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(tōnăl`ĭtē), in music, quality by which all tones of a composition are heard in relation to a central tone called the keynote or tonic. In music that has harmonyharmony,
in music, simultaneous sounding of two or more tones and, especially, the study of chords and their relations. Harmony was the last in the development of what may be considered the basic elements of modern music—harmony, melody, rhythm, and tone quality or timbre.
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 the terms keykey.
1 In music, term used to indicate the scale from which the tonal material of a given composition is derived. To say, for example, that a composition is in the key of C major means that it uses as its basic tonal material the tones of that scale which is associated
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 and tonality are practically synonymous, embracing a hierarchy of constituent chords, and a hierarchy of related keys. Some relationship to a tonic is characteristic of all music except that in which it is deliberately avoided (see atonalityatonality
, in music, systematic avoidance of harmonic or melodic reference to tonal centers (see key). The term is used to designate a method of composition in which the composer has deliberately rejected the principle of tonality.
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 and serial musicserial music,
the body of compositions whose fundamental syntactical reference is a particular ordering (called series or row) of the twelve pitch classes—C, C#, D, D#, E, F, F#, G, G#, A, A#, B—that constitute the equal-tempered scale.
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). The term tonality is also used in contrast to modality (see modemode,
in music. 1 A grouping or arrangement of notes in a scale with respect to a most important note (in the pretonal modes of Western music, this note is called the final or finalis
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The Columbia Electronic Encyclopedia™ Copyright © 2013, Columbia University Press. Licensed from Columbia University Press. All rights reserved.
The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.



(tonal’nost’), in Russian music terminology, the pitch position of a mode, as well as the modal system at a specific pitch. The term “tonality” is also used to designate the major-minor modal system. The designation of a tonality in the major-minor modal system includes the pitch position according to the letter system, such as C, A, F sharp, or B (H), and the mode, whether major or minor. In 20th-century music, where a clear classification of a mode as major or minor is often doubtful or impossible, the tonality is often designated without indication of the mode, as in Stravinsky’s Serenade in A (that is, with A as the tonic).

The essence of tonality in the conventional major-minor modal system is the creation of a stable and logically differentiated system of modal values for tones and harmonies at a specific pitch, wherein the tones and harmonies give preference to one tone (the tonic) or harmony, from which the given tonality derives its name. The major-minor modal system is marked by a pronounced gravitation of the subordinate tones and harmonies toward the tonic. In an extended musical piece, this gravitation may also be felt in a succession of keys; for example, a succession of G major and D minor creates a gravitation toward a key of a higher order, C major, which unites them both. A change of keys is called modulation. The modulation movement creates the tonality plan that anchors the whole piece. In this case, one key usually dominates, and the entire musical work may be designated by it. Examples are J. S. Bach’s Fantasy and Fugue in G minor for Organ and Mozart’s Symphony in C major.


The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.


1. Music
a. the actual or implied presence of a musical key in a composition
b. the system of major and minor keys prevalent in Western music since the decline of modes
2. the overall scheme of colours and tones in a painting
Collins Discovery Encyclopedia, 1st edition © HarperCollins Publishers 2005
References in periodicals archive ?
Former EMI A&R exec Mike Mena, who worked with alternative pop acts Blur and Jesus Jones, says he wanted to work with Csupo "because he's been such a visionary in so many ways." Mena says Tone Casualties plans about 10 CD releases a year, while the more heavily marketed Casual Tonalities will release two or three albums a year.
Deppert concludes that for Bach, and much of his generation, the Dorian mode, not the Aeolian, forms the basis of the minor tonalities.
He has organized seventy-six pages of exercises into eight sections: Flexibility, Fast Flexibility, Scales, Intervals, Articulations, Chromatics, Sound Production (i.e., "The Start of Sound" or "attacks"), and "Exercises to Play Loud." All instructions and recommendations appear in French, German, and English, all tonalities are written out, and he reminds us that variations are infinite.
The hooting tonalities of a chamber organ were at times responsible for obscuring the delights of lower strings, but this was exonerated when coupled with the gentle, often inaudible lute, thus creating suitable patches of accompaniment for a pure soprano voice.
Indeed, his work, despite its vital chromaticism and fiery tonalities, is visually cold, as the paintings are based on photographs of television screens whose images have been optically distorted.
While some tonalities require the use of black keys, no key signatures are employed.
Rognet creates hesitantly new forms to match his tonalities, esthetic constancies that never quite congeal.
The changes in the extra-musical significance of specific tonalities involve, first, a shift from the association of sharp keys and harmonic areas (especially the a and e modes) with durus/'harsh' concepts in the text (and conversely, flat keys and harmonic areas - especially the g mode - with mollis/'soft' ones) to using sharp keys, especially 'major' ones (the G mode), in more positive contexts.
If observed at a distance, the tonalities, reduced and yet still clear and accentuated, link the representation to the delineation of a form.
The selections penned by Miles Davis, Stan Sulzmann and Kenny Wheeler allowed the horn sections to cream up some harmonious tonalities, then Lowther's own chart invited staccato trumpets to provoke a faster swing.
Dream-like tonalities, portraying childhood memories, were a powerfully effective unifying factor, but it was frustrating not to hear more imaginative orchestration for this colourful range of wood and brass instruments in the slower movements.
Alluring and somewhat fearsomely empty, the shifting flesh-and-paper tonalities hold the images at a liminal point where the bodily shades toward the semiotic.