Exploring Atonal Music in Contemporary Classical and Popular Genres
Introduction to Atonal Music
Atonal music, characterized by the absence of a tonal center or key, has become increasingly prevalent in contemporary classical compositions. Unlike in popular music, where tonal structures are predominant, atonal elements and structures have been incorporated by some influential artists. This article explores examples of atonal music in both classical and popular genres, and delves into the historical context and impact of atonality on modern music.
Contemporary Classical Compositions
One prominent example of atonal music in the classical genre is the Wind Quintet by Arnold Schoenberg. Written in 1924, this piece set the stage for a new era of atonal composition. It played a significant role in shaping the Second Viennese School, a movement that popularized atonal and twelve-tone techniques.
Popular Song Incorporation of Atonal Elements
Several popular songs and artists have experimented with atonal elements, integrating them into their arrangements. The sound collage Electronic Soundscapes, while not technically a song, has inspired many modern artists with its dissonance and complex rhythms.
The Bridges Over Water by Crosby, Stills Nash, specifically the version by Paul Simon, showcases atonal qualities in certain sections. The vocal delivery and arrangement create emotional intensity, but it is heavily influenced by the original tonal version by Simon Garfunkel.
Electric Love by Tiesto, a house music track, employs synthesizers and a non-melodic structure, particularly in the repetitive sections. The vocal improvisation in this track often deviates from traditional melodic structures, giving it a unique atonal quality.
Fugue by William Orbit is a primarily classical piece but has been adapted to incorporate atonal characteristics. Its influence can be seen in various genres, showcasing the versatility of atonal music.
Historical Context and Impact
The advent of the Second Viennese School marked a significant shift in music towards atonality. The 1924 publication of Schoenberg's Wind Quintet coincided with the patenting of the loudspeaker in 1925, leading to a rapid dissemination of classical music among uneducated audiences. By the 1930s, radios and phonographs had become ubiquitous, further popularizing atonal music.
However, over time, popular music has generally moved away from atonal sounds, adopting simpler, more accessible tones. This trend can be attributed to several factors, including the inferior quality of speakers, which distorts time and muddles harmonic complexity, and noise pollution from modern technology, contributing to neurological hearing deficiencies and mild amusia.
In conclusion, while true atonality is rare in mainstream popular music today, the examples discussed here illustrate the diverse ways in which atonal elements have been experimented with. The history of atonality in music serves as a fascinating study of the ever-evolving relationship between musical innovation and popular taste.