Book 1 Tonal Atonality, Vyacheslav Kazarin

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We are pleased to present the first book in a series of four, dedicated to the analysis of the unique ‘Tonal Atonality’ system, which is one of the fundamental sections of ERA Ontology – an original ontology created by the outstanding contemporary composer Vyacheslav Gennadievich Kazarin.




TONAL ATONALITY: BOOK 1 ~ MONOGRAPH `
Composer Vyacheslav Kazarin


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Table of Contents


Part 1 6
TONAL ATONALITY with the author’s notes 7
1. 8
2. 19
3. 45
TONAL ATONALITY 45
Unity in Diversity, Diversity in Unity. 50
A view from the Soaring Falcon! 54
… right then, let’s get started – or rather, let’s take off… 54
Part 2 59
TONAL ATONALITY 60
MONOGRAPH _ BOOK 1 60
FOREWORD 60
CHAPTER 1. 61
AN INTRODUCTION TO TONAL ATONALITY. 61
1.1. The problem of definition 61
1.2. Why was a new system needed 61
1.3. The role of the system in contemporary music 62
1.4. The system’s key principles 63
1.5. Why this system is important 63
CHAPTER 2. 65
HISTORICAL AND CULTURAL CONTEXT 65
2.1. A crisis of tonality and the exhaustion of the functional system 65
2.2. Sch;nberg’s atonality: a liberation from the centre, but not the creation of a new one 65
2.3. Production specification: model without speakers 66
2.4. Spectralism: the centre as a timbral illusion 67
2.5. Minimalism: a time without a centre 67
2.6. Post-tonality: an expansion of harmony, but not the creation of a new system 68
2.7. Avant-garde: the destruction of structure without creating an alternative 69
2.8. The need for a new musical ontology 69
2.9. The emergence of Vyacheslav Kazarin’s system as a historical necessity 70
CHAPTER 3. 71
THE CONCEPT OF ATONAL ATONALITY 71
3.1. The problem of defining atonality in global music theory 71
3.2. Tonal Atonality as a New Musical Ontology 71
3.3. Why can atonality be centric 72
3.4. Tonal Atonality as a system of parameters 73
3.5. The distinction between tonal atonality and all other musical systems 74
Depending on the tonality 74
Depending on the modality 74
Depending on the series 74
Depending on the spectralism 74
Depending on the minimalism 74
Depending on the post-tonality 74
От авангарда 75
3.6. Structural characteristics of Tonal Atonality 75
3.7. Why is the system called ‘tonal’ 75
3.8. Why is the system called ‘atonal’ 76
3.9. A paradox that creates a new system 76
3.10. Tonal and Atonal Music as the Foundation of this Book 77
CHAPTER 4 78
THE ACOUSTIC CENTRE 78
4.1. The problem of the centre in music theory 78
4.2. Determining the acoustic centre 79
4.3. Why can the centre exist without tonality 79
4.4. Mechanisms for the formation of the acoustic centre 80
1. Frequency repetition 80
2. Register fixation 80
3. Duration 80
4. Fifth-based anchors 81
5. Textural role 81
4.6. The Acoustic Centre in V. Kazarin’s Piano Piece ‘The Sun River’ 81
4.7. The concealment of the centre as a structural device 82
4.8. The return of the centre as a formative moment 83
4.9. Why is the acoustic centre the key to Kazarin’s system 83
CHAPTER 5. 84
INTERVAL FIELDS 84
5.1. The Problem of the Vertical in Atonal Music 84
5.2. Definition of an interval field 85
5.3. Four types of interval fields 85
1. Second fields 85
2. Third fields 85
3. Fifth fields 85
4. Tritone fields 86
5.4. Why interval fields are not harmony 86
5.5. Why interval fields are not spectra 87
5.6. Why interval fields are not pitch-class theory 87
5.7. The role of interval fields in form-building 88
5.8. Interval fields and the acoustic centre 88
5.9. Interval fields in “The Sun River” 89
5.10. Why interval fields are the key to the vertical dimension in Kazarin’s TA system 89
CHAPTER 6. 90
PARAMETRIC FORM 90
6.1. The Problem of Form in Atonal Music 90
6.2. Definition of parametric form 91
6.3. Why parametric form is not thematic 91
6.4. Why parametric form is not processual 92
6.5. Why parametric form is not spectral 93
6.6. Key parameters of form 93
1. Interval fields 93
2. Register 93
3. Density 93
4. Dynamics 94
5. Stability of the centre 94
6. Texture 94
7. Rhythmic surface 94
6.7. The parametric arc model 94
6.8. Parametric form and the acoustic centre 95
6.9. Parametric Form in ‘Sun River’ 95
6.10. Why parametric form is the key to Vyacheslav Kazarin’s TA system 96
CHAPTER 7. 97
TEXTURE AND ACOUSTIC ARCHITECTURE 97
7.1. The Role of Texture in the System of Tonal Atonality 97
7.2. A two-layered texture as the basis of the system 97
7.3. Why is the texture two-layered rather than multi-layered 98
7.4. Non-repetition as a principle 99
7.5. Polyrhythmic 3:2, 6:5, 7:5, 5:4 [in Kazarin’s work, triplets are often combined with polyrhythm and shifted semantic accents in phrasing] surface as a rhythmic foundation 100
7.6. Texture as the vehicle for the acoustic centre 100
7.7. Textural texture as a vehicle for interval fields 101
7.8. Texture as a medium for form 101
Parametric form manifests itself through texture: 101
7.9. Textural structure in ‘Sun River’ 102
7.10. Why texture is a key element of Vyacheslav Kazarin’s TA system 102
CHAPTER 8. 104
CENTRIC TIME 104
8.1. The Problem of Time in Contemporary Music Theory 104
8.2. Definition of Centric Time 105
8.3. Three States of the Centre in Time 105
8.4. Why centric time is not linear 106
8.5. Why centric time is not cyclical 107
8.6. Why centric time is not stochastic 108
8.7. Why centric time is not timbral 108
8.8. Centric Time and Parametric Form 109
8.9. Centric time in “The Sun River” 109
8.10. Why Centric Time is the key to Vyacheslav Kazarin’s TA system 110
CHAPTER 9. 111
ANALYSIS OF THE PLAY ‘THE SOLAR RIVER’ 111
9.1. The significance of the work within the system of Tonal Atonality 111
9.2. The overall structure of the piece 111
9.3. Parameter A — Second-note fields and stability of the centre 112
Interval fields 112
Texture 112
Register 112
Dynamics 112
9.4. Parameter B — Third-based fields and development 113
Interval fields 113
Texture 113
Register 113
Dynamics 113
Centre 113
9.5. Parameter C — Tritone fields and the culmination 114
Interval patterns 114
Texture 114
Register 114
Dynamics 114
The Centre 114
9.6. Parameter B; — Return of the third fields 114
Interval fields 114
Texture 114
Register 114
Dynamics 115
9.7. Parameter A; — Return of the second-beat fields and stabilisation of the centre 115
Interval fields 115
Texture 115
Register 115
Dynamics 115
9.8. Centric Time in *The Solar River* 116
9.9. Texture as a vehicle for form 116
9.10. The vertical as interval logic 117
9.11. Why ‘The Solar River’ is a unique piece 117
CHAPTER 10. A COMPARISON OF TONAL AND ATONAL MUSIC WITH INTERNATIONAL TRENDS 119
10.1. Why comparison is necessary 119
10.3. Tonal Atonality vs Modality 120
10.4. Tonal Atonality vs Serialism 121
10.5. Tonal Atonality vs Spectralism 121
10.7. Tonal Atonality vs Post-tonality 122
10.8. Tonal Atonality vs the Avant-garde 123
10.9. Tonal Atonality vs Ligeti 123
10.10. Tonal Atonality vs Muray 124
10.11. Tonal Atonality vs Reich 124
10.12. Conclusion: the place of Tonal Atonality in world culture 125
CHAPTER 11. 126
COMPOSITIONAL TECHNIQUES OF TONAL ATONALITY 126
11.1. The fundamental difference between Vyacheslav Kazarin’s compositional technique and that of Western schools 126
11.2. The seven parameters controlled by the composer 127
11.3. The Algorithm of Composition in Tonal Atonality 127
Step 1. Choosing an Acoustic Centre 127
Step 2. Defining interval fields 128
Step 3. Creating a horizontal 128
Step 4. Creating a two-layer texture 129
Step 5. Creating a parametric form 129
Step 6. Masking the centre 129
Step 7. Returning the center 130
11.4. Techniques for working with texture 130
11.5. Techniques for working with time 131
11.6. The technique of the culmination 131
11.7. Final technique 132
11.8. Why Vyacheslav Kazarin’s compositional technique is unique 132
CHAPTER 12. 134
PRACTICAL EXERCISES IN COMPOSING MUSIC WITHIN A SYSTEM OF TONAL ATONALITY 134
12.1. The aim of the practice [below is a schematic version provided as part of this overview, which differs from the TA practice as one of the training modules of the Unified Learning Process – the educational system created by Vyacheslav Kazarin] 134
12.2. Exercises for the acoustic centre 134
Exercise 1. Find the centre in an atonal environment 134
Exercise 2. Masking the centre 135
12.3. Exercises on interval fields 135
Exercise 3. Second fields. 135
Exercise 4. Fields of thirds 135
Exercise 5. Tritone fields 135
12.4. Упражнения на двухслойную фактуру 136
Exercise 6. The top layer 136
Exercise 7. The bottom layer 136
Exercise 8. Merging layers 136
12.5. Exercises on parametric form 137
Exercise 9. Create a shape A–B–C–B;–A; 137
Exercise 10. Parametric culmination 137
12.6. Exercises on centric time 137
Exercise 11. Time as Breath 137
Exercise 12. Time without a metre 138
12.7. Composition tasks 138
Task 1. A Mini-Piece in Tonal Atonality 138
Task 2. Parametric etude 138
Task 3. Acoustic Arch 139
12.8. The practice session as a path to understanding the system 139
CHAPTER 13. 140
GLOSSARY OF TERMS TONAL ATONALITY 140
13.1. Key terms relating to the system 140
Acoustic centre 140
Акустическая доминанта Acoustic dominant 140
Acoustic architecture 140
Tonal Atonality 140
13.2. Vertical system terminology 141
Interval fields 141
Second fields 141
Third fields 141
Quint fields 141
Triton Fields 141
13.3. Terminology of the horizontal system 142
Interval-based horizontal 142
Non-repetitive 142
Intonational-polyrhythmic texture 142
13.4. Термины фактуры 142
Two-layer texture 142
Textural stability 142
Textural culmination 143
13.5. Термины формы 143
Parametric form 143
Parametric arch 143
Parametric culmination 143
13.6. Time-related terminology 143
Centric time 143
The Arc of Time 144
Время без метра 144
13.7. Analytical terminology 144
Acoustic culmination 144
Acoustic stabilisation 144
Acoustic symmetry 144
13.8. Terminology relating to ‘The Solar River’ 144
The tritone culmination 145
A two-layer triol texture 145
13.9. Dictionary definition 145
CHAPTER 14. CONCLUSION OF THE MONOGRAPH 146
14.1. Research findings 146
14.2. The key insights of Vyacheslav Kazarin’s ‘Tonal Atonality’ system 146
1. The Centre without Tonality 146
2. A vertical structure without harmony. 147
3. Form without themes or motifs 147
4. Time without a metre 147
5. Texture as architectural structure 147
14.3. ‘The Solar River’as the embodiment of the system 148
14.4. The significance of the system for contemporary music 148
14.5. Prospects for development 149
14.6. Final word 149
AFTERWORD. TONAL ATONALITY AS A NEW MUSICAL ONTOLOGY 150
1. Music after tonality and after atonality 150
2. The appearance of a centre where it ought not to be 150
3. Verticality without chords, form without themes, time without metre 151
4. ‘The Solar River’ as evidence of the system’s existence 152
5. Why Vyacheslav Kazarin’s TA system is not a school, but a paradigm 152
6. Why has the system emerged at this particular time 153
7. What Tonal Atonality Holds for the Future 154
This system provides: 154
1. New forms of composition 154
2. New Forms of Analysis 154
3. New Forms of Perception 154
4. New approaches to learning 154
5. New Forms of Musical Thinking 154
FINAL WORD 155
Part 3 156
COLLECTION OF REVIEWS: ‘TONAL ATONALITY’ 157
The composer Vyacheslav Kazarin in the context 157
of World Music 157
A brief overview of Vyacheslav Kazarin’s style: 162
ADDENDUM 164
V. Kazarin’s Style in the Context of Contemporary Music 164
Identifying possible ‘hereditary’ influences and aesthetic parallels 166
Tonal Atonality: How It’s Done _ 1 170
ADDENDUM 176
The piece for piano by composer Vyacheslav Kazarin "The Solar River" is unparalleled 186
The piece " The Solar River " by Vyacheslav Kazarin 192
and modern sound 192
The status of Vyacheslav Kazarin’s piano concerto ‘Along the Heavenly Iria’ 198
The place of Vyacheslav Kazarin’s piano concerto 203
‘Along the Heavenly Iria’ 203
in the history of the piano concerto 203
ADDENDUM 210
1. Acoustic centre 210
Definition [according to Kazarin] 210
In the concerto 210
Acoustic Dominant 213
Definition 213
3. Interval Fields 216
Definition 216
4. A two-layer texture 219
Definition 219
5. Non-repetitiveness 222
Definition 222
6. A triplet surface 224
Definition 224
7. Parametric form 227
Definition 227
8. Central Time 228
Definition 228
9. Acoustic Culmination 230
Definition 230
10. Acoustic Architecture 232
Definition 232
11. The Centre–Periphery Model 235
12. Register Architechture 240
13. Textural dynamics 242
14. The solo violin function 242
15. Final model 245