An examination of the harmonic techniques out of their context has all too often led to misleading terminology such as 'static' or 'non-functional' as a description of Debussy's harmonic methods. Viewed as a whole, however, the tonal coherence of his music depends upon a carefully calculated and often dramatic interaction of these various harmonic 'types' with each other and with orthodox diatonic harmony. The result is a tonal language, but one which is fundamentally different in concept from classical tonality. The detailed classifications of harmonic events is no longer possible in Debussy's music where the central tonality of a work emerges only through a constant focusing and re-focusing on harmonic types.
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Jim Samson in Music in Transition: A Study of Tonal Expansion and Atonality, 1900-1920 (1977), p.38 ISBN 0393021939Claude Debussy
» Claude Debussy - all quotes »
By the time of his Fourth String Quartet, inversional symmetry had become as fundamental a premise of Bartók's harmonic language as it is of the twelve-tone music of Schoenberg, Berg, and Webern. Neither he nor they ever realized that this connection establishes a profound affinity between them in spite of the stylistic features that so obviously distinguish his music from theirs...Nowhere does he [Bartók] recognize the communality of his harmonic language with that of the twelve-tone composers that is implied in their shared premise of the harmonic equivalence of inversionally symmetrical pitch-class relations.
George Perle
"By the time of his Fourth String Quartet, inversional symmetry had become as fundamental a premise of Bartók's harmonic language as it is of the twelve-tone music of Schoenberg, Berg, and Webern. Neither he nor they ever realized that this connection establishes a profound affinity between them in spite of the stylistic features that so obviously distinguish his music from theirs...Nowhere does he [Bartók] recognize the communality of his harmonic language with that of the twelve-tone composers that is implied in their shared premise of the harmonic equivalence of inversionally symmetrical pitch-class relations."
Bela Bartok
Pythagoras, as everyone knows, said that "all things are numbers." This statement, interpreted in a modern way, is logical nonsense, but what he meant was not exactly nonsense. He discovered the importance of numbers in music and the connection which he established between music and arithmetic survives in the mathematical terms "harmonic mean" and "harmonic progression." He thought of numbers as shapes, as they appear on dice or playing cards. We still speak of squares or cubes of numbers, which are terms that we owe to him. He also spoke of oblong numbers, triangular numbers, pyramidal numbers, and so on. These were the numbers of pebbles (or as we would more naturally say, shot) required to make the shapes in question.
Pythagoras
Music is nothing but ratios and harmonic math, anyways.
Andrew Sega
Our peasant music, naturally, is invariably tonal, if not always in the sense that the inflexible major and minor system is tonal. (An "atonal" folk-music, in my opinion, is unthinkable.) Since we depend upon a tonal basis of this kind in our creative work, it is quite self-evident that our works are quite pronouncedly tonal in type. I must admit, however, that there was a time when I thought I was approaching a species of twelve-tone music. Yet even in works of that period the absolute tonal foundation is unmistakable.
Bela Bartok
Debussy, Claude
Debye, Peter
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