ʻO nā ʻūhā like ʻole |

nā puʻupuʻu kūlike - nā frets, nā unahi e pili ana i ka mahele like o ka octave. E like me nā frets ʻē aʻe, S. l. kūkulu ʻia ma ke kumu o kekahi kikowaena. element (i hoʻopau ʻia ʻo CE). Eia naʻe, ʻaʻole like, no ka laʻana, mai ka nui a i ʻole ka liʻiliʻi, S. l. ʻAʻole i hoʻokumu ʻia ma ke kumu o kahi triad nui a liʻiliʻi paha, akā ma ke kumu o ka consonance (a i ʻole nā ​​​​pili waena) ma muli o ka mahele ʻana o 12 semitones i 2, 3, 4 a i ʻole 6 mau ʻāpana like. No laila 4 mau mea hiki - 12: 6, 12: 4, 12: 3, 12: 2 a, no laila, 4 nui. ʻano S. l. Ua kapa ʻia lākou e like me kā lākou CE (e like me ka inoa nui ma hope o kāna CE - triad nui): I - holoʻokoʻa-leo (CE 12: 6 = holoʻokoʻa-leo ʻeono); II – hōʻemi ʻia, a i ʻole ke alapine haʻahaʻa (CE 12: 4 = akamai ʻehiku chord); III - hoʻonui, a i ʻole nā ​​​​terts nui aʻe (CE 12: 3 = hoʻonui i ka triad); IV - tritone (a i ʻole ke ʻano pālua, ka huaʻōlelo o BL Yavorsky) (CE 12: 2 = tritone). Ma muli o ke kiko'ī. ʻO nā hale o ka pālākiō III a me IV nā ʻano frets ua māhele ʻia i mau ʻano. subtypes. ʻO ka mahele manaʻo hiki i ka 12:12 ke hāʻawi i hoʻokahi ʻano S. l. (V) - ka palena, akā ʻaʻohe waiwai. structural a no laila kū kaʻawale. Papa Pivot S. l.:

ʻO ka wehewehe ʻana a S. no ka l. loaʻa i ka laina me ka aesthetic. nā kuʻuna o ke kumumanaʻo o ka hoʻohālikelike, e hoʻokomo iā lākou i kahi pilina kūlohelohe me nā ʻano ʻano o nā ʻōnaehana modal - nā ʻano o ka ʻōnaehana nui-liʻiliʻi a me ka Middle Ages. ʻeha. ʻO ka wehewehe maʻamau i nā mea a pau, ʻo kēlā me kēia ʻano o ke ʻano, e pili ana i kāna CE, pili i kekahi o nā holomua helu i ʻike ʻia mai ka wā kahiko - arithmetic, harmonic and geometric. ʻO nā pūʻulu helu i hana ʻia e lākou, e hāʻawi ana i ka CE o kēlā me kēia ʻōnaehana, hāʻawi ʻia ma ke ʻano o nā coefficients o nā helu. nā loli.

Nā laʻana hoʻohana S. l. i loko o ke mele mele (hōʻike nā helu i nā helu o S. l. i ka laʻana mele):

1. MI Glinka. "Ruslan a me Lyudmila", pālākiō o Chernomor. 2. NA Rimsky-Korsakov. "Sadko", 2 kiʻi pena. 3. NA Rimsky-Korsakov. “Golden Cockerel”, kani ka moa (helu 76, kaola 5-10). 4. NA Rimsky-Korsakov. ʻO “Snow Maiden”, ke kumuhana a Leshy (helu 56-58). 5. AN Kerepina. Aʻo no ka piano. op. 56 no 4. 6. IP Stravinsky. "He manu ahi" (helu 22-29). 7. IF Stravinsky. "Parsley", ke kumuhana o Petrushka (e nānā ma Art. Polyaccord). 8. SV Protopopov. "Crow and Cancer" no ka leo me ka piano. 9. O. Mesia. “20 manaʻo…”, ʻAʻole 5 (e ʻike i ka ʻatikala Polymodality). 10. AK Lyadoi. "Mai ka Apocalypse" (helu 7). 11. O. Mesia. L'Ascension no ka okana, 4th neʻe. 12. A. Webern. Nā ʻano like ʻole no fp. op. 27, 4th hapa (e nana ma Art. Dodecapony).

E nānā pū i nā ʻatikala Ke ʻano Tritone, ke ʻano hoʻonui ʻia, ke ʻano hoʻemi ʻia, ke ʻano holoʻokoʻa.

S. l. - kekahi o nā ʻano o ke ʻano (modality) me ka pentatonic, diatonic, decomp. ʻano paʻakikī paʻakikī. S. l. hoʻokaʻawale ʻia mai nā ʻōnaehana maʻamau o ʻEulopa o ka nui a me ka liʻiliʻi (ʻo nā preforms o ka sl he transposing sequences, equal-tert cycles of tonalities, figuration, and anharmonicity of equal-interval consonances). ʻO nā hōʻailona mua o S. l. he mea maʻamau i ke ʻano (ka mea mua loa, ma mua o 1722, ma ka sarabande o ka 3rd English suite o JS Bach, bars 17-19: des2 (ces2)-bl-as1-g1-f1-e1-d1-cis1. Hoʻohana i ka C Ua hoʻomaka ʻo L. ma ke ʻano he ʻano hōʻike kūikawā i ke kenekulia 19 (hoʻonui ʻia ke ʻano a me ka pālākiō holoʻokoʻa i ka bass Sanctus o ka nui Es-dur na Schubert, 1828; hoʻonui ʻia ke ʻano a me ke ʻano holoʻokoʻa i ka bass i ka opera God a ʻO Bayadere na Auber, 1830, i ka makahiki 1835 ma St. Petersburg ma lalo o ke poʻo inoa ʻo La Bayadère in Love; ʻo Chopin hoʻi). Dargomyzhsky, NA Rimsky-Korsakov, PI Tchaikovsky, AK Lyadov, VI Rebikov, AN Skryabin, IF Stravinsky, AN Cherepnin, a me SS Prokofiev, N. Ya. Myaskovsky, DD Shostakovich, SV Protopopov, MIVerikovsky, SE Feinberg, AN Alexandrov a me nā mea ʻē aʻe. haku mele ia S. l. F. Liszt, R. Wagner, K. Debussy, B. Bartok i haiia; ʻoi aku ka laulā a me nā kikoʻī S. l. kūkulu ʻia e O. Messiaen. I loko o ka mele S. theory of l. ua wehewehe mua ʻia ma ke ʻano he ʻano malihini kūikawā (no ka laʻana, ma G. Kapellen, 1908, ua hōʻike ʻia ʻo "Chinese whole-tone music" ma nā laʻana i haku ʻia e ka mea kākau ma ke ʻano he "exoticism extreme"). Ma Russian theoretical musicology ka wehewehe mua o S. l. (ma lalo o ka inoa "circular" modulating sequences, "circular" o ka nui a me ka hapakolu liʻiliʻi) no Rimsky-Korsakov (1884-85); ka wehewehe mua a S. no l. ua noi ʻia e BL Yavorsky i ka hoʻomaka. 20th century Mai waho mai. ka poʻe kālaiʻike ka manaʻo o S. l. hoʻomohala mua ʻia e Messiaen ("Modes of Limited Transposition", 1944) a me E. Lendvai ("System of Axes", ma ke ʻano o ka mele a Bartok, 1957).

E hoʻomaopopo ': Rimsky-Korsakov NA, Puke aʻo Practical of harmony, St. Petersburg, 1886, like, Poln. coll. soch., vol. IV, M., 1960; Yavorsky BL, ʻO ke ʻano o ka haʻiʻōlelo mele, ʻāpana 1-3, (M., 1908); Kastalsky AD, Nā hiʻohiʻona o ka ʻōnaehana mele folk-Russian, M. - Pg., 1923, 1961; AM, A. Cherepnin (notography), "Contemporary Music", 1925, No 11; Protopopov SV, Nā ʻāpana o ke ʻano o ka ʻōlelo mele, ʻāpana 1-2, M., 1930; Tyutmanov IA, Kekahi mau hiʻona o ke kaila modal-harmonic o HA Rimsky-Korsakov, i loko o ka puke: Scientific a me methodological memo o ka Saratov moku'āina. conservatory, vol. 1-4, Saratov, 1957-61; Budrin B., ʻO kekahi mau nīnau o ka ʻōlelo harmonic a Rimsky-Korsakov i nā opera i ka hapa mua o nā makahiki 90, Nā hana o ke Keʻena ʻo Music Theory o ka Moscow Conservatory, vol. 1, 1960; Sposobin IV, Nā haʻi'ōlelo ma ke ala o ka lokahi, M., 1969; Kholopov Yu. N., Symmetric modes in theoretical systems of Yavorsky and Messiaen, in the book: Music and Modernity, vol. 7, M., 1971; Mazel LA, Nā pilikia o ka lokahi kahiko, M., 1972; Tsukkerman VA, Kekahi mau ninau o ke kuikahi, ma kana puke: Musical-theoretical essays and etudes, vol. 2, M., 1975; Capellen G., Ein neuer exotischer Musikstil, Stuttg., 11; kona, Fortschrittliche Harmonie- und Melodielehre, Lpz., 1906; Busoni F., Entwurf einer neuen Дsthetik der Tonkunst, Triest, 1908 (Unuhi Lūkini: Busoni F., Sketch of a new aesthetics of musical art, St. Petersburg, 1907); Schönberg A., Harmonielehre.W., 1912; Setacio1911i G., Note ed appunti al Trattato d'armonia di C. de Sanctis…, Mil. – NY, (1); Weig1923 B., Harmonielehre, Bd 1-1, Mainz, 2; Hbba A., Neue Harmonielehre…, Lpz., 1925; Messiaen O., Technique de mon langage musical, v. 1927-1, P., (2); Lendvai E., Einführung in die Formenund Harmoniewelt Bartoks, in: Byla Bartuk. Weg und Werk, Bdpst, 1944; Reich W., Alexander Tcsherepnin, Bonn, (1957).

ʻO Yu. H. Kholopov