In this article, I argue that tonality itself often functions as a topic in early twentiethcentury modernist music. Tonal figurae gain markedness while compositional practices simultaneously fracture and flourish after 1900, opening a diverse network of significations and meanings. To account for this variegated musical world, I a(empt to broaden and extend topic theory’s orbit by deploying two types of semiotic analyses—1) a narrative analysis of tonal figurae within a piece or excerpt and 2) a wider analytical survey of a single tonal figura among many pieces. These methods enable exploration into the confluences of tonality and meaning in an eclectic set of musical examples by Schoenberg, Berg, Bartók, Ives, Penderecki, Feldman, and Tower, among others. A multidimensional spectrum of potential tonal-topicality emerges, reflecting composers’ reactions to processes of modernization. Volume 23, Number 4, December 2017 Copyright © 2017 Society for Music Theory

中文翻译：

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作为主题的调性

在这篇文章中，我认为调性本身经常作为 20 世纪早期现代主义音乐的一个主题。1900 年后，音调形象获得显着性，而作曲实践同时破裂和蓬勃发展，开启了各种意义和意义的网络。为了解释这个多姿多彩的音乐世界，我（试图通过部署两种类型的符号学分析来拓宽和扩展主题理论的轨道 - 1）对乐曲或摘录中的音调进行叙事分析，以及 2）对单一的更广泛的分析调查许多作品中的色调形象。这些方法能够在勋伯格、伯格、巴托克、艾夫斯、彭德列茨基、费尔德曼和塔等人的一系列不拘一格的音乐示例中探索音调和意义的融合。出现了潜在的音调主题的多维谱，反映作曲家对现代化进程的反应。第 23 卷，第 4 期，2017 年 12 月 版权所有 © 2017 音乐理论协会