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	Polytonality - Wikipedia, the free encyclopedia
		The use of more than one key simultaneously is known in music as polytonality.
		Many composers today who are interested in using tonality are also interested in bitonality, such as Philip Glass in his Symphony No. 2 which exploits polytonality for ambiguity of key.
		Although the word bitonality is most often used when talking about relatively modern classical music (written in the last one hundred years or so), it is quite a common technique in folk music, especially in eastern Europe.
	en.wikipedia.org /wiki/Polytonality (472 words)

	PBS: Rediscovering Dave Brubeck \| With Hedrick Smith
		The music is not anchored to the sound of one key center, especially if care is taken in the "voicing" of the notes (how the notes of the chords are spread across the keyboard).
		The way Dave uses polytonality, it is more than simply a harmonic device, it is how he can put an innovative twist on old jazz traditions.
		Polyrhythms and polytonality are just two of many new musical ideas that Dave brought into the modern jazz vocabulary.
	www.pbs.org /brubeck/theMusic/polyrhythmPolytonality.htm (559 words)

	POLYTONALITY FACTS AND INFORMATION
		Bitonality was used quite often by members of the French group, Les_Six, and especially by Darius_Milhaud, who perhaps used it more than any other composer.
		Many composers today who are interested in using tonality are also interested in bitonality, such as Philip_Glass in his ''Symphony No. 2'' which exploits polytonality for ambiguity of key.
		Although the word bitonality is most often used when talking about relatively modern classical_music (written in the last one hundred years or so), it is quite a common technique in folk_music, especially in eastern Europe.
	www.whereintheworldisbush.com /Polytonality (420 words)

	Special Interest
		Polytonality is a term usually employed only in the field of music where it refers to the simultaneous use of two or more different tonalities or musical keys.
		Polytonality frequently occurs, for example, in the music of the early twentieth century.
		In the case of the polytonic Greek alphabet, Microsoft was responding to a letter drafted by eleven legislators of the Greek Parliament to its president proposing an investigation into why the U.S. company did not include the polytonic Greek alphabet in its repertoire.
	www.struggler.org /PetrifiedForest.html (2769 words)

	Note musicologiche
		The variation form favored by the composer defines the second (and last) movement: In each of the eleven short variations, the bitonal Adagio theme is linked in an ostinato with a different minor key of the circle of fifths.
		Different from the techniques used by the advocates of polytonality in France, here the intervals generated by the two different keys are welded together using the rules of the old-fashioned polyphonic style to created a kind of expansion in the vertical axis of the polyphonic principle.
		In this, a tendency of the composer which had been developing since 1936 becomes very clear: he does not use polytonality and twelve-tone technique as formal means in themselves, but presents them as the result of simple principles of construction, often derived from folk music.
	www.realsound.it /en/note_musicologiche.htx (1108 words)

	Songs in no particular key \| Ask MetaFilter (Site not responding. Last check: 2007-11-06)
		"Polytonal" means more than one key at the same time.
		I threw in the term "serial polytonality" as sortof a joke -- you could probably use it in composition circles and get away with it, at least until they heard examples.
		Although, as mentioned above, Schoenberg thought of what we call his atonal music as "pantonal" music; he said that rather than being in no key, it was in all keys simultaneously, so there is a connection to be drawn between the two terms.
	ask.metafilter.com /mefi/15344 (1905 words)

	Aesthetic Realism Lecture by Eli Siegel (conclusion): "The Melody of Conscience" (Site not responding. Last check: 2007-11-06)
		And he shows here and in Aesthetic Realism itself what no other philosopher or critic saw: there is a fundamental relation, a makeup in common, among: 1) the feelings of everyone (including our clamorous conscience); 2) what art is; and 3) reality itself.
		The admission that succession of key, or "modulation," was acceptable inevitably implied, says Milhaud, that, at some later stage, superposition of key ("Polytonality") would also be found equally acceptable.
		In a way, this is vertical, insofar as it's depth: you hear one sound imposed on another, and another imposed on the second; you hear them all at once, but you also know they're three levels.
	www.elisiegelcollection.net /Lectures-in-TRO/Tro1301.htm (2137 words)

	Twentieth Century Classical Music (Site not responding. Last check: 2007-11-06)
		There are four different types of tonality in twentieth century music including: expanded tonality, polytonality, atonality, and twelve-tone music.
		This new idea meant that there was a lesser sense of major and minor keys and less of a distinction between diatonic and chromatic.
		Polytonality is the use of two or more keys at the same time in one composition.
	gpss.wrdsb.edu.on.ca /academics/music/postrom/compon.htm (739 words)

	Art of the States: Charles Ives
		George Ives shared an enthusiasm and curiosity about sound with his son, often engaging him in experiments with polytonality as well as grounding him in the music of Bach.
		By the age of 12 he was composing, and by 14 he was the youngest salaried church organist in Connecticut.
		Through his work in various area churches, Ives became acquainted with numerous chanted psalms; these he would set to music, exploring such musical ideas as parallel triads, polytonality, and dissonant canon.
	www.artofthestates.org /cgi-bin/compbio.pl?compname=ivescharles (569 words)

	PBS: Rediscovering Dave Brubeck \| With Hedrick Smith
		From the earliest days of Brubeck groups playing in San Francisco in the late 1940s, Brubeck established himself as an innovative and unusual jazz musician using unorthodox techniques such as multiple rhythms, unusual time signatures, and playing in more than one key at a time.
		For other jazz musicians and aficionados, these techniques - polyrhythm, polytonality and odd time signatures - became trademarks of Brubeck's jazz style.
		In addition to experimenting with different beats, Brubeck took his multi-layered playing to a new level through the use of polytonality - the technique of playing in two keys at once.
	www.pbs.org /brubeck/theMusic/davesStyle.htm (925 words)

	MODULATION (MUSIC) FACTS AND INFORMATION (Site not responding. Last check: 2007-11-06)
		Metric_modulation (known also as tempo modulation) is the most common, while timbral modulation (gradual changes in tone color), and spatial modulation (changing the location from which sound occurs) are also used.
		Modulation may also occur from a single tonality to a polytonality, often by beginning with a duplicated tonic chord and modulating the chords in contrary motion until the desired polytonality is reached.
		A different, unrelated use of the word ''modulation'' in music is found in electronic_music, where it can refer to certain methods of altering sounds such as ring_modulation (see also modulation).
	www.whereintheworldisbush.com /modulation_(music) (1137 words)

	PhilipGlass.com: Recordings: Symphony No. 2
		The great experiments of polytonality carried out in the 1930s and 40s show that there's still a lot of work to be done in that area.
		Harmonic language and melodic language can coexist closely or at some calculated distance, and their relationship can be worked out in terms of either coexisting harmonies or ambiguous harmonies.
		But I'm more interested in the ambiguous qualities that can result from polytonality — how what you hear depends on how you focus your ear, how a listener's perception of tonality can vary in the fashion of an optical illusion.
	www.philipglass.com /html/recordings/symphony-no2.html (573 words)

	[No title] (Site not responding. Last check: 2007-11-06)
		In his compositions, Ives employed techniques such as polytonality, atonality, polymetric patterns, tone clusters, and microtones.
		Subjects of these innovations were hymn tunes, patriotic melodies, and ragtime, mixed together in a style which has both imagination and daring.
		This is the earliest surviving piece using polytonality (melodies in more than one key simultaneously).
	www.yale.edu /yaleband/ycb/music/rep/ives2.html (195 words)

	Polytonality (Site not responding. Last check: 2007-11-06)
		The use of more than two keyss simultaneously is known in music as polytonality.
		Earlier examples, such as Wolfgang Amadeus Mozart's Ein musikalischer Spass, tend to use the technique for comic effect.
		See also: List of pieces which use polytonality.
	www.sciencedaily.com /encyclopedia/polytonality (361 words)

	Music Program Notes - I to J
		He died in 1954, leaving a legacy that anticipated most of the innovations of the 20th century, including atonality, polytonality, microtones, multiple cross-rhythms, and tone cluster.
		Originally composed for organ, the work was later popularized in a 1949 arrangement for orchestra by William Schuman; William E. Rhoads provided the wind band transcription in 1964.
		This composition of five variations represents the earliest known example of musical polytonality.
	www.windband.org /foothill/pgm_note/notes_ij.htm (1734 words)

	Culture in Tirol (Site not responding. Last check: 2007-11-06)
		Repetitive structures in the music of the western world have in fact not been made up by my generation, but have had earlier aesthetical and theoretical promotion, such as in Scarlatti and Rossini, who sequentially multiplied their themes.
		Philip Glass: The first stage of polytonality — as in Milhaud, Poulenc, Honegger, Blacher and Paul Hindemith, all of whom were involved in the topic at the same time — was characterized by the coexistence of two or three keys.
		The current stage, however, is aimed at exploring polytonality, which works in a completely different way.
	www.culture.tirol.at /detail...en.html?id=126414&hmp=90407&ump=90642&cont=ue (1042 words)

	Darius Milhaud Biography / Biography of Darius Milhaud Biography Biography
		The French composer and teacher Darius Milhaud (1892-1974) was the main champion of polytonality in the 20th century.
		Claudel was minister of France to Brazil (1917-1919) and took Milhaud along as his secretary.
		In Rio de Janeiro, Milhaud worked out the details of the technique which, rightly or wrongly, came to be particularly identified with his style: polytonality.
	www.bookrags.com /biography-darius-milhaud/index.html (581 words)

	All About Jazz \| Email This Article
		These particular performances cover a wide range of approaches from ruminative unmetered free rhythms to robust swinging, with due consideration given to some of Lennie Tristano's ideas.
		O'Gallagher, who plays wildly imaginative solos on both alto and soprano saxophones, has professed admiration for both Tristano and Lee Konitz, and he employs the long lines characteristic of their work, as well as the polytonality that Tristano was exploring.
		On the other hand, on “You Ain't All That,” there's less polytonality but just as much invention.
	www.allaboutjazz.com /php/article_email.php?id=15276 (398 words)

	Top 3 Composers of 20th Century (Site not responding. Last check: 2007-11-06)
		Charles gained a lot of musical experience by listening to his father’s bands marching up and down the streets of Danbury and was also greatly influenced by his father’s musical experiments.
		The fact that Stravinsky caught his audience off guard is no surprise, for no audience had ever heard such a brutal, savage, and aggressively chaotic piece of music before The Rite.
		Using this ensemble Stravinsky composes a work in which all the formal characteristics sketched out in Petrushka are enhanced and intensified: the emancipation of dissonance, the extension, and at times even suppression of the boundaries of traditional tonality by such means as polyharmony, polymodality, and polytonality; and the unleashing of primeval rhythmic forces.
	www.public.coe.edu /~dbdyrlan/musichistory3/bestof20th.htm (2081 words)

	NewMusicBox
		Well, for one thing, the big taboo was the tonality, but once I opened the door into exploring a new tonality, there came to be a lot of other ways to do it that I never thought about, for example, polytonality, which you suggested.
		It's not simply a question of hearing two different keys at the same time, but rather hearing the same ambiguous key in two different ways, which you can't hear at the same time.
		You don't hear both keys at the same time, but it's still polytonality.
	www.newmusicbox.org /page.nmbx?id=31fp04 (558 words)

	Romantic Composers - Sergei Rachmaninoff (Site not responding. Last check: 2007-11-06)
		After the Great War (WWI) and the Bolshevik revolution, Rachmaninoff was one of many musicians that became an expatriate of Russia and left his homeland when the Soviets took control.
		It was also at this time that the new 20th Century style of atonality and polytonality started to emerge, though Rachmaninoff did not follow suit.
		He diligently followed his own direction until his death, writing in the Romantic style that he learned in Moscow.
	www.bellevuechamberchorus.net /Research/Romantic/Composer/SRachmaninoff.htm (234 words)

	Search Results for polytonality - Encyclopædia Britannica
		Similar in a sense to Stravinsky's pandiatonicism, or use of diatonic chords without the limitations of classical harmonic function, is the tendency toward polytonality in the works of the post-World...
		a principal French composer of the 20th century known especially for his development of polytonality (simultaneous use of different keys).
		This clear and logical system of organization seemed highly consistent with an age that took its cues from the clarity and balance of ancient classical architecture.
	www.britannica.com /search?query=polytonality&submit=Find&source=MWTEXT (340 words)

	Commentary Magazine - Modernism With a Smile (Site not responding. Last check: 2007-11-06)
		...Though initially disorienting to untrained ears, polytonality is in fact a logical extension of functional tonality, one so natural that within a few years it would become part of the "normal" language of jazz and popular music (the jazz pianist Dave Brubeck and many other West Coast jazz musicians studied with Milhaud...
		...Inspired by the example of Stravinsky in Le Sacre du printemps, Milhaud became the first composer methodically to explore polytonality, the simultaneous use of multiple key signatures...
		...even Milhaud's most seemingly outrageous experiments in polytonality invariably prove on closer inspection to be rooted in the organizing power of the triad...
	www.commentarymagazine.com /Summaries/V105I4P49-1.htm (2590 words)

	CLASSICAL MUSIC ARCHIVES: Biography of Charles Ives
		His father was a town bandmaster who experimented with tone clusters, polytonality, quartertones, and acoustics, inspiring similar interests in his son.
		What fascinated George Ives, and later his son, was the clash of rhythm and tone resulting from two bands playing different tunes at a parade, or from his wife whistling at her housework and a boy elsewhere practising the pf.
		sonata; in the psalm settings for choir of 1896-1900 occur whole-tone scales, a 12-note row, tone clusters, polytonality, and polyrhythms.
	www.classicalarchives.com /bios/codm/ives.html (1103 words)

	Evan Evans Film Composer - Archives - Interview with Evan Evans by Blair Zuppicich (The Lost Interview) (Site not responding. Last check: 2007-11-06)
		It is the most imaginative, the most effective, and the most state of the art in scoring due to it's use of polytonality.
		Polytonality is the merging of several different musical keys.
		Sometimes it creates new hybrid keys, but I prefer to use it to get a new dimension out of music by layering the tonalities and orchestrating them such that they blend without rubbing.
	www.evanevans.org /archives.asp?ID=20 (3434 words)

	Pro-Musica Quarterly (1923-1929)
		Included in the text and advertising sections are photographs of John Alden Carpenter, Georgette Leblanc, Maurice Ravel, Igor Stravinsky, Arnold Schoenberg, Gabriel Fauré, Alfredo Casella, E. Robert Schmitz, Walter Gieseking, Serge Prokofiev and Dimitri Tiomkin.
		Among the many interesting articles in PMQ are those written by composers: Arthur Bliss on contemporary English music, Darius Milhaud on polytonality and atonality, Charles Koechlin on sensibility in music, Alfredo Casella on diatonicism, Charles Ives on quarter-tones, and Henry Cowell on Moravian music.
		Articles in the journal examined modern music from many perspectives: theoretical discussions of polytonality and acoustics, studies of the relationship between time and music, and the spiritual evolution of music.
	www.nisc.com /RIPM/volume_description/PMQ.htm (457 words)

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