, particularly with respect to Schenker and Schoenberg who are still the most influential theorists on the subject of tonality. The use of tonality in Jazz is, similarly, given a somewhat short shrift. I feel we should rebalance the article to put more emphasis on the sort of material that most people will encounter and want information on.
Stirling Newberry added a great deal to the vocabulary section. I want the poor stiff who reads 'and then cadence on vi leads back to the tonic triad' to at least feel that there is some sense there.
Tonality Ck 1 4 2 8Thanks
User:Stirling Newberry, thanks for integrating the section on Reti into the history section.
Ck 1 SummerRemovedTonality Ck 1 4 20
Ck-12
I removed the above sentence because the article, as of yet, in no way mentions Dahlhaus' seven definitions. Hyacinth 00:10, 18 Aug 2004 (UTC)
Ck 1 Perfume For Men
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