bitonality


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bitonality

(ˌbaɪtəʊˈnælɪtɪ)
n
the quality of two musical keys being played simultaneously
Translations
References in periodicals archive ?
k Germaine Tailleferre was the only female member of the 1920s avant garde composers' group Les Six and her Ballade, with its spiky use of bitonality is similar in style, if less playful, to fellow members Poulenc and Milhaud.
States of Mind--The Farewells" by Umberto Boccioni, explores the "states of mind in a modern, mechanized society" that Rollin illustrates using bitonality, with the right hand on black keys and the left hand on white keys.
20) White considers Caturla a modernist and nationalistic composer, embracing avant-garde music with dissonance, bitonality, and frequent changes of meter.
Rigoletto" provided a dramatic foil to Au's drooling Duke, with the latter gamely spitting out "La donna e mobile" during the rapid stylistic shifts of Granger's eclectic score, which also encompasses bitonality and jazz riffs.
9 and 10, respectively), Murchison reveals how Copland largely adapted his earlier compositional techniques such as ostinatos, pedals, polyrhythmic complexities, and bitonality into a more accessible idiom, while simultaneously pulling from Stravinsky's use of segmented folk tunes.
Here delicious bitonality - working in two keys at once - turned into a tumultuous conclusion.
This sense of secure centeredness was weakened in the late 19th century by the increasing use of chromaticism (pitches outside the major or minor key in force), and decisively challenged in the early years of the 20th century by a number of factors: the use of new scales derived from ethnic music; impressionism, which treats chords and dissonances very differently than in the system based on major and minor; bitonality (simultaneous use of two keys); unpredictable beat patterns; and especially atonality and dodecaphony, both of which avoid any sense of key center.
In addition to a melodic line agitated in its intervals, the sharp bitonality (often in the interval of a minor second) and polyrythms create a complex of expressive techniques that is characteristic not only of Marysa, but of Burian's other work in the period 1937-48, interrupted in 1941-45, when by some miracle the composer survived imprisonment in a series of concentration camps.
Further research on downstep has shown that this phenomenon is not the result of bitonality but it is a property of the lowered tone itself (Ladd 1983b, 1996; Beckman and Hirschberg 1994; Pitrelli et al 1994; Grice 1995a; Grabe 1998).
Voice may also have a bitonality or diplophonia, with the perception of two different fundamental frequencies (or pitches) simultaneously.
While bimodality is suggested by the Copland Piano Sonata (Example 6), twentieth-century practice also features numerous instances of what is usually called bitonality, in which nonidentical pitch-class collections retain strong internal independence, usually within self-contained registers.
In the opening movement of the first concerto the virtually unstylized horn calls, jarring both rhythmically and harmonically against everything else, create an effect of distancing comparable with, say, the bitonality in bars 50-51 of Smetana's Blanik.