Pūnaehana kani |

Helene sustnma, Kelemānia. Tonesystem

Altitude (interval) hui mele. nā kani ma muli o c.-l. kumukānāwai hoʻokahi. Ma ka puuwai o Z. me. aia mau ke ʻano o nā leo i nā ratio hiki ke ana. ʻO ka huaʻōlelo Z. Me.” hoʻohana ʻia i nā waiwai like ʻole:

1) haku mele, ʻo ia ka huina o nā leo i hoʻohana ʻia i loko o kekahi manawa (pinepine i loko o ka octave, no ka laʻana, ʻelima kani, ʻumikūmālua-leo ʻōnaehana);

2) kahi hoʻonohonoho paʻa o nā mea o ka ʻōnaehana (ka ʻōnaehana kani ma ke ʻano he unahi; ʻo ka ʻōnaehana kani ma ke ʻano he paʻakikī o nā pūʻulu kani, no ka laʻana, nā chords i ka ʻōnaehana tonal o ka nui a me ka liʻiliʻi);

3) kahi ʻōnaehana o ka qualitative, semantic pili, nā hana o nā leo, i hoʻokumu ʻia ma ke kumu o kekahi kumu o ka pilina ma waena o lākou (no ka laʻana, ke ʻano o nā leo i nā mode melodic, harmonic tonality);

4) kūkulu, makemakika. hōʻike i ka pilina ma waena o nā kani (Pythagorean system, equal temperament system).

Main ke ano o ka manao o Z. me. pili i ka haku mele a me kona ʻano. ʻO Z. s. hōʻike i ka degere o ka hoʻomohala ʻana, logical. ka pilina a me ka hoʻonohonoho pono o nā muses. ka noʻonoʻo a me ka mōʻaukala evolves me ia. Ka evolution o Z. me., ma ka mōʻaukala maoli. ʻO ke kaʻina hana, i hana ʻia ma kahi ala paʻakikī a hoʻopiha ʻia me nā kūʻē kūloko, ma ke ʻano holoʻokoʻa e alakaʻi i ka hoʻomaʻemaʻe ʻana i ka ʻokoʻa kani, ka hoʻonui ʻana i ka helu o nā leo i hoʻokomo ʻia i loko o ka ʻōnaehana, hoʻoikaika a hoʻomaʻamaʻa i nā pilina ma waena o lākou, e hana ana i kahi paʻakikī. lālā lālā o nā pilina e pili ana i ka pilina pili.

Hoʻolālā loiloi o ka hoʻomohala Z. me. pili wale i ka mōʻaukala koneki. ke kaʻina hana o kona hoʻokumu ʻana. ʻO Z. s. ma ka manaʻo ponoʻī ma mua o ka glissanding primitive, me ka ʻole o nā leo like ʻole, kahi e hoʻomaka ai nā leo kuhikuhi.

ʻO ke kani o ka ʻohana Kubu (Sumatera) ke mele aloha a kahi ʻōpio. Wahi a E. Hornbostel.

ʻO ke ʻano haʻahaʻa o Z. s e pani ana iā ia. e hōʻike ana i ke mele o hoʻokahi leo kuhikuhi, kū (), pili () ma luna a ma lalo paha.

ʻO ka hoʻohenehene poʻe Lūkini

Kolyadnaya

ʻAʻole hiki ke hoʻopaʻa paʻa ʻia kahi leo pili i kekahi kiʻekiʻe a i ʻole ke kiʻekiʻe.

ʻO ka ulu hou aʻe o ka ʻōnaehana e hoʻoholo i ka hiki ke neʻe i ka stepwise, cantilena neʻe o ke mele (ma lalo o nā kūlana o kahi ʻōnaehana ʻelima, ʻehiku-ʻanuʻu a i ʻole kahi ʻano pālākiō ʻē aʻe) a hōʻoia i ka hui ʻana o ka holoʻokoʻa ma muli o ka hilinaʻi ʻana i nā leo. i nā pilina o ka pilina kiʻekiʻe loa me kekahi. No laila, ʻo ka pae hope loa i ka hoʻomohala ʻana o Z. s. - "ke au o ka quart", e hoʻopiha ana i ka hakahaka ma waena o nā leo o ka "consonance mua" (ua lilo ka quart i ke kani i ka mamao loa mai ka leo kuhikuhi kumu a ua kūlike loa me ia; ma ke ʻano he ʻO ka hopena, loaʻa iā ia ka maikaʻi ma mua o nā consonances ʻoi aku ka maikaʻi loa - he octave, kahi hapalima). ʻO ka hoʻopiha ʻana i kahi quart e hana i kahi ʻano o nā ʻōnaehana kani - non-semitone trichords a me nā tetrachords o nā ʻano like ʻole:

TRICHORD

KAUKAU

LULABY

OLI EPIC

I ka manawa like, hoʻopaʻa ʻia nā leo pili a me ka hele ʻana a lilo i kākoʻo no nā mea hou e pili ana. Ma ke kumu o ka tetrachord, kū mai nā pentachords, hexachords:

MASLENICHNA

hula poepoe

Mai ka hui pū ʻana o nā trichords a me nā tetrachords, a me nā pentachords (ma ke ʻano fused a ʻokoʻa paha), ua hoʻokumu ʻia nā ʻōnaehana composite i ʻokoʻa i ka helu o nā leo - hexachords, heptachords, octachords, ʻo ia hoʻi, ua hui pū ʻia i ʻoi aku ka paʻakikī. , nā ʻōnaehana kani ʻano nui. octave a me ka octave ole:

PENTATONIKA

VESNIA UKRAINIA

PLYASOVAYA

Oli Znamenny

HIMENI RUSIA

NO KA KARISIMAKA A KA MAKUAHINE O KE AKUA, KA OLI KAUKAU

PUNA HEXACHORD

Theoretical generalization of the practice of introducing leo in Europe. nā mele o ka Middle Ages a me ka Renaissance ("musica fikta"), i ka wā i hoʻololi nui ʻia ai nā hopena leo holoʻokoʻa a me nā kūleʻa leo holoʻokoʻa e nā halftones (no ka laʻana, ma kahi o cd ed stroke cis-d etc.), i hōʻike ʻia ma ke ano o ka chromatic-enharmonic. ʻumikūmāhiku mau ʻanuʻu (na Prosdochimo de Beldemandis, hope o 14th - mua o 15th mau kenekulia):

ʻO ka hoʻomohala ʻana o ka polyphony a me ka hoʻokumu ʻana i kahi consonant triad ma ke ʻano he kumu nui o ke kani. alakaʻi i kona hoʻonohonoho hou ʻana i loko - ka hui ʻana o nā leo a pau o ka ʻōnaehana a puni kēia consonance kumu, e hana nei ma ke kikowaena, ka hana tonic. triads (tonic), a ma ke ʻano o kāna mau animation ma nā ʻanuʻu ʻē aʻe a pau o ka diatonic. gamma:

ʻO ke kuleana o ka mea hana Z. s. hele malie mai ladomelodich. nā hiʻohiʻona i ka chord-harmonic; e like me keia Z. me. hoʻomaka e hōʻike ʻia ʻaʻole ma ke ʻano o kahi unahi ("ʻanuʻu o nā leo" - scala, Tonleiter), akā ma ke ʻano o nā pūʻulu kani pili i ka hana. E like me nā pae ʻē aʻe o ka hoʻomohala ʻana o Z. me., nā laina nui a pau o nā ʻano mua Z. me. aia pū kekahi i nā Z. s i hoʻomohala nui ʻia. ikehu melodic. linearity, microsystems mai ka leo kuhikuhi (stave) a me nā mea e pili ana, e hoʻopiha ana i ka hā (a me ka lima), ka hoʻonui ʻana i nā tetrachords, a pēlā aku. nā pūʻulu leo ​​holoʻokoʻa—nā mele ma nā pae āpau—me kekahi mau unahi, lilo lākou i ʻano hou o nā leo s-harmonics. tonality (e nānā i ka leka ma luna), a ʻo kā lākou hui ʻana i kauoha ʻia he "pūnaewele o nā ʻōnaehana" o nā kī nui a me nā kī liʻiliʻi ma kēlā me kēia ʻanuʻu chromatic. unahi. ʻO ka nui o ka leo sonic o ka ʻōnaehana theoretically hoʻonui i ka palena ʻole, akā ua kaupalena ʻia e nā hiki o ka pitch perception a he chromatically hoʻopiha ʻia mai ka A2 a i ka c5. ʻO ka hoʻokumu ʻana o ka ʻōnaehana tonal nui-liʻiliʻi i ke kenekulia 16. koi ʻia ka hoʻololi ʻana o ka ʻōnaehana Pythagorean i nā hapalima maʻemaʻe (no ka laʻana, f - c - g - d - a - e - h) me ka ʻelima-tertian (ka mea i kapa ʻia he maʻemaʻe, a kūlohelohe paha, ʻo Fogliani - Zarlino system), me ka hoʻohana ʻana. ʻelua kūkulu. ka waena - he 2:3 a me ke kolu nui 4:5 (no ka laʻana, F - a - C - e - G - h - D; hōʻike nā leka nui i ka prima a me ka hapalima o nā triad, hōʻike nā leka liʻiliʻi i ke kolu, e like me ka M. Hauptmann). ʻO ka hoʻomohala ʻana o ka ʻōnaehana tonal (ʻoi aku ka hana o ka hoʻohana ʻana i nā kī like ʻole) pono ke ʻano o ka ʻōnaehana temperament.

Hoʻopau nā mea pili. ʻO ke tonality ke alakaʻi i ka hoʻokumu ʻana i nā loulou ma waena o lākou, i ko lākou convergence a hoʻohui hou aku. Me ke kaʻina hana kūʻē o ka ulu ʻana o ka chromaticity intratonal (hoʻololi), ʻo ka hoʻohui ʻana o nā mea tonal like ʻole e alakaʻi i ka ʻoiaʻiʻo i loko o ka tonality like ʻole kekahi manawa, ʻo kēlā me kēia chord a me kahi unahi mai kēlā me kēia ʻanuʻu hiki ke hiki. Ua hoʻomākaukau kēia kaʻina hana i kahi hoʻonohonoho hou o ka hale o Z. me. i ka hana a kekahi mau haku mele o ke kenekulia 20: nā pae a pau o ka chromatic. ua hoʻokuʻu ʻia ko lākou mau unahi, huli ka ʻōnaehana i kahi ʻōnaehana 12-step, kahi i hoʻomaopopo pololei ʻia kēlā me kēia manawa (a ʻaʻole ma ke kumu o ka pili lima a i ʻole ʻelima-tertz); a me ka hui kumu mua Z. s. lilo i semitone (a i ʻole ʻehiku nui) - ma ke ʻano he derivative o ka hapalima a me ke kolu nui. ʻO kēia ka mea e hiki ai ke kūkulu i nā ʻano symmetrical (no ka laʻana, terzochromatic) a me nā ʻōnaehana, ka puka ʻana o kahi tonal ʻumikūmālua-step, ka mea i kapa ʻia. "Atonality manuahi" (e nānā i ke mele Atonal), hui pūʻali (ʻo ia hoʻi, dodecaphony), etc.

ʻAʻole ʻEulopa Z. me. (e laʻa, nā ʻāina ʻo ʻAsia, ʻApelika) i kekahi manawa he ʻano ʻano mamao loa mai nā ʻEulopa. No laila, ʻoi aku ka liʻiliʻi o ka diatonic maʻamau o nā mele India e hoʻonani ʻia me ka leo. aka, wehewehe theoretically e like me ka hopena o ka mahele ana i ka octave i 22 'āpana (ka shruti system, no hoi i unuhi 'ia e like me ka huina o na mea a pau i hiki ke kiekie).

I loko o ka mele Javanese, ʻaʻole i kūlike nā māhele 5- a me 7-step "equal" o ka octave (slendro a me pelog) me ka unahi pentatonic anhemitonic maʻamau a i ʻole ka pae diatonic ʻelima a i ʻole ʻelima-tertz.

E hoʻomaopopo ': ʻO Serov AH, mele mele Lūkini ma ke ʻano he kumuhana o ka ʻepekema (3 ʻatikala), "Musical Season", 1869-70, No 18, 1870-71, No 6 a me 13, paʻi hou ʻia. ma kāna puke: Selected Articles, vol. 1, M.-L., 1950; Sokalsky PP, Russian folk music?, Har., 1888, Peter VI, On the compositions, structures and modes in ancient Greek music, K., 1901 Yavorsky B., The structure of musical speech, vol. 1-3, M., 1908, Tyulin Yu. H., Ke aʻo e pili ana i ke kuʻikahi, L., 1937, M, 1966; Kuznetsov KA, mele Arabic, ma: Essays on the history and theory of music, vol. 2, L., 1940; Ogolevets AS, Introduction to modern music thinking, M.-L., 1946; Nā mea hoʻokani pila. ʻO Tot. Ed. HA Garbuzova, M, 1954; Jami A., Treatise on Music. Ed. a me nā ʻōlelo a VM Belyaev, Tash., 1960; Pereverzev NK, Nā pilikia o ka leo mele, M., 1966; Meshchaninov P., Evolution of the pitch fabric (structural-acoustic substantiation ...), M., 1970 (manuscript); Kotlyarevsky I., Diatonics and chromatics as a category of musical thinking, Kipv, 1971; Papu K., Das musikalische System der Griechen in seiner Urgestalt, Lpz., 1847, Riemann H., Katechismus der Musikgeschichte, Tl 1, Lpz., 1888, Rus. per. – Catechism of the history of music, part 1, M., 1896), kāna iho, Das chromatische Tonsystem, ma kāna puke: Preludien und Studien, Bd I, Lpz., 1895.

ʻO Yu. H. Kholopov