Second Viennese School
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| - | '''Atonality''' in its broadest sense describes [[music]] that lacks a [[Tonality|tonal centre]], or [[Key (music)|key]]. Atonality in this sense usually describes compositions written from about 1907 to the present day where a hierarchy of pitches focusing on a single, central tone is not used as a primary foundation for the work. More narrowly, the term describes music that does not conform to the system of [[Tonality|tonal]] hierarchies which characterized [[European classical music|classical]] European music between the [[17th century|seventeenth]] and [[19th century|nineteenth]] centuries. Chailly presents the evolution of tonal approaches with his useful diagram describing the [[emancipation of the dissonance]]. | ||
| - | More narrowly still, the term is used to describe music that is neither tonal nor [[Serialism|serial]], especially the pre-[[twelve-tone technique|twelve-tone]] music of the [[Second Viennese School]], principally [[Alban Berg]], [[Arnold Schoenberg]], and [[Anton Webern]]. However, composers such as [[George Antheil]], [[Béla Bartók]], [[John Cage]], [[Carlos Chávez]], [[Aaron Copland]], [[Roberto Gerhard]], [[Alberto Ginastera]], [[Alois Hába]], [[Josef Matthias Hauer]], [[Paul Hindemith]], [[Charles Ives]], [[Sergei Prokofiev]], [[Carl Ruggles]], [[Luigi Russolo]], [[Roger Sessions]], [[Nikos Skalkottas]], [[Igor Stravinsky]], [[Toru Takemitsu]], [[Edgard Varèse]], and others, including [[jazz]] artists such as [[Anthony Braxton]], [[Ornette Coleman]], [[John Coltrane]], and [[Cecil Taylor]] (Radano 1993, 108–109), and [[Death Metal]] artists, such as [[Deicide (band)|Deicide]] and [[Morbid Angel]], have written music that is described, in full or in part, as atonal.{{GFDL}} | + | The '''Second Viennese School''' is the term generally used in [[English language|English]]-speaking countries to denote the group of [[composer]]s that comprised [[Arnold Schoenberg]] and his pupils and close associates in early 20th century [[Vienna, Austria|Vienna]], where, with breaks, he lived and taught between 1903 and 1925. Their music was initially characterized by [[Post-romanticism|post-Romantic]] expanded tonality and later, following Schoenberg’s own evolution, a totally-chromatic [[expressionism]] without firm tonal centre (often referred to as [[atonality]]) and later still Schoenberg’s [[serialism|serial]] [[twelve-note technique]]. Though broadly speaking this common development took place, it was not always at the same pace or in the same way. Nor was it a direct result of Schoenberg's teaching - which (as his various published textbooks demonstrate) was highly traditional and conservative, and did not include discussion of his serial method - but rather due to the influence of his creative example. |
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The Second Viennese School is the term generally used in English-speaking countries to denote the group of composers that comprised Arnold Schoenberg and his pupils and close associates in early 20th century Vienna, where, with breaks, he lived and taught between 1903 and 1925. Their music was initially characterized by post-Romantic expanded tonality and later, following Schoenberg’s own evolution, a totally-chromatic expressionism without firm tonal centre (often referred to as atonality) and later still Schoenberg’s serial twelve-note technique. Though broadly speaking this common development took place, it was not always at the same pace or in the same way. Nor was it a direct result of Schoenberg's teaching - which (as his various published textbooks demonstrate) was highly traditional and conservative, and did not include discussion of his serial method - but rather due to the influence of his creative example.
