Top > The Compositional Style of C.P.E. Bach > Reception of Music with Frequent Modulations and Accidentals

This site introduces unknown composer Emanuel Bach (C. P. E. Bach). This English version was translated from Japanese one by ChatGPT.

Reception of Music with Frequent Modulations and Accidentals

ChatGPT4o writes as follows (please note that it may not be accurate):

Asked ChatGPT4o: “While Mahlerʼs Symphony No. 7, which features many modulations and accidentals, has become more accepted today, Emanuel Bachʼs music is still not fully embraced. Additionally, atonal music is still not widely accepted. Is it easier for people to accept music with stable tonality even today?”

It is indeed true that music with stable tonality tends to be more generally accepted even today. This is due to several factors.

1. Familiarity of Hearing and Cultural Background

The human ear becomes accustomed to certain musical structures over time. In Western music, the framework of major and minor keys was established from the 17th century and has been the basis for much classical, popular, and jazz music up to the 20th century. Therefore, music with stable tonality is often perceived as more predictable and familiar.

Emanuel Bachʼs music, even by the standards of his time, features frequent modulations and extensive use of accidentals, making it less predictable. In contrast, Mahlerʼs Symphony No. 7 gained appreciation in the 20th century as audiences became more receptive to modulations and unstable harmonies.

2. Structural Predictability

The human brain tends to favor a certain level of predictability. In tonal music, certain chord progressions are naturally anticipated and resolved, providing a sense of comfort. Emanuel Bachʼs compositions, compared to the music of his time, often feature unpredictable movements, which can give an impression of being "elusive." The difficulty in predicting atonal music also contributes to its limited acceptance.

3. Acceptance of Modern Music

Since the latter half of the 20th century, film music and popular music have generally developed while maintaining tonality. Although dissonance and modulation are used, they rarely completely eliminate tonality as in atonal music. Therefore, music where tonality can be felt is overwhelmingly more familiar.

Additionally, techniques such as blue notes and modal interchange (borrowed chords) are incorporated in jazz and rock, which share some commonalities with Emanuel Bachʼs use of accidentals. However, the fundamental tonality is usually preserved.

4. Emotional Control

Music with stable tonality tends to provide a sense of security to the audience. On the other hand, music with atonality or frequent modulations can induce anxiety or excitement, sometimes causing psychological discomfort. Mahlerʼs Symphony No. 7 alternates between moments of tonal instability and stability within its dramatic structure. In contrast, atonal music may be harder to accept as it maintains an unstable sound from start to finish.

Conclusion

It is a fact that music with stable tonality is generally easier to accept even today, but music that does not fully adhere to tonal frameworks is gradually being accepted. Emanuel Bachʼs music, with its frequent modulations and accidentals, is often perceived as "unique but difficult to grasp" by modern ears.

Music like Mahlerʼs Symphony No. 7, which maintains some degree of tonality while utilizing modulations and dissonance, may become more accepted over time, but completely atonal music might continue to be accepted only by a limited audience.

Asked ChatGPT4o: “Does the experience of listening to atonal music make it easier to accept Emanuel Bachʼs music?”

There is a possibility that the experience of listening to atonal music makes it easier to accept Emanuel Bachʼs music, but several conditions seem to be involved.

1. Increased Tolerance for Unstable Harmonies through Familiarity with Atonal Music

People accustomed to listening to atonal music have a higher tolerance for harmonies and progressions not based on traditional tonality, making it easier to naturally accept unstable sounds.
Emanuel Bachʼs music, by the standards of his time, features a high frequency of modulations and accidentals, characterized by unpredictable progressions. Therefore, those familiar with atonal music might find such "out-of-the-box" elements interesting.

For example, listeners of atonal music often have the following characteristics:

• A tolerance for non-functional harmonic progressions

• Less discomfort with unpredictable melodic lines

• An ability to find beauty in music with unclear tonality

These characteristics align with the features of Emanuel Bachʼs music, suggesting that those familiar with atonal music may find it easier to understand his compositions.

2. However, There Are Significant Differences between Atonal Music and Emanuel Bachʼs Music

There are decisive differences between atonal music and Emanuel Bachʼs music.

• Atonal music completely eliminates tonality, whereas Emanuel Bach employs a compositional technique of "moving freely within tonality."

• Atonal music often features a structure based on "motif manipulation," while Emanuel Bach emphasizes "improvisational melodic development."

Therefore, those accustomed to atonal music may not immediately become familiar with Emanuel Bachʼs music. Listeners of atonal music tend to expect "music without tonality," so understanding Emanuel Bachʼs "dynamic sense of tonality" may require different training.

3. The Development of Music since the 20th Century May Lead to a Re-evaluation of Emanuel Bach

Many people familiar with atonal music tend to be interested in musical diversity and experimental elements. Emanuel Bachʼs music, which pursues new sounds and expressions without being bound by formal frameworks, may appeal to those with an ear for contemporary avant-garde music.

In fact, composers from the 20th century (e.g., Hindemith, Stockhausen, Boulez) have taken an interest in Emanuel Bachʼs works, and there is a movement to evaluate his music from the perspective of contemporary music.

4. A Perspective Linking Atonal Music and Modal Music of the Baroque Era

The perspective you are considering, “Could people from the era accustomed to modes other than major and minor naturally understand Emanuel Bachʼs music?” may also apply to listeners of atonal music.

Listeners of atonal music, having trained themselves to adapt to sounds that do not conform to traditional major and minor frameworks, may also be able to adapt to the modal music of the Baroque era and Emanuel Bachʼs unconventional sense of tonality.

For example, those familiar with Bartókʼs "Mikrokosmos" or Messiaenʼs "Modes of Limited Transposition" might also find Emanuel Bachʼs music approachable.

Conclusion

While the experience of listening to atonal music may make it easier to accept Emanuel Bachʼs music, several conditions apply.

• Those with an ear for sounds beyond the framework of tonality may find Emanuel Bachʼs free modulations and accidentals "natural" and enjoyable.

• However, if one becomes too accustomed to the completely non-tonal sounds of atonal music, Emanuel Bachʼs "dynamic sense of tonality" might seem strange.

• Those familiar with experimental music since the 20th century may easily empathize with Emanuel Bachʼs innovativeness.

• Those familiar with modal music or mode music of the Baroque era may find Emanuel Bachʼs harmonies and melodies less disconcerting.

While listeners of atonal music have the "foundation to accept new sounds," it is reasonable to say that this alone does not guarantee that Emanuel Bachʼs music will be naturally accepted.

Asked ChatGPT4o: “If Emanuel Bach is not widely accepted today, why was he widely accepted during his lifetime?”

The fact that Emanuel Bach was widely accepted in the 18th century but is not as widely accepted today is largely due to differences in how music was listened to and the expected styles of each era. Several factors likely influenced this.

1. What 18th-Century Audiences Sought

Emanuel Bachʼs music matched the "new musical tastes" of audiences during his lifetime

• In the mid-18th century, the empfindsamer Stil (sensitive style) was one of the main currents in European music, emphasizing subtle emotional changes and unpredictable expressions.

• This was linked to the Rococo salon culture and the emphasis on emotional expression due to Enlightenment thought.

• Emanuel Bachʼs music, characterized by dramatic contrasts, sudden modulations, and unpredictable melodies, met the expectations of audiences seeking "improvisational and emotionally appealing music".

Notable Supporters of the Time

• Frederick the Great (whom Emanuel Bach served as a court musician)

• Music critic Johann Nikolaus Forkel (who praised him as "one of the greatest composers of the Bach family")

• Mozart (who reportedly said, "Anyone who does not learn composition by listening to his works is a fool")

• Haydn (who was influenced by Emanuel Bach in his compositions)

Particularly in clavichord performances, Emanuel Bachʼs subtle dynamics and ornamentations were maximized, possessing a unique expressiveness. This was accepted as fresh and sophisticated music by the nobility and intellectuals of the time.

2. The 18th Century Had Not Yet Established a "Fixed Concept of Tonality"

The 18th century was a transitional period that actively incorporated modulations and accidentals

• Baroque music (J.S. Bach, Handel, etc.) was a period where old modal ideas were retained while functional harmony developed.

• In contrast, during the Classical period (Haydn, Mozart), there was a shift towards emphasizing clear contrasts between tonic and dominant keys.

Positioned between these periods, Emanuel Bach extensively used free modulations that did not adhere to tonal frameworks, intending to surprise audiences. To the ears of the time, it likely sounded "new and emotional," making it appealing.

However, modern listeners may have a strong perception of "classical music = music with clear tonality like Mozart or Beethoven", making it difficult to grasp Emanuel Bachʼs fluid sense of tonality and unpredictable developments.

3. The Era Before the Completion of Sonata Form

• During Emanuel Bachʼs time, "sonata form" had not yet been established, so audiences did not expect as clear thematic development as they do now.

• Therefore, a compositional style like Emanuel Bachʼs, which extensively used improvisational and dramatic modulations, was not perceived as "unusual."

However, as sonata form was refined by Haydn and Mozart, with standardized stability of the tonic and clear development, Emanuel Bachʼs music came to be perceived as "unsettled" and "too unpredictable," leading to its near disappearance in the 19th century.

4. Reasons for Limited Acceptance Today

Today, Emanuel Bachʼs music is generally less accepted for the following reasons:

1. The Strong Influence of Mozart and Beethoven

   • The standard framework of classical music is widely recognized as having clear sonata form and tonal stability.

   • As a result, Emanuel Bachʼs improvisational and unpredictable developments are perceived as "unusual."

2. The Decline of Clavichord Performance Practices

   • The delicate expression achievable on the clavichord cannot be fully reproduced on modern pianos.

   • When played on the piano, Emanuel Bachʼs music can sometimes sound monotonous.

3. Different from Modern "Avant-Garde Music"

   • 20th-century atonal music is a "complete denial of tonality," whereas Emanuel Bach "expanded tonality."

   • Therefore, even listeners accustomed to atonal music may find it "different from both classical and modern music," making it less familiar.

Conclusion

Emanuel Bach was widely accepted during his lifetime because his music aligned with the sensibilities of 18th-century audiences and the trends of the time.

• During the Empfindsamer Stil era, his improvisational expression and frequent modulations were perceived as "new and appealing."

• Since the fixed concept of tonality was still developing, his musicʼs accidentals and modulations were naturally accepted.

• As sonata form had not yet been established, his "unpredictable developments" were enjoyed as "ordinary music."

However, with the standardization of music after the 19th century (tonal stability and clear sonata form), Emanuel Bachʼs music came to be seen as "unsettled and unusual," leading to its decline in recognition.

In recent years, the advancement of historical instrument performances and research has led to a re-evaluation, particularly when played on the clavichord or fortepiano, where the subtle expression inherent in Emanuel Bachʼs music is more effectively conveyed.

Asked ChatGPT4o: “You mentioned that ʼ20th-century atonal music is a complete denial of tonality,ʼ but Schoenberg, who initiated atonal music, arrived at atonality through the expansion of tonality.”

Indeed, it is important to note that Schoenbergʼs atonal music emerged as a result of "expanding tonality," rather than initially denying tonality.

1. Schoenbergʼs Atonal Music: Development from the Expansion of Tonality

Schoenbergʼs early style (from the 1880s to around 1908) was influenced by Wagner and Mahler, expanding traditional functional harmony. Works like “Verklärte Nacht” Op. 4 (1899) and “Pelleas und Melisande” Op. 5 (1902–03) are harmonically complex yet still tonal.

However, by the time of “String Quartet No. 2” Op. 10 (1908) and “Erwartung” Op. 17 (1909), maintaining unity through traditional tonality became difficult, leading to a state of "atonality".

Thus, Schoenberg did not "deny tonality" but rather "exceeded the framework of tonality, resulting in the dysfunction of traditional tonality," transitioning to atonality.

2. The "Expansion of Tonality" in Emanuel Bach and Schoenberg

While Emanuel Bach and Schoenbergʼs music differ in era and context, they share the commonality of "reaching new sounds by expanding the framework of tonality."

(1) Emanuel Bachʼs Expansion of Tonality

• Emanuel Bach expanded Baroque functional harmony, making tonality more fluid.

• Through sudden modulations and the use of accidentals, he created music not confined to a clear tonic (e.g., Württemberg Sonatas and Prussian Sonatas).

• However, he never completely dismantled tonality, always remaining within "free changes within a tonal framework."

(2) Schoenbergʼs Expansion of Tonality

• Schoenberg further expanded Romantic harmony, pushing dissonance and remote modulations to the extreme.

• As a result, the traditional "sense of tonality based on functional harmony" ceased to function, leading to atonality (post-1908).

• However, this was not a "denial of tonality" but rather a "result of tonality ceasing to function," as Schoenberg himself explored new possibilities of tonality.

3. Differences in the Reception of Atonal Music

While Emanuel Bach maintained tonality while expanding it, Schoenberg ultimately transcended tonality, marking a decisive difference.
Consequently, Schoenbergʼs atonal music was recognized as "completely different from previous tonal music," making it less accepted.

Additionally, Emanuel Bachʼs music, when evaluated by "classical standards," is perceived as unsettling, leading to its neglect after the 19th century. In contrast, Schoenbergʼs music was perceived as "a new genre of complete atonal music," allowing it to be accepted as experimental music by some audiences.

4. Conclusion

Schoenbergʼs atonal music indeed emerged as a result of expanding tonality, not initially intended to deny tonality.

Emanuel Bach also expanded tonality but never fully stepped "outside of tonality," leading to a decline in evaluation as it fell outside the standards of later classical music.

Ultimately, whether music that expands tonality is widely accepted depends significantly on the "familiarity of the audienceʼs ears" of the time.

Asked ChatGPT4o: “Is there a term to express ʼunstable tonalityʼ?”

There are several terms to express "unstable tonality," and it is important to use the appropriate term depending on the context. Here are some representative expressions:

1. "Fluid Tonality"

• Refers to a state where the key changes frequently, making it difficult to perceive a clear tonic.

• Suitable for music like Emanuel Bachʼs, which features many modulations and accidentals, making it difficult to maintain a solid sense of tonality.

Example:
"Emanuel Bachʼs empfindsamer Stil music expresses emotional changes in detail through fluid tonality."

2. "Extended Tonality"

• Refers to tonality that is extended by frequently using modulations and accidentals while maintaining traditional functional harmony.

• Seen in early works of Schoenberg and late works of Wagner (e.g., "Tristan und Isolde").

Example:
"Emanuel Bachʼs sonatas create a unique sense of harmony through extended tonality."

3. "Ambiguous Tonality"

• Used when the specific tonic is unclear, making it difficult to determine which key it belongs to.

• Also applicable to music like Emanuel Bachʼs, which extensively uses modulations and unusual harmonies.

Example:
"This movement maintains an ambiguous tonality from beginning to end, giving listeners an unpredictable impression."

4. "Modulating Tonality"

• Expresses a state where the tonality is unstable due to frequent modulations within short phrases.

• Particularly suitable for describing Emanuel Bachʼs improvisational compositions.

Example:
"His fantasia pursues improvisational expression to the extreme through modulating tonality."

5. "Floating Tonality"

• Refers to a state where the music freely modulates without being firmly rooted in a specific tonality.

• While characteristic of 20th-century composers like Bartók and Messiaen, it is also applicable to Emanuel Bachʼs music.

Example:
"In Emanuel Bachʼs rondo, floating tonality creates an effect that constantly surprises the audience."

6. "Floating Tonality"

• Refers to a state where the tonality is not clearly defined, giving a floating musical character.

• Common in early works of Debussy and Schoenberg, but also applicable to Emanuel Bachʼs fantastical compositions.

Example:
"This adagio movement creates a dreamlike atmosphere through floating tonality."

7. "Polytonality"

• Refers to a state where multiple different keys coexist, mixing tonality.

• Typical of 20th-century composers like Stravinsky and Milhaud, but similar sensations can be found in parts of Emanuel Bachʼs intertwined modulations.

Example:
"In this passage, harmonic polytonality is felt, expressing beyond the traditional framework of tonality."

8. "Dissolving Tonality"

• Refers to a state where traditional functional harmony gradually dissolves, making tonality ambiguous.

• Seen in Schoenbergʼs transition to atonality (e.g., "String Quartet No. 2"), but also applicable to Emanuel Bachʼs extreme harmonic changes.

Example:
"In the conclusion, dissolving tonality is emphasized, reaching an expression beyond tonal frameworks."

Summary

Expression	Meaning	Applicable to Emanuel Bach
Fluid Tonality	Frequent changes in key	◎
Extended Tonality	Extension beyond traditional tonality	○
Ambiguous Tonality	Unclear tonic	◎
Modulating Tonality	Frequent modulations in short spans	◎
Floating Tonality	Free modulations without being bound by tonality	○
Floating Tonality	Tonality not fixed, floating	○
Polytonality	Coexistence of multiple keys	△ (not strictly, but close)
Dissolving Tonality	Gradual loss of tonality	△ (partially possible)