Dictionary of Tonal Atonality, Composer Kazarin

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` We are pleased to present an information resource that provides a comprehensive overview of the work of the outstanding Russian composer Vyacheslav Kazarin within the context of the finest achievements of World Culture.

Sincerely, art historian Arina Ryazantseva.

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Form `11
Preparatory publication of terminology and scholarly apparatus for the concept of ‘Tonal Atonality’

Below is an extract from the first book, *Tonal Atonality*. The publication date of this book, which provides a detailed analysis of TA terminology, will be announced by the author at a later date.





Vyacheslav Gennadievich Kazarin



Dictionary
of Tonal Atonality




This is a comprehensive encyclopaedic reference work on the Kazarin system:
- with precise definitions,
- structural relationships,
- parametric categories,
- analytical commentaries.



It constitutes a separate section of the monograph
and can be used by:
composers,
musicologists,
students,
performers,
and researchers of contemporary music.


AN EXPANDED GLOSSARY OF TONALITY
AND ATONALITY



I. BASIC CONCEPTS


Acoustic centre
The structural foundation of a piece, arising from the acoustic parameters of the texture [frequency of repetition, register, duration, fifth-based anchors], rather than from harmony or mode.


` Acoustic centre


Acoustic Dominant
The reinforcement of the centre through fifth intervals and stable register positions. It is unrelated to the functional dominant.

Acoustic Architectonics
The structural organisation of the texture, which determines the perception of the centre, the vertical structure and the form. It includes two-layered structure, register, density, intervals and dynamics.



Atonal Atonality
Kazarin’s original system, in which atonality has a centre but lacks mode, harmony, functions or series.


` Atonal Atonality 



II. VERTICAL SYSTEM


Interval fields
Vertical structures based on the dominance of a particular interval. They replace harmony, chords, spectra and pitch-class sets.


` Interval fields 


Second fields
Stability fields. Used in sections A and A' of the parametric form.

Third fields
Fields of development. Used in sections B and B'.

Fifth fields
Fields of acoustic support for the centre. They reinforce the centre and form an acoustic dominant.

Tritone fields
Fields of climax. They disrupt the centre and create maximum tension.

Vertical acoustic stability
The degree of stability of the vertical structure, determined by the type of intervals and their distribution.

Vertical acoustic instability
A state of the vertical structure arising from the dominance of tritones, large register distances and high density.



III. HORIZONTAL SYSTEM


Interval-based horizontal structure
A horizontal structure based on interval logic rather than on scales or motifs. Non-repetitive, continuous, triplet-based.

Non-repetitiveness
A complete absence of repetition: no motifs, themes, cycles, ostinatos or rhythmic formulas.

Triplet texture
The primary rhythmic model: a continuous flow of triplets without accents or metre.

Parametric voice leading
Voice leading determined by parameters [intervals, register, density], rather than by harmony or functions.


` Voice leading



IV. TEXTURE


Two-layer texture

A texture consisting of:
an upper layer — a continuous line of intervals,
a lower layer — sparse anchor notes at the centre.


` Texture and pianism


Textural stability
The property of texture to maintain the centre through register, duration and density.

Textural climax
The breakdown of the two-layered structure, the disappearance of the centre, maximum density.

Textural transparency
A state of texture that allows the centre and the interval fields to be heard clearly.


Textural density
The number of sounds per unit of time; a parameter determining tension.



V. FORM


Parametric form
A form based on changes in parameters (intervals, register, density, dynamics, centre) rather than on themes or harmony.

` Parametric form


Parametric arc
An A–B–C–B'–A' structure based on the symmetry of parameters.

Parametric climax
A climax achieved through the disappearance of the centre, tritone fields, the highest register and ff.

Parametric symmetry
Symmetry of parameters, rather than themes or harmonies.



VI. TIME


Centric time
A type of time based on the degree of presence or absence of an acoustic centre.


` Centric time


Temporal arc
The emergence of a centre ; its fading ; its disappearance ; its return.



Time without metre
A rhythmic surface without accents, pulse or metrical groupings.

Acoustic pulsation
The perception of time as the breathing of the centre, rather than as metrical movement.



VII. ANALYTICAL TERMS


Acoustic climax
A climax arising from the disruption of the centre, rather than from emotional tension.

Acoustic stabilisation
The return of the centre, the restoration of second fields, a reduction in density.

Acoustic symmetry
Symmetry of parameters, rather than of themes or harmonies.

Acoustic perspective
The distribution of registers and density, creating a sense of depth.


Acoustic gravity
The gravitational pull of the material towards or away from the centre.



VIII. TERMS RELATED TO THE PIECE
‘THE SUNNY RIVER’
[a piece by V. Kazarin for piano, cited here
as a brief example – references]



Centre D
The acoustic centre of the piece ‘Sun River’ ; Step-by-step analysis of ‘Sun River’

Tritone climax
Climactic section C, based on tritone fields.

Two-layered triplet texture
The main textural model of the work.

Parametric arc D–A–C–A–D
The acoustic structure of the form, based on the movement of the centre.



IX. TERMS OF COMPOSITIONAL TECHNIQUE


Parametric modelling
The creation of music through the manipulation of parameters rather than material.

Parametric dramaturgy
Dramaturgy based on changes in the centre, intervals, density and register.

Parametric climax
A climax arising from the disappearance of the centre.

Parametric stabilisation
The final return of the centre and the second fields.



X. TERMS OF PERCEPTION


Acoustic clarity
The listener’s ability to distinguish between the centre and the interval fields.

Acoustic inertia
The persistence of the sensation of the centre even after its disappearance.


Acoustic memory
The listener’s ability to retain the centre in their perception.



XI. THE SIGNIFICANCE OF THE EXPANDED DICTIONARY


This dictionary:
- sets out the most comprehensive conceptual framework of the TA system to date, specifically within the context of  musical composition,
- makes it accessible for analysis and teaching,
- enables composers to apply it in practice,
- establishes the scientific language of Tonal Atonality,
- affirms Vyacheslav Kazarin’s system as a fully-fledged theoretical discipline.



Arina Ryazantseva, art historian and biographer of composer Vyacheslav Kazarin
Russia, Moscow 2026

` A-CVK