The term tonalily has been used in a variety of ways in twentieth-century music theory.To clarify our usage of this term, we will define tonality as a system in which pitches are organized hierarchically around a tonal center, or tonic. The tonal system prevalent in what we know as the common-practice period is usually known as major-minor, or functional tonality. In functional tonality, chords have a harmonic or tonal function, which we can define as the relationship of a chord with the other chords in the key, and especially its relationship with the tonic. We usually label the specific functions of chords with Roman numerals. The basic harmonic functions are tonic, dominant, and predominant, although chords can also have a prolongational function (most often by providing an extension of another chord by means of passing or neighbor linear mo-
tion). In the music of some late-Romantic or post-Romantic composers such as Richard Wagner, Hugo Wolf, Anton Bruckner, Gustav Mahler, Richard Strauss, Alexander,Skryabin, and others, we find a variety of harmonic and linear procedures that have the effect of weakening functional tonality. These procedures may produce a suspension of tonality or may create a sense of tonal ambiguity, even to the point that at times the sense of tonaljty is completely lost.
The term tonalily has been used in a variety of ways in twentieth-century music theory.To clarify our usage of this term, we will define tonality as a system in which pitches are organized hierarchically around a tonal center, or tonic. The tonal system prevalent in what we know as the common-practice period is usually known as major-minor, or functional tonality. In functional tonality, chords have a harmonic or tonal function, which we can define as the relationship of a chord with the other chords in the key, and especially its relationship with the tonic. We usually label the specific functions of chords with Roman numerals. The basic harmonic functions are tonic, dominant, and predominant, although chords can also have a prolongational function (most often by providing an extension of another chord by means of passing or neighbor linear mo-
tion). In the music of some late-Romantic or post-Romantic composers such as Richard Wagner, Hugo Wolf, Anton Bruckner, Gustav Mahler, Richard Strauss, Alexander,Skryabin, and others, we find a variety of harmonic and linear procedures that have the effect of weakening functional tonality. These procedures may produce a suspension of tonality or may create a sense of tonal ambiguity, even to the point that at times the sense of tonaljty is completely lost.
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The term tonalily has been used in a variety of ways in twentieth-century music theory.To clarify our usage of this term, we will define tonality as a system in which pitches are organized hierarchically around a tonal center, or tonic. The tonal system prevalent in what we know as the common-practice period is usually known as major-minor, or functional tonality. In functional tonality, chords have a harmonic or tonal function, which we can define as the relationship of a chord with the other chords in the key, and especially its relationship with the tonic. We usually label the specific functions of chords with Roman numerals. The basic harmonic functions are tonic, dominant, and predominant, although chords can also have a prolongational function (most often by providing an extension of another chord by means of passing or neighbor linear mo-
tion). In the music of some late-Romantic or post-Romantic composers such as Richard Wagner, Hugo Wolf, Anton Bruckner, Gustav Mahler, Richard Strauss, Alexander,Skryabin, and others, we find a variety of harmonic and linear procedures that have the effect of weakening functional tonality. These procedures may produce a suspension of tonality or may create a sense of tonal ambiguity, even to the point that at times the sense of tonaljty is completely lost.
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