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Schultz, Wolfgang-Andreas Tonality today – why not?
A plea for stylistic variety
Category: Essay
Das Orchester 09/2008, Page 36
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Since the 1950s, composing has been hedged by numerous limitations and prohibitions. In particular, tonal compositions and the use of harmonic sound have been proscribed and neglected. The author blames a narrow conception of history for this situation, which constructs a development from tonality to atonality, from twelve-tone technique to serial and post-serial music. Yet tonality, he argues, has never been lost, it simply changed and developed, citing works by Stravinsky, Pärt, Gorecki, Penderecki and Auerbach. Ultimately, tonality will integrate atonality as one pole of a greater continuum. Yet to achieve this, narrow prohibitions will have to be discarded. In fact, tonality, in the widest sense, might indeed be helpful for the avant-garde to realise its exciting, though oft abstract ideas.
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