Cieľom hračiek je usmievať sa z prekonávania hraníc
komentár pod poučeniami z modelovania pandémie
3. hračka komponujúceho
Kľúčové pojmy, ktoré je treba dostať do ucha sú ‘približne úplná chromatickosť’/’približne chromatická stupnica’, ktorými sa neunavuje ~ obnovuje témotvornosť/štruktúrotvornosť. Ak sa nedostanú do ucha, raw datasety sluchu sú kontaminované tonalitou. Vtedy je atonalita iba jej imitácia, čiže je neplatná.
(3.1) Webern’s free atonality is a calculated avoidance of all triadic or other tonal associations
(3.2) Webern uses total-chromatic to the fullest possible degree and the note-orders of his work have many similarities with serial music. In the Six Bagatelles for String Quartet Op. 9 for example, a free atonal masterpiece, Webern often does not sound a note until all other notes of the chromatic scale have sounded, just like the creation of a tone row (even though in the actual use of tone rows in writing serial music, it is okay to repeat notes). He is concerned with note fatigue and cycling through the notes to achieve a fully chromatic sound.
(3.3) Norgaard
Referencie
https://www.talkclassical.com/58366-greatest-atonal-composer-2.html
Samoutváranie / Selfcreation 