Tonality |

tonalite Palani, Kelemānia. Tonalitat, a me Tonart

1) Ke kūlana kiʻekiʻe o ke ʻano (i hoʻoholo ʻia e IV Sposobina, 1951, e pili ana i ka manaʻo o BL Yavorsky; no ka laʻana, ma C-dur "C" ka inoa o ke kiʻekiʻe o ka leo nui o ke ʻano, a "dur" - "nui" - ʻano hiʻohiʻona).

2) Hierarchical. kikowaena kikowaena o functionally differentiated kiʻekiʻe pili; T. ma keia manao, oia ka lokahi o ke ano a me ka T. maoli, oia hoi, ke tonality (ua manaoia ua localized ka T. i kekahi kiekie, aka nae, i kekahi mau mea, ua maopopo ka huaolelo me ka ole ia localization. pili loa me ka manaʻo o ke ʻano, ʻoi loa ma nā ʻāina ʻē lit-re). ʻO T. ma kēiaʻano he mea i loko o ka monody kahiko (e nānā: Lbs J., "Tonalnosc melodii gregorianskich", 1965) a me nā mele o ka 20th century. (E nānā, no ka laʻana: Rufer J., "Die Zwölftonreihe: Träger einer neuen Tonalität", 1951).

3) Ma kahi ʻano haiki a kikoʻī. ʻO ka manaʻo o T. he ʻōnaehana o nā pili pitch i hoʻokaʻawale ʻia, i hoʻonohonoho ʻia ma ka hierarchically ma ke kumu o kahi triad consonant. T. ma keia manao like me ka "harmonic tonality" ano o ka classical-romantic. nā ʻōnaehana harmonio o nā kenekulia 17-19; ma keia hihia, ka noho ana o na T. a hoakakaia. nā ʻōnaehana o kā lākou pilina me kekahi (nā ʻōnaehana o T.; e nānā i ka Circle of Fifths, Relationship of Keys).

Kuhi ʻia ʻo "T." (ma ke ʻano haiki, kikoʻī) nā ʻano - nui a me nā mea liʻiliʻi - hiki ke noʻonoʻo ʻia e kū ana ma kahi pā me nā ʻano ʻē aʻe (Ionian, Aeolian, Phrygian, everyday, pentatonic, etc.); ʻoiaʻiʻo, ʻoi aku ka nui o ka ʻokoʻa ma waena o lākou a he mea kūpono loa ia i ka terminological. ke kū'ē o ka mea nui a me ka liʻiliʻi e like me ka harmonic. nā kani monophonic. ʻeha. ʻAʻole like me ka monodic. frets, major and minor T .. are inherent in ext. ka ikaika a me ka hana, ka ikaika o ka neʻe ʻana, ka hoʻoponopono kūpono loa a me ka waiwai o nā pilina hana. E like me kēia mau waiwai, ʻike ʻia ka leo (ʻaʻole e like me nā ʻano monodic) e ka ʻike a me ka ʻike mau ʻana i ke kikowaena o ke ʻano ("hana ma kahi mamao", SI Taneev; ʻo ka tonic ka mana ma kahi ʻaʻole kani); nā hoʻololi maʻamau (metric) o nā kikowaena kūloko (nā ʻanuʻu, nā hana), ʻaʻole wale i ka hoʻopau ʻana i ka ʻumekaumaha waena, akā ʻike ʻia a hoʻoikaika ʻia i ka nui; dialectical ka lākiō ma waena o ka abutment a me nā mea paʻa ʻole (ma ke ʻano, no ka laʻana, i loko o ke ʻano o ka ʻōnaehana hoʻokahi, me ka gravity maʻamau o ke degere VII ma I, hiki ke huki ʻia ke kani o ka degere I i ka VII). Ma muli o ka mana ikaika i ke kikowaena o ka ʻōnaehana harmonic. T., me he mea la, ua komo i na ano okoa e like me na kapuai, "mau ano o loko" (BV Asafiev, "Musical Form as a Process", 1963, p. 346; 'anuʻu - Dorian, ke ano Phrygian mua me ka tonic nui e like me ka Phrygian. lilo ka huli i ʻāpana o ka harmonic minor, etc.). No laila, ʻo ka mea nui a me ka liʻiliʻi i hoʻohālikelike i nā ʻano ma mua o ka mōʻaukala, i ka manawa like ke ʻano o nā loina hou o ka hui modal. ʻO ka ikaika o ka ʻōnaehana tonal pili ʻole i ke ʻano o ka noʻonoʻo ʻEulopa i ka Modern Age (ʻo ia hoʻi, me nā manaʻo o ka Enlightenment). "Ke hōʻike nei ʻo Modality, ʻoiaʻiʻo, kahi kūpaʻa, a me ka tonality kahi hiʻohiʻona ikaika o ka honua" (E. Lovinsky).

Ma ka ʻōnaehana T., loaʻa kahi T. ʻokoʻa i kahi kikoʻī. hana ma ka harmonic dynamic. a me ka mea pena kala. nā pilina; Hoʻopili ʻia kēia hana me nā manaʻo ākea e pili ana i ke ʻano a me ke kala o ka leo. No laila, ʻo C-dur, ka leo "waena" i ka ʻōnaehana, ʻike ʻia he "maʻalahi", "keʻokeʻo". ʻO nā mea hoʻokani pila, me nā haku haku nui, loaʻa pinepine ka mea i kapa ʻia. ʻO ka lohe kala (no NA Rimsky-Korsakov, ʻo ke kala T. E-dur he ʻōmaʻomaʻo ʻōmaʻomaʻo, pastoral, ke kala o nā birches puna, ʻeleʻele ʻo Es-dur, ʻeleʻele, hina-hinahina, ka leo o nā "kūlanakauhale" a me "nā pā kaua". Ua kapa ʻia ʻo L Beethoven i ka h-moll "ʻeleʻele tonality"), no laila pili kēia a ʻo T. i kekahi manawa me ka wehewehe. e hōʻike. ke ʻano o ke mele (no ka laʻana, WA ​​Mozart's D-dur, Beethoven's c-moll, As-dur), a me ka hoʻololi ʻana o ka huahana. - me ka hoʻololi stylistic (no ka laʻana, ʻo Mozart's motet Ave verum corpus, K.-V. 618, D-dur, i hoʻoili ʻia ma ka hoʻonohonoho ʻana o F. Liszt iā H-dur, a laila ua "romanticization").

Ma hope o ke au o ka noho aliʻi ʻana o ka poʻokela nui-minor T. ka manaʻo o "T." pili pū ʻia me ka manaʻo o kahi branched musical-logical. hoʻolālā, ʻo ia hoʻi, e pili ana i ke ʻano o ka "kaumāna o ka hoʻonohonoho" ma kekahi ʻōnaehana pili pitch. Ua lilo nā hale tonal paʻakikī loa (mai ke kenekulia 17) i mea koʻikoʻi, ʻano kūʻokoʻa o ke mele. ʻO ka expressiveness, a me ka tonal dramaturgy i kekahi manawa hoʻokūkū me ka textual, stage, thematic. E like me ka int. Hōʻike ʻia ke ola o T. ma nā hoʻololi ʻana o nā chords (nā ʻanuʻu, nā hana - he ʻano "micro-lads"), kahi ʻano tonal integral, e hoʻokomo ana i ka pae kiʻekiʻe o ka lokahi, noho i nā neʻe modulation kumu, T loli. No laila, lilo ke ʻano tonal o ka holoʻokoʻa i kekahi o nā mea nui i ka hoʻomohala ʻana i nā manaʻo mele. "E hoʻopau maikaʻi ʻia ke ʻano melodic," i kākau ai ʻo PI Tchaikovsky, "ma mua o ke ʻano o ka manaʻo mele, e hilinaʻi pono ana i ka modulation a me ka lokahi." I loko o ka hoʻolālā tonal i kūkulu ʻia otd. Hiki iā T. ke pāʻani i kahi hana e like me nā kumuhana (no ka laʻana, ʻo ka e-moll o ke kumuhana ʻelua o ka hopena hope o ka sonata 7 a Prokofiev no ka piano ma ke ʻano he hoʻohālike o ka E-dur o ka neʻe 2nd o ka sonata e hana i kahi quasi- thematic intonation "arch"-reminiscence on a scale whole cycle).

ʻO ka hana a T. i ke kūkulu ʻana i nā muses he mea nui loa. ʻO nā ʻano nui, ʻoi aku ka nui (sonata, rondo, cyclic, opera nui): “Ka noho mau ʻana i hoʻokahi kī, kūʻē i ka hoʻololi wikiwiki ʻana a i ʻole ka liʻiliʻi o ka hoʻololi ʻana o nā modulations, hui pū ʻana o nā unahi like ʻole, hoʻololi mālie a hikiwawe paha i kahi kī hou, mākaukau hoʻi i ʻo ka mea nui", - ʻo kēia mau mea a pau ke ʻano o ka "kamaʻilio ʻana i ka hoʻomaha a bulge i nā ʻāpana nui o ka haku mele a maʻalahi i ka mea hoʻolohe ke ʻike i kona ʻano" (SI Taneev; e ʻike i ka Musical Form).

ʻO ka hiki ke hana hou i nā manaʻo i ka lokahi ʻē aʻe i alakaʻi i kahi hoʻokumu hou a me ka ikaika o nā kumuhana; ka hiki ke hana hou i nā kumuhana. ʻO nā hoʻokumu ʻana i nā T. ʻē aʻe i hiki ke kūkulu i nā muses nui. palapala. Hiki i nā ʻano kumu like ke lawe i kahi ʻokoʻa, ʻokoʻa, ʻo ia hoʻi ma muli o ka ʻokoʻa o ke ʻano tonal (no ka laʻana, ʻo ka fragmentation lōʻihi ma lalo o nā kūlana o nā loli tonal e hāʻawi i ka hopena o kahi hoʻomohala exacerbated, a ma lalo o nā kūlana o ka tonic o ʻO ka tonality nui, ma ke ʻano, ka hopena o ka "coagulation", hoʻopau hoʻomohala). Ma ke ʻano operatic, hoʻololi pinepine ʻia ka hoʻololi ʻana o T. me ka hoʻololi ʻana i ke kūlana hoʻolālā. Hoʻokahi wale nō hoʻolālā tonal hiki ke lilo i papa o muses. nā ʻano, eg. hoololi o T. i ka 1 d. "The Marriage of Figaro" na Mozart.

ʻO ke ʻano maʻemaʻe a me ke ʻano o ke ʻano o ka leo (ʻo ia hoʻi, "harmonious tone") ke ʻano o nā mele a nā poʻe mele Viennese a me nā haku mele e pili kokoke ana iā lākou (ʻoi aku ka nui o nā manawa o ka waena o 17 a me waena o 19th. mau kenekulia). Eia naʻe, hiki mai ka harmonic T. ma mua loa, a ua laha pū ʻia i nā mele o ke kenekulia 20. ʻO nā palena manawa kūpono o T. ma ke ʻano he kūikawā, kikoʻī. he paʻakikī ke hoʻokumu i nā ʻano o ka fret, no ka mea decomp. hiki ke lawe i kumu. paʻakikī o kona mau hiʻohiʻona: ʻO A. Mashabe nā lā i ka puka ʻana o nā harmonics. T. 14th century, G. Besseler - 15th century, E. Lovinsky - 16th century, M. Bukovzer - 17th century. (E nānā iā Dahhaus S., Untersuchungen über die Entstehung der harmonischen Tonalität, 1); IF pili ʻo Stravinsky i ka mana o T. i ka manawa mai ka waena. 1968 iā Ser. Nā kenekulia 17 Complex Ch. ʻO nā hōʻailona o kahi maʻamau (harmonic) T.: a) ʻo ke kikowaena o T. he triad consonant (ʻo ia hoʻi, hiki ke noʻonoʻo ʻia e like me ka hui ʻana, ʻaʻole ma ke ʻano he hui o nā wā āpau); b) ke ʻano - nui a liʻiliʻi paha, i hōʻike ʻia e kahi ʻōnaehana o nā mele a me kahi mele e neʻe ana "ma ke kāwele" o kēia mau mele; c) hoʻolālā fret ma muli o 19 mau hana (T, D a me S); "ʻano dissonances" (S me ke ono, D me ka hiku; hua'ōlelo X. Riemann); T ka consonance; d) hoʻololi i nā harmonies i loko o T., manaʻo pololei o ka makemake i ka tonic; e) he ʻōnaehana o nā cadences a me nā pilina ʻehā-quint o nā chords ma waho o nā cadences (me he mea lā ua hoʻololi ʻia mai nā cadences a hoʻonui ʻia i nā pili āpau; no laila ka huaʻōlelo "cadence t."), hierarchical. ka helu ʻana o nā harmonies (nā mele a me nā kī); f) he metrical extrapolation ("tonal rhythm"), a me ke ano - he hana e pili ana i ka huinaha a me ka pili, "rhyming" cadences; g) nā ʻano nui e pili ana i ka modulation (ʻo ia hoʻi, hoʻololi i T.).

ʻO ka mana o ia ʻōnaehana e hāʻule i nā kenekulia 17-19, i ka wā o ka paʻakikī o Ch. Hōʻike ʻia nā hōʻailona o T., ma ke ʻano he kānāwai, piha loa. ʻO ka hui pū ʻana o nā hōʻailona, ​​​​e hāʻawi i ka manaʻo o T. (e kū'ē i ka modality), ʻike ʻia ma otd. nā palapala o ka Renaissance (14th-16th century).

Ma G. de Macho (ka mea nāna i haku i nā mele mele monophonic), ma kekahi o ka le (No 12; "Le on death"), ua kākau ʻia ka ʻāpana "Dolans cuer las" ma ke ʻano nui me ka mana o ka tonic. triad a puni ka hale pitch:

G. de Macho. Lay Helu 12, pahu 37-44.

"Monodic major" ma kahi ʻāpana mai ka hana. Ua mamao loa ʻo Masho mai ka maʻamau. ʻano T., ʻoiai ka like ʻole o kekahi mau hōʻailona (e hōʻike ʻia ma luna, b, d. e, f). Ch. ʻO ka ʻokoʻa he hale kūʻai monophonic ʻaʻole ia e kuhikuhi i kahi homophonic accompaniment. ʻO kekahi o nā hōʻike mua o ka puʻupuʻu hana i ka polyphony aia i loko o ke mele (rondo) na G. Dufay "Helas, ma dame" ("ʻo ia ka mea i ʻike ʻia mai kahi honua hou," e like me Besseler):

G. Dufay. Rondo "Helas, ma dame par amours".

manaʻo o ka lokahi. Ua kū mai ʻo T. ma muli o ka hoʻololi ʻana i ka hana metrized a me ka predominance o nā harmonics. pūhui i loko o ka ratio quarto-quint, T - D a me D - T i ka harmonic. ke ano o ka holookoa. I ka manawa like, ʻaʻole he triad ke kikowaena o ka ʻōnaehana (ʻoiai ke kū nei i kekahi manawa, nā pahu 29, 30), akā ʻo ka hapalima (e ʻae ana i nā hapakolu nui a me nā hapakolu liʻiliʻi me ka ʻole o ka hopena manaʻo o ke ʻano hui nui-liʻiliʻi) ; ʻoi aku ka melodic o ke ʻano ma mua o ka chordal (ʻaʻole ke kumu o ka ʻōnaehana), ʻo ke kani (ʻaʻohe o ka metric extrapolation) ʻaʻole tonal, akā modal (ʻelima ana me ka ʻole o ka hoʻohālikelike ʻana i ka squareness); ʻike ʻia ka gravity tonal ma nā ʻaoʻao o nā kūkulu, ʻaʻole holoʻokoʻa (ʻaʻole hoʻomaka ka ʻāpana leo me ka tonic); ʻaʻohe tonal-functional gradation, a me ka pilina o ka consonance a me dissonance me ke ʻano tonal o ka harmoni; i ka puunaue ana i na cadences, he disproportionately nui ke kuemi i ka mana. Ma keʻano laulā, ʻo kēia mau hōʻailona maopopo o ka leo ma ke ʻano he ʻōnaehana modal o kahi ʻano kūikawā ʻaʻole naʻe e ʻae iā mākou e hoʻohālikelike i kēlā mau hale i ke kani kūpono; he ʻano maʻamau kēia (mai ka manaʻo o T. ma ke ʻano ākea - "modal tonality") o nā kenekulia 15-16, i loko o ke ʻano o nā ʻāpana kaʻawale. nā māhele o T. (e nānā iā Dahinaus C, 1968, p. 74-77). ʻO ka hiolo ʻana o ka hale pule e haʻalulu i kekahi mele. prod. con. 16 - noi. Ua hana ʻo 17th century i kahi ʻano kūikawā o "free T." – ʻaʻole modal, ʻaʻole naʻe i ka wā kahiko (motets na N. Vicentino, madrigals na Luca Marenzio a me C. Gesualdo, Enharmonic Sonata na G. Valentini; e nānā i kekahi laʻana ma ka kolamu 567, ma lalo).

ʻO ka nele o kahi pālākiō modal paʻa a me ka melodic pili. ʻAʻole ʻae nā formulas i ka hoʻohui ʻana i ia mau hale i ka hale pule. ʻeha.

C. Gesualdo. ʻO Madrigal "Merce!".

ʻO ke kū ʻana o kahi kū i nā cadences, waena. chord - he triad consonant, ʻo ka hoʻololi ʻana o nā "harmonies-steps" ke kumu e noʻonoʻo ai i kēia ʻano ʻano kūikawā o T. - chromatic-modal T.

Ua hoʻomaka ʻia ka hoʻokumu ʻana o ka mana o nā mele nui-liʻiliʻi i ke kenekulia 17, ma ka hula, kēlā me kēia lā, a me nā mele honua.

Eia nō naʻe, ʻo nā hale pule kahiko e haʻalulu i nā wahi āpau i ke mele o ka papahele 1. ʻO ke kenekulia 17, no ka laʻana. J. Frescobaldi (Ricercare sopra Mi, Re, Fa, Mi – Terzo tuono, Canzona – Sesto tuono. Ausgewählte Orgelwerke, Bd II, No 7, 15), S. Scheidt (Kyrie dominicale IV. Toni cum Gloria, Magnificats, see Tabuiatura nova, III. pars). ʻOiai ʻo JS Bach, nona ka mele i hoʻomalu ʻia e kahi harmonica i kūkulu ʻia. T., ʻaʻole ia he mea maʻamau, no ka laʻana. chorales

J. Dowland. Madrigal "Ala, Aloha!" (1597).

Aus tiefer Not schrei' ich zu dir and Erbarm' dich mein, O Herre Gott (ma hope o Schmieder Nos. 38.6 a me 305; Phrygian mode), Mit Fried' und Freud'ich fahr' dahin (382, Dorian), Komm, Gott Schöpfer , heiliger Geist (370; Mixolydian).

ʻO ka culminating zone i ka hoʻomohala ʻana i nā timbre hana ikaika o ke ʻano nui-liʻiliʻi e hāʻule i ka wā o nā mele Viennese. Manaʻo ʻia nā mea maʻamau o ka lokahi o kēia manawa i nā waiwai nui o ka lokahi ma ka laulā; ʻo ia ka mea nui o nā puke aʻo harmonika (e nānā i ka Harmony, Harmonic function).

ʻO ka hoʻomohala ʻana o T. ma ka papahele ʻelua. ʻO ke kenekulia 2 ka hoʻonui ʻana i nā palena o T. (mixed major-minor, further chromatic. systems), enriching tonal-functional relations, polarizing diatonic. a me ka chromatic. ka lōkahi, ka hoʻonui ʻana o ke kala. ka manaʻo o t., ka ho'āla hou 'ana o ke kuʻikahi modal ma ke kumu hou (ka mea nui e pili ana i ka mana o ka moʻolelo i ka hana a ka haku mele, oi loa aku i loko o nā kula aupuni hou, no ka laʻana, Russian), ka hoʻohana 'ana i ke ano maoli, a me. ma ke ʻano he "artificial" symmetrical (e nānā iā Sposobin I V., "Lectures on the course of harmony", 19). ʻO kēia a me nā hiʻohiʻona hou e hōʻike ana i ka ulu wikiwiki o t. ʻO ka hopena hui o nā waiwai hou o t. ʻano (ma F. Liszt, R. Wagner, MP Mussorgsky, NA Rimsky-Korsakov) mai ka manaʻo o T. koʻikoʻi paha e like me ka hōʻole ʻana. Ua hoʻokumu ʻia ke kūkākūkā, no ka laʻana, ma ka hoʻolauna ʻana iā Wagner's Tristan und Isolde, kahi i uhi ʻia ai ka tonic mua e ka lohi lōʻihi, ʻo ia ka hopena o ka manaʻo kuhihewa e pili ana i ka pau ʻole o ka tonic i ka pāʻani ("total avoidance. of tonic"; see Kurt E., "Romantic Harmony and its crisis in Wagner's "Tristan", M., 1969, p. 1975; ʻo ia hoʻi ke kumu o kona kuhi hewa ʻana i ke ʻano harmonic o ka pauku mua e like me ka ʻike ākea. "dominant upbeat", p. 305, a ʻaʻole ma ke ʻano he hōʻike normative. , a me ka wehewehe pololei ʻole o nā palena o ka ʻāpana mua - nā pahu 299-1 ma kahi o 15-1). ʻO Symptomatic ka inoa o kekahi o nā pāʻani o ka wā hope o Liszt – Bagatelle Without Tonality (17).

ʻO ka puka ʻana mai o nā waiwai hou o T., e hoʻoneʻe ana mai ka mea kahiko. type, i ka hoomaka ana. Ua alakaʻiʻia ka 20th century i nā hoʻololi nui o ka'ōnaehana, iʻikeʻia e ka poʻe he nui e like me ka decomposition, luku o t., "atonality". ʻO ka hoʻomaka ʻana o kahi ʻōnaehana tonal hou i haʻi ʻia e SI Taneyev (ma ka "Mobile Counterpoint of Strict Writing", i hoʻopau ʻia ma 1906).

ʻO ka manaʻo o T. he ʻōnaehana koʻikoʻi nui-ʻuʻuku, ua kākau ʻo Taneyev: "Ma hope o ka lawe ʻana i kahi o nā ʻano hale pule, ʻo kā mākou tonal system i kēia manawa, ke hoʻohaʻahaʻa nei i kahi ʻōnaehana hou e ʻimi nei e hoʻopau i ka tonality a hoʻololi i ke kumu diatonic o harmoni. me kahi chromatic, a ʻo ka luku ʻana i ka tonality e alakaʻi i ke ʻano mele decomposition" (ibid., Moscow, 1959, p. 9).

Ma hope mai, ua kapaʻia ka "ʻenehana hou" (akā iā Taneyev) i ka hua'ōlelo "ʻenehana hou". ʻO kona ʻano like me ka T. maʻamau, ʻo ia ka "T hou." he hierarchical kekahi. he ʻōnaehana o nā pilina kiʻekiʻe i hoʻokaʻawale ʻia, e hoʻokomo ana i kahi loiloi. ka hoʻohui ʻana i ka hoʻolālā pitch. ʻAʻole like me ka tonality kahiko, hiki i ka mea hou ke hilinaʻi ʻaʻole wale i ka consonant tonic, akā pū kekahi pūʻulu leo ​​i koho pono ʻia, ʻaʻole wale ma ka diatonic. kumu, akā hoʻohana nui i nā harmonies ma kekahi o nā leo 12 ma ke ʻano he hana kūʻokoʻa (ʻo ka hui ʻana i nā ʻano a pau e hāʻawi i kahi poly-mode a i ʻole "fretless" - "hou, out-of-modal T."; see Nü11 E. von, "B . Bartok, Ein Beitrag zur Morphologie der neuen Musik", 1930); hiki i ke ʻano semantic o nā leo a me nā consonances ke hōʻike i kahi ʻano maʻamau i kahi ala hou. formula TSDT, akā hiki ke hōʻike ʻia ma kahi ʻē aʻe. Nā mea ola. Aia nō ka ʻokoʻa i ka ʻoiaʻiʻo o ka T. maʻamau koʻikoʻi i hoʻonohonoho pono ʻia, akā ʻo ka T. hou i hoʻokahi a no laila ʻaʻohe paʻakikī o nā mea kani, ʻo ia hoʻi, ʻaʻohe kūlike o ka hana. No laila, ma kekahi ʻatikala a i ʻole, hoʻohana ʻia nā hui like ʻole o nā hōʻailona o T.

I ka hana ʻana ʻo AN Scriabin o ka manawa hope o ka hoʻomohala T. mālama i kāna mau hana hoʻolālā, akā maʻamau. Hoʻololi ʻia nā harmonies e nā mea hou e hana i kahi ʻano kūikawā ("Scriabin mode"). No laila, no ka laʻana, ma ke kikowaena "Prometheus". chord - ka "Prometheus" kaulana ʻeono leo me ka osn. leo Fis (laʻana A, ma lalo), waena. sphere ("main T.") - 4 ia mau leo ​​ʻeono i ka moʻo haʻahaʻa-pinepine (mode hoʻemi; laʻana B); hoʻolālā modulation (ma ka ʻāpana hoʻohui - laʻana C), ka hoʻolālā tonal o ka exposition - laʻana D (ʻo ka hoʻolālā harmonic o "Prometheus" he ʻokoʻa, ʻoiai ʻaʻole pololei loa, hoʻopaʻa ʻia e ka mea haku mele ma ka ʻāpana o Luce):

ʻO nā kumu o ka hale kiʻiʻoniʻoni hou ke kumu o ke kūkulu ʻana i ka opera Wozzeck a Berg (1921), i manaʻo pinepine ʻia he kumu hoʻohālike o ke ʻano "Novensky atonal style", ʻoiai ke kūʻē ikaika ʻana o ka mea kākau i ka huaʻōlelo "satanic" "atonal". ʻAʻole otd wale nō ka Tonic. helu opera (e laʻa, 2nd scene o ka 1st d. – “eis”; hele mai ka 3rd scene o ka 1st d. – “C”, kona trio – “As”; hula ma ka 4th scene 2 -th la – “ g ", ke kahua o ka pepehi kanaka o Mary, ka 2nd scene o ka 2nd lā - me ke kikowaena leo "H", etc.) a me ka opera holoʻokoʻa holoʻokoʻa (chord me ka leo nui "g") ), akā oi. ma mua o kēlā - i nā hana a pau. ua hoʻokō mau ʻia ke kumumanaʻo o "leit heights" (ma ka pōʻaiapili o leit tonalities). ʻAe, ch. ʻO ka meʻe ka leittonics "Cis" (1st d., bar 5 - ka haʻi mua ʻana o ka inoa "Wozzeck"; nā pahu hou 87-89, nā ʻōlelo a Wozzeck ke koa "Pololei, e Mr. Captain"; bars 136- 153 - Wozzeck's arioso "ʻO mākou ka poʻe ʻilihune!", i loko o nā pahu 3d 220-319 - ʻo ka cis-moll triad "'ālohilohi" i ka chord nui o ka 4th scene). ʻAʻole hiki ke hoʻomaopopo ʻia kekahi mau manaʻo kumu o ka opera me ka ʻole e noʻonoʻo i ka dramaturgy tonal; No laila, ʻo ka pōʻino o ke mele a nā keiki ma ke ʻano hope loa o ka opera (ma hope o ka make ʻana o Wozzeck, 3rd d., bars 372-75) aia i ke kani ʻana o kēia mele i ka leo eis (moll), Wozzeck's leitton; hōʻike kēia i ka manaʻo o ka haku mele he mau “wozzets” liʻiliʻi nā keiki mālama ʻole. (Cf. König W., Tona-litätsstrukturen ma Alban Bergs Oper "Wozzeck", 1974.)

ʻO ka ʻenehana dodecaphonic-serial, ka mea e hoʻolauna i ka hui pū ʻana o ka hale kūʻokoʻa o ka leo, hiki ke hoʻohana like i ka hopena o ka leo a hana me ka ʻole. Kū'ē i ka manaʻo kuhihewa kaulana, ua hui maʻalahi ka dodecaphony me ke kumu o (hou) T., a me ke alo o kahi kikowaena. ʻO ka leo kahi waiwai maʻamau no ia. ʻO ka manaʻo maoli o ka pūʻulu 12-tone i kū mua ma ke ʻano he mea hiki ke uku no ka hopena maikaʻi o ka tonic a me ka t. concerto, sonata cycle). Inā haku ʻia ka hana serial ma ke ʻano hoʻohālike o ke tonal, a laila hiki ke hana ʻia ka hana o ke kumu, tonic, tonal sphere e kekahi moʻo ma kahi kikoʻī. pitch, a i ʻole nā ​​leo kuhikuhi i hoʻokaʻawale ʻia, nā wā, nā pu. "ʻO ka lālani i kona ʻano kumu ke pāʻani nei i ka hana like me ka" kī kumu "hoʻohana ʻia e pāʻani; ʻo ka "rerise" e hoʻi maoli iā ia. Hoʻokani mākou i ka leo like! Mālama ʻia kēia hoʻohālikelike me nā kumu hoʻolālā mua (…)” (Webern A., Lectures on Music, 1975, p. 79). No ka laʻana, ua kākau ʻia ka pāʻani a AA Babadzhanyan "Choral" (mai "ʻeono kiʻi" no ka piano) i hoʻokahi "T nui." me ke kikowaena d (a me ka waihoʻoluʻu liʻiliʻi). ʻO ka fugue o RK Shchedrin ma kahi kumuhana 12-tone i hōʻike maopopo ʻia ʻo T. a-moll. I kekahi manawa paʻakikī ke hoʻokaʻawale ʻana i nā pilina kiʻekiʻe.

A. Webern. Concert op. 24.

No laila, e hoʻohana ana i ka pili o ka moʻo i ka concerto op. 24 (no ka moʻolelo, e ʻike iā Art. Dodecaphony), loaʻa iā Webern kahi hui o ʻekolu-leo no kahi kikoʻī. ke kiʻekiʻe, uaʻikeʻia ka hoʻiʻana i Crimea e like me ka hoʻiʻana i ka "kī nui". Hōʻike ka laʻana ma lalo i nā leo ʻekolu o ka mea nui. spheres (A), ka hoʻomaka ʻana o ka neʻe mua (B) a me ka hopena o ka hopena o ka concerto a Webern (C).

Eia nō naʻe, no nā mele 12-leo, ʻaʻole pono ia ʻano kumu o ka haku mele "hoʻokahi-leo" (e like me nā mele tonal maʻamau). Eia naʻe, hoʻohana pinepine ʻia kekahi mau ʻāpana o T., ʻoiai inā he ʻano hou. No laila, ʻo ka cello sonata na EV Denisov (1971) he kikowaena, ʻo ka leo "d", ka serial 2nd violin concerto na AG Schnittke i ka tonic "g". I ke mele o nā makahiki 70. 20th kenekulia aia nā manaʻo e hoʻoikaika i ke kumu o ka T.

ʻO ka moʻolelo o nā aʻo e pili ana iā T. ua paʻa i ka manaʻo o ka hale pule. nā ʻano (e nānā i nā ʻano Medieval). I loko o kona ʻano, ua hoʻomohala ʻia nā manaʻo e pili ana i ka finalis ma ke ʻano he "tonic" o ke ʻano. ʻO ka "mode" (mode) pono'ī, mai kahi ākea ākea, hiki ke noʻonoʻo ʻia ʻo ia kekahi o nā ʻano (ʻano) o T. ʻO ka hana o ka hoʻokomo ʻana i ka leo (musica fikta, musica falsa) i hana i nā kūlana no ke ʻano o ka hopena mele. a me ka gravity chordal i ka tonic. Ua hoʻomākaukau ka manaʻo o nā paukū i ka manaʻo o "cadences of tone". ʻO Glarean i kāna Dodecachord (1547) ua hoʻokō pono i nā ʻano Ionian a me Aeolian i noho lōʻihi ma mua, ʻo nā unahi e kūlike me ka mea nui a me ka liʻiliʻi maoli. J. Tsarlino ("The Doctrine of Harmony", 1558) ma muli o ka Middle Ages. ʻO ke aʻo ʻana o ka hoʻohālikelike ʻana i nā consonant triads ma ke ʻano he ʻāpana a hana i ke kumumanaʻo o ka nui a me ka liʻiliʻi; Ua ʻike pū ʻo ia i ke ʻano nui a i ʻole ka liʻiliʻi o nā ʻano a pau. I ka makahiki 1615, ua kapa hou ka Dutchman S. de Co (de Caus) i ka ekalesia repercussion. nā kani i loko o ka mana (ma nā ʻano ʻoiaʻiʻo - ka pae ʻelima, ma ka plagal - IV). Ua kākau ʻo I. Rosenmuller ma kahi o. 1650 e pili ana i ka noho ʻana o ʻekolu mau ʻano - nui, liʻiliʻi a me Phrygian. I ka makahiki 70. Ua hoʻokaʻawale ʻo NP Diletsky i ke kenekulia 17 i ka "musicia" i ka "ʻakaʻaka" (ʻo ia hoʻi, nui), "kaumaha" (ʻuʻuku) a me "mixed". I ka makahiki 1694, ua loaʻa iā Charles Masson ʻelua mau ʻano (Mode majeur a me Mode mineur); i kēlā me kēia o lākou he 3 mau ʻanuʻu "mea nui" (Finale, Mediante, Dominante). Ma ka “Musical Dictionary” na S. de Brossard (1703), ʻike ʻia nā frets ma kēlā me kēia 12 chromatic semitones. gamma. ʻO ke aʻo kumu o t. (me ka ʻole o kēia huaʻōlelo) ua hana ʻia e JF Rameau (“Traité de l'harmonie …”, 1722, “Nouveau systéme de musique théorique”, 1726). Kūkulu ʻia ka fret ma ke kumu o ka chord (a ʻaʻole ka paona). Hōʻike ʻo Rameau i ke ʻano ma ke ʻano he kaʻina hoʻololi i hoʻoholo ʻia e ka hapa ʻekolu, ʻo ia hoʻi, ka ratio o nā chords nui ʻekolu - T, D a me S. ʻO ke kumu o ka pilina o nā cadence chords, me ka ʻokoʻa o ka consonant tonic a me dissonant D. a me S, ua wehewehe i ka mana o ka tonic ma luna o nā chord a pau o ke ʻano.

ʻO ka huaʻōlelo "T." ʻike mua ʻia ma FAJ Castile-Blaz (1821). T. - "ka waiwai o kahi ʻano mele, i hōʻike ʻia (ke ola nei) i ka hoʻohana ʻana i kāna mau ʻanuʻu koʻikoʻi" (ie, I, IV a me V); Ua hāʻawi ʻo FJ Fetis (1844) i ke kumumanaʻo o 4 mau ʻano T.: unitonality (ordre unito-nique) - inā ʻo ka huahana. ua kākau ʻia ma ke kī hoʻokahi, me ka ʻole o ka hoʻololi ʻana i nā mea ʻē aʻe (e like me ke mele o ke kenekulia 16); transitonality - hoʻohana ʻia nā modulations i nā leo kokoke (ʻike ʻia, mele baroque); pluritonality - hoʻohana ʻia nā modulations i nā leo mamao, anharmonisms (ke au o nā mele Viennese); omnitonality ("all-tonality") - kahi hui o nā mea o nā kī like ʻole, hiki ke hahai ʻia kēlā me kēia chord e kēlā me kēia (ke au o ka romanticism). ʻAʻole hiki ke ʻōlelo ʻia, ua hoʻokumu maikaʻi ʻia ka typology o Fetis. Ua hoʻokumu ʻo X. Riemann (1893) i ka manaʻo hana pono o ka timbre. E like me Rameau, ua hele ʻo ia mai ka ʻāpana o ka chord ma ke ʻano he kikowaena o ka ʻōnaehana a ʻimi e wehewehe i ke tonality ma o ka pilina o nā leo a me nā consonances. ʻAʻole like me Rameau, ʻaʻole i hoʻokumu wale ʻo Riemann i ka T. 3 ch. chord, akā hoʻemi ʻia iā lākou ("ʻo nā harmonies pono wale nō") ke koena a pau (ʻo ia hoʻi, ma T. Riemann he 3 mau kumu e pili ana i 3 mau hana - T, D a me S; no laila, ʻo ka ʻōnaehana Riemann wale nō ka hana pono) . Ua hōʻoia ʻo G. Schenker (1906, 1935) i ka leo ma ke ʻano he kānāwai kūlohelohe i hoʻoholo ʻia e nā waiwai o ka mea kani. Hoʻokumu ʻia ʻo T. ma ka consonant triad, diatonic a me consonant counterpoint (e like me contrapunctus simplex). ʻO nā mele o kēia manawa, e like me Schenker, ʻo ia ka degeneration a me ka emi ʻana o nā mea kūlohelohe e hoʻāla ai i ke tonality. Ua aʻo ʻo Schoenberg (1911) i nā kumuwaiwai o kēia manawa. harmonic iā ia. ʻōnaehana a hiki i ka hopena o ka mea hou. Aia ke mele tonal "ma nā palena o T." (ma muli o ka ʻike kahiko o T.). Ua kapa ʻo ia (me ka ʻole o ka wehewehe kikoʻī) ʻo "nā mokuʻāina" hou o ka leo (c. 1900–1910; na M. Reger, G. Mahler, Schoenberg) ma nā huaʻōlelo "floating" leo (schwebende; ʻike pinepine ʻia ka tonic, pale ʻia me ka leo maopopo loa). ; no ka laʻana, ke mele a Schoenberg "The Temptation" op. 6, No 7) a me "waiho" T. (aufgehobene; pale ʻia nā triad tonic a me consonant, hoʻohana ʻia nā "hua hele auwana" - akamai ʻehiku mau puʻupuʻu, hoʻonui triads, ʻē aʻe tonal nui chords).

Ua ho'āʻo ka haumāna a Riemann ʻo G. Erpf (1927) e wehewehe i ke ʻano o ka mele i nā makahiki he 10 a me 20 mai ka manaʻo o ka manaʻo hana pono a e hoʻokokoke i ke ʻano o ke mele ma ka mōʻaukala. Hoʻopuka pū ʻo Erpf i ka manaʻo o "consonance-center" (Klangzentrum), a i ʻole "sound center" (e laʻana, ʻo Schoenberg's play op. 19 No 6), he mea nui ia no ka manaʻo o ka leo hou; Ua kapa ʻia ʻo T. me ia kikowaena ʻo Kerntonalität (“core-T.”). Hōʻike ʻo Webern (ch. arr. mai ke ʻano o ka classical t.) i ka hoʻomohala ʻana i nā mele "ma hope o nā mele kahiko" ʻo "ka luku ʻana o t." (Webern A., Lectures on Music, p. 44); ʻo ke ʻano o T. ua hoʻoholo ʻo ia i ke ʻano. ala: "hilinaʻi i ka leo nui", "means of shaping", "means of communication" (ibid., p. 51). Ua luku ʻia ʻo T. e ka "bifurcation" o ka diatonic. 'anuʻu (p. 53, 66), "expansion of sound resources" (p. 50), the spread of tonal ambiguity, the disappearance of the need to return to the main. leo, he ʻano i ka hana hou ʻole ʻana i nā leo (p. 55, 74-75), hoʻohua me ka ʻole o ke kani. idiom T. (pp. 71-74). Hoʻokumu ʻo P. Hindemith (1937) i kahi kumumanaʻo kikoʻī o ka T. hou, e pili ana i kahi 12-step ("series I", no ka laʻana, i ka ʻōnaehana.

hiki i kekahi dissonance ma luna o kēlā me kēia o lākou. He ʻokoʻa loa ka ʻōnaehana waiwai o Hindemith no nā mea o T. Wahi a Hindemith, he tonal nā mele a pau; ʻO ka pale ʻana i ke kamaʻilio tonal he paʻakikī e like me ka umekaumaha o ka honua. IF ʻokoʻa ka manaʻo o Stravinsky i ka tonality. Me ka tonal (ma ke ʻano haiki) i loko o ka noʻonoʻo, ua kākau ʻo ia: "Harmony ... he moʻolelo nani akā pōkole" ("Dialogues", 1971, p. 237); "ʻAʻole mākou i loko o ke kahua o ka T. maʻamau i ke ʻano kula" ("Musikalische Poetik", 1949, S. 26). Hoʻopili ʻo Stravinsky i ka "T hou." ("non-tonal" mele he tonal, "akā,ʻaʻole i loko o ka tonal system of the 18th century"; "Dialogues", p. 245) ma kekahi o kona mau 'ano like'ole, i kapa 'ia "ka polarity o ke kani, ka wā, a hiki ka leo paʻakikī”; “ʻo ka pou tonal (a i ʻole leo-“tonale”) … ke koʻi nui o ke mele,” ʻo T. wale nō "he ala e hoʻonohonoho ai i nā mele e like me kēia mau pou." ʻAʻole pololei ka huaʻōlelo "pole", no ka mea, ʻo ia hoʻi ka "pole kū'ē", ʻaʻole i manaʻo ʻo Stravinsky. ʻO J. Rufer, ma muli o nā manaʻo o ke kula ʻo New Viennese, ua hāʻawi ʻo ia i ka huaʻōlelo "leo hou", e noʻonoʻo ana ʻo ia ka mea lawe i ka moʻo 12-tone. ʻO ka dissertation o X. Lang "Moʻolelo o ka manaʻo a me ka huaʻōlelo "tonality" ("Begriffsgeschichte des Terminus "Tonalität"", 1956) aia nā ʻike kumu e pili ana i ka mōʻaukala o Tonalism.

Ma Rusia, ua ulu mua ka manaʻo o ka leo e pili ana i nā huaʻōlelo "tone" (VF Odoevsky, Letter to a Publisher, 1863; GA Laroche, Glinka and Its Significance in the History of Music, Russian Bulletin, 1867-68; PI Tchaikovsky , "Alakaʻi i ka hoʻopaʻa ʻana i ka ʻoluʻolu", 1872), "system" (German Tonart, unuhi ʻia e AS Famintsyn "Textbook of harmony" na EF Richter, 1868; HA Rimsky -Korsakov, "Textbook of Harmony", 1884-85 ), “mode” (Odoevsky, ibid; Tchaikovsky, ibid), “view” (mai Ton-art, unuhi ʻia e Famintsyn o AB Marx's Universal Textbook of Music, 1872). Hoʻohana nui ʻo Tchaikovsky "Short Handbook of Harmony" (1875) i ka huaʻōlelo "T." (i kekahi manawa ma ka Guide to the Practical Study of Harmony). Hoʻopuka ʻo SI Taneyev i ke kumumanaʻo o ka "unifying tonality" (e ʻike i kāna hana: "Analysis of modulation plans ...", 1927; no ka laʻana, ke kūleʻa o nā deviations ma G-dur, A-dur evokes i ka manaʻo o T. D. -dur, hoʻohui iā lākou, a hana pū kekahi i kahi hoʻohiwahiwa tonal iā ia). E like me ke Komohana, ma Rusia, ua ʻike mua ʻia nā mea hou i ke kahua o ke tonality me ka ʻole o ka "tonal unity" (Laroche, ibid.) A i ʻole tonality (Taneyev, Letter to Tchaikovsky o ʻAukake 6, 1880), ma muli o ka hopena. "ma waho o nā palena o ka ʻōnaehana" (Rimsky-Korsakov, ibid.). ʻO kekahi mau hanana e pili ana i ka leo hou (me ka ʻole o kēia huaʻōlelo) i wehewehe ʻia e Yavorsky (ʻo ka ʻōnaehana 12-semitone, ka dissonant a me ka dispersed tonic, ka nui o nā hale modal i ka leo, a ʻo ka hapa nui o nā ʻano ma waho o ka nui a me ka liʻiliʻi. ); ma lalo o ka mana o Yavorsky Russian. ʻimi ʻia ka musicology theoretical e ʻimi i nā ʻano hou (nā hale kiʻekiʻe kiʻekiʻe hou), no ka laʻana. i ka hana ʻana ʻo Scriabin o ka manawa hope o ka hoʻomohala ʻana (BL Yavorsky, "The structure of musical speech", 1908; "He mau manaʻo e pili ana i ka lā makahiki o Liszt", 1911; Protopopov SV, "Nā ʻāpana o ke ʻano o ka ʻōlelo mele" , 1930) ʻaʻole hoʻi nā Impressionists, - kākau ʻo BV Asafiev, - ʻaʻole i hele ma waho o nā palena o ka ʻōnaehana harmonic tonal "(" Musical Form as a Process ", M., 1963, p. 99). Ua hoʻomohala ʻo GL Catuar (ma hope o PO Gewart) i nā ʻano mea i kapa ʻia. hoʻonui T. (major-minor and chromatic system). Ua hāʻawi ʻo BV Asafiev i ka nānā ʻana i nā hanana o ka leo (nā hana o ka leo, D, a me S, ke ʻano o ke ʻano "European mode," ka leo hoʻomaka, a me ka wehewehe ʻana i nā mea o ka leo) mai ke ʻano o ka manaʻo intonation. . ʻO Yu. ʻO ka hoʻomohala ʻana o N. Tyulin i ka manaʻo o nā mea hoʻololi i hoʻohui nui i ke kumumanaʻo o nā hana o ka leo. He helu o nā mea haku mele pueo (MM Skorik, SM Slonimsky, ME Tarakanov, HP Tiftikidi, LA Karklinsh, etc.) i nā makahiki 60-70. ua aʻo kikoʻī i ke ʻano o ka mea hou. 12-step (chromatic) tonality. Ua hoʻomohala kūikawā ʻo Tarakanov i ka manaʻo o "T hou" (e ʻike i kāna ʻatikala: "New tonality in the music of the 1972th century", XNUMX).

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ʻO Yu. N. Kholopov