Atonality is a dangerous term. If we take it to mean lack of a tonal center, we are left with very little music, much of which can be interpreted as polytonal anyway - even if the composer did not intend it, the relationships are still there, like a folk song using the mixolydian mode even though the writer didn't know it. For the very small amount of music that is truly, completely atonal, I would say that stylistically by its extremely limited nature atonality has reached a dead end; there is only so much you can do without alluding to some tonal center or other. I can't think of a single "atonal" piece where a tone added to the end couldn't provide a resolution.
Therefore, I consider most "atonality" to really just be extreme modality/chromaticism, perhaps with multiple hierarchically organized tonal centers, regardless of the composer's intent. It's like chaos: it only appears to be without order.
As for "atonality" as in non-major-minor harmonic language, it is very much alive. Personally I prefer a mixture of bitonal neo-impressionism as my pallet, although I explore most styles in my work.
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Originally Posted by Gardener
- Atonality and melody are not exclusive. Melodic-linear thinking is entirely independant of what kind of tonality you use.
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I would merely humbly suggest that the very nature of melodic contour implies a sense of tension that can be interpreted and labeled as tonality, albeit a veiled one.