Polytonality |
mai i te polus Kariki - he maha me te tonality
He momo whakaaturanga toona motuhake, he punaha whakahiato (engari kua whakakotahi) o nga hononga pitch, ka whakamahia te nuinga. i roto i nga waiata hou. P. – “ehara i te tapeke o te maha o nga taviri… engari ko to ratou whakahiatotanga matatini, e homai ana i te kounga aratau hou – he punaha tikanga i runga i te polytonicity” (Yu. I. Paisov). Ka taea e P. te ahua o te whakakotahi i nga puoro maha-tonal (chord P.), multi-tonal melodic. rārangi (melodic. P.) and combining chords and melodic. rarangi (whakaranu P.). Ko te ahua o waho, he rite te ahua o P. i etahi wa ki runga i te ahua o nga hanganga rereke rereke i runga ake o tetahi ki tetahi (tirohia te tauira i raro nei).
P., hei tikanga, he pokapū kotahi ("politonic", e ai ki a Paisov), engari, ehara i te monolithic (penei i te kii o mua), engari he maha, he polyharmonically stratified (tirohia te Polyharmony). Ko nga waahanga o taua mea ("subtonic", e ai ki a Paisov) ka whakamahia hei tonika o nga taviri ngawari, diatonic (i enei keehi, ko P. he "pseudochromatic" katoa, e ai ki a VG Karatygin; tirohia te Polyladovost).
SS Prokofiev. “Tawai”, No 3.
Ko te kaupapa whanui mo te putanga mai o te P. he hanganga aratau (dissonant and chromatic), e taea ai te pupuri i te hanganga tuatoru o nga chord (ina koa i te taumata o nga waahanga iti). Ko te tauira polytonic mai i te "Sarcasms" a Prokofiev - te polychord b - des (cis) - f - ges (fis) - a - he pokapū matatini kotahi o te punaha, ehara i te mea e rua nga mea ngawari, e tika ana, ka pakaru tatou. te reira (toru b-moll me fis-moll); no reira, e kore e taea te whakaheke i te punaha katoa ki tetahi kii noa (b-moll), ki te tapeke o te rua (b-moll + fis-moll). (I te mea karekau he rite ki te huinga katoa o ona wahanga, ka honoa te orite o nga hanganga-a-roto ki roto i te punaha tonotono e kore e taea te whakaheke ki te whakakotahitanga o nga taviri e rua, e maha ranei: "te whakahiato i te wa e whakarongo ana", nga reo polytonal. "ka tae ki tetahi o nga matua matua" - I roto i te V. Asafiev, 1925, na reira, ko taua macrosystem kaua e kiia ma te ingoa o te kotahi monotonality tawhito, he iti ake te ingoa o te rua, te maha ranei o nga monotonities tawhito, hei tauira, kaore e taea. me kii ko te whakaari a Prokofiev - tirohia te tauira puoro - i tuhia ki te b-moll.)
E pā ana ki te ariā o P. ko ngā ariā o te polymode, polychord, polyharmony (he rite tonu te rerekētanga i waenganui i a rātou ki waenga i ngā ariā taketake: tonality, mode, chord, harmony). Ko te paearu matua e tohu ana i te ahua o te P. i te wa ano. rerekē te horahanga. ki, ko te tikanga kia kaua e whakaatuhia ia o ratou e te orokati kotahi (te ahua ranei kaore he huringa orooro), engari ma te whai i nga mahi ka tino rongohia (G. Erpf, 1927; Paisov, 1971).
I te nuinga o nga wa ka pohehehia nga kaupapa o te "poly-mode", "poly-chord" me te "polyharmony" ki te P. Ko te take o te ranu i nga ariā o te poly-mode, poly-chord ranei ki te P. te tikanga he he te tikanga. te whakamaoritanga o nga raraunga perceptual: hei tauira, ko te oro o te aho ka tangohia hei matua. ko te reo (tonic) o te taviri, hei tauira, ko te whakakotahitanga o C-dur me Fis-dur hei riipene (tirohia te kaupapa o Petrushka mai i te poi o te ingoa kotahi na IF Stravinsky, he tauira puoro i runga i te riipene 329) ka tangohia hei huinga o te C-dur me te Fis-dur hei mau taviri (arā, kua pohehe te tohu o nga chord e te kupu "tonality"; na D. Millau, 1923 tenei hapa. Na reira, ko te nuinga o nga tauira o te P. i homai i roto i nga tuhinga kaore i te tino tohu. Ko te tangohanga o nga papa oro mai i te horopaki tonal uaua he rite tonu nga hua (he he) i te wetewete i te pai o nga reo takitahi i roto i te fugue mai i te horopaki tonal ngawari (hei tauira, bass i te b-moll fugue stretta na Bach, The Well- Tempered Clavier, 2nd volume, bars 33 -37 are in the Locrian mode).
Ka kitea nga tauira o nga polystructures (P.) i etahi tauira o te nar. waiata (hei tauira, sutartines). I roto i te polyphony Pakeha ko te ahua o mua o P. - aratau e rua-paparanga (Koata whakamutunga o te 13th - Koata tuatahi o nga rautau 15) me te ahuatanga "Gothic cadence" o te momo:
cis — d gis — ae – d (tirohia te Cadence).
Ko Glarean i te Dodecachord (1547) i whakaae i taua wa ano. whakakotahitanga e whakaatuhia ana e nga reo rereke rereke. pōuri. He tauira rongonui o P. (1544) - "Kanikani Hurai" na X. Neusiedler (i roto i te whakaputanga "Denkmäler der Tonkunst i Österreich", Bd 37) - i roto i te mooni ehara i te tohu P., engari polyscale. I nga wa o mua, ko te polychord teka "polytonally" tuatahi kei te mutunga. tutaki o “A Musical Joke” na WA Mozart (K..-V. 522, 1787):
I etahi wa, ka kitea nga ahuatanga e kiia ana ko P. i roto i nga waiata o te rau tau 19. (MP Mussorgsky, Pikitia i te Whakaaturanga, "E rua nga Hurai"; NA Rimsky-Korsakov, 16th rerekētanga mai i "Paraphrase" - i runga i te kaupapa i whakaarohia e AP Borodin). Ko nga ahuatanga e kiia nei ko P. he ahuatanga o nga puoro o te rautau 20. (P. Hindemith, B. Bartok, M. Ravel, A. Honegger, D. Milhaud, C. Ive, IF Stravinsky, SS Prokofiev, DD Shostakovich, K. Shimanovsky, B. Lutoslavsky me etahi atu).
Tohutoro: Karatygin V. G., Richard Strauss me tana "Electra", "Speech", 1913, No 49; tana ake, “The Rite of Spring”, ibid., 1914, No. 46; Milo D., He whakamarama iti, "Toward New Shores", 1923, No 1; tana, Polytonality and atonality, ibid., 1923, No 3; Belyaev V., Mechanics or Logic?, ibid.; ko tana ake, ko “Les Noces” a Igor Stravinsky, L., 1928 (abbr. Rerekē Russian in ed.: Belyaev V. M., Mussorgsky. Scriabin. Stravinsky, M., 1972); Asafiev B. AT. (Ig. Glebov), On polytonality, Modern Music, 1925, No 7; tana, Hindemith and Casella, Modern Music, 1925, No 11; tona ake, Preface in the book: Casella A., polytonality and atonality, trans. no Italian, L., 1926; Tiulin Yu. N., Teaching about harmony, M.-L., 1937, M., 1966; tana ake, Thoughts on Modern Harmony, “SM”, 1962, No 10; tana, Modern Harmony and Its Historical Origin, in: Questions of Contemporary Music, 1963, in: Theoretical Problems of Music of the 1967th Century, M., 1971; tona ake, Nga tikanga maori me te whakarereke, M., XNUMX; Ogolevets A. S., Fundamentals of the harmonic language, M.-L., 1941, wh. 44-58; Skrebkov S., On Modern Harmony, “SM”, 1957, No 6; tana ake, Whakautu V. Berkov, ibid., No. 10; Berkov V., He korero ano mo te polytonality. (No nia i te tumu parau a S. Skrebkova), ibid., 1957, No. 10; ego, Kare ano i mutu te tautohetohe, ibid., 1958, No 1; Blok V., He maha nga korero mo te polytonal harmony, ibid., 1958, No 4; Zolochevsky B. N., Mo te polyladotonality i roto i nga waiata a Ukrainian Soviet me nga puna tangata, "Folk Art and Ethnography", 1963. Rangatira. 3; tona ake, Modulation and polytonality, in collection: Ukrainian Musical Studies. Vol. 4, Kipv, 1969; tana ake, Mo te whakarereketanga, Kipv, 1972, wh. 96-110; Koptev S., On the history of the question of polytonality, in: Theoretical problems of music of the XX century, issue 1, M., 1967; tana, On the Phenomena of Polytonality, Polytonality and Polytonality in Folk Art, in Sat: Problems of Lada, M., 1972; Kholopov Yu. N., Nga ahuatanga hou o te pai o Prokofiev, M., 1967; tana ake, Essays on Modern Harmony, M., 1974; Yusfin A. G., Polytonality in Lithuanian folk music, “Studia musicologica Academiae scientiarum Hungaricae”, 1968, t. tekau; Antanavichyus Yu., Whakatauritenga o nga kaupapa me nga ahua o te polyphony ngaio i roto i te sutartin, "Folk Art", Vilnius, 10, No 1969; Diachkova L. S., Polytonality in Stravinsky's work, in: Questions of Music Theory, vol. 2, Moscow, 1970; Kiseleva E., Polyharmony me te polytonality i roto i te mahi a C. Prokofiev, i roto i: Questions of Music Theory, vol. 2, M., 1970; Raihi V. Yu., Once again about polytonality, “SM” 1971, No 4; tana ake, Nga raruraru o te whakakotahitanga o te polytonal, 1974 (diss); tona, Polytonality me te ahua waiata, i te Sat: Music and Modernity, vol. 10, M., 1976; tona, Polytonality i roto i te mahi a Soviet me nga kaitito ke o te rautau XX, M., 1977; Vyantskus A., Nga turanga kaupapa o te polyscale me te polytonality, i roto i: Menotyra, vol. 1, Vilnius, 1967; tana, E toru nga momo polytonality, “SM”, 1972, No 3; ona ake, Ladovye hanganga. Polymodality and polytonality, in: Problems of Musical Science, vol. 2, Moscow, 1973; Khanbekyan A., Folk diatonic and its role in the polytonality of A. Khachaturian, i roto: Waiata me te Ao Hou, vol. 8, M., 1974; Deroux J., Polytonal Music, “RM”, 1921; Koechlin M. Ch., Te Kuwhatanga o te kotahitanga. Contemporary period…, в кн.: Encyclopedia of music and dictionary of the conservatory, kaiwhakarewa A. Lavignac, (v. 6), pt. 2 p., 1925; Erpf H., he rangahau mo te whakakotahi me te hangarau oro o nga waiata hou, Lpz., 1927; Mersmann H., The Tonal Language of New Music, Mainz, 1928; его же, music theory, В., (1930); Terpander, The Role of Polytonality in modern music, The Musical Times, 1930, Tihema; Machabey A., Dissonance, polytonalitй et atonalitй, «RM», 1931, v. 12; Nei E. v. d., Modern Harmony, Lpz., 1932; Hindemith P., Instruction in composition, (Tl 1), Mainz, 1937; Pruvost Вrudent, De la polytonalitй, «Courier musicale», 1939, No 9; Sikorski K., Harmonie, cz. 3, (Kr., 1949); Wellek A., Atonality and polytonality – he obituary, «Musikleben», 1949, vol. 2, H. 4; Klein R., Zur Definition der Bitonalitдt, «ЦMz», 1951, No 11-12; Boulez P., Stravinsky demeure, в сб.: Musique russe, P., 1953; Searle H., Rua Tekau rautau counterpoint, L., 1955; Karthaus W., The System of Music, V., 1962; Ulehla L., Whakaaetanga o naianei, N. Y., 1966; Lind B.
