Pantonality (other)
In music ''pantonality'' may refer to: * Twelve-tone music, seen as an extension of tonality to all keys (rather than to no key) *Nonfunctional tonality or pandiatonicism See also *Bitonality Polytonality (also polyharmony) is the musical use of more than one key simultaneously. Bitonality is the use of only two different keys at the same time. Polyvalence or polyvalency is the use of more than one harmonic function, from the same key, ...

Music
Music is generally defined as the The arts, art of arranging sound to create some combination of Musical form, form, harmony, melody, rhythm or otherwise Musical expression, expressive content. Exact definition of music, definitions of music vary considerably around the world, though it is an aspect of all human societies, a cultural universal. While scholars agree that music is defined by a elements of music, few specific elements, there is Elements of music#Selection of elements, no consensus on their precise definitions. The creation of music is commonly divided into musical composition, musical improvisation, and musical performance, though the topic itself extends into #Academic study, academic disciplines, Music journalism, criticism, Philosophy of music, philosophy, and Music psychology, psychology. Music may be performed or improvised using a vast range of musical instrument, instruments, including the human voice. In some musical contexts, a performance or composi ...
[...More Info...]       [...Related Items...]     OR:     [Wikipedia]   [Google]   [Baidu]  

Twelve-tone Music
The twelve-tone technique—also known as dodecaphony, twelve-tone serialism, and (in British usage) twelve-note composition—is a method of musical composition first devised by Austrian composer Josef Matthias Hauer, who published his "law of the twelve tones" in 1919. In 1923, Arnold Schoenberg (1874–1951) developed his own, better-known version of 12-tone technique, which became associated with the "Second Viennese School" composers, who were the primary users of the technique in the first decades of its existence. The technique is a means of ensuring that all 12 notes of the chromatic scale are sounded as often as one another in a piece of music while preventing the emphasis of any one notePerle 1977, 2. through the use of tone rows, orderings of the 12 pitch classes. All 12 notes are thus given more or less equal importance, and the music avoids being in a key. Over time, the technique increased greatly in popularity and eventually became widely influential on 20th-centu ...
[...More Info...]       [...Related Items...]     OR:     [Wikipedia]   [Google]   [Baidu]  

Tonality
Tonality is the arrangement of pitches and/or chords of a musical work in a hierarchy of perceived relations, stabilities, attractions and directionality. In this hierarchy, the single pitch or triadic chord with the greatest stability is called the tonic. The root of the tonic chord forms the name given to the key, so in the key of C major, the note C is both the tonic of the scale and the root of the tonic chord (which is C–E–G). Simple folk music songs often start and end with the tonic note. The most common use of the term "is to designate the arrangement of musical phenomena around a referential tonic in European music from about 1600 to about 1910". Contemporary classical music from 1910 to the 2000s may practice or avoid any sort of tonality—but harmony in almost all Western popular music remains tonal. Harmony in jazz includes many but not all tonal characteristics of the European common practice period, usually known as "classical music". "All harmonic idi ...
[...More Info...]       [...Related Items...]     OR:     [Wikipedia]   [Google]   [Baidu]  

Pandiatonicism
Pandiatonicism is a musical technique of using the diatonic (as opposed to the chromatic) scale without the limitations of functional tonality. Music using this technique is pandiatonic. History The term "pandiatonicism" was coined by Nicolas Slonimsky in the second edition of ''Music since 1900'' to describe chord formations of any number up to all seven degrees of the diatonic scale, "used freely in democratic equality". Triads with added notes such as the sixth, seventh, or second (added tone chords) are the most common,) while the, "most elementary form," is a nonharmonic bass. According to Slonimsky's definition, ''Pan-diatonicism'' sanctions the simultaneous use of any or all seven tones of the diatonic scale, with the bass determining the harmony. The chord-building remains tertian, with the seventh, ninth, or thirteenth chords being treated as consonances functionally equivalent to the fundamental triad. (The eleventh chord is shunned in tonic harmony because ...
[...More Info...]       [...Related Items...]     OR:     [Wikipedia]   [Google]   [Baidu]