Leo |

German Ton - kani, mai ka Helene. tonos, lit. – hoʻopaʻapaʻa, haʻalulu

ʻO kekahi o nā manaʻo nui i hoʻohana nui ʻia i ka manaʻo mele.

1) Ma ke mele. acoustics - ʻāpana o ke kiko leo, i hana ʻia e ka manawa. nā neʻe oscillating: hapa T., aliquot T., overtone (aia kahi huaʻōlelo "undertone"), maʻemaʻe, a i ʻole sinusoidal, T.; i ka wā o ka launa pū ʻana o nā leo, hui pū ʻia ʻo T., T. coincidences. ʻOkoʻa ia mai ke kani o ke mele, ʻo ia ka mea nui. nā leo a me nā leo, a mai ka walaʻau - he leo me ka leo i ʻike ʻole ʻia, ʻo to-ry ke kumu no ka wā ʻole. oscillating neʻe. Loaʻa iā T. ka pitch, ka leo, a me ka timbre e pili ana i ka papa inoa (ʻo T. haʻahaʻa, ʻeleʻele, ʻālohilohi nā mea kiʻekiʻe, ʻālohilohi) a me ka leo nui (ma ka leo kiʻekiʻe loa, hoʻololi ka leo o T, no ka mea ma muli o nā distortions. ma ke ʻano o ka neʻe ʻana o ka oscillatory i ka wā e hoʻohele ai iā lākou ma o ka mea nānā waho o ke kino o ka lohe, e kū mai nā mea i kapa ʻia ʻo subjective overtones). Hiki ke hana ʻia ʻo T. e kahi mea hoʻoheheʻe alapine leo; ʻo ia T. hoʻohana nui ʻia i ka electromusic. nā mea kani no ke kani kani.

2) Interval, he ana o na lakiona pitch: ma ke kani maemae - he T. holookoa nui me ka ratio alapine (frequency ratio) o 9/8, like me 204 keneta, a me kahi T. holookoa uuku me ka ratio alapine o 10/9, like me 182 keneta; i loko o kahi pālākiō like ʻole - 1/6 octave, T. holoʻokoʻa, like me 200 keneta; i ka diatonic gamma - me ka semitone, ka ratio ma waena o nā ʻanuʻu pili (nā huaʻōlelo i loaʻa - tritone, ke kolu o ka leo, ka hapaha leo, ka leo holoʻokoʻa, ka leo-semitone scale, nā mele ʻumikūmālua-leo, etc.).

3) E like me ke kani mele ma ke ʻano he mea hana o nā muses. nā ʻōnaehana: degere o ka pālākiō, ke ʻano, ka unahi (leo kumu - tonic; mana, subdominant, hoʻolauna, leo waena); ke kani o kahi chord (basic, third, fifth, etc.), non-chord sounds (detention, auxiliary, passing T.); mea o ke mele (mua, hope, culminating, etc. T.). Nā huaʻōlelo i loaʻa - tonality, polytonality, tonicity, etc. T. - he inoa kahiko no tonality.

4) I ka mea i kapaia. nā ʻano hale pule (e ʻike i nā ʻano Medieval) ke ʻano o ke ʻano (no ka laʻana, I leo, III leo, VIII leo).

5) He kumu hoʻohālike mele ko Meistersingers no ka hīmeni ʻana ma ka decomp. nā kikokikona (no ka laʻana, ke mele a G. Sachs "Silver Tone").

6) Hōʻike hoʻohui kumuhana o ka manaʻo nui o ke kani: ka malu, ke ʻano o ke kani; e like me ka leo kani, ka maikaʻi o ka leo, ka mea kani, ke kani i hana ʻia (maʻemaʻe, ʻoiaʻiʻo, wahaheʻe, hōʻike, piha, palaualelo T., etc.).

E hoʻomaopopo ': Yavorsky BL, ʻO ke ʻano o ka haʻiʻōlelo mele, ʻāpana 1-3, M., 1908; Asafiev BV, alakaʻi i nā ʻaha mele, vol. 1, P., 1919, M., 1978; ʻO Tyulin Yu. N., ʻO ke aʻo ʻana o ka lokahi, vol. 1 - ʻO nā pilikia nui o ke kuʻikahi, (M.-L.), 1937, hoʻoponopono ʻia. and add., M., 1966; Teplov BM, Psychology of musical ability, M.-L., 1947; Nā leo mele (ka hoʻoponopono nui NA Garbuzov), M., 1954; ʻO Sposobin IV, Ke kumumanaʻo Elementary o ke mele, M., 1964; Volodin AA, Nā mea kani uila, M., 1970; Nazaikinsky EV, On the psychology of musical perception, M., 1972; Helmholtz H., Die Lehre von den Tonempfindungen…, Braunschweig, 1863, Hildesheim, 1968 Riemann H., Katechismus der Akustik, Lpz., 1875, 1891 (Unuhi Lūkini - Riemann G., Acoustics mai ka manaʻo o ka ʻepekema mele. M., 1921); Kurth E., Grundlagen des linearen Kontrapunkts…, Bern, 1898, 1917

ʻO Yu. N. Rags