Tonalitas

[thumb|[Cadentia authentica perfecta (progressio IV–V–I, in harmonia partium quattuor) in C maiore .]]

 et ratio musica in qua toni vel chorda tam ordinantur ut hierarchiam stabilitatum et attractionum perceptarum adducunt. Tonus vel chorda maximam stabilitatem habens tonicus appellatur. Tonalitas fuit praevalens ratio musica in Europaeo musicae classicae usu a saeculo quinto decimo exeunte ad saeculum vicensimum ineunte. *Tonalité,* vocabulum Francicum ab Alexandro Stephano Choron factum, a Francisco Iosepho Fétis anno 1840 adhibitum est. Secundum autem Carolum Dahlhaus, nomen *tonalité* factum est a Francisco Henrico Iosepho Blaze anno 1821.

Quamquam Fétis verbum *tonalité* pro nomine generali rationis structurae musicae, dixitque de generibus tonalitatum (Francice *types de tonalités*), non de ratione singulari, nomen hodie saepissime adhibetur ad significandam tonalitatem maiorem–minorem, rationem structurae musicae per aetatem usus communis adhibitae. Tonalitas maior-minor etiam tonalitas harmonica, tonalitas diatonica, tonalitas usus communis, tonalitas functionalis, vel tantum tonalitas appellatur. Ergo, arguit, melodiae melodice tonales harmonizationi resistunt et in musica Occidentali iterum intrant solum postquam “tonalitas harmonica relicta est,” ut in musica Claudii Debussy: “tonalitas melodica cum modulatione est tonalitas hodierna [Debussiana].”

* Atonalitas
* Diagramma octatonicum
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## Notae 

## Bibliographia
* Benjamin, Thomas. 2003. *The Craft of Tonal Counterpoint, with Examples from the Music of Johann Sebastian Bach.* Ed 2a. Novi Eboraci: Routledge. ISBN 0-415-94391-4.
* Benjamin, Thomas, Michael M. Horvit, et Robert Nelson. 2008. *Techniques and Materials of Music: From the Common Practice Period through the Twentieth Century.* Ed. 7a. Belli Montis Californiae: Thomson Schirmer. ISBN 978-0-495-18977-0.
* Brown, Matthew. 2005. *Explaining Tonality: Schenkerian Theory and Beyond.* Eastman Studies in Music, 27. Rochester: University of Rochester Press. ISBN 1-58046-160-3.
* Castil-Blaze. 1821. *Dictionnaire de musique moderne.* Lutetiae: Au magazin de musique de la Lyre moderne.
* Choron, Alexandre. 1810. “Introduction: Sommaire de l'histoire de la musique.” In ''Dictionnaire historique des musiciens artistes et amateurs, morts ou vivants: qui se sont illustrés en une partie quelconque de la musique et des arts qui y sont relatifs ... ; précédé d'un sommaire de l'histoire de la musique.* Ed. Alexandre Choron et François Fayolle. 2 vol. Lutetiae: Valade et Lenormant.
* Cope, David. 1997. *Techniques of the Contemporary Composer.* Novi Eboraci: Schirmer Books. ISBN 0-02-864737-8.
* Dahlhaus, Carl. 1967. “Tonalität.” In *Riemann Musiklexikon: Sachteil,'' ed. Hans Heinrich Eggebrecht, 960–962. Mainz: B. Schott's Söhne.
* Dahlhaus, Carl. 1980. “Tonality.” In *The New Grove Dictionary of Music and Musicians,* ed. Stanley Sadie, 19:51–55. Londinii: Macmillan Publishers. ISBN 0-333-23111-2.
* Dahlhaus, Carl. 1990. *Studies in the Origin of Harmonic Tonality.* Conv. Robert O. Gjerdingen. Princetoniae: Princeton University Press. ISBN 0-691-09135-8.
* Einstein, Alfred. 1954. *A Short History of Music.* Ed. 4a Americana, retractata. Novi Eboraci: Vintage Books.
* Fétis, François-Joseph. 1844. ''Traité complet de la théorie et de la pratique de l'harmonie contenant la doctrine de la science et de l'art.* Bruxellis: Conservatoire de Musique; Lutetiae: Maurice Schlesinger.
* Girdlestone, Cuthbert. 1969. *Jean-Philippe Rameau: His Life and Work.* Ed. retractata et aucta. Novi Eboraci: Dover Publications, Inc.
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* Harrison, Lou. 1992. Entune. *Contemporary Music Review* 6(2):9–10.
* Hauptmann, Moritz. 1853. *Die Natur der Harmonik und der Metrik.* Lipsiae: Breitkopf und Härtel.
* Helmholtz, Hermann von. 1877. *Die Lehre von den Tonempfindungen als physiologische Grundlage für die Theorie der Musik.* Ed. 4a. Braunschweig: F. Vieweg. 

* Hyer, Brian. 2002. Tonality. *The Cambridge History of Western Music Theory.* Ed. Thomas Christensen, 726–752. Cantabrigiae, Novi Eboraci, Port Melbourne, Matriti, et Oppido Capitis: Cambridge University Press. ISBN 0-521-62371-5.

* Judd, Cristle Collins. 1998a. Introduction: Analyzing Early Music. In *Tonal Structures of Early Music,'' ed. Cristle Collins Judd, 3–13. Novi Eboraci: Garland Publishing. ISBN 0-8153-2388-3.
* Judd, Cristle Collins. 1998b. Josquin's Gospel Motets and Chant-Based Tonality. In *Tonal Structures of Early Music,* ed. Cristle Collins Judd, 3–13. Novi Eboraci: Garland Publishing. ISBN 0-8153-2388-3.
* Judd, Cristle Collins. 1998c. *Tonal Structures in Early Music.* Novi Eboraci et Londinii: Garland Publishing. ISBN 0-8153-2388-3.
* Kepler, Johannes. 1619. *Harmonices mundi.* Linz: Godofredo Tampechi. 

* Meyer, Leonard B. 1967. *Music, the Arts, and Ideas: Patterns and Predictions in Twentieth-Century Culture.* Sicagi et Londinii: University of Chicago Press.
* Perle, George. 1978. *Twelve-Tone Tonality.* University of California Press. ISBN 0-520-20142-6.
* Perle, George. 1991. *Serial Composition and Atonality: An Introduction to the Music of Schoenberg, Berg, and Webern.* Ed. 6a. Berkeleiae et Angelopoli: University of California Press. ISBN 0-520-07430-0.
* Pleasants, Henry. 1955. *The Agony of Modern Music.* Novi Eboraci: Simon & Schuster. LCC#54-12361. 

* Rameau, Jean-Philippe. 1722. *Traité de l’harmonie réduite à ses principes naturels.* Lutetiae: Ballard.
* Rameau, Jean-Philippe. 1726. ''Nouveau Systême de Musique Theorique, où l'on découvre le Principe de toutes les Regles necessaires à la Pratique, Pour servir d'Introduction au Traité de l'Harmonie.'' Lutetiae: L'Imprimerie de Jean-Baptiste-Christophe Ballard.
* Rameau, Jean-Phillipe. 1737. *Génération harmonique, ou Traité de musique théorique et pratique.* Lutetiae: Prault fils.
* Rameau, Jean-Phillipe. 1750. ''Démonstration du Principe de L'Harmonie, Servant de base à tout l'Art Musical théorique et pratique.* Lutetiae: Durand et Pissot. 
* Reti, Rudolph. 1958. *Tonality, Atonality, Pantonality: A Study of Some Trends in Twentieth Century Music.* Westport Connecticutae: Greenwood Press. ISBN 0-313-20478-0.
* Riemann, Hugo. 1872. Über Tonalität. *Neue Zeitschrift für Musik* 68.
* Riemann, Hugo. 1875. Die objective Existenz der Untertöne in der Schallwelle. *Allgemeine Musikzeitung* 2:205–6, 213–15.
* Riemann, Hugo. 1882. *Die Natur der Harmonik*. Sammlung musikalischer Vorträge 40, ed. Paul Graf Waldersee. Lipsiae: Breitkopf und Härtel.
* Riemann, Hugo. 1893, 1903. *Vereinfachte Harmonielehre oder die Lehre von den tonalen Funktionen der Akkorde.* Londinii & Novi Eboraci: Augener & Co. Ed. 2a, 1903.
* Riemann, Hugo. 1905. Das Problem des harmonischen Dualismus. *Neue Zeitschrift für Musik'' 101:3–5, 23–26, 43–46, 67–70.
* Riemann, Hugo. 1914–1915. Ideen zu einer 'Lehre von den Tonvorstellungen.' *Jahrbuch der Musikbibliothek Peters 1914–15*: 1–26.
* Samson, Jim. 1977. *Music in Transition: A Study of Tonal Expansion and Atonality, 1900–1920.* Novi Eboraci: W. W. Norton & Company. ISBN 0-393-02193-9.
* Schellenberg, E. Glenn, et Sandra E. Trehub. 1996. Natural Musical Intervals: Evidence from Infant Listeners. *Psychological Science* 7(5):272–77.
* Schenker, Heinrich. 1906–1935. *Neue musikalische Theorien und Phantasien.* 3 vol. in 4. Vindobonae et Lipsiae: Universal Edition.
* Schenker, Heinrich. 1954. *Harmony.* Ed. Oswald Jonas; conv. Elisabeth Mann-Borgese]. Sicagi: University of Chicago Press.
* Schenker, Heinrich. 1979. *Free Composition.* Conv. et ed. Ernst Oster. Novi Eboraci: Longman. ISBN 0-582-28073-7.
* Schenker, Heinrich. 1987. *Counterpoint.* Conv. John Rothgeb et Jürgen Thym; ed. John Rothgeb. 2 vol. Novi Eboraci: Schirmer Books; Londinii: Collier Macmillan.
* Schoenberg, Arnold. 1922. *Harmonielehre.* Ed. 3a. Vindobonae: Universal-Edition.
* Schoenberg, Arnold. 1978. *Theory of Harmony.* Conv. Roy E. Carter. Berkeleiae et Angelopoli: University of California Press. ISBN 0-520-03464-3.
* Simms, Bryan. 1975. Choron, Fétis, and the Theory of Tonality. *Journal of Music Theory* 19(1):112–138.
* Stegemann, Benedikt. 2013. *Theory of Tonality.* Conv. David LeClair. Theoretical Studies. Wilhelmshaven: Noetzel. ISBN 978-3-7959-0963-5.
* Thomson, William. 1999. *Tonality in Music: A General Theory.* Sancti Marini Californiae: Everett Books. ISBN 0-940459-19-1.
* Wangermée, Robert, et Katharine Ellis. 2001. Fétis: (1) François-Joseph Fétis. *The New Grove Dictionary of Music and Musicians.* Ed. 2a, ed, Stanley Sadie et John Tyrrell. Londinii: Macmillan Publishers.
* West, Martin Litchfield. 1994. The Babylonian Musical Notation and the Hurrian Melodic Texts. *Music and Letters* 75(2):161–79.

## Nexus externi 
* Music Fundamentals: Tonal Music, www.bigcomposer.com
* Tonal Harmony Reference Materials for the Undergraduate Theory Student, www.robertkelleyphd.com
* Solomon, Larry. Tonality, Modality, and Atonality, solomonsmusic.net
* Basic guide to tonal theory, www.tonalityguide.com
* The Tonal Centre, www.andymilne.dial.pipex.com
* Algebra of Tonal Functions, sonantometry.blogspot.com
* Mapping Tonal Harmony, mdecks.com
* A model of analysis for the tonal harmonic discourse, bw.musique.umontreal.ca