https://wiki.sarg.dev/index.php?action=history&feed=atom&title=PandiatonicismPandiatonicism - Revision history2026-06-04T07:29:22ZRevision history for this page on the wikiMediaWiki 1.44.2https://wiki.sarg.dev/index.php?title=Pandiatonicism&diff=365970&oldid=previmported>Sfjohna at 09:29, 11 November 20252025-11-11T09:29:24Z<p></p>
<p><b>New page</b></p><div>[[File:Stravinsky pandiatonic nonharmonic bass- Symphony of Psalms 3rd mov.png|150px|thumb|Pandiatonic chord from Stravinsky's ''[[Symphony of Psalms]]'' 3rd movement{{sfn|Andriessen & Schönberger|2006|loc=57}}[[File:Stravinsky pandiatonic nonharmonic bass- Symphony of Psalms 3rd mov.mid]]]]{{Over-quotation|date=August 2023}}<br />
'''Pandiatonicism''' is a [[musical technique]] of using the [[diatonic and chromatic|diatonic]] (as opposed to the [[chromatic scale|chromatic]]) [[scale (music)|scale]] without the limitations of [[diatonic function|functional]] [[tonality]]. Music using this technique is '''pandiatonic'''.<br />
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==History==<br />
The term "pandiatonicism" was coined by [[Nicolas Slonimsky]] in the second edition of ''Music since 1900'' to describe [[chord (music)|chord]] formations of any number up to all seven [[degree (music)|degrees]] of the [[diatonic scale]], "used freely in democratic equality".{{sfn|Kostelanetz|2013|loc=465}} [[Triad (music)|Triads]] with added notes such as the [[sixth chord|sixth]], [[seventh chord|seventh]], or [[ninth chord|second]] ([[added tone chord]]s) are the most common,{{sfn|Anon.|2001}}{{sfn|Kennedy|2006}}) while the "most elementary form" is a [[nonharmonic bass]].{{sfn|Andriessen & Schönberger|2006|loc=57}} According to Slonimsky's definition,<br />
<blockquote>''Pan-diatonicism'' sanctions the simultaneous use of any or all seven tones of the diatonic scale, with the [[bass note|bass]] determining the [[harmony]]. The chord-building remains tertian, with the seventh, ninth, or thirteenth chords being treated as consonances functionally equivalent to the fundamental triad. (The [[eleventh chord]] is shunned in [[Tonic (music)|tonic]] harmony because of its [[Quartal and quintal harmony|quartal]] connotations.) Pan-diatonicism, as consolidation of tonality, is the favorite technique of [[Neoclassicism (music)|NEO-CLASSICISM]] {{sic}}.{{sfn|Slonimsky|1938|loc=xxii}}</blockquote><br />
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Pandiatonic music typically uses the diatonic notes freely in [[consonance and dissonance|dissonant]] combinations without conventional [[resolution (music)|resolutions]] and/or without standard [[chord progression]]s, but always with a strong sense of [[tonality]] due to the absence of chromatics. "Pandiatonicism possesses both tonal and [[mode (music)|modal]] aspects, with a distinct preference for major keys".{{sfn|Kostelanetz|2013|loc=465}} Characteristic examples include the opening of [[Sergei Prokofiev]]'s [[Piano Concerto No. 3 (Prokofiev)|Piano Concerto No. 3]], [[Alfredo Casella]]'s ''Valse diatonique'', and [[Igor Stravinsky]]'s ''[[Pulcinella (ballet)|Pulcinella]]''.{{sfn|Latham|1992}} "The functional importance of the [[primary triad]]s...remains undiminished in pandiatonic harmony".{{sfn|Kostelanetz|2013|loc=465}} An opposed point of view holds that pandiatonicism does not project a clear and stable tonic.{{sfn|Simms|1986|loc=63–64}} Pandiatonicism is also referred to as "white-note music,"{{sfn|Machlis|1979|loc=163}} though in fact occasional [[accidental (music)|accidentals]] may be present.{{sfn|Dahlhaus, et al.|2001}} Other composers who employed the technique are [[Maurice Ravel]], [[Paul Hindemith]], [[Darius Milhaud]], [[Aaron Copland]], and [[Roy Harris]].{{sfn|Slonimsky|1947|loc=iv}} Pandiatonicism is also employed in [[jazz]] (e.g., added sixth ninth chord) and in [[Henry Cowell]]'s tone clusters.{{sfn|Kostelanetz|2013|loc=517}}<br />
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Slonimsky later came to regard pandiatonicism as a diatonic counterpart of [[Arnold Schoenberg]]'s [[twelve-tone technique]], whereby melodies may be made up of seven different notes of the diatonic scale, and then be [[Melodic inversion|inverted]], [[Retrograde (music)|retrograded]], or [[Retrograde inversion|both]]. According to this system, "strict pandiatonic [[counterpoint]]" may use progressions of seven different notes in each voice, with no vertical duplication.{{sfn|Slonimsky|1947|loc=iv}}<br />
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The term has been criticized as one of many by which, "Stravinsky's music, everywhere and at once, is made to represent or encompass every conceivable technique",{{sfn|van den Toorn|1975|loc=105}} and that has, "become so vague a concept that it has very little meaning or use".{{sfn|Woodward|2009|loc=1}} Pandiatonic music is usually defined by what it is not, "by the absence of traditional elements":{{sfn|Woodward|2009|loc=iii}} chromatic, atonal, twelve-tone, functional, clear tonic, and/or traditional dissonance resolutions.{{sfn|Woodward|2009|loc=3}} "It has been applied...to diatonic music lacking harmonic consistency [or]...centricity".{{sfn|Tymoczko|2011|loc=188n31}} Slonimsky himself, making fun of the definition, quoted a professor calling pandiatonicism "C-major that sounds like hell".{{sfn|Woodward|2009|loc=2}}<br />
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Examples of pandiatonicism include the harmonies [[Aaron Copland]] used in his populist work, ''[[Appalachian Spring]]'',{{sfn|Jaffe|1992|loc=30–31}} and the [[Minimal music|minimalist]] music by [[Steve Reich]], [[Philip Glass]], and the later works of [[John Adams (composer)|John Adams]].{{sfn|Dahlhaus, et al.|2001}}{{sfn|Jaffe|1992|loc=28}} [[William Mann (critic)|William Mann]] describes [[The Beatles]]' "[[This Boy]]" as, "harmonically...one of their most intriguing, with its chains of pandiatonic clusters".<ref name=ME>{{harvnb|Mann|1963}} cited in {{harvnb|Everett|2001|loc=204}}</ref><br />
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==Pandiatonic music==<br />
The following musical works include pandiatonicism.<br />
{{div col}}<br />
*[[The Beatles]]<br />
**"[[She's Leaving Home]]"{{sfn|Everett|1999|loc=109}}<br />
**"[[This Boy]]"<ref name=ME /><br />
*[[Aaron Copland]]<br />
**''[[Appalachian Spring]]''{{sfn|Jaffe|1992|loc=28}}<br />
*[[Claude Debussy]]<br />
**"[[La cathédrale engloutie]]" from [[Préludes (Debussy)|Préludes]], book 1{{sfn|Simms|1986|loc=63–64}}<br />
**''[[La Damoiselle élue]]''{{sfn|Hepokoski|1984|loc=48}}<br />
**"[[Voiles]]"{{sfn|Tymoczko|2011|loc=188}}<br />
*[[George Gershwin]]<br />
**[[Variations on "I Got Rhythm"]]{{sfn|Schiff|1997|loc=81}}<br />
*[[Constant Lambert]]<br />
**Trois pièces nègres pour les touches blanches{{sfn|Lloyd|2014|loc=378}}<br />
*[[Georgs Pelēcis]]<br />
**''Concertino Bianco'' for piano and chamber orchestra{{sfn|Taruskin|2004}}<br />
*[[Maurice Ravel]]<br />
**Rigaudon, from ''[[Le Tombeau de Couperin]]''{{sfn|Slonimsky|2000|loc=256}}<br />
*[[Steve Reich]]<br />
**''[[The Desert Music]]''{{sfn|Jaffe|1992|loc=29}}<br />
**''[[Tehillim (Reich)|Tehillim]]''{{sfn|Jaffe|1992|loc=28}}<br />
*[[Ned Rorem]]<br />
**String Quartet No. 2{{sfn|Strassburg|1976}}<br />
*[[Déodat de Séverac]]<br />
**"Temps de neige"{{sfn|Waters|2008|loc=104}}<br />
*[[Igor Stravinsky]]<br />
**[[Concerto for Piano and Wind Instruments (Stravinsky)|Concerto for Piano and Wind Instruments]]{{sfn|Machlis|1979|loc=163}}<br />
*[[Heitor Villa-Lobos]]<br />
**String Quartet No. 10{{sfn|Daniels|1966}}<br />
{{div col end}}<br />
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==See also==<br />
*[[Nonchord tone]]<br />
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==References==<br />
{{reflist|15em}}<br />
===Sources===<br />
{{div col|colwidth=45em}}<br />
* {{wikicite|ref={{harvid|Andriessen & Schönberger|2006}}|reference=[[Louis Andriessen|Andriessen, Louis]], and Elmer Schönberger. 2006. ''The Apollonian Clockwork: On Stravinsky''. Amsterdam: Amsterdam University Press. {{ISBN|9789053568569}}.}}<br />
* {{wikicite|ref={{harvid|Anon.|2001}}|reference=Anon. 2001. "Pandiatonicism". ''[[The New Grove Dictionary of Music and Musicians]]'', second edition, edited by [[Stanley Sadie]] and [[John Tyrrell (musicologist)|John Tyrrell]]. London: Macmillan.}}<br />
* {{wikicite|ref={{harvid|Dahlhaus, et al.|2001}}|reference=[[Carl Dahlhaus|Dahlhaus, Carl]], [[Julian Anderson]], [[Charles Wilson (composer)|Charles Wilson]], [[Richard Cohn]], and Brian Hyer. 2001. "Harmony". ''[[The New Grove Dictionary of Music and Musicians]]'', second edition, edited by [[Stanley Sadie]] and [[John Tyrrell (musicologist)|John Tyrrell]]. London: Macmillan.}}<br />
* {{wikicite|ref={{harvid|Daniels|1966}}|reference=Daniels, Arthur. 1966. "Heitor Villa-Lobos: [[String Quartet No. 10 (Villa-Lobos)|String Quartet No. 10]]" (review). ''[[Notes (journal)|Notes]]'', second series 22, no. 3 (March): 1108.}}<br />
* {{wikicite|ref={{harvid|Everett|1999}}|reference=[[Walter Everett (musicologist)|Everett, Walter]]. 1999. ''The Beatles as Musicians: Revolver Through the Anthology''. Oxford. {{ISBN|9780195129410}}.}}<br />
* {{wikicite|ref={{harvid|Everett|2001}}|reference=Everett, Walter. 2001. ''The Beatles as Musicians: The Quarry Men Through Rubber Soul''. Oxford and New York: Oxford University Press. {{ISBN|978-0-19-514105-4}}.}}<br />
* {{wikicite|ref={{harvid|Hepokoski|1984}}|reference=[[James Hepokoski|Hepokoski, James A.]] 1984. "Formulaic Openings in Debussy". ''[[19th-Century Music]]'' 8, no. 1 (Summer): 44–59.}}<br />
* {{wikicite|ref={{harvid|Jaffe|1992}}|reference=[[Stephen Jaffe|Jaffe, Stephen]]. 1992. "Conversation between SJ and JS on the New Tonality". ''Contemporary Music Review'' 6, no. 2:27–38.}}<br />
* {{wikicite|ref={{harvid|Kennedy|2006}}|reference=[[Michael Kennedy (music critic)|Kennedy, Michael]]. 2006. "Pandiatonicism". ''The Oxford Dictionary of Music'', second edition, revised; edited by Joyce Bourne. Oxford and New York: Oxford University Press. {{ISBN|978-0-19-861459-3}}.}}<br />
* {{wikicite|ref={{harvid|Kostelanetz|2013}}|reference=[[Richard Kostelanetz|Kostelanetz, Richard]]. 2013. ''A Dictionary of the Avant-Gardes''. London and New York: Routledge. {{ISBN|9781136806193}}.}} Kostelanetz appears to be quoting Slonimsky.<br />
* {{wikicite|ref={{harvid|Latham|1992}}|reference=Latham, Alison (ed.). 1992. "Pandiatonicism [Pandiatonism]". ''The Oxford Companion to Music''. Oxford and New York: Oxford University Press.}}<br />
* {{wikicite|ref={{harvid|Lloyd|2014}}|reference=Lloyd, Stephen. 2014. ''Constant Lambert: Beyond the Rio Grande''. Boydell Press.}}<br />
* {{wikicite|ref={{harvid|Machlis|1979}}|reference=Machlis, Joseph. 1979. ''Introduction to Contemporary Music'', second edition. New York and London: W. W. Norton. {{ISBN|0-393-09026-4}}.}}<br />
* {{wikicite|ref={{harvid|Mann|1963}}|reference=[[William Mann (critic)|Mann, William]]. 1963. "London". ''[[The Times]]'' (December 27).}}<br />
* {{wikicite|ref={{harvid|Schiff|1997}}|reference=[[David Schiff|Schiff, David]]. 1997. ''Gershwin: Rhapsody in Blue''. Cambridge Music Handbooks. Cambridge and New York: Cambridge University Press. {{ISBN|9780521559539}}.}}<br />
* {{wikicite|ref={{harvid|Simms|1986}}|reference=Simms, Bryan R. 1986. ''Music of the Twentieth Century: Style and Structure''. New York: Schirmer Books; London: Collier Macmillan. {{ISBN|0-02-872580-8}}.}}<br />
* {{wikicite|ref={{harvid|Slonimsky|1938}}|reference=[[Nicolas Slonimsky|Slonimsky, Nicolas]]. 1938. ''[https://books.google.com/books?id=W5PlAAAAMAAJ Music since 1900]'', second edition. New York: W. W. Norton.}}<br />
* {{wikicite|ref={{harvid|Slonimsky|1947}}|reference=Slonimsky, Nicolas, 1947. ''Thesaurus of Scales and Melodic Patterns''. New York: Charles Scribner's Sons. {{ISBN|0-02-611850-5}}. Reprinted, Schirmer Trade Books, 1975. {{ISBN|978-0825614491}}.}}<br />
* {{wikicite|ref={{harvid|Slonimsky|2000}}|reference=Slonimsky, Nicolas. 2000. ''The Listener's Companion: The Great Composers and Their Works'', edited by Electra Yourke. New York: Schirmer Trade Books. {{ISBN|9780825672781}}.}}<br />
* {{wikicite|ref={{harvid|Strassburg|1976}}|reference=[[Robert Strassburg|Strassburg, Robert]]. 1976. "Ned Rorem: String Quartet No. 2" (review). ''[[Notes (journal)|Notes]]'', second series 33, no. 1 (September): 166.}}<br />
* {{wikicite|ref={{harvid|Taruskin|2004}}|reference=[[Richard Taruskin|Taruskin, Richard]]. 2004. 'North (Europe) by Northwest (America)', ''New York Times'', 18 April 2004.}}<br />
* {{wikicite|ref={{harvid|Tymoczko|2011}}|reference=[[Dmitri Tymoczko|Tymoczko, Dmitri]]. 2011. ''A Geometry of Music: Harmony and Counterpoint in the Extended Common Practice''. Oxford and New York: Oxford University Press. {{ISBN|978-0-19-971435-3}}.}}<br />
* {{wikicite|ref={{harvid|van den Toorn|1975}}|reference=van den Toorn, Pieter. 1975. "Some Characteristics of Stravinsky's Diatonic Music". ''[[Perspectives of New Music]]'' 14, no. 1. (Autumn-Winter): 104–138.}}<br />
* {{wikicite|ref={{harvid|Waters|2008}}|reference=Waters, Robert Francis. 2008. ''Déodat de Séverac: Musical Identity in Fin de Siècle France''. Aldershot, Hants., and Burlington, Vermont: Ashgate Publishing. {{ISBN|9780754641056}}.}}<br />
* {{wikicite|ref={{harvid|Woodward|2009}}|reference=Woodward, James Charles. 2009. ''A System for Creating Pandiatonic Music''. Arizona State University. {{ISBN|9781109147223}}.}}<br />
{{div col end}}<br />
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==External links==<br />
*[https://web.archive.org/web/20181013103854/http://www.arvopart.org/glossary.html Definition of pandiatonic from the glossary] at www.arvopart.org<br />
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{{Modernism (music)|state=collapsed}}<br />
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[[Category:Musical techniques]]<br />
[[Category:Lists of musical works]]</div>imported>Sfjohna