Keiki |

Greek armonia, lat. modulatio, modus, Palani a me English. mode, ital. modo, germ. Tongeschlecht; hanohano. ʻoluʻolu - harmony, peace, harmony, order

Contents:

I. Ka wehewehe o ke ano II. Etymology III. Ke ano o ke ano IV. ʻO keʻano intonation o ka mea kani o keʻano V. ʻO nā māhele nui a me nāʻano o ka'ōnaehana modal, ko lākou genesis VI. Ke kino a me ka dialectics VII. ʻO ka hoʻokumu ʻana o ka fret VIII. ʻO ka hoʻokaʻawale ʻana IX. Fret moolelo X. Moolelo o na A'o ma ke ano

I. Ka wehewehe o ke ano. 1) L. i ka nani. manaʻo - ʻoluʻolu i ka paʻa ʻana o ka pepeiao ma waena o nā leo o ka ʻōnaehana pitch (ʻo ia hoʻi, ma ke ʻano, e like me ka lokahi ma ke ʻano mele-aesthetic); 2) L. ma ke ʻano mele-theoretical - ke ʻano ʻōnaehana o nā pilina kiʻekiʻe, i hoʻohui ʻia e kahi kani kikowaena a i ʻole consonance, a me kahi ʻōnaehana kani kikoʻī e hoʻopili ana (maʻamau i ke ʻano o kahi pālākiō). No laila, hiki ke kamaʻilio e pili ana iā L. e like me nā ʻōnaehana intonational i kauoha ʻia, a e pili ana i nā ʻano e pili ana i ka ʻokoʻa. ia mau pūnaewele. ʻO ka huaʻōlelo "L." hoʻohana ʻia e hōʻike i ka nui a i ʻole ka liʻiliʻi (ʻoi aku ka pololei, inclination), e hōʻike i kahi ʻōnaehana leo like me ka unahi (ʻoi aku ka pololei, kahi unahi). Aesthetic a me nā mele-theoretical. mau ʻaoʻao ʻelua o ka manaʻo hoʻokahi o L., a me ka nani. ke alakaʻi nei ka manawa i kēia lokahi. Ma ka manaʻo ākea o ka manaʻo "L." a pili loa ka "harmony". ʻOi aku ka ʻoi aku, pili pinepine ʻia ka lokahi me nā consonances a me ko lākou mau hope (ʻoi aku ka nui me ka ʻaoʻao kūpaʻa o ka ʻōnaehana pitch), a me ka linearity me ka pilina a me ka ʻokoʻa semantic o nā leo o ka ʻōnaehana (ʻo ia hoʻi, ka nui me ka ʻaoʻao ākea). ʻāpana Lūkini. ka manaʻo o "L." e pane i ka Helene, Lat., Palani, Pelekania, Italia, Kelemānia. nā huaʻōlelo, a me nā huaʻōlelo e like me "tonality", "scale" a me nā mea ʻē aʻe.

II. ʻO ka etymology o ka huaʻōlelo "L." ʻaʻole maopopo loa. keiki Czech - kauoha; Kanaka Polani - harmonis, order; Ukrainian L. - ʻae, kauoha. Lūkini pili. "E hele pū", "maikaʻi", "maikaʻi", kekahi Lūkini. "laditi" - e hoʻokuʻikahi; "Lada" - kāne (wahine), aloha pū kekahi (aloha). Malia paha pili ka huaʻōlelo me nā huaʻōlelo "lagoda" (peace, order, arrangement, adaptation), Czech. lahoda (ʻoluʻolu, ʻoluʻolu), ʻē aʻe Lūkini. lagoditi (e hana i ka mea maikai). ʻO nā manaʻo paʻakikī o ka huaʻōlelo "L." kokoke i ka Greek armonia (hoʻopaʻa, pili; lokahi, maluhia, hoʻonohonoho; no laila, hoʻokumu ʻia kahi kāne ma o ka "hoʻopili ʻana" (hoʻoponopono, hoʻoponopono, hoʻonohonoho pono, hoʻonohonoho i kahi mea kani; noho maluhia, ʻae) a me armozo, armotto (kūpono, hoʻopaʻa, hoʻoponopono, hoʻoponopono, hoʻopaʻa paʻa, male). ʻO Rus. ka manaʻo o "L." he Helene kekahi. ʻano “genus” (genos), no ka laʻana. diatonic, chromatic, "enharmonic" genera (a me kā lākou mau hui like, nā ʻano o nā ʻano).

III. ʻO ke ʻano o ka lokahi. ʻO L. ma ke ʻano he kuʻikahi ma waena o nā leo no ka nani ʻōiwi. nā pūʻulu mele, e like me kēia manaʻo me ka manaʻo o "harmony" (Kelemānia: Harmonie; he ʻokoʻa me Harmonik a me Harmonielehre). Kekahi mele. ʻO kahi hana, me ka nānā ʻole i kāna kikoʻī kikoʻī, pono ka mea mua he mele, ʻo ia hoʻi ka launa pū ʻana o nā kani; ka nani like. ʻO ka manaʻo o ka māhele L. (a me ka harmoni) ua hoʻokomoʻia ma keʻano he mea nui i ka manaʻo o ke mele me ka nani (ʻaʻoleʻo ke mele he hana kani, akā, heʻano likeʻole e hāʻawi i ka leʻaleʻa i ka pepeiao). L. e like me ka nani. ʻO ka māhele ("coherence") ke kumu o ka puka ʻana a me ka hoʻohui ʻana i nā hui. wehewehe ʻia ka ʻike. nā pilina ma waena o nā kani. ʻO ka "radiance of order" (ka ʻaoʻao logical o L.) i hōʻike ʻia e nā leo o L. pili i ke ʻano nui o kāna aesthetic. hopena. No laila, L. i kekahi huahana. hōʻike mau i ka manaʻo o ka mele. Hoʻopili ʻia ka mana o ka lexicon (e like me kona hopena aesthetic) me kona hiki ke hoʻomaʻamaʻa i ka hoʻonohonoho ʻana i nā mea kani "raw", ma muli o ia e lilo ai i mau ʻano like ʻole o nā "consonant sounds". Ma keʻano holoʻokoʻa, hōʻikeʻiaʻo L. i ka piha o ka hale, e uhi ana i ka paʻakikī holoʻokoʻa o kona mau mea - mai nā mea kani a hiki i ka loiloi. ka hoʻonohonoho ʻana o nā mea i ka crystallization kikoʻī aesthetic. nā pilina pūnaewele o ke ana, ka like, ka launa like (ma ke ʻano ākea - symmetry). He mea nui nō hoʻi ka hoʻopaʻa ʻia ʻana o kekahi L. i loko o kahi haku mele, e hōʻike ana i ka waiwai o kona hiki a me ka wehe maoli ʻana i kahi kūkulu ʻano nui. Mai ke kumu aesthetic o L. e hahai ana i ka pōʻai o nā pilikia theoretical kumu: ʻo ke ʻano o L. i kahi hana kani; ka hoʻolālā fret a me kona ʻano; logical a me ka mōʻaukala ko lākou pilina me kekahi i kekahi; ka pilikia o ka lokahi o ka evolution modal; ka hana a L. ma ke ano he kumu a me ke kani o na muse. haku mele. ʻO ke ʻano mua o ka hoʻohālikelike ʻana i nā pilina modal i ke kani concreteness o ke mele he melodic. kumu (ma ka leo leo - he ʻano pālākiō ākea) - e mau ana ka hōʻike maʻalahi loa (a no laila ka mea nui loa, kumu) o ke ʻano o L. No laila ke ʻano o ka huaʻōlelo "L." pili me ka melodic. unahi, i kapa pinepine ia he frets.

IV. ʻO ke ʻano leo kani o ke ʻano. ʻO ka mea kani i kūkulu ʻia ai ka ipukukui he mea nui ia no kekahi o kona mau hale a no kēlā me kēia ʻano kukui. d1-c1, d1-e1, f1-e1, etc.) a me ka consonance (ma mua o c1-e1-g1 ma ke kikowaena), e hoʻokomo i kona ʻano (“ethos”), hōʻike, kala, a me nā ʻano nani ʻē aʻe.

I ka huli ʻana, hoʻoholo ʻia ka mea kani e ka mōʻaukala concrete. nā kūlana no ke ola ʻana o ke mele, kona ʻike, nā ʻano hana mele i hoʻoholo ʻia e ka lehulehu. ʻO keʻano o ka "hanau" o L. (ʻo ia hoʻi, ka manawa o ka hoʻololiʻana o ke mele ma keʻano he manaʻo manaʻo i loko o konaʻano kani) ua uhiʻia e ka manaʻo o ka intonation (no ka intonation) i hoʻokomoʻia e BV Asafiev. ʻO ke ʻano he "borderline" ma ke ʻano (kū ma ke kahua o ka pilina pololei ma waena o ke ola kūlohelohe a me ka hana kiʻi a me ke mele), ʻo ka manaʻo o "intonation" e hopu i ka mana o ka socio-historical. nā mea e pili ana i ka ulu ʻana o nā mea kani - ka leo. paʻakikī a me nā ʻano o ka hui modal e hilinaʻi iā lākou. No laila, ʻo ka wehewehe ʻana i nā ʻano hoʻohālike e like me ka noʻonoʻo ʻana i ka ʻike o ka mele i hoʻoholo ʻia e ka mōʻaukala: "ʻo ka genesis a me ka noho ʻana o ... intonational complexes ma muli o kā lākou mau hana pili," no laila, ka ʻōnaehana intonational (a me ka modal) o kekahi mōʻaukala. Ua hoʻoholo ʻia ka manawa e ka "kūkulu o kēia hoʻokumu ʻana" (BV Asafiev). No laila, loaʻa ka leo i loko o ka embryo. ʻO ka pōʻai o kona au, ʻo ke ʻano o L. ʻo ia ka leo. he paʻakikī e pili ana i ka ʻike honua o kona manawa (no ka laʻana, ʻo ka Middle Ages. frets i ka hopena - he noʻonoʻo o ka ʻike o ka feudal au me kona kaʻawale, ʻoʻoleʻa; ʻo ka dur-moll system kahi hōʻike o ka dynamism o ka ʻike mele o ka mea i kapa ʻia ʻo ʻEulopa i kēia manawa etc.). Ma kēia manaʻo, ʻo ke ʻano hoʻohālikelike he kumu hoʻohālike loa o ka honua i ka hōʻike ʻana o kona au, kahi ʻano "genetic code of music". Wahi a Asafiev, ʻo L. ʻo "ka hui ʻana o nā leo e hoʻokumu i ka ʻōnaehana mele i hāʻawi ʻia e kekahi au i kā lākou launa ʻana," a "ʻaʻole i pau loa kēia ʻōnaehana," akā "ua mau i kahi kūlana o ka hoʻokumu ʻana a me ka hoʻololi ʻana. ”; L. hoʻoponopono a generalizes i ka "intonation puke wehewehe'ōlelo o ke au" hiʻona o kēlā me kēia mōʻaukala, manawa ("ka huina o ka mele i paa paʻa i loko o ka lehulehu consciousness" - Asafiev). ʻO kēia ka wehewehe ʻana i nā "pilikia intonation", ʻoi aku a liʻiliʻi paha e hoʻololi hou i nā leo kani ʻelua. mea, no laila, ma hope o kēia, a me ka laulā o ka 'āina (ʻoi loa ma nā verges o nui epochs, no ka laʻana, ma ka huli ana o ka 16th-17th a i ole 19th-20th kenekulia). No ka laʻana, ua hāʻawi ʻia kahi hopena qualitative hou a alakaʻi i ka hoʻoponopono hou ʻana o ka ʻōnaehana L. holoʻokoʻa i kāna mele. ʻO ka ʻoiaʻiʻo o ka mōʻaukala - ka hoʻololi ʻana o nā ʻano kumu - no laila, he hōʻike waho (i hoʻopaʻa ʻia i nā kumumanaʻo theoretical) o nā kaʻina hohonu o ka hoʻomohala ʻana o ka linguistic ma ke ʻano he ʻano ola a hoʻomau i ka leo. nā kumu hoʻohālike o ka honua.

V. ʻO nā ʻano nui a me nā ʻano o ka ʻōnaehana modal, ko lākou genesis. Hoʻokumu ʻia nā ʻano nui a me nā ʻano mele ma lalo o ka mana o ka hoʻomohala ʻana i nā mele. ʻike (kahi o ke kaʻina hana maʻamau o ka hoʻomohala holomua o ka ʻike, i ka hopena ma lalo o ka mana o nā hana kaiāulu kūpono o ke kanaka i ka hoʻomohala ʻana o ka honua). ʻO kahi kūlana koʻikoʻi o ke kani ʻana, ʻo ia ke kauoha ʻana i ka "ʻae" o nā leo (he ʻano hana kani mau) me ka holomua (ma ka holoʻokoʻa) hoʻonui nui i ka nui o nā mea kani a me nā palena i uhi ʻia e ia. Pono kēia e hoʻohālikelike. milestone helu i ka evolution o kumu qualitative hoololi i ke ano o ka noho ana o ka L. a hana i ka hiki ke puka mai o na ano hou o ke ano o ka hale. I ka manawa like, e like me ke ʻano o L. ma kāna mau ʻano nui ʻekolu - kani (intonation), logical (pilina) a me ka nani (coherence, beauty) - aia kahi kūloko. perestroika (ma ka ʻoiaʻiʻo, ʻo kēia trinity hoʻokahi a me ke ʻano like ʻole: ʻae, L., akā noʻonoʻo wale ʻia ma nā ʻano like ʻole). ʻO ka manawa hoʻokele ka hoʻohou o ka leo. ʻōnaehana (a hiki i ka "pilikia o nā intonation" ma lalo o L.), kahi e pono ai nā hoʻololi hou aʻe. ʻO ke ʻano kikoʻī, ʻike ʻia nā ʻano a me nā ʻano phonics e like me nā ʻōnaehana o nā wā a me nā lālani ākea a me nā pūʻulu kūpaʻa (nā mele) i hana ʻia e lākou (e ʻike i ka Sound System). "ʻO ka mode ka hōʻike o nā hōʻike a pau o nā leo o ke au, i hoʻemi ʻia i kahi ʻōnaehana o nā wā a me nā unahi" (Asafiev). L. e like me kekahi kani kani ua hoʻokumu ʻia ma ke kumu o ka hoʻohana ʻana i ke kino. (acoustic) nā waiwai o ka mea kani, ʻo ka mea mua, nā pilina o ka pilina pili i loko o ia mea, i hōʻike ʻia ma o nā manawa. Eia nō naʻe, ʻaʻole e hana like ka waena, melodic-scale, a me nā pilina ʻē aʻe e like me ka makemakika. a kino paha. hāʻawi ʻia, akā ma ke ʻano he "quintessence" o nā "'ōlelo kani" a kahi kanaka i hoʻonui ʻia e lākou (Asafiev). (No laila ka hemahema kumu e pili ana iā L. ka mea i kapa ʻia pololei, ʻo ia hoʻi, ke ana ʻana i ka nui, nā ʻano, "ana-kiʻi".)

ʻO ka mua o nā ʻanuʻu koʻikoʻi i ka hoʻomohala ʻana o nā ʻano laina laina - ka hoʻokumu ʻana i nā kumu i loko o ke ʻano o ka "ecmelic" primitive (ʻo ia hoʻi, me ka ʻole o kahi pitch). ʻO ka hoʻomau ma ke ʻano he ʻano o ka noʻonoʻo modal ʻo ia ka hoʻokumu mua ʻana o ka ʻoiaʻiʻo o ka linearity i ke kiʻekiʻe (ʻo ka leo koʻikoʻi ma ke ʻano he mea kikowaena e kauoha pono ana) a i ka manawa (ke ʻike o ka hoʻomau ʻana iā ia iho, mālama ʻia ʻoiai ke kahe o ka manawa e. ka hoʻi ʻana i ka leo like i koe i ka hoʻomanaʻo); me ka hiki ʻana mai o ke ʻano o ka hoʻokumu ʻana, ua kū mai ka manaʻo o L. ma ke ʻano he ʻano leo. ʻO ke ʻano o L. mōʻaukala – ʻo ke mele ʻana i ke kani (e pili ana i ka “pae o ke kūpaʻa” i ka ulu ʻana o L.) aia ma ka lāhui. pūʻulu ma kahi haʻahaʻa haʻahaʻa o ka hoʻomohala ʻana. ʻO ke ʻano mele e hiki mai ana (logically a me ka mōʻaukala) ʻo ia ka mele mele monodic me kahi ʻano melodic hoʻomohala a maopopo. ʻO ka lālani kani (ʻano ʻano, ʻōnaehana modal) maʻamau no nā mele kahiko ʻEulopa. na kanaka, incl. a me Rusia, Waena Waena. ʻElepa mele, Lūkini ʻē aʻe. hoʻopiʻi oli; ʻike pū ʻia ma ka moʻolelo o nā poʻe ʻaʻole ʻEulopa. kanaka. ʻO ke ʻano o ka "mele ʻana i ke kani", e pili ana i ka modal (no ka mea, he monodic nō hoʻi). ʻO kahi ʻano modal kūikawā ka mea i kapa ʻia. accordion h. tonality europ. mele o ka manawa hou. ʻO nā inoa o nā mea akamai loa o nā mele honua e pili pū me ia. ʻokoʻa ʻokoʻa ka harmonic ka tonality mai ka polyphony o ka ʻeke a i ʻole ka hale kūʻai heterophonic (i waena o nā poʻe kahiko, i ka poʻe, nā mele extra-European). I ke kenekulia 20 (ʻoi loa ma nā ʻāina o ka moʻomeheu ʻEulopa) ua pālahalaha ʻia nā ʻano o nā hale kiʻekiʻe kiʻekiʻe i ʻokoʻa i nā mea mua a pau (ma serial, sonorous, electronic music). ʻO ka hiki ke hoʻokaʻawale iā lākou ma ke ʻano he L. ke kumuhana o ka hoʻopaʻapaʻa; ʻaʻole i hoʻoholo ʻia kēia pilikia. Ma waho aʻe o nā ʻano nui o L., he nui nā ʻano waena, kūpaʻa a kūʻokoʻa (no ka laʻana, ke ʻano harmonisa o ka European Renaissance, ʻoi aku ka 15th-16th century).

VI. Organism a me dialectics o ke kaʻina hana o ke ʻano evolution. ʻO ke kaʻina hana o ka ulu ʻana o ka hanana a me ka manaʻo o "L." mea kino, a he dialectic kekahi. kaʻālana. Aia ke ʻano kūlohelohe o ke kaʻina hana i ka mālama ʻana a me ka hoʻomohala ʻana i nā ʻano like ʻole o ka linearity, ka puka ʻana o nā ʻano ʻē aʻe ma ko lākou kumu. nā waeʻano a me kā lākou hoʻomohala ʻana ma ke ʻano he kūʻokoʻa kūʻokoʻa, e kau ana i nā loli āpau i nā loina maʻamau like. ʻO ka mea nui o lākou ka ulu ʻana (helu. mahuahua, eg. ka ulu ʻana o ka pālākiō mai ka tetrachord a i ka hexachord), ka hoʻopiʻi ʻana o nā ʻano ʻaelike, ka hoʻololi ʻana o nā nui. loli i qualitative, one-pointedness o ka holoʻokoʻa evolution. No laila, ʻo ka hīmeni ʻana o kahi leo i wehewehe ʻia, hoʻomau mau ʻia, e pālahalaha ana i kahi hui o nā poʻe ʻē aʻe. nā kani (ulu), pono i nā ʻano hou o ka hoʻohui ʻana - ka hoʻokaʻawale ʻana o nā kani pili a me ke koho ʻana i ka melodic kokoke loa e like me ke kumu lua. consonances (complication of the forms of agreement; see. Consonance); i ka hopena o ke ʻano kiʻekiʻe L. ua hoʻololi ʻia nā leo āpau (ke ʻano mua) i wehewehe ʻia a hoʻoponopono hou ʻia i kēlā me kēia manawa; akā naʻe, ua kaupalena ʻia ke kūʻokoʻa o ka hapa nui o lākou i ka mana o hoʻokahi, i kekahi manawa ʻelua a ʻekolu paha (he ʻano hou). ʻO ka hoʻoikaika ʻana i ka quart a i ʻole quint, e like me nā leo hana hoʻokahi o ke koʻokoʻo fret, e oʻo ana i loko o ke ʻano o ka modality, hiki ke hoʻohuli i kēia mau consonances horizontal i mau ʻano kū pololei. Ma ka mōʻaukala, pili kēia i ka Middle Ages. ʻAe, ma V. Oddington (ca. 1300) ka like o nā consonances ākea a me ke kū pololei e like me nā ʻāpana o L. paʻa i kā lākou wehewehe ʻana ma ka huaʻōlelo like "harmony" (harmonia simplex a me harmonia multiplex). ʻO ka manaʻo o ka consonance ma ke ʻano he hōʻike o ka ʻike hana e hoʻonui ʻia i nā wā paʻakikī e hiki mai ana - ʻekolu (ulu); no laila ka hoʻonohonoho hou ʻana o ka ʻōnaehana holoʻokoʻa o L. (complication of forms of agreement). Ma ka 20 in. Ua lawe ʻia kahi ʻanuʻu hou ma ka ʻaoʻao hoʻokahi: ua hoʻokomo ʻia ka pūʻulu o nā wā i loko o ka pōʻai o nā manawa kūpono aesthetically maikaʻi loa - kekona, ʻehiku a me tritones (ulu), a pili pū ka hoʻohana ʻana i nā ʻano leo hou me kēia (sonolly interpreted consonances. , series of one or another interval composition, etc.) a me nā hoʻololi like i nā ʻano o ka hoʻohui ʻana o nā mea kani me kekahi. ʻO ka dialectic o ka evolution L. Aia i loko o ka ʻoiaʻiʻo ʻo ka genetically subsequent, ʻano kiʻekiʻe o ka hui modal, i ka loiloi hope, ʻaʻohe mea ʻē aʻe ma mua, i kūkulu ʻia i nā kūlana hou. No laila, ʻo ka modality, me he mea lā, he "mele" o kahi papa kiʻekiʻe: ua hoʻonani ʻia ka leo-noho kumu me ka neʻe ʻana ma waena o kekahi. nā leo, to-rye, ma ka huli ʻana, hiki ke unuhi ʻia ma ke ʻano he kumu; i ka lokahi. Hoʻohana like kekahi mau ʻōnaehana i ka tonality (ma nā pae like ʻole o ka hoʻolālā modal): ka leo chord reference a me nā kani pili (auxiliary), tonic a me non-tonic chords, local ch. tonality and deviations, general ch. tonality a me nā tonality subordinate. Eia kekahi, ʻoi aku ka kiʻekiʻe o nā ʻano hoʻololi i ka hoʻololi ʻana o ka hoʻokahi, melodic i ke ʻano kumu mua - intonation ("ʻo ke ʻano o ka intonation he melodic" - Asafiev). He intonational hoʻi ka chord (consonance, i hoʻokumu ʻia ma ke ʻano he verticalization o kahi ʻāpana pōkole, mālama i kona ʻano kumu ma kahi ʻano "folded" - melodic. neʻe), a me kahi paʻakikī timbre-sonor (ʻaʻole i "hoʻonohonoho ʻia" e like me kahi chord, akā unuhi ʻia ma ke kumu o kahi chord i kona ʻano hou). Pela no na mea e ae o L. No laila ka dialectical nui metamorphosis. ʻāpana L.

KUE: – nui. kani kumu. conson waena waena. puolo nui. diss. chord series – finalis tonic center. kani a consonance - leo (=mode) tonality kekahi leo. pōʻai – kī nui ka leo nui. pōʻai

No laila ka dialectic o ka manaʻo o "L." (ʻo ia ka hoʻopaʻa ʻana a loaʻa iā ia iho, e like me nā papa semantic like ʻole, ka mōʻaukala holoʻokoʻa o kona hoʻokumu ʻia ʻana i nā kenekulia):

1) ka lakio o ka paʻa a me ka instability (mai ke kahua o ka "mele i ka leo"; no laila ke kuʻuna e hōʻike ana i ke kani L. ch., no ka laʻana, "IV church tone", ʻo ia hoʻi ka leo Mi),

2) he ʻōnaehana kani melodic o nā pilina tonal qualitatively differentiated (mai ke kahua o ka modality; no laila ke kuʻuna e hōʻike i ka phonation ma ke ʻano o ka papa unahi, e hoʻokaʻawale i waena o nā phonics ʻelua me ka leo kumu hoʻokahi, ʻo ia hoʻi ke tonality kūpono a me ke tonality) ,

3) hāʻawi i ka ʻāpana L. o nā ʻōnaehana a me ke ʻano harmonic-chord, ʻaʻole pono e hoʻokaʻawale ʻia e pili ana i ka definiteness o ka pālākiō a me ka unambiguity o ka mea nui. nā kani (no ka laʻana, ma nā hana hope a Scriabin; i hoʻohālikelike ʻia i ka harmonic tonality). Hoʻololi pū ʻia nā ʻōlelo hoʻohālike leo e hōʻike ana iā L. ʻO ka prototype (ma mua loa) ʻo ia ke kikowaena leo-kū, hoʻopuni ʻia e ka melismatic. lole ("variation" of leo). ʻO ka loina kahiko o ka melody-model (ma nā moʻomeheu like ʻole: nom, raga, poppies, pathet, etc.; Russian vowel singing) pono e noʻonoʻo ʻia he kumu hoʻohālike maoli o L. nā modes (India, ka Soviet East, ka Middle East region). I ka harmonic. tonality - ka neʻe ʻana o ka unahi, ke kikowaena hiki ke hoʻololi ʻia. triad (i hōʻike ʻia ma nā hana a G. Schenker). ʻO ka hana dodecaphone, ka mea e hoʻoholo ai i ka intonation, hiki ke noʻonoʻo ʻia he analogue. ke ʻano a me ke ʻano pitch o kahi haku mele (e nānā i ka Dodecaphony, Series).

VII. Mechanism of fret formation. ʻAʻole like ke ʻano o ka hana o nā kumu i hoʻokumu ʻia L. i ka decomp. ʻōnaehana. Hiki ke hōʻike ʻia ke kumumanaʻo maʻamau o ka hoʻokumu ʻana i ka fret ma ke ʻano he hoʻokō o ka hana. hana ma ke ala kiʻekiʻe, me ka hoʻohana ʻana i nā mea hiki ke kauoha i loko o kēia kani, intonation. mea waiwai. Mai ka ʻenehana. Ma ka ʻaoʻao ʻē aʻe, ʻo ka pahuhopu ka loaʻa ʻana o kahi ʻano like ʻole o nā leo, i manaʻo ʻia he ʻano mele like ʻole, ʻo ia hoʻi, ʻo L. ʻO ka loina kahiko loa o ka haku mele ʻana o L. ma muli o nā waiwai o ka consonance mua - unison (1). : 1; ka hookumu ana o ka abutment a me kona mele melismatic). I loko o ka melodic kahiko L. ka mea nui i loko o ka hale, e like me ke kānāwai, e lilo pū i ka mea maʻalahi maʻalahi. ʻO ka poʻe i hāʻawi i nā leo ʻokoʻa, ʻo ia ka lima (3:2) a me ka hā (4:3); mahalo i ka launa pū ʻana me ka linear melodic. hoololi lakou i na wahi; ʻo ka hopena, ʻoi aku ka nui o ka hā ma mua o ka ʻelima. Hoʻonohonoho ʻo Quarte (a me ka ʻelima) o nā leo i ka pālākiō; Hoʻoponopono pū ia i ka hoʻokumu ʻana a me ka hoʻoponopono ʻana i nā leo kuhikuhi ʻē aʻe o L. (maʻamau no nā mele mele lehulehu). No laila ke ʻano diatonic e like me L. Hiki ke hoʻomau ʻia ka leo kuhikuhi, akā hoʻololi pū kekahi (modal variability), ʻo ia kekahi ma muli o ke ʻano ʻano o nā mele. ʻO ka hele ʻana o kahi leo kuhikuhi a me kāna hana hou ʻana ke kumu nui o L.; ʻO ka diatonic ʻehā-quint he hōʻike ia o ka hoʻohui ʻano maʻalahi loa o ka hale holoʻokoʻa.

"Opekalovskaya" manuscript (17th century?). "E hele mai, e hooluolu kakou ia Iosepa."

Kū - kani g1; a1 – pili i ka g1 a pili loa me ia ma o d1 (g:d=d:a). Eia hou, hoʻopuka ka a1 a me g1 i kahi tetrachord a1-g1-f1-e1 a me ka lua o ka leo hīmeni haʻahaʻa f1 (kākoʻo kūloko). Hāʻawi ka hoʻomau ʻana o ka laina gamma i ka tetrachord f1-e1-d1-c1 me kahi hoʻokuʻu kūloko d1. ʻO ka pilina o nā kumu g1-d1 ke kumu o ka L. Ma ka hopena o ka laʻana, ʻo ia ka ʻōnaehana maʻamau o ka L. o ka stichera holoʻokoʻa (ʻo ia wale nō ka 1/50 o kāna ʻāpana i hāʻawi ʻia ma aneʻi). ʻO ka kikoʻī o ka hoʻolālā modal i loko o ke ʻano "floating", ka nele o ka ikehu o ka neʻe ʻana a me ka gravity (ʻo ka nele o ka gravity ʻaʻole ia e hōʻole i ka linearity, no ka mea, ʻo ka noho ʻana o ke kūpaʻa a me ka gravity ka waiwai nui o kēlā me kēia ʻano. linearity).

ʻO L. o ka ʻano nui-liʻiliʻi e pili ana i ka pilina ʻaʻole o ka "troika" (3: 2, 4: 3), akā no ka "lima" (5: 4, 6: 5). Hoʻokahi ʻanuʻu ma ka pālākiō o ka pilina leo (ma hope o ka hapaha-quint, ʻo ka tert ka mea kokoke loa) ʻo ia hoʻi, he ʻokoʻa nui i ke ʻano a me ka hōʻike ʻana o L., kahi hoʻololi i ka mele-moʻolelo. nā wā. E like me kēlā me kēia leo o ka L. kahiko i hoʻoponopono ʻia e nā pilina consonant maikaʻi loa, ma ʻaneʻi ua hoʻoponopono ʻia e nā pilina consonant maikaʻi ʻole (e nānā i ka laʻana ma lalo nei; ʻo n ka hala, c he kani kōkua).

Ma ke mele o ka Viennese classics, ua hoʻokūpaʻaʻia kēia mau pilina e ka maʻamau o nā mele. nā hoʻololi a me ka hoʻohālikelike o nā leo (pa 2 a me kona kuʻikahi D - ka manawa paʻakikī, 4 - kona T - paʻa pālua).

(T|D¦D|T) |1+1| |1 1|

No laila ke ʻōlelo nei nā ʻāpana modal maoli i ka predominance o ka tonic. ka lokahi ma luna o ka mana. (I kēia hihia,ʻaʻohe S; no ka Viennese classics, he mea maʻamau ka paleʻana i nāʻaoʻaoʻaoʻao e hoʻonui ai i ka L., akā i ka manawa hoʻokahi e hoʻonele i ka mobility.) ʻO keʻano o L. - hoʻopau. centralization, dynamics, pono; i hoomaopopo loa ia a me ka umekaumaha ikaika; ʻO ke ʻano multilayered o ka ʻōnaehana (no ka laʻana, ma ka papa hoʻokahi, ua paʻa ka leo i hāʻawi ʻia e pili ana i nā leo e ume ana i loko; ma kekahi, ʻaʻole paʻa, ʻo ia iho e gravity i ka tonic kūloko, etc.).

WA Mozart. Ka Ohe Kupua, ka aria o Papageno.

Ma nā mele hou, aia ka manaʻo i ka hoʻokaʻawale ʻana o L., ʻo ia hoʻi ka ʻike ʻana iā ia me kahi paʻakikī paʻakikī o ke kani ʻana (melodic, chordal, timbre-coloristic, etc.) hiʻohiʻona o kahi ʻāpana a i ʻole kumuhana. He ʻokoʻa i nā ʻano hoʻohālike maʻamau (meody-model i ka L. kahiko, type melodic a i ʻole nā ​​kaʻina chord i ka Middle Ages L., i loko o ka ʻōnaehana modal major-minor), ua lawe ʻia kahi hiʻohiʻona paʻakikī i kumu, i kekahi manawa piha loa. pani i ka mea kahiko . nā mea o L., ʻoiai ma waena o nā haku mele e pili mau ana i ke kumu tonal. Ma kēia ʻano, hoʻokumu ʻia nā ʻano hana e hoʻohui i nā ʻano kumu i kēlā me kēia ʻāpana (e laʻa, ke ʻano nui + nā unahi leo holoʻokoʻa + ka holomua ʻana o nā chord dissonant ma waho o ka ʻōnaehana nui-liʻiliʻi). Hiki ke hoʻokaʻawale ʻia kēlā mau hale āpau ma ke ʻano he polymodal (ʻaʻole wale i ka manawa like, akā pū kekahi i ke kūleʻa a me ka hui pū ʻana o kā lākou mau mea hoʻohui).

ʻAʻole hāʻawi ʻia ke ʻano pākahi o ka ʻāpana e ka triad T C-dur, akā ma ke kaula cgh-(d)-f (e hoʻohālikelike me ka chord 1 o ke kumuhana nui: chdfgc, helu 3). ʻO ke koho ʻana o nā harmonies wale nō me kahi kumu nui a me nā dissonances koi, a me ke kala sonorant (timbre-coloristic) o nā consonances e hoʻolike ana i ke mele, e hopena i kekahi hopena, akā ʻokoʻa wale nō i kēia ʻāpana - he ikaika loa a ʻoi. nui, kahi i lawe ʻia mai ai ka malu māmā o ke kani i loko o ka mea nui i kahi ʻōlinolino.

WA Mozart. Ka Ohe Kupua, ka aria o Papageno.

VIII. Paʻakikī loa ka hoʻokaʻawale ʻana o nā ʻano. ʻO kāna mau mea e hoʻoholo ai ʻo: ka pae genetic o ka hoʻomohala ʻana i ka noʻonoʻo modal; paʻakikī waena o ka hale; lāhui, mōʻaukala, moʻomeheu, kaila hiʻohiʻona. Ma ka holoʻokoʻa wale nō a ma ka hōʻuluʻulu hope ʻana e huli ʻia ka laina o ka evolution o L. i unidirectional. Nui nā laʻana o ke ʻano o ka hoʻololi ʻana i kahi kiʻekiʻe o ka genetic general. ʻO nā ʻanuʻu i ka manawa like ʻo ia ka nalowale o kahi hapa o nā waiwai o ka mea ma mua a, ma kēia ʻano, kahi neʻe i hope. No laila, ʻo ka lanakila ʻana o ka polyphony o ka Western European. ʻO ka civilization ka pae nui loa i mua, akā ua hele pū ʻia (no 1000-1500 mau makahiki) e ka nalowale o ka waiwai chromatic. a me "enarmonic." genera of monodic kahiko. ʻōnaehana huhū. ʻO ka paʻakikī o ka hana ma muli o ka nui o nā ʻāpana e pili kokoke ana, ʻaʻole hiki ke hoʻopau i ka hoʻokaʻawale ʻana: L., tonality (tonal system), sound system, scale, etc. He mea pono e kaupalena iā mākou iho. e kuhikuhi ana i nā ʻano mea nui loa o nā ʻōnaehana modal ma ke ʻano he kiko o ka manaʻo nui. nā hiʻohiʻona o ka hoʻokumu ʻana i ka fret: ecmelica; nā maʻi anhemitonics; diatonic; chromaticity; microchromatic; nāʻano kūikawā; ʻōnaehana hui (ʻo ka māhele ʻana i kēia mau ʻano like me ka ʻokoʻa o ka genera, Greek genn).

ʻO Ekmelika (mai ka Greek exmelns - extra-melodic; kahi ʻōnaehana i loaʻa ʻole kahi leo pololei) ʻoiai ʻo kahi ʻōnaehana ma ke ʻano kūpono o ka huaʻōlelo ʻaneʻane ʻaʻole loaʻa. Hoʻohana wale ʻia ʻo ia ma ke ʻano he ʻenehana i loko o kahi ʻōnaehana i hoʻomohala ʻia (sliding intonation, element of speech intonation, a special performing manner). Hoʻokomo pū ʻia ʻo Ekmelik i ka mele melismatic (kiʻekiʻe ʻole) o kahi leo paʻa - upstoi (e like me Yu. N. Tyulin, ma ke mele ʻana i nā Kurds Armenian "hoʻokahi leo paʻa ... ua uhi ʻia me nā ʻano lokomaikaʻi i hoʻopiha ʻia me ka ikehu rhythmic kupaianaha"; ”).

Anhemitonics (ʻoi aku ka pololei, anhemitonic pentatonics), hiʻohiʻona o nā mea he nui. i nā moʻomeheu kahiko o ʻAsia, ʻApelika a me ʻEulopa, ʻo ia hoʻi, he pae nui i ka hoʻomohala ʻana i ka noʻonoʻo modal. ʻO ke kumu hana o ka anhemitonics ke kamaʻilio ma o nā consonances maʻalahi. ʻO ka palena hoʻolālā he semitone (no laila ka palena o ʻelima mau ʻanuʻu i kahi octave). ʻO ka leo maʻamau he trichord (eg ega). ʻAʻole hiki ke hoʻopau ʻia ka Anhemitonics (3-4, i kekahi manawa he 2 mau ʻanuʻu), piha (5 mau ʻanuʻu), ʻano hoʻololi (e laʻa, nā hoʻololi mai cdega a i cdfga). Hoʻokaʻawale ka Semitone pentatonic (no ka laʻana, ʻano hcefg) i ke ʻano hoʻololi i ka diatonic. ʻO kahi hiʻohiʻona o ka anhemitonics ka mele "Paradise, Paradise" ("50 mele o ka poʻe Lūkini" na AK Lyadov).

Diatonic (ma konaʻano maʻemaʻe - he 7-step system, kahi e hiki ai ke hoʻonohonoho i nā leo i nā hola o ka hapalima) - ka mea nui loa a me ka pūnaewele maʻamau o L. ʻO ka palena hoʻolālā he chromatism (2 semitones i ka lālani). Heʻokoʻa nā loina hoʻolālā; ʻO ka mea koʻikoʻi ka lima (Pythagorean) diatonic (ʻo kahi mea hoʻolālā he ʻelima maʻemaʻe a i ʻole quart) a me ka triadic (kahi mea hana he consonant kolu chord), nā laʻana nā ʻano Helene kahiko, nā ʻano medieval, nā ʻano ʻEulopa. nar. mele (he nui nā lāhui ʻē aʻe ʻaʻole ʻEulopa); halepule polyphonic L. europ. mele o ka Renaissance, L. major-minor system (me ka chromatization). ʻO nā leo maʻamau he tetrachord, pentachord, hexachord, e hoʻopiha ana i nā āpau ma waena o nā leo o nā mele tertian, a me nā mea ʻē aʻe. ʻAʻole hiki ke paʻa (3-6 mau ʻanuʻu; ʻike, no ka laʻana, guidon hexachords, folk and Greek tetrachords; he laʻana o ka diatonic 6-step ka himeni “Ut queant laxis”), piha (7-step hcdefga type or octave cdefgahc; helu ʻole nā ​​laʻana), ʻano like ʻole (e laʻa me ka loli o ka ahcd a me ka dcba i ka leo 1st church), composite (e laʻa me Lūkia i kēlā me kēia lā L.: GAHcdefgab-c1-d1), kūlana (eg "hemiol" frets me ka hoʻonui lua - harmonic minor a me ka nui, "Hungarian" unahi, etc.; "Podgalian scale": gah-cis-defg; melodic minor and major, etc.), polydiatonic (no ka laʻana, he ʻāpana na B. Bartok "Ma ke ʻano Lūkini" ma ka hōʻiliʻili "Microcosmos", No 90). ʻO nā pilikia hou aʻe e alakaʻi i ka chromatics.

Chromatics. Hōʻailona kikoʻī - ke kaʻina o nā semitone ʻelua a ʻoi aku paha i ka lālani. ʻO ka palena hoʻolālā he microchromatics. Heʻokoʻa nā loina hoʻolālā; ka mea nui loa - melodic. chromatic (e laʻa, ma ka hikina monody), chord-harmonic (hoʻololi, ʻaoʻao D a me S, chords me chromatic linear leo i loko o ka European major-minor system), enharmonic. ʻO Chromatics ma ʻEulopa (a ʻoi aku i nā mele ʻaʻole ʻEulopa) o ke kenekulia 20. ma muli o ke ʻano kūlike. ʻAʻole hiki ke hoʻopiha ʻia nā Chromatics (Greek chromatic; hoʻololi i ka lokahi ʻEulopa; L. symmetrical structure, ie.

Microchromatic (microinterval, ultrachromatic). Hōʻailona - ka hoʻohana ʻana i nā wā āpau ma lalo o kahi semitone. Hoʻohana pinepine ʻia ma ke ʻano he ʻāpana o L. o nā ʻōnaehana ʻekolu i hala; hiki ke hui me ka ecmelica. Microchromatic maʻamau – Helene. enharmonic genus (no ka laʻana, i nā leo - 2, 1/4, 1/4), India shruti. I kēia manawa hoʻohana ʻia nā mele ma kahi ʻano ʻokoʻa (ʻoi loa e A. Khaba; ʻo V. Lutoslavsky hoʻi, SM Slonimsky, a me nā mea ʻē aʻe).

No ka laʻana, hiki ke hoʻopili ʻia ka slindro a me ka pylog Hikina Hikina (e like me - 5- a me 7-step, mahele like o ka octave) i L kūikawā. , ma ka manawa like a me ka holomua (i loko o ka hana like).

IX. ʻO ka mōʻaukala o nā ʻano ʻano he hōʻike hope ʻana i nā hiki ke "ʻaelike" ("L.") ma waena o nā kani; ʻO ka mōʻaukala, ʻaʻole ia he hoʻololi wale o decomp. nā ʻōnaehana o L., a me ka uhi mālie ʻana o nā pilina kani lōʻihi a paʻakikī. Aia i loko o Dr. honua ua ala mai (a i kekahi manawa i mālama ʻia) nā ʻōnaehana modal o nā ʻāina o ka Hikina: Kina, India, Peresia, ʻAigupita, Babulona, ​​etc. (e nānā i nā ʻatikala pili). ʻO nā unahi pentatonic non-semitone (Kina, Iapana, nā ʻāina ʻē aʻe o ka Hikina Hikina, hapa ʻo India), 7-step (diatonic and non-diatonic) phonics ua laha; no ka mea, he nui nā moʻomeheu i kikoʻī iā L. me ka hoʻonui. lua (mele ʻArabia), microchromatic (India, nā ʻāina ʻArabia o ka Hikina). Ua ʻike ʻia ka hōʻike ʻana o nā ʻano ma ke ʻano he ikaika kūlohelohe (like ma waena o nā inoa o nā leo a me nā kino lani, nā mea kūlohelohe, nā kau, nā ʻāpana o ke kino kanaka, nā waiwai etika o ka ʻuhane, etc.); ʻO ka wikiwiki o ka hopena o L. i ka ʻuhane o ke kanaka, ua hāʻawi ʻia kēlā me kēia L. i kahi ʻōlelo. manaʻo (e like me nā mele hou - nui a me ka liʻiliʻi). Ua kākau ʻo A. Jami (ka hapa ʻelua o ke kenekulia 2): "ʻO kēlā me kēia o ka ʻumikūmālua (maqams), kēlā me kēia avaze a me ka shu'be i kona hopena kūikawā (ma ka poʻe hoʻolohe), ma waho aʻe o ka waiwai maʻamau iā lākou a pau. hāʻawi i ka leʻaleʻa. ʻO nā pae koʻikoʻi loa i ka mōʻaukala o ka ʻōlelo ʻōlelo ʻEulopa, ʻo ia ka ʻōnaehana modal kahiko (ʻaʻole ka nui o ʻEulopa e like me ke Kaiwaenahonua; a hiki i ka waena o ka 15st millennium) a me ka ʻōnaehana modal "kūpono ʻEulopa" o nā kenekulia 1-9, ma ka mōʻaukala a me ka moʻomeheu. huaʻōlelo typological. manaʻo - ʻōnaehana "Western", Kelemānia. abendländische, i māhele ʻia i ka wā kahiko. ʻōnaehana modal (ʻaʻole i pau nā palena o ka mōʻaukala: i hoʻomaka ʻia i nā mele o ka hale pule Kalikiano mua, i hoʻopaʻa ʻia i nā kenekulia 20-7, a laila ulu mālie i ke ʻano o ke ʻano o ka Renaissance; typologically, aia nō ka ʻōnaehana modal Russian ʻē aʻe). cf. ka ʻōnaehana modal o nā kenekulia 9-9, ka ʻōnaehana Renaissance (kūlana 13th-14th mau kenekulia), ka tonal (major-minor) ʻōnaehana (16th-17th century; ʻōnaehana kiʻekiʻe hou o ka 19th. (E nānā i nā ʻatikala Ki, nā ʻano kūlohelohe, nā ʻano like ʻole).

Anetich. ʻO ka ʻōnaehana modal e pili ana i nā tetrachords, mai ka hui pū ʻana me kēlā me kēia octave Ls i hoʻokumu ʻia. Ma waena o nā leo o ka hapahā, hiki i nā midtone ʻokoʻa loa ke kiʻekiʻe (ʻekolu ʻano tetrachords: diatone, chromium, "enarmony"). Ma L., ua waiwai ko lākou manaʻo pololei-sensory (e like me kēia a i ʻole kēlā "ethos"), ka ʻokoʻa, variegation o nā ʻano like ʻole a pau o L. (laʻana: Skoliya Seikila).

L. mua komohana-Europa. ʻO ka Middle Ages ma muli o nā hiʻohiʻona mōʻaukala o ke au ua iho mai iā mākou Ch. arr. pili i ka ekalesia. mele. Ma ke ʻano he hoʻohālikelike o kahi ʻōnaehana intonation ʻē aʻe, ua hōʻike ʻia lākou e ka diatonicism koʻikoʻi (a hiki i ka asceticism) a ʻike ʻole ʻia ka waihoʻoluʻu a me ka manaʻo hoʻokahi ʻaoʻao i ka hoʻohālikelike ʻia me ka piha kino o nā mea kahiko. I ka manawa like, Middle Ages. Hoʻokaʻawale ʻia ʻo L. e ka nānā nui ʻana i ka manawa o loko (i ka hoʻomaka ʻana, a hiki i ka hōʻino ʻana i ka ʻaoʻao kiʻi maoli o ka hana, e like me nā alakaʻi o ka hale pule). Weed-century. Hōʻike ʻo L. i ka hoʻopiʻi hou ʻana o ke ʻano o ka diatonic. L. (guidonian hexachord ma kahi o ka tetrachord kahiko; West-European harmonic polyphony hōʻike i kahi ʻano ʻokoʻa i ka hoʻohālikelike ʻana me ka heterophony kahiko). ʻO nā mele mele a me nā mele mele o ka Middle Ages, ua ʻike ʻia e kahi ʻano ʻokoʻa a me ka hōʻike ʻana o L.

polokalamu like. Weed-century. chorale moʻomeheu ʻē aʻe-rus. ʻO ka chanter art-va pū kekahi me nā mea kahiko kahiko (quart extra-octave o ka "lā i kēlā me kēia lā"; ʻoi aku ka ikaika o ka manaʻo kahiko o ke kumu hoʻohālike i nā oli, nā leo).

I ka Middle Ages (9th-13th century), he hou (hoʻohālikelikeʻia me ka kahiko) polyphony i ala mai a ulu, i hoʻoikaika nui i ka ʻōnaehana modal a me kāna mau ʻāpana, a hoʻomākaukau i ka mōʻaukala. ʻano ʻokoʻa kumu. L. (L. ma ke ano he polyphonic structure).

ʻO ka ʻōnaehana modal o ka Renaissance, ʻoiai e mālama nui ana mai ka ʻōnaehana o ka Middle Ages, ua ʻokoʻa ʻia e ka manaʻo piha-koko piha i hoʻomohala ʻia ma ke kumu hou, ka mahana o ke kanaka, a me ka hoʻomohala waiwai o ka kikoʻī. nā hiʻohiʻona o L. (ʻoi aku ka maikaʻi: polyphony lush, leo hoʻolauna, ka mana o nā triads).

I ke au o ka mea i kapaia. manawa hou (17-19 mau kenekulia), ka ʻōnaehana modal liʻiliʻi nui, i hoʻomaka ʻia i ka Renaissance, hiki i ka mana. Aesthetically, ka mea waiwai loa i ka hoohalike ana me na mea a pau ma mua (me ka palena o ka helu haʻahaʻa o phonics) nui-liʻiliʻi'ōnaehana he 'ano like 'ole o ka lyric, kahi polyphony, chord 'aʻole wale he 'ano o ka hōʻike, akā, he mea nui o ka li. . ʻO ke kumu o ka ʻōnaehana nui-liʻiliʻi, e like me ka L., he mau hoʻololi kūʻokoʻa i nā "modes micro," a i ʻole chords. ʻOiaʻiʻo, ʻo ka "harmonic tonality" ke hoʻololi nei i kahi hoʻololi kūikawā o ka māhele L., "ʻano hoʻokahi" (Asafiev) me ʻelua mau ʻano (nui a me ka liʻiliʻi).

E like me ka hoʻomohala mau ʻana o ka harmonic tonality i nā kenekulia 19 a me 20. aia he hoala hou ma ke ano he kuokoa. waeʻano a me L. melodic. ʻano ʻano. Mai ka hoʻonui ʻana a me ka hoʻololi ʻana i ka ʻōnaehana tonal nui-liʻiliʻi, diatonic L. kūikawā (i hōʻike ʻia e Mozart a me Beethoven, hoʻohana nui ʻia i ka 19th a me ka hoʻomaka ʻana o nā kenekulia 20 e nā mea aloha a me nā haku mele o nā kula aupuni hou - F. Chopin, E. Grieg, MP Mussorgsky, NA Rimsky-Korsakov, AK Lyadov, IF Stravinsky a me nā mea ʻē aʻe), a me ka anhemitone pentatonic scale (na F. Liszt, R. Wagner, Grieg, AP Borodin, i nā hana mua o Stravinsky, etc.). ʻO ka hoʻonui ʻana i ka chromatization o L. e hoʻoulu i ka ulu ʻana o ka symmetrical L., ʻo ka pālākiō e hoʻokaʻawale i nā semitones 12 o ka octave i mau ʻāpana o ka nui like; hāʻawi kēia i nā ʻōnaehana tonic, like-thermal a me tritone (ma Chopin, Liszt, Wagner, K. Debussy, O. Messiaen, MI Glinka, AS Dargomyzhsky, PI Tchaikovsky, Rimsky-Korsakov, AN Scriabin, Stravinsky, AN Cherepnin a me nā mea ʻē aʻe. ).

Ma nā mele ʻEulopa o ke kenekulia 20, ʻo nā ʻano like ʻole o L. a me nā ʻōnaehana e pili ana a hui pū kekahi i kekahi a hiki i ka microchromatic (A. Haba), ka hoʻohana ʻana i ka ʻāina ʻole ʻEulopa. modality (Messian, J. Cage).

X. Ka moolelo o na ao ana e pili ana i ke ano. ʻO ke kumumanaʻo o L., e hōʻike ana i kā lākou moʻolelo, ʻo ia ke kumuhana kahiko loa o ka noiʻi ʻana i nā mele. ʻepekema. ʻO ka pilikia o L. komo i loko o ke kumumanaʻo o ke kuʻikahi a ua like kekahi hapa me ka pilikia o ka lokahi. No laila, ʻo ke aʻo ʻana i ka pilikia o L. hana mua ʻia ma ke ʻano he aʻo ʻana i ka pilikia o ke kuʻikahi (armonia, harmonie). ʻO ka wehewehe ʻepekema mua ʻo L. (harmony) ma ʻEulopa. No ke kula Pythagorean ka musicology (6-4 mau kenekulia BC). BC.). ʻO ka wehewehe ʻana i ka lokahi a me L. ma muli o ke kumumanaʻo o ka helu, ua hoʻokūpaʻa nā Pythagoreans i ke koʻikoʻi o nā pilina kani maʻalahi (i loko o ka mea i kapa ʻia. tetrad) ma ke ʻano he kumu e hoʻoponopono ai i ka hoʻokumu ʻana o ka hau (ka noʻonoʻo ʻana i ke kumumanaʻo o L. phenomena o nā tetrachords a me nā leo "paʻa" o ka consonance ʻehā). Ua unuhi ʻia ka ʻepekema Pythagorean e L. a me ke mele. ʻO ka lokahi e like me ka hōʻike ʻana o ka lokahi honua, me ka ʻole o ia e hāʻule ka honua (ie ua nānā pono iā L. he kumu hoʻohālike o ka honua - he microcosm). Mai kēia wahi i hoʻomohala ʻia ma hope (ma Boethius, Kepler) cosmological. идеи mele honua a me ke mele kanaka. ʻO ka cosmos ponoʻī (e like me ka Pythagoreans a me Plato) ua hoʻokani ʻia ma kekahi ʻano (ua hoʻohālikelike ʻia nā kino lani me nā leo o ka Helene. Ke ano Dorian: e1-d1-c1-hagfe). ʻO ka ʻepekema Helene (Pythagoreans, Aristoxen, Euclid, Bacchius, Cleonides, etc.) i hana a hoʻomohala i nā mele. manaʻo L. a me nā ʻano kikoʻī. Ua hoʻomohala ʻo ia i nā manaʻo koʻikoʻi o L. - tetrachord, lālani octave (armonia), kumu (nstotes), waena (waena) leo (mesn), dynamis (dunamis), ecmelika ('āpana o nā manawa me nā pilina paʻakikī, a me nā leo me ka ʻole o kahi pitch), etc. ʻO ka ʻoiaʻiʻo, ʻo ka ʻōlelo Helene a pau ka manaʻo o ke kuʻikahi ka manaʻo o L. a me nā ʻeha e like me nā hale kiʻekiʻe monophonic. Nā mele. ua hana hou ka ʻepekema o ka Middle Ages i ka mea kahiko ma ke kumu hou. (Pythagorean, Platonic, Neoplatonic) nā manaʻo e pili ana i ka lokahi a me L. ma ke ʻano he mau ʻāpana aesthetic. Hoʻopili ʻia ka wehewehe hou ʻana me ka Christian-theological. ka wehewehe ʻana i ka lokahi o ke ao holoʻokoʻa. Ua hoʻokumu ka Middle Ages i kahi aʻo hou o frets. Ua ʻike mua ʻia lākou ma nā hana a Alcuin, ʻo Aurelian o Reome a me Regino o Prüm, ua hoʻopaʻa pololei ʻia lākou ma ka notation mele e ka mea kākau inoa ʻole o ka puke "Alia musica" (c. kenekulia 9). Ua lawe ʻia mai ka ʻōlelo Helene ka manaʻo o ka inoa L. (Dorian, Phrygian, etc.), ke kenekulia waena. Ua hoʻoili ʻia ka ʻepekema i nā unahi ʻē aʻe (kahi manaʻo ubiquitous; akā, ua hōʻike ʻia kahi manaʻo ʻokoʻa; ʻike. ka hana a M. Dabo-Peranycha, 1959). Me ke ʻano o ka Middle Ages. L. ke kumu o nā huaʻōlelo "finalis", "repercussion" (tenor, tuba; mai ke kenekulia 17 a hiki i ka "dominant"), "ambitus", ka mea i mālama i ko lākou ʻano nui no ka monophonic L. E like me ka manaʻo o octaves L. mai ke kenekulia 11 (mai Guido d'Arezzo) i hoʻomohala pono. he ʻōnaehana solmization e pili ana i ka hexachord nui ma ke ʻano he ʻano hana i loko o ka ʻōnaehana modal (nānā. Solmization, Hexachord). ʻO ka hoʻomaʻamaʻa ʻana o ka solmization (ua hiki i ka 18th c. a waiho i kahi māka i ʻike ʻia ma nā huaʻōlelo o ke kumumanaʻo o L.) i hoʻomākaukau i kekahi mau ʻano o ka mōʻaukala e hahai ana i nā ʻano o ka Middle Ages a me ka Renaissance o ka ʻōnaehana modal liʻiliʻi nui. Ma ka palapala a Glarean "Dodecachord" (1547), ʻelua L. - Ionian a me Aeolian (me kā lākou mau ʻano plagal). Mai ke kenekulia 17 i hoʻomalu ʻia e L. nui-ʻuʻuku tonal-functional system. ʻO ka mua versatile systematic he wehewehe ʻana i ke ʻano o nā mea nui a me nā mea liʻiliʻi e like me ia (ma kahi ʻokoʻa a kūʻē kekahi hapa i ko lākou mau mua - ka hale pule Ionian a me Aeolian. tones) i hāʻawi ʻia i nā hana a J. F. Rameau, ma ka "Treatise on Harmony" (1722). Hou L. ʻEulopa.

kani ka hcdefga i nā leo GCFCCF nui. | – || – |

ʻO ke ʻano (mode) ke kānāwai o ke kaʻina o nā leo, a me ke ʻano o ko lākou kaʻina.

Ma ke ʻano he ʻāpana o ke aʻo ʻana o ke kuʻikahi 18-19 mau kenekulia. Ua hoʻomohala ʻia ke kumumanaʻo o ke tonality e like me ke kumumanaʻo o ke tonality me nā manaʻo a me nā huaʻōlelo i ʻike ʻia (ʻo ka huaʻōlelo "tonality" i hoʻohana mua ʻia e FAJ Castile-Blaz i ka makahiki 1821).

Nā ʻōnaehana modal hou (ʻaʻohe diatonic a me diatonic) ma ʻEulopa Komohana. Ua ʻike ʻia nā manaʻo i nā hana a F. Busoni ("113 mau unahi like ʻole", microchromatics), A. Schoenberg, J. Setaccioli, O. Messiaen, E. Lendvai, J. Vincent, A. Danielu, A. Khaba a me nā mea ʻē aʻe.

ʻO ka manaʻo kikoʻī o L. hoʻomohala i ka noiʻi Nar. mele V. F. ʻO Odoevsky A. N. Serova, P. AP Sokalsky A. C. Famintsyna, A. D. Kastalsky, B. M. Belyaeva X. C. Kushnareva, K. MA Kiki, etc. Ma Rusia, kekahi o nā hana mua i uhi i ka phenomena o L. ʻo ia ʻo “Musician Ideagrammar…” na N. AP Diletsky (2 hapa. kenekulia 17). Ua hōʻoia ka mea kākau i ʻekolu mahele o nā mele ("e like me ka manaʻo"): i ka "hauʻoli" (he ʻano like me ka inoa o nā mea nui i hoʻolauna ʻia e Zarlino - harmonie "allegra"), "aloha" (kūlike me ka mea liʻiliʻi; ma Tsarlino - "mesta"; ma ka laʻana mele, Diletsky harmonic minor) a me "mixed" (kahi i ʻokoʻa nā ʻano ʻelua). ʻO ke kumu o ka "mele hauʻoli" he "tone ut-mi-sol", "kaumaha" - "tone re-fa-la". I ka wahine 1. 19 i. M. D. ʻO Frisky (ʻo ia, e like me Odoevsky, "hoʻokumu i kā mākou ʻōlelo mele ʻenehana no ka manawa mua") i hoʻopaʻa ʻia ma nā ʻāina makua. ʻO ka huaʻōlelo hau ʻo ia ka huaʻōlelo "L.". ʻO ka hoʻomohala ʻana o ka ʻōnaehana modal e pili ana me ka Lūkini. halepule. mele i nā kenekulia 19 a me 20. ua hana ʻo D. MA Razumovsky, I. A ME. Voznesensky, V. M. Metalov, M. MA ʻO Brazhnikov, N. D. Uspensky. Ua hoʻonohonoho ʻo Razumovsky i nā ʻōnaehana holomua o L. halepule. mele, hoʻomohala i ke kumumanaʻo o ka Lūkini. ʻaelike e pili ana i nā ʻāpana o "region", "dominant" a me "final" leo (analogy of zap. «ambitus», «reperkusse» a me «finalis»). Ua hoʻokūpaʻa ʻo Metallov i ke koʻikoʻi o ka huina o nā oli i ke ʻano o ka leo. N. A. Ua huki ʻo Lvov (1790) i ka manaʻo i nā hanohano kūikawā aka L. mai ka ʻōnaehana ʻEulopa. Ua aʻo ʻo Odoevsky (1863, 1869) i nā hiʻohiʻona hiʻohiʻona o ka hoʻokumu ʻana i ka fret ma Lūkini. Nar (a me ka halepule) mele a me nā waiwai e hoʻokaʻawale iā ia mai ka app. melodics (ʻalo i kekahi mau lele, ka nele o ka leo hoʻomaka, ka diatonicism), i manaʻo ʻia e hoʻohana i ka huaʻōlelo "glamor" (diatonic. heptachord) ma kahi o ka "leo" komohana. No ka hoʻohui ʻana i ka ʻuhane o Lūkini. Ua manaʻo ʻo Frets Odoevsky i nā triad maʻemaʻe kūpono, me ka ʻole o nā mele ʻehiku. ʻO ka ʻokoʻa ma waena o ke ʻano o nā papa. ka hana a me ka "kaulike huhū" fp. alakaʻi iā ia i ka manaʻo o "ka hoʻonohonoho ʻana i kahi piano untempered" (ua mālama ʻia ka mea kani a Odoevsky). Serov, e aʻo ana i ka ʻaoʻao modal o Rus. ʻO nā mele Nar "i kona kū'ēʻana i nā mele oʻEulopa Komohana" (1869-71), kū'ē i ka "manaʻo" o ke Komohana. Noʻonoʻo ka poʻe ʻepekema i nā mele āpau "mai ka manaʻo o nā kī ʻelua (ie modes) - nui a me ka liʻiliʻi. Ua ʻike ʻo ia i ke kaulike o nā ʻano ʻelua o ka "hui" (kūkulu) o ka pālākiō - octave a me ka hā (e pili ana i ka manaʻo o ka Helene. L.). ʻO Rus. ka maikaʻi o L. ua noʻonoʻo ʻo ia (e like me Odoevsky) i ka diatonicism koʻikoʻi - kūʻē i ka zap. nui a me ka liʻiliʻi (me kāna memo noʻonoʻo), nele i ka modulation ("ʻaʻole ʻike ka mele Lūkini i ka mea nui a me ka liʻiliʻi, ʻaʻole loa e hoʻololi"). ʻO ke ʻano o L. ua unuhi ʻo ia ma ke ʻano he puʻupuʻu (“hui”) o nā tetrachords; ma kahi o ka modulation, ua manaʻo ʻo ia "ka hoʻokuʻu manuahi ʻana o nā tetrachords." I ka hoʻohui ʻana i nā mele no ka nānā ʻana i ka Lūkini. ʻano, ua kūʻē ʻo ia i ka hoʻohana ʻana i nā chords tonic, dominant a subdominant (ie ʻO nā ʻanuʻu I, V a me IV), e paipai ana i nā ʻaoʻao ("liʻiliʻi") triad (ma nā ʻanuʻu nui - II, III, VI). Ua aʻo ʻo Famintsyn (1889) i nā koena o nā papa kahiko (pegan) ma ka Nar. mele a me ka hoʻokumu ʻana i ke ʻano (e kali ana i kekahi mau manaʻo o B. ʻO Bartoka lāua ʻo Z. Kodaya). Ua hoʻopuka ʻo ia i ka manaʻo o ʻekolu "papa" i ka ʻōnaehana hoʻomohala mōʻaukala o ka hoʻokumu ʻana i ka fret - ka "kahiko" - pentatonic, "mea hou" - 7-step diatonic, a me ka "mea hou" - nui a me ka liʻiliʻi. Ua hōʻike ʻo Kastalsky (1923) i "ke kumu a me ke kūʻokoʻa o ka ʻōnaehana Lūkini. Nar polyphony mai nā lula a me nā dogmas o ʻEulopa. nenoai.

Ua hāʻawi ʻo BL Yavorskii i kahi hoʻomohala ʻepekema kūikawā o ka manaʻo a me ke kumumanaʻo o ka linearity. ʻO kāna kūpono ke koho ʻana i ka māhele L. ma ke ʻano he kūʻokoʻa. Muses. ʻO kahi hana, e like me Yavorsky, ʻaʻole ia he mea ʻē aʻe ma mua o ka wehe ʻana o ke kani i ka manawa (ʻo ka inoa o ka manaʻo o Yavorsky ʻo "Theory of Modal Rhythm"; e nānā i ka Modal Rhythm). Ma keʻano likeʻole me ka fret kuʻuna lua o ka Europa I loko o ka pūnaewele nui-liʻiliʻi, ua hoʻokūpaʻaʻo Yavorsky i ka nui o L. (hoʻonui, kaulahao, hoʻololi, emi, pālua nui, pālua liʻiliʻi, hoʻonui pālua, X-modes, etc.). Mai ke kumumanaʻo o ka rhythm modal hele mai ka moʻomeheu o Lūkini. ʻAʻole pono ka musicology e hoʻohālikelike i nā ʻōnaehana pitch i hala ma mua o nā mea nui a me nā mea liʻiliʻi i kekahi ʻano "atonalism" ʻole i hoʻonohonoho ʻia, akā e wehewehe iā lākou ma ke ʻano he ʻano kūikawā. Ua hoʻokaʻawale ʻo Yavorsky i nā manaʻo o ka linearity a me ke tonality (kahi hui kiʻekiʻe kiʻekiʻe a me kona kūlana ma kahi kiʻekiʻe kiʻekiʻe). Ua hōʻikeʻo BV Asafiev i nā manaʻo hohonu e pili ana iā L. i kāna mau palapala. Hoʻopili i ke ʻano o L. me ka leo. ʻO ke ʻano o ke mele, ua hoʻokumu ʻo ia i ke kumu o ka manaʻo kumu a me ka hua o L. (e nānā pū i nā ʻāpana mua o kēia ʻatikala).

Ua hoʻomohala ʻo Asafiev i nā pilikia o ka hoʻokomo ʻana i nā tonalities ma ʻEulopa. L., kona ulu ana; waiwai ma ke kumumanao. e pili ana i kāna hōʻike ʻana i ke ʻano like ʻole o Glinka's Ruslan a me Lyudmila, ʻo Asafiev ka wehewehe ʻana i ka 12-step L., ka hoʻomaopopo ʻana iā L. ma ke ʻano he paʻakikī o nā intonation. ʻO ke ʻano. ʻo ka hāʻawi ʻana i ke aʻo ʻana i nā pilikia o L. i hana ʻia e ka hana a nā pueo ʻē aʻe. theoreticians - Belyaev (ka manaʻo o kahi mele 12-step, systematization o nā ʻano mele oriental), Yu. kekona; ke kumumanaʻo o nā hana hoʻololi modal, etc.),

AS Ogolevets (kūʻokoʻa - "diatonicity" - 12 kani o ka tonal system; semantics of steps; theory of modal genesis), IV Sposobina (ke aʻo ʻana i ka hana formative o ke ʻano tonal functionality, systematic harmony of modes a me ka nui a me ka liʻiliʻi, ka wehewehe ʻana o ka rhythm a me ka mita ma ke ʻano he kumu o ka hoʻokumu ʻana o ka hau), VO Berkova (systematics of a number of phenomena of ice formation). ʻO ka pilikia o L. hoʻolaʻa. nā hana (a me nā ʻāpana o nā hana) na AN Dolzhansky, MM Skorik, SM Slonimsky, ME Tarakanov, HF Tiftikidi a me nā mea ʻē aʻe.

E hoʻomaopopo ': ʻO Odoevsky V. F., palapala ia V. F. ʻO Odoevsky i ka mea hoʻopuka e pili ana i nā mele Lūkini Nui mua, ma Sat: Crossing Kaliki. Poʻa poems and research by P. Bessonova, h. 2, ʻaʻole nō. 5, Moscow, 1863; kona ponoi, Mirskaya mele, i kakauia ma ewalu leo ​​me na makau me ka cinnabar hoailona, ​​ma ka ohi: Proceedings of the first archaeological congress in Moscow, 1869, vol. 2, M., 1871; nona iho, (“Russian commoner”). Fragment, 1860s, ma ka puke: B. F. Odoevsky. ʻO ka hoʻoilina mele a me ka moʻokalaleo, M., 1956 (me nā paʻi hou o nā ʻatikala i ʻōlelo ʻia ma luna); ʻO Razumovsky D. V., Himeni Ekalesia ma Rusia, vol. 1-3, M., 1867-69; Serov A. N., Russian folk song as a subject of science, "Musical Season", 1869-71, the same, Izbr. ʻatikala, etc. 1, M., 1950; ʻO Sokalsky P. P., mele ʻo Rūsia…, Har., 1888; ʻO Famintsyn A. S., Gamma Indochinese kahiko ma Asia a me ʻEulopa …, St. Petersburg, 1889; ʻO Metalov V. M., Osmoglasie znamenny oli, M., 1899; ʻO Yavorsky B. L., Ke ano o ka haiolelo mele. Nā mea a me nā memo, ʻaʻole. 1-3, M., 1908; Kastalskiy A. D., Nā hiʻohiʻona o ka ʻōnaehana mele folk-Russian, M.-P., 1923, M., 1961; ʻO Rimsky-Korsakov G. M., Ka hooiaio ana o ka hapaha-leo mele, ma ka puke: De Musica, vol. 1, L., 1925; Nikolsky A., Nā kani o nā mele mele, ma ka puke: Collection of works of the ethnographic section of the HYMN, vol. 1, M., 1926; ʻO Asafiev B. V., Ke ano mele ma ke ano he hana, buke. 1-2, M., 1930-47, L., 1971; nona iho, Olelo mua. i Rusia no. puke: Kurt E., Fundamentals of linear counterpoint, M., 1931; nona iho, Glinka, M., 1947, M., 1950; Mazel L. A., Ryzhkin I. Ya., Essays on the history of theoretical musicology, vol. 1-2, M.-L., 1934-39; ʻO Tyulin Yu. N., Ke aʻo ʻana o ka lokahi, vol. 1, L., 1937, M., 1966; kona iho, Natural and alteration modes, M., 1971; ʻO Gruber R. I., History of musical culture, vol. 1, h. 1, M., 1941; ʻO Ogolevets A. S., Introduction to modern music thinking, M.-L., 1946; ʻO Dolzhansky A. N., Ma ke kumu kumu o nā haku mele a Shostakovich, "SM", 1947, No 4; Kushnarev X. S., Nā nīnau o ka mōʻaukala a me ke kumumanaʻo o nā mele monodic Armenian, L., 1958; ʻO Belyaev V. M., Nā Manaʻo, ma ka puke: Jami Abdurakhman, Treatise on Music, trans. mai Peresia, ed. a me nā manaʻo. MA M. Belyaeva, Tash., 1960; kāna, Essays on the history of music of the people of the USSR, vol. 1-2, Moscow, 1962-63; ʻO Berkov V. O., Harmony, h. 1-3, M., 1962-1966, M., 1970; ʻO Slonimsky S. M., Prokofiev's Symphonies, M.-L., 1964; Kholopov Yu. N., Ma kahi o ʻekolu mau ʻōnaehana like ʻole, ma: Music and Modernity, vol. 4, M., 1966; ʻO Tiftikidi H. F., Pūnaehana Chromatic, ma: Musicology, vol. 3, A.-A., 1967; ʻO Skoryk M. M., Ladovaya pūnaewele S. Prokofieva, K., 1969; ʻO Sposobin I. V., Nā haʻiʻōlelo ma ke ala o ke kuʻikahi, M., 1969; Alekseev E., Ma ke ano ikaika o ke ano, "SM", 1969, No 11; Nā pilikia o ka huhū, Sat. Art., M., 1972; ʻO Tarakanov M. E., New tonality i ke mele o ke kenekulia XNUMX, ma: Nā pilikia o ka Musical Science, vol. 1, M., 1972; Kiki K. V., Esq. hana, ie 1-2, M., 1971-73; ʻO Harlap M. G., Folk-Russian musical system and the problem: the origin of music, in collection: Early forms of art, M., 1972; ʻO Silenok L., ka mea hoʻokani mele Lūkini M. D. Rezvoy, "Soviet musician", 1974, ʻApelila 30; knm.

ʻO Yu. N. Kholopov