Tonality Since 1950 (eBook)

Contents 6
Contributors 8
Felix Wörner, Ullrich Scheideler, and Philip RupprechtIntroduction 10
Concepts and Contexts 26
Ulrich Mosch:Foundation or Mere Quotation? Conditions for Applyingthe Tonality Concept to Music After 1950 28
Wolfgang Rathert:Total Tonality or Tonal Totality: A Compositional Issuein Music After 1945 52
Joseph Auner: The Stopped Clock: Tape Loops, Synthesizers, and the Transfiguration of Harmony 66
Nicole Biamonte:Pop/Rock Tonalities 90
Perspectives of the Mid-Century 104
Thomas Ahrend:“Das Wunderland”: Tonality and (Political) Topographyin Eisler’s Songs Around 1950 106
Ullrich Scheideler: Tonality in Henze’s Music of the 1950s and Early 1960s 130
Felix Meyer:“Everything we love belongs to us”: George Rochberg’s Adoptionof Tonality 154
Judit Frigyesi:The Macro- and Micro-Lives of Sounds in Morton Feldman’sThe Viola in My Life I 168
Processes, Objects, Functions, and Resonances: Directions Since 1970 188
Keith Potter:Harmonic Progressions as a Gradual Process: Towardsan Understanding of the Development of Tonalityin the Music of Steve Reich 190
Philip Rupprecht:Tonality Rediscovered: Oliver Knussen and the Musical “Object”in the 1970s 210
Peter J. Schmelz:Tonality After “New Tonality”: Silvestrov, Schnittke, and Polystylismin the Late USSR 234
Eric Drott:Saariaho, Timbre, and Tonality 260
Simone Heilgendorff:Projected Resonance: Tonal Dimensions of Microtonal Compositionin Music by Georg Friedrich Haas 284
Felix Wörner:Tonality as “Irrationally Functional Harmony”:Thomas Adès’s Piano Quintet 296
Volker Helbing:“Hungarian Tonality”? György Kurtág’s … rappel des oiseaux …from the Perspective of Albert Simon’s Theory of Tonfelder 314
Index 334