tonality

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The reader is invited to share Chedid's spatial immensities, her shadowy inner mythical spheres as breath upon breath alters her cadenced constructs, her interlinking thoughts, her stresses, joys, even the ululations inhabiting her words, which in time take on the reflective tonalities of elegy.
The Casual Tonalities label is more commercially oriented, with acts like the entertaining Japanese band the Pugs, who have been described as "psycho punk dadaists.
Beethoven's Waldstein Sonata was the stunning centrepiece, Schiller maintaining a wonderful shading of dynamics and far-reaching tonalities and welding their self-creating paragraphs into a tremendously strong unity.
Seaside (Julie Lopes-Curval) The bittersweet tonalities and antimelodramatic structure of this bountiful French first feature suggest Chekhov by the shore.
Neither effusive nor overtly auspicious, Chretien's poetic voice is measured, reflective, and unwaveringly attentive to the incremental tonalities of human perception as those tonalities coincide with language.
Same goes for soprano Gwendolyn Bradley's Pamina, an innocent but determined vocal presence amid Mozart's exotic tonalities.
Brown has opened up Bach's reductive tonalities to create an overlay of movement that doesn't mesh precisely with the score.
Nevertheless, writers as late as Mattheson were still using modal names for minor tonalities and Walther's Lexicon of 1732 preserves the ancient definition of modes together with the modern system, suggesting that they represent two sides of the one coin and should not be opposed to one another.
Expanding on its widely popular Rock series, Indie Rock incorporates green, blue, and tonalities of gray.
Although he was composing at the same time as Bartok, Debussy, Ravel and Iyes, he remained true to the romantic tradition and expanded it in his use of long melodic lines, complex tonalities and more pianistic and color effects.
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.
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.