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| | Tonality, Modality and Atonality |
 | | Arguably, music in major and minor keys is also modal, but due to the need to separate these categories, it is best to reserve the term "modality" for music that uses other modes. |
 | | Arnold Schoenberg (1874-1951), who believed that music was evolving necessarily and inevitably toward pantonality, where all tones are equalized in importance, tried to rush to what he believed to be its inexorable outcome and claim priority of the new "discovery" before Josef Hauer (1883-1959). |
 | | Composers of atonal music try to avoid all reminders of tonal music, evading major and minor chords (tertian chords in general), scales, keys, dominant functions, regular rhythms, repetition, etc. This means that atonality is psychoacoustical; i.e., it depends, at least partly, upon individual sensibilities and subjectivity. |
| solomonsmusic.net /tonality.htm (1105 words) |
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