The notion of atonality is usually associated with modern music. None of the composers of the twentieth century, even those who denied its significance, could simply ignore, “not notice” it.
Usually the “invention” of atonality is attributed to Arnold Schoenberg. The Italian composer Alfredo Casella, for example, even called Schoenberg its first and only creator.
Meanwhile, Schoenberg himself never considered his works to be atonal and was very offended when others did it. The term “atonality” was coined by his enemies in order to discredit his music. Nevertheless, he took root; I will use it to avoid confusion, and I. Schoenberg himself preferred the term “extra-tonal music”; he also did not proclaim himself the first, rightly indicating that he borrowed all the techniques from the composers of Continue reading