Skip to main content Accessibility help
×
Hostname: page-component-cd9895bd7-hc48f Total loading time: 0 Render date: 2024-12-25T16:13:11.994Z Has data issue: false hasContentIssue false

23 - Tonality

from D - Tonality

Published online by Cambridge University Press:  28 March 2008

Thomas Christensen
Affiliation:
University of Chicago
Get access

Summary

As a music-theoretical term, “tonality” was first used by Alexander Choron in 1810 to describe the arrangement of the dominant and subdominant above and below the tonic and thus to differentiate the harmonic organization of modern music (tonalité moderne) from that of earlier music (tonalité antique). One of the main conceptual categories in Western musical thought, tonality most often refers to the orientation of melodies and harmonies toward a referential (or tonic) pitch class. In the broadest possible sense, however, it refers to systematic arrangements of pitch phenomena and relations between them.

Usage

A number of musical and discursive factors have contributed to a veritable profusion of definitions for the term. To begin with, there has been considerable indecision about what musical domain the term covers: whether it applies to both Western and non-Western music, or whether, within Western musical traditions, the term can be restricted to the harmonic organization of music from the so-called common practice (1600–1910) or includes all music that evinces a basic difference between consonance and dissonance. There have also been some basic theoretical disagreements about whether its constituent musical elements are melodies or harmonies: however narrow the definition given to the term, the domain of tonal music is so enormous, diverse, and complex that one can choose almost any combination of musical phenomena and theoretical principles as the basis for discussion. In addition to these musical problems, enormous discursive difficulties have arisen from the conceptual languages used to describe tonal phenomena, theoretical vocabularies that vary dramatically according to the aesthetic and epistemological commitments of the writer.

Type
Chapter
Information
Publisher: Cambridge University Press
Print publication year: 2002

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Adorno, T.Versuch über Wagner (1938), Frankfurt, Suhrkamp, 1952Google Scholar
Albrechtsberger, J. G.Gründliche Anweisung zur Composition, Leipzig, Breitkopf, 1790Google Scholar
Arlin, M. as Esquisse de l’histoire de l’harmonie: An English-Language Translation of the François-Joseph Fétis History of Harmony, Stuyvesant, NY, Pendragon Press, 1994Google Scholar
Bailey, R.The Structure of the Ring and Its Evolution,” 19th-Century Music 1 (1977)CrossRefGoogle Scholar
Besseler, H.Tonalharmonik und Vollklang,” Acta 24 (1952)Google Scholar
Carter, R. as Theory of Harmony, Berkeley, University of California Press, 1978Google Scholar
Choron, A. as Méthode élémentaire de composition, 2 vols., Paris, Courcier, 1814Google Scholar
Choron, A. E.Sommaire de l’Histoire de la Musique,” in Dictionnaire historique des Musiciens, ed. Choron, and Fayolle, F. J., Paris, Valade and Lenormant, 1810; facs. Hildesheim, G. Olms, 1971Google Scholar
Cowell, H.New Terms for New Music,” Modern Music 5/2 (1928)Google Scholar
Dahlhaus, C.Untersuchungen über die Entstehung der harmonischen Tonalität, Kassel, Bärenreiter, 1968Google Scholar
D’Alembert, J.Elemens de musique, théorique et pratique, suivant les principes de M. Rameau, Paris, David l’aîné, Le Breton, and Durand, 1752; facs. New York, Broude, 1966; Ger. trans.Google Scholar
Drabkin, W. as “On Organicism in Sonata Form,” in The Masterwork in Music, vol. II, Cambridge University Press, 1996Google Scholar
Ellis, A. J. as On the Sensations of Tone as a Physiological Basis for the Theory of Music, 2nd edn., London, Longman and Green, 1885; reprint New York, Dover, 1954Google Scholar
Marpurg, F. as Systematische Einleitung in die musikalische Setzkunst nach den Lehrsätzen des Herrn Rameau, Leipzig, Breitkopf, 1757; facs. Leipzig, Zentralantiquariat der DDR, 1980Google Scholar
Fétis, F. J.Esquisse de l’histoire de l’harmonie, Paris, Bourgogne and Martinet, 1840Google Scholar
Fétis, F. J.Histoire générale de la musique depuis les temps les plus anciens jusqu’à nos jours, 4 vols., Paris, Didot Frères, 1869–76Google Scholar
Fétis, F. J.Traité complet de la théorie et de la pratique de l’harmonie, Paris, Schlesinger, 1844; 11th edn., Paris, Brandus, 1875Google Scholar
Geslin, P.Cours d’harmonie, Paris, Geslin, 1826Google Scholar
Gjerdingen, R. as Studies on the Origin of Harmonic Tonality, Princeton University Press, 1990Google Scholar
Hauptmann, M.Die Natur der Harmonik und der Metrik, Leipzig, Breitkopf und Härtel, 1853Google Scholar
Heathcote, W. as The Nature of Harmony and Metre, London, S. Sonnenschein, 1888Google Scholar
Helmholtz, H.Die Lehre von den Tonempfindungen als physiologischer Grundlage für die Theorie der Musik (1863), 4th edn., Braunschweig, F. Vieweg, 1877Google Scholar
Hostinský, O.Die Lehre von den musikalischen Klängen: Ein Beitrag zur aesthetischen Begründung der Harmonie-Lehre, Prague, H. Dominicus, 1879Google Scholar
Jelensperger, D.L’harmonie au commencement du 19me siècle, Paris, Zetter, 1830Google Scholar
Kurth, E.Romantische Harmonik und ihre Krise in Wagners “Tristan” (1919), 3rd edn., Berlin, M. Hesse, 1923; facs. Hildesheim, G. Olms, 1968 and 1998Google Scholar
Livingstone, R. as In Search of Wagner, London, Verso, 1981Google Scholar
Momigny, J.-J.Musique,” in Encyclopédie méthodique de Musique, ed. Framery, N. E., Ginguené, P. L., and Momigny, , Paris, Agasse, 1818; reprint New York, Da Capo Press, 1971Google Scholar
Momigny, J.-J.Cours complet d’harmonie et de composition après une théorie neuve et générale, 3 vols., Paris, Bailleul, 1806Google Scholar
Norton, R.Tonality in Western Culture: A Critical and Historical Perspective, University Park, Pennsylvania State University Press, 1984Google Scholar
Perle, G.Twelve-Tone Tonality, Berkeley, University of California Press, 1977Google Scholar
Powers, H. S.Is Mode Real? Pietro Aron, the Octenary System, and Polyphony,” Basler Jahrbuch 16 (1992)Google Scholar
Rameau, , in his Vorgemach (1745).
Rameau, J. P.Génération harmonique, Paris, Prault fils, 1737Google Scholar
Riemann, H.Ideen zu einer ‘Lehre von den Tonvorstellungen,’Jahrbuch der Musikbibliothek Peters 21 (1914)Google Scholar
Riepel, J.Grundregeln zur Tonordnung insgemein, vol. II of Anfangsgründe zur musikalischen Setzkunst, Frankfurt, Wagner, 1755; facs. Vienna, Böhlau, 1996Google Scholar
Said, E. W.Orientalism, New York, Pantheon, 1978Google Scholar
Sainsbury, J. as “Summary of the History of Music,” in Dictionary of Musicians from the Earliest Ages to the Present Time, London, Sainsbury, 1825; facs. New York, Da Capo Press, 1966Google Scholar
Schellhous, R.Fétis’s Tonality as a Metaphysical Principle: Hypothesis for a New Science,” Music Theory Spectrum (The Journal of the Society for Music Theory), University of California Press, 197913 (1991)Google Scholar
Schenker, H.Vom Organischen der Sonatenform,” in Das Meisterwerk in der Musik, vol. II, Munich, Drei Masken, 1926Google Scholar
Schenker, H.Harmonielehre, Stuttgart, Cotta, 1906; reprint Vienna, Universal, 1978; abridged trans. Mann Borgese, E. M., ed. Jonas, O. as Harmony, University of Chicago Press, 1954Google Scholar
Schoenberg, A.Harmonielehre (1911), 3rd edn., Vienna, Universal, 1922Google Scholar
Schoenberg, A.Structural Functions of Harmony (1954), rev. edn. Stein, L., New York, Norton, 1968Google Scholar
Subotnik, R. R.Tonality, Autonomy, and Competence in Post-Classical Music,” Critical Inquiry 6 (1979)CrossRefGoogle Scholar
Tonal Harmony and Full Sonority,” in Counterpoint and Compositional Process in the Time of Dufay, ed. Moll, K., New York, Garland, 1997Google Scholar
Tovey, D. F.Musical Form and Matter” (1934), in The Mainstream of Music, London, Oxford University Press, 1949Google Scholar
Warner, J. as The Theory of Musical Composition, London, R. Cocks, 1851Google Scholar
Wason, R. and West Marvin, E. as “Riemann’s ‘Ideen zu einer Lehre von den Tonvorstellungen’: An Annotated Translation,” Journal of Music Theory, New Haven, Yale University Press, 195736 (1992)Google Scholar
Weber, G.Versuch einer geordneten Theorie der Tonsetzkunst (1817–21), 3rd edn., 4 vols., Mainz, B. Schott, 1830–32Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure [email protected] is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

  • Tonality
  • Edited by Thomas Christensen, University of Chicago
  • Book: The Cambridge History of Western Music Theory
  • Online publication: 28 March 2008
  • Chapter DOI: https://doi.org/10.1017/CHOL9780521623711.025
Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

  • Tonality
  • Edited by Thomas Christensen, University of Chicago
  • Book: The Cambridge History of Western Music Theory
  • Online publication: 28 March 2008
  • Chapter DOI: https://doi.org/10.1017/CHOL9780521623711.025
Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

  • Tonality
  • Edited by Thomas Christensen, University of Chicago
  • Book: The Cambridge History of Western Music Theory
  • Online publication: 28 March 2008
  • Chapter DOI: https://doi.org/10.1017/CHOL9780521623711.025
Available formats
×