Atonalitas

Atonalitas dalam pengartian terluasnya adalah musik yang kurang nada utama, atau kunci. Dalam pengartian ini, atonalitas biasanya ditujukan kepada komposisi-komposisi yang dibuat dari sekitar tahun 1908 sampai saat ini, dimana sejumlah karya berfokus pada sebuah irama yang tak memakai nada utama.

Para komponis akhir abad ke-19 dan awal abad ke-20 seperti Alexander Scriabin, Claude Debussy, Béla Bartók, Paul Hindemith, Sergei Prokofiev, Igor Stravinsky, dan Edgard Varèse menulis musik yang dikatakan bersifat atonal, baik secara keseluruhan atau sebagian (Baker 1980; Baker 1986; Bertram 2000; Griffiths 2001; Kohlhase 1983; Lansky and Perle 2001; Obert 2004; Orvis 1974; Parks 1985; Rülke 2000; Teboul 1995–96; Zimmerman 2002).

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• Forte, Allen. 1977. The Structure of Atonal Music. New Haven and London: Yale University Press. ISBN 978-0-300-02120-2.
• Griffiths, Paul. 2001. "Varèse, Edgard [Edgar] (Victor Achille Charles)". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers.
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• Kennedy, Michael. 1994. "Atonal." The Oxford Dictionary of Music. Oxford & New York: Oxford University Press. ISBN 0-19-869162-9.
• Kohlhase, Hans. 1983. "Aussermusikalische Tendenzen im Frühschaffen Paul Hindemiths. Versuch uber die Kammermusik Nr. 1 mit Finale 1921". Hamburger Jahrbuch für Musikwissenschaft 6:183–223.
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• Lansky, Paul, and George Perle. 2001. "Atonality §2: Differences between Tonality and Atonality". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers.
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• Obert, Simon. 2004. "Zum Begriff Atonalität: Ein Vergleich von Anton Weberns 'Sechs Bagatellen für Streichquartett' op. 9 und Igor Stravinskijs 'Trois pièces pour quatuor à cordes'". In Das Streichquartett in der ersten Hälfte des 20. Jahrhunderts: Bericht über das Dritte Internationale Symposium Othmar Schoeck in Zürich, 19. und 20. Oktober 2001. Schriftenreihe der Othmar Schoeck-Gesellschaft 4, edited by Beat A. Föllmi and Michael Baumgartner. Tutzing: Schneider.
• Orvis, Joan. 1974. "Technical and stylistic features of the piano etudes of Stravinsky, Bartók, and Prokofiev". DMus Piano pedagogy: Indiana University.
• Oster, Ernst. 1960. "Re: A New Concept of Tonality (?)", Journal of Music Theory 4:96.
• Parks, Richard S. 1985. "Tonal Analogues as Atonal Resources and Their Relation to form in Debussy's Chromatic Etude". Journal of Music Theory 29, no. 1 (Spring): 33–60.
• Perle, George. 1962. Serial Composition and Atonality: An Introduction to the Music of Schoenberg, Berg, and Webern. University of California Press. ISBN 0-520-07430-0.
• Perle, George. 1977. Serial Composition and Atonality: An Introduction to the Music of Schoenberg, Berg, and Webern. Fourth Edition. Berkeley, Los Angeles, and London: University of California Press. ISBN 0-520-03395-7.
• Rahn, John. 1980. Basic Atonal Theory. New York: Longman, Inc. ISBN 0-582-28117-2.
• Stegemann, Benedikt. 2013. Theory of Tonality. Theoretical Studies. Wilhelmshaven: Noetzel. ISBN 978-3-7959-0963-5.
• Rülke, Volker. 2000. "Bartóks Wende zur Atonalität: Die "Études" op. 18". Archiv für Musikwissenschaft 57, no. 3:240–63.
• Schoenberg, Arnold. 1978. Theory of Harmony, translated by Roy Carter. Berkeley & Los Angeles: University of California Press.
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• Swift, Richard. 1982–83. "A Tonal Analog: The Tone-Centered Music of George Perle". Perspectives of New Music 21, nos. 1/2 (Fall-Winter/Spring-Summer): 257–84. (Subscription Access.)
• Teboul, Jean-Claude. 1995–96. "Comment analyser le neuvième interlude en si♭ du "Ludus tonalis" de Paul Hindemith? (Hindemith ou Schenker?) ". Ostinato Rigore: Revue Internationale d'Études Musicales, nos. 6–7:215–32.
• Webern, Anton. 1963. The Path to the New Music, translated by Leo Black. Bryn Mawr. Pennsylvania: Theodore Presser; London: Universal Edition.
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• Zimmerman, Daniel J. 2002. "Families without Clusters in the Early Works of Sergei Prokofiev". PhD diss. Chicago: University of Chicago.

• Beach, David (ed.). 1983. "Schenkerian Analysis and Post-Tonal Music", Aspects of Schenkerian Theory. New Haven: Yale University Press.
• Dahlhaus, Carl. 1966. "Ansermets Polemik gegen Schönberg." Neue Zeitschrift für Musik 127, no. 5:179–83.
• Forte, Allen. 1963. "Context and Continuity in an Atonal Work: A Set-Theoretic Approach". Perspectives of New Music 1, no. 2 (Spring): 72–82.
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• Forte, Allen. 1965. "The Domain and Relations of Set-Complex Theory". Journal of Music Theory 9, no. 1 (Spring): 173–80.
• Forte, Allen. 1972. Sets and Nonsets in Schoenberg's Atonal Music. Perspectives of New Music 11, no. 1 (Fall–Winter): 43–64.
• Forte, Allen. 1978a. The Harmonic Organization of The Rite of Spring. New Haven : Yale University Press. ISBN 978-0-300-02201-8.
• Forte, Allen. 1978b. "Schoenberg's Creative Evolution: The Path to Atonality". The Musical Quarterly 64, no. 2 (April): 133–76.
• Forte, Allen. 1980. "Aspects of Rhythm in Webern's Atonal Music". Music Theory Spectrum 2:90–109.
• Forte, Allen. 1998. The Atonal Music of Anton Webern. New Haven and London: Yale University Press. ISBN 978-0-300-07352-2.
• Forte, Allen, and Roy Travis. 1974. "Analysis Symposium: Webern, Orchestral Pieces (1913): Movement I ('Bewegt')". Journal of Music Theory 18, no. 1 (Spring, pp. 2–43.
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• Radano, Ronald M. 1993. New Musical Figurations: Anthony Braxton's Cultural Critique Chicago: University of Chicago Press.

Lihat entri atonalitas di kamus bebas Wiktionary.

Wikiquote memiliki koleksi kutipan yang berkaitan dengan: Atonalitas.

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