ABSTRACT
This chapter talks about the foundation for cross-disciplinary interactions between post-tonal jazz and atonal music. Post-tonal theory encompasses numerous theoretical systems, such as atonality or dodecaphony that seek to explain the nature of different kinds of twentieth-century music. Presently, authors will concentrate on one particular type of twentieth-century music, so-called atonal music, and its corresponding theory. Atonal music is characterized by unordered pitch relationships. Any discussion of atonal music along with its theory necessitates the use of a specific jargon that is pertinent to that musical tradition. The concept of enharmonic equivalence enables to use the same integer for different spellings of the same pitch. Intervals in atonal music are labeled and measured differently than they are in tonal music. In the absence of traditional tonal relationships, the logic of atonal music manifests itself through a network of intervallic relationships that can occur at the micro or macro levels of the musical structure.
