Papa inoa |

lat. pili ʻole harmonica, pili Farani fausse, germ. Questand

ʻO ke kū'ē ma waena o ke kani o kahi ʻanuʻu kūlohelohe a me kāna hoʻololi chromatic-alternative i kahi leo ʻokoʻa (a i ʻole ma kahi octave ʻē aʻe). I ka diatonic P. harmony system maʻamau e hāʻawi i ka manaʻo o kahi leo hoʻopunipuni (non harmonica) - e like me ka pololei. kaiāulu, a ma ke kani ʻana a i ʻole ke mele:

No laila, pāpā ʻia ʻo P. e nā lula o ka lokahi. ʻO ka hui pū ʻana o kahi degere kūlohelohe me kona hoʻololi ʻana ʻaʻole ia he P., inā he maʻalahi ke alakaʻi leo, no ka laʻana:

Ua ʻae ʻia ʻo P. ma ka lokahi D ma hope o ka lua haʻahaʻa haʻahaʻa, a ma o ka caesura (e nānā i nā laʻana ma luna, col. 244).

ʻO ka pale ʻana iā P. he ʻano maʻamau ia o ke ʻano koʻikoʻi (mau kenekulia 15-16). I ka wā Baroque (17th - 1st half of the 18th century), ʻae ʻia ke mele i kekahi manawa - ma ke ʻano he hopena ʻike ʻole ʻia i nā kūlana o ke alakaʻi leo hoʻomohala (JS Bach, Brandenburg Concerto 1, ʻāpana 2, bars 9 -10), a i ʻole ma ke ʻano he kūikawā. ʻenehana no ka hōʻike ʻana i k.-l. nā hopena kūikawā, eg. e hōʻike i ke kaumaha a i ʻole ke kūlana ʻeha (P. a1 – as2 ma ka laʻana A,

JS Bach. Mass i ka h minor, No 3, bar 9.

JS Bach. Chorale "Singt dem Herrn ein neues Lied", bars 8-10.

ma lalo, pili me ka ʻōlelo o ka huaʻōlelo Zagen - makemake). I ke au o ka romanticism a i keia manawa. Hoʻohana pinepine ʻia ke mele a P. ma ke ʻano he ladoharmonics. ʻōnaehana o nā ala (ʻo ia hoʻi, ma lalo o ka mana o nā ʻano kūikawā; no ka laʻana: P. e – es1 ma Stravinsky's The Rite of Spring, helu 123, bar 5 – e pili ana i ke ʻano o kēlā me kēia lā). ʻO P. ma ka laʻana B (e hoʻokomo i nā mea ʻona o Kashcheevna) ua wehewehe ʻia e ka pilina me ka non-diatonic. hope haʻahaʻa

JS Bach. Matthew Passion, No 26, bar 26.

NA Rimsky-Korsakov. "Kashchei the Immortal", scene II, bars 28-29.

ʻōnaehana a me kāna ʻano kikoʻī leo-semitone. I ka mele o ka 20th century i hoʻohana nui ʻia (e AN Cherepnin, B. Bartok, etc.) ʻelua-terts major-minor chord (e like me: e1-g1-c2-es2), ka mea kikoʻī o ia P. ( e1-es2), a me nā mele pili iā ia (e nānā i ka laʻana ma ka piko o ke kolamu 245).

IF Stravinsky. “Punawai kapu”.

Maʻamau no kēia manawa I ke mele, ka hui ʻana o nā ʻano e alakaʻi i ka polyscale a me ka polytonality, kahi e lilo ai ʻo P. (ma ka holomua a me ka manawa like) i mea maʻamau o ka ʻano hana:

IF Stravinsky. Nā ʻāpana no ka piano "Elima manamana". Lento, nā pahu 1-4.

Ma ka mea i kapaia. ʻaʻano enharmonic. ua kaulike nā waiwai o nā ʻanuʻu, a lilo ʻo P. i mea hiki ʻole ke hoʻokō (A. Webern, concerto no 9 mea kani, op. 24).

ʻO ka huaʻōlelo "P." - ka pōkole o ka huaʻōlelo "non-harmonic P." (Kelemānia: unharmonischer Querstand). ʻO P. kahi ʻāpana o ka hui o nā kūleʻa discordant i pāpā ʻia i paʻa i kona koʻikoʻi, ʻo ia hoʻi, ma kahi o ka hoʻololi ʻana P., ua komo pū kekahi pili tritone. P. a me tritone (diabolus in musica) ua like ia no ka mea aia laua ma waho o ka palena o ka noonoo e pili ana i ka nenoai o hexachords (e nana Solmization), a malalo o ka rula hookahi – Mi contra Fa (aole nae i like):

Ua hoʻāhewa ʻo J. Tsarlino (1558) i ʻelua b. hapakolu a m. ʻaono i ka lālani, ʻoiai ʻaʻole lākou i loko o kahi pilina lokahi; hōʻike ʻia ka pilina e ia (ma kekahi laʻana) ma P. a ma nā newts:

Mai ka palapala a G. Zarlino "Le istitutioni harmonice" (mahele III, mokuna 30).

ʻO M. Mersenne (1636-37), e pili ana iā Tsarlino, e pili ana iā P. i nā "pili hoʻopunipuni" (pili fausses) a hāʻawi i nā hiʻohiʻona like i ka triton a me P.

Kāpae ʻo K. Bernhard i nā pilina falsche: tritones, a i ʻole "half-quints" (Semidiapente), "excessive" octaves (Octavae Superfluae), "half-octaves" (Semidiapason), "excessive" unison (Unisous superfluus), e hāʻawi ana i nā hiʻohiʻona aneane maoli maoli. e hana hou ana i ka mea i luna mai Carlino.

Hoʻohālikelike ʻo I. Mattheson (1713) i nā wā like i nā huaʻōlelo like me "nā kani hoʻopailua" (widerwärtige Soni). ʻO ka mokuna 9 a pau o ka ʻāpana 3 o ka "Perfect Kapellmeister" i hoʻolaʻa ʻia. “P inharmonic.”. Ke kū'ē nei i kekahi mau pāpā o ka manaʻo kahiko he "hewa" (me kekahi mau pūhui i haʻi ʻia e Zarlino), ʻike ʻo Matteson ma waena o ka "unbearable" a me ka "maikaʻi" P. ma ka "Musical Dictionary" a S. Brossard, 1703.) Ua wehewehe ʻo XK Koch (1802) i ka P. ʻo "ke ʻano o nā leo ʻelua, ʻo ke ʻano o nā leo no nā kī like ʻole." ʻAe, ma ke kaʻapuni.

hoʻomaopopo ka pepeiao i ka fis-a ʻanuʻu ma ka leo haʻahaʻa e like me G-dur, ʻo ka ʻanuʻu af ma luna e like me C a i ʻole F-dur. “Relatio non harmonica” a me “non-harmonic P.” ua wehewehe ʻia e Koch ma ke ʻano he synonyms, a me kēia

pili mau no lakou.

EF Richter (1853) papa inoa "non-harmonic P." i "nā neʻe ʻole melodic", akā e hōʻoiaʻiʻo i kekahi mau memo "hoʻonani" (kokua) a i ʻole ke kumu o ka "hōʻemi" (ka loulou waena):

ʻO ka mele aloha kanaka Armenia "Garuna" ("Spring").

He neʻe e hoʻonui. he kuata

, Pili ʻo Richter iā P. Wahi a X. Riemann, ʻo P. kahi hoʻokaʻawale ʻana i kahi leo i hoʻololi ʻia i ka chromatically, ʻoluʻolu ʻole i ka lohe. ʻAʻole ʻoluʻolu i loko o ia mea ʻaʻole lawa ka assimilation o nā harmonics. nā pilina, hiki ke hoʻohālikelike ʻia me ka leo ʻino. ʻO ka paradox weliweli loa ke neʻe aku i ka triad o ka inoa hoʻokahi; me kahi ʻanuʻu tritone, P. "ʻike maopopo ʻia" (no ka laʻana, n II - V); ʻO ka mea ma kahi ratio tertsovy (eg, I - hVI) noho i kahi kūlana waena.

Ua pāpā ʻo Hess de Calvet (1818) i kahi "neʻe non-harmonic" e alakaʻi i kahi tritone wehe.

, akā naʻe, ʻae i nā "holomua non-harmonic" inā hele lākou "ma hope o ke kuʻina" (caesuras). Manaʻo ʻo IK Gunke (1863) i ka pale ʻana ma ke ʻano koʻikoʻi "nā pilina like ʻole (Relation) o nā unahi ma muli o ka mālama ʻole ʻana i nā leo pili" (kahi laʻana o P. hāʻawi ʻia e ia he haʻawina mai b. hapakolu a mai m. sext) .

PI Tchaikovsky (1872) naz. P. "ka manao kue o na leo elua." Ua wehewehe ʻo BL Yavorsky (1915) iā P. ma ke ʻano he haʻihaʻi i ka pilina ma waena o nā kani conjugate: P. - "ka hoʻohui ʻana o nā leo conjugate i nā octaves like ʻole a me nā leo ʻokoʻa ke hana hewa ʻia ka ʻumekaumaha." Eg. (nā kani pili – h1 a me c2):

(pololei) akā ʻaʻole

(P.). Wahi a Yu. N. Tyulin a me NG Privano (1956), ʻelua ʻano P.; i ka mua, ʻaʻole i hoʻokomo ʻia nā leo i hoʻokumu ʻia i ka P. i loko o ke ʻano o ke ʻano maʻamau (P. sounds false), ma ka lua, hōʻike lākou i ke ʻano o ke ʻano maʻamau (P. hiki ke ʻae ʻia).

E hoʻomaopopo ': Hess de Calve, Theory of Music …, māhele 1, Har., 1818, p. 265-67; Stasov VV, Leta ia Mr. Rostislav e pili ana iā Glinka, "Theatrical and Musical Bulletin", 1857, ʻOkakopa 27, ka mea like ma ka puke: Stasov VV, Articles on Music, vol. 1, M., 1974, p. 352-57; Gunke I., He alakaʻi piha i ka haku mele, St. Petersburg, (1865), p. 41-46, M., 1876, 1909; ʻO Tchaikovsky PI, alakaʻi i ka hoʻopaʻa haʻawina pono o ke kuʻikahi, M., 1872, ka mea like ma ka puke: Tchaikovsky PI, Poly. coll. soch., vol. III-a, M., 1957, p. 75-76; ʻO Yavorsky B., Nā hana i ka hoʻokumu ʻana i kahi mele mele, ʻāpana 1, M., 1915, p. 47; ʻO Tyulin Yu. N., Privano NG, Theoretical Foundations of Harmony, L., 1956, p. 205-10, M., 1965, p. 210-15; Zarlino G., Le institutioni harmonice. He facsimile o ka 1558, NY, (1965); Mersenne M., Harmonie universelle. La théorie et la pratique de la music (P., 1636-37), t. 2, P., 1963, p. 312-14; Brossard S., Dictionaire de music…, P., 1703; Mattheson J., Das neu-eröffnete Orchestre…, Hamb., 1713, S. 111-12; kona, Der vollkommene Capellmeister, Hamb., 1739, S. 288-96, ie, Kassel - Basel, 1954; Martini GB, Esemplare o sia saggio fondamentale pratico di contrappunto sopra il canto fermo, pt. 1, Bologna, 1774, p. XIX-XXII; Koch H. Chr., Musikalisches Lexikon, Fr./M., 1802, Hdlb., 1865, S. 712-14; Richter EF, Lehrbuch der Harmonie, Lpz., 1853 Riemann H., Vereinfachte Harmonielehre, L. – NY, (1868) Müller-Blattau J., Die Kompositionslehre Heinrich Schützens in der Passung seines Schülers Christoph154 Bernhard, 57 Kassel ua, XNUMX.

ʻO Yu. H. Kholopov