the technique of using two or more tonal centers at the same time is called harmonization.
the technique of using two or more tonal centers at the same time is called harmonization.
the technique of using two or more tonal centers at the same time is called?
harmonization
Na
Na
one of schwantner's early works, "diaphonia intervallum" (1967) distinctly foreshadowed the important style traits that would later exist in his music. beyond its serial structure such elements as individualized style, pedal points, timbre experimentation, instrumental groupings, and the use of extreme ranges were apparent even at this formative stage of schwantner's career. upon his appointment to the faculty of the eastman school of music, schwantner's work "consortium i" was premiered in 1970. this piece clearly illustrates his personal use of serialism, including many twelve-tone rows hidden among the texture and using a specific intervallic structure to provide cohesion. "consortium ii" also continued this emphasis on his personal application of serialism. from these works, schwantner turned from this focus on serialism to delve into the effects of tone color in his compositions. this is clearly noticed in his extended use of percussion instruments. examples of his use of timbre as an important compositional element are found in "in aeternum" (1973) and "elixir" (1976). this can be seen in his larger works for band as well. in "...and the mountains rising nowhere" (1977) the six percussionists play a total of 46 instruments in an effort to give the percussion section a more prominent role than what was typical for band works during the 70's. from this stage he began to also concentrate on obtaining clearer tonal centers in works such as "music of amber" (1981) and "new morning for the world: 'daybreak of freedom"' (1982). even as he embraces tonal centers, schwantner resists the very conventional employment of the dominant-tonic relationships and the western music expansion of that concept. rather, schwantner's tonal centers are created by pitch emphasis, perhaps like the american composer aaron copland in a piece like "el salón méxico". his serialism roots even purvey his tonal structures; clearly defined major and minor scales are scarce in schwantner's music. instead, he uses pitch sets to establish organization. schwantner's later works have integrated minimalist elements. this can be seen in his monumental percussion concerto. however, a very present focus on timbre and tone remain quite evident. his scores are published by the schott helicon music corporation.
joseph schwantner