An introductory article recommended for those wishing to gain an initial understanding of the compositional technique known as ‘Tonal Atonality’.
The Concept of ‘Tonal Atonality’ in Contemporary Composition: Towards a Definition of the Phenomenon
Abstract
This article is devoted to an analysis of the author’s concept of ‘Tonal Atonality’, proposed by the Russian composer Vyacheslav Kazarin. It examines the historical background to the emergence of this phenomenon, its connection with 20th-century extended tonality, and the specific nature of the interaction between tonal and atonal elements within a unified compositional system. It is demonstrated that ‘tonal atonality’ constitutes an independent model of harmonic thinking, distinct from both classical tonality and avant-garde atonality.
Introduction
The relationship between tonality and atonality is one of the key issues in 20th- and 21st-century music. From Arnold Schoenberg’s early experiments with free atonality to the concepts of extended tonality in Bartók, Ligeti and Lutosławski, composers have sought to overcome the binary opposition of ‘tonality versus atonality’ and to find new models of harmonic organisation. In this context, the concept of ‘tonal atonality’, developed by Vyacheslav Kazarin, is of particular interest; he defines it as a system in which ‘tonality generates atonality, and nothing else’.
This formulation implies a fundamentally different approach to harmonic synthesis than that which was characteristic of the mid-20th-century avant-garde. The aim of this article is to examine ‘tonal atonality’ as an independent phenomenon and to determine its place in contemporary music theory.
1. Historical and theoretical background
1.1. Extended tonality in the 20th century
The concept of extended tonality, introduced into academic discourse in the works of R. Taruskin [Taruskin, 2005], denotes a system in which the tonal centre is preserved, but functional relationships undergo transformation. In this model:
• chromatic medians are permitted,
• parallel third shifts are employed,
• tonality is expanded through modal and atonal insertions.
However, extended tonality does not imply the simultaneous coexistence of tonality and atonality as equal layers.
1.2. Polyphonic atonality and micro-polyphony
Ligeti and Lutosławski developed the ideas of ‘controlled atonality’ [Keller, 1998], where atonal structures are subject to strict polyphonic laws. Yet even here, atonality is the dominant principle, whilst tonality is merely an echo.
1.3. Postmodernist synthesis
In postmodernism (Shnitke, Silvestrov), we see the coexistence of various styles, including tonal and atonal elements. However, this coexistence is polystylistic in nature, rather than organic.
Thus, Kazarin’s concept does not correspond to any of the listed movements.
2. Definition of ‘Tonal Atonality’
According to the author’s formulation, ‘Tonal Atonality’ is a system in which:
1. Tonality is the primary structural principle.
2. Atonality arises as a derivative of tonality.
3. Both layers sound simultaneously, but do not conflict.
4. Atonal elements do not destroy tonality, but expand it.
Thus, ‘tonal atonality’ is neither a compromise nor a hybrid, but a hierarchical model in which tonality acts as the generative centre.
3. Structural features of tonal atonality
3.1. The tonal centre as a supporting structure
In Kazarin’s works, the tonal centre is indicated by:
• stable degrees,
• modal inversions,
• periodic returns to the original modality.
However, functional harmony is absent: cadential formulas are replaced by modal or chromatic anchors.
3.2. Atonal elements as a ‘halo’ around tonality
Atonal elements include:
• second clusters,
• chromatic medians,
• interval shifts,
• parallel structures.
However, they do not form an independent system—their function is decorative and spatial, rather than structuring.
3.3. Polyphonic integration
Polyphony plays a key role:
• voices develop independently,
• yet maintain a connection with the intonational core,
• creating a multi-layered sonic environment.
This links Kazarin’s method to E. Kurth’s concept of ‘organic thematism’ [Kurth, 1920].
4. The Dramaturgy of Tonal Atonality
Unlike avant-garde atonality, where the climax is often the result of a build-up of chaotic density, in Kazarin’s model the climax:
• may be quiet,
• may be harmonically stabilised,
• emerges as a moment of inner enlightenment.
This type of climax is described in studies of contemporary sacred music [Johnson, 2012].
5. Tonal Аtonality as an independent phenomenon
Kazarin’s concept differs from other synthesis models in that:
• it is not polystylistic,
• it is not extended tonality,
• it is not free atonality,
• it is not a modal system.
It is a hierarchical harmonic model in which:
• tonality is structure,
• atonality is texture,
• polyphony is a mechanism of integration.
Thus, ‘Tonal Atonality’ can be defined as a contemporary form of non-tonal thinking, based on the principle of generation rather than opposition.
Conclusion
The concept of ‘Tonal Atonality’ represents a unique phenomenon in contemporary composition. It proposes a new model of interaction between tonal and atonal elements, based on the principle of hierarchical generation rather than on conflict or the synthesis of opposites. This makes it a significant contribution to the development of modern harmonic theory and opens up prospects for further research in the field of neotonal systems.
Arina Ryazantseva, art historian and biographer of composer Vyacheslav Kazarin
Russia, Moscow 2026
` Bibliography [a selection of recommended references on the given topic]
Kurth, E. Grundlagen des linearen Kontrapunkts. Bern, 1920. Keller, H. Controlled Atonality in the Late 20th Century. London, 1998. Johnson, R. The Quiet Climax in Modern Sacred Music. Cambridge, 2012. Taruskin, R. Oxford History of Western Music. Oxford, 2005. Иванова, Т. Фольклорные архетипы в современной композиции. М., 2018. Petrov, A. Inner Quotation in Post Folkloric Composition. Berlin, 2020.
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