Polytonality |
site na Greek polus - ọtụtụ na tonality
Ụdị ngosi ụda olu pụrụ iche, usoro ihe mejupụtara (mana ejikọtara ọnụ) nke mmekọrịta pitch, nke a na-ejikarị eme ihe. na egwu ọgbara ọhụrụ. P. - "ọ bụghị nchikota nke ọtụtụ igodo ... ma ha mgbagwoju njikọ, na-enye a ọhụrụ modal àgwà - a modal usoro dabeere na polytonicity" (Yu. I. Paisov). P. nwere ike were n'ụdị ijikọta multi-tonal chords (chord P.), multi-tonal melodic. ahịrị (melodic. P.) na ijikọta ụdọ na ụda olu. ahịrị (ngwakọta P.). N'èzí, P. mgbe ụfọdụ dị ka a superposition nke tonally disparate substructures n'elu nke ọ bụla ọzọ (lee ihe atụ n'okpuru).
P., dị ka a na-achị, nwere otu center ("politonic", dị ka Paisov si kwuo), nke, Otú ọ dị, ọ bụghị monolithic (dị ka ọ dị na mbụ igodo), ma otutu, polyharmonically stratified (lee Polyharmony). A na-eji akụkụ ya ("subtonic", dị ka Paisov si kwuo) dị ka ụda olu dị mfe, igodo diatonic (n'ọnọdụ ndị dị otú ahụ, P. bụ "pseudochromatic" dum, dị ka VG Karatygin; lee Polyladovost).
SS Prokofiev. "Mkparị", Nke 3.
Ndabere n'ozuzu maka ntoputa nke P. bụ ihe mgbagwoju anya (dissonant na chromatic) modal Ọdịdị, nke a pụrụ ichekwa tertian nhazi nke chords (karịsịa na ọkwa nke subchords). Ihe atụ polytonic sitere na "Sarcasms" nke Prokofiev - polychord b - des (cis) - f - ges (fis) - a - bụ otu mgbagwoju anya nke usoro ahụ, ọ bụghịkwa abụọ dị mfe, n'ime nke, n'ezie, anyị na-emebi emebi. ya (triads b-moll na fis-moll); ya mere, usoro n'ozuzu ya adịghị ebelata ma ọ bụ na otu igodo nkịtị (b-moll), ma ọ bụ na nchikota nke abụọ (b-moll + fis-moll). (Dịka ihe ọ bụla organic dum na-adịghị nhata na nchikota nke akụkụ ya, consonance nke multi-tonal substructures na-jikọtara n'ime a macrosystem nke a na-apụghị ibelata n'out oge nchikota nke abụọ ma ọ bụ ọtụtụ igodo: "njikọ n'oge ige ntị", polytonal olu. "A na-agba ya n'ime otu igodo isi" - Na V. Asafiev, 1925; N'ihi ya, a pụghị ịkpọ usoro macrosystem dị otú ahụ n'aha nke otu monotonality ochie, nke na-erughị aha abụọ ma ọ bụ ọtụtụ monotonities ochie, dịka ọmụmaatụ, ọ pụghị ịkpọ ya. kwuo na e dere egwuregwu Prokofiev - lee ihe atụ egwu - na b-moll.)
N'ihe metụtara echiche nke P. bụ echiche nke polymode, polychord, polyharmony (iche dị n'etiti ha bụ otu ihe dị n'etiti echiche ndị bụ isi: ụda olu, ọnọdụ, ụda, nkwekọrịta). Isi njirisi na-egosi ọnụnọ nke kpọmkwem P. dị ka n'otu oge ahụ. ichekwa ọnọdụ. igodo, ọnọdụ bụ na onye ọ bụla n'ime ha na-anọchi anya ọ bụghị site na otu consonance (ma ọ bụ ihe atụ na-enweghị mgbanwe mgbanwe), kama site n'ụzọ doro anya audible ọrụ na-esochi (G. Erpf, 1927; Paisov, 1971).
Ọtụtụ mgbe, a na-ejikọta echiche nke "poly-mode", "poly-chord" na "polyharmony" na-ezighị ezi na P. Ihe kpatara ịgwakọta echiche nke poly-mode ma ọ bụ poly-chord na P. na-enyekarị echiche na-ezighị ezi. nkọwa nke data nghọta: dịka ọmụmaatụ, a na-ewere ụda olu dị ka isi. ụda (tonic) nke igodo ma ọ bụ, dịka ọmụmaatụ, nchikota C-dur na Fis-dur dị ka ụda (lee isiokwu nke Petrushka si ballet nke otu aha site na Ọ BỤRỤ na Stravinsky, ihe atụ egwu egwu na warara 329) bụ. were dị ka nchikota nke C-dur na Fis-dura dị ka igodo (ya bụ, a na-eji okwu ahụ bụ “tonality” kpọpụta kọrịd n'ụzọ na-ezighi ezi; e mehiere nke a, dịka ọmụmaatụ, site na D. Millau, 1923). Ya mere, ọtụtụ ihe atụ nke P. e nyere na akwụkwọ anaghị anọchi anya ya n'ezie. Mwepụta nke harmonics n'ígwé site na ụda ụda mgbagwoju anya na-enye otu ihe ahụ (na-ezighi ezi) dị ka ịdọpụ nkwekọ nke olu onye ọ bụla na fugue site na ụda ụda dị mfe (dịka ọmụmaatụ, bass na b-moll fugue stretta nke Bach, The Well- Clavier nwere iwe, olu nke abụọ, ogwe 2 -33 ga-adị na ọnọdụ Locrian).
Enwere ike ịhụ ihe atụ nke polystructures (P.) na ụfọdụ nlele nke nar. egwu (dịka sutartines). Na European polyphony bụ mmalite preform nke P. - modal abụọ-layered (Quarter ikpeazụ nke 13th - nkeji mbụ nke narị afọ nke 15) nwere àgwà "Gothic cadence" nke ụdị:
cis — d gis — ae – d (lee Cadence).
Glarean na Dodecachord (1547) kwetara n'otu oge ahụ. Nchikota eweputara site na olu di iche iche diff. iwe iwe. Ihe atụ a ma ama nke P. (1544) - "egwu ndị Juu" nke X. Neusiedler (na mbipụta "Denkmäler der Tonkunst na Österreich", Bd 37) - n'eziokwu anaghị anọchi anya P., ma polyscale. N'akụkọ ihe mere eme, "polytonally" nke mbụ edekọtara polychord ụgha dị na njedebe. Ogwe “A Egwu egwu” nke WA Mozart dere (K..-V. 522, 1787):
Mgbe ụfọdụ, a na-ahụ ihe ndị a na-ewere dị ka P. na egwu nke narị afọ nke 19. (MP Mussorgsky, Foto ndị dị na ihe ngosi, "Ndị Juu abụọ"; NA Rimsky-Korsakov, mgbanwe nke iri na isii site na " Paraphrase "- na isiokwu nke AP Borodin tụrụ aro). Ihe ndị a na-akpọ P. bụ ihe e ji mara egwu nke narị afọ nke 16. (P. Hindemith, B. Bartok, M. Ravel, A. Honegger, D. Milhaud, C. Ive, Ọ BỤRỤ na Stravinsky, SS Prokofiev, DD Shostakovich, K. Shimanovsky, B. Lutoslavsky na wdg).
References: Karatygin V. G., Richard Strauss na ya "Electra", "Okwu", 1913, Mba 49; nke ya, "The Rite of Spring", ibid., 1914, Mba. 46; Milo D., Nkọwa nta, "Gaa n'akụkụ Ọhụrụ", 1923, Mba 1; ya, Polytonality na atonality, ibid., 1923, Mba 3; Belyaev V., Mechanics ma ọ bụ Logic?, ibid .; nke ya, Igor Stravinsky's “Les Noces”, L., 1928 (abbr. Ndịiche Russia na ed.: Belyaev V. M., Mussorgsky. Scriabin. Stravinsky, M., 1972); Asafiev B. AT. (Ig. Glebov), Na polytonality, Music Modern, 1925, Mba 7; nke ya, Hindemith na Casella, Music Modern, 1925, Ọ dịghị 11; nke ya, Okwu mmalite n’akwụkwọ: Casella A., polytonality and atonality, trans. site n’Ịtali, L., 1926; Tyulin Yu. N., Nkuzi gbasara nkwekọ, M.-L., 1937, M., 1966; nke ya, Thinks on Modern Harmony, “SM”, 1962, Mba 10; nke ya, Modern Harmony and Its Historical Origin, na: Ajụjụ nke Egwu oge a, 1963, na: Nsogbu Usoro egwu nke 1967th Century, M., 1971; nke ya, eke na ụdị mgbanwe, M., XNUMX; Ogolevets A. S., Isi mmalite nke asụsụ harmonic, M.-L., 1941, p. 44-58; Skrebkov S., On Modern Harmony, "SM", 1957, Mba 6; nke ya, Azịza V. Berkov, ibid., Mba. 10; Berkov V., Ndị ọzọ gbasara polytonality. (Banyere akụkọ nke S. Skrebkova), ibid., 1957, Mba. 10; ego, Esemokwu ahụ akwụsịbeghị, ibid., 1958, Mba 1; Blok V., Ọtụtụ okwu gbasara nkwekọrịta polytonal, ibid., 1958, Mba 4; Zolochevsky B. N., Banyere polyladotonality na egwu Soviet Soviet na isi mmalite ndị mmadụ, "Folk Art and Ethnography", 1963. Onyeisi. 3; nke ya, Modulation na polytonality, na mkpokọta: Ukrainian Musical Studies. Vol. 4, Kipv, 1969; nke ya, Banyere modulation, Kipv, 1972, p. 96-110; Koptev S., Na akụkọ ihe mere eme nke ajụjụ nke polytonality, na: Theoretical nsogbu nke music nke XX narị afọ, mbipụta 1, M., 1967; nke ya, On the Phenomena of Polytonality, Polytonality and Polytonality in Folk Art, na Sat: Nsogbu nke Lada, M., 1972; Kholopov Yu. N., Akụkụ nke oge a nke nkwekọrịta Prokofiev, M., 1967; nke ya, Essays on Modern Harmony, M., 1974; Yusfin A. G., Polytonality na egwu ndị mmadụ nke Lithuania, “Studia musicologica Academiae scientiarum Hungarice”, 1968, t. iri; Antanavichyus Yu., Analogies nke ụkpụrụ na ụdị nke ọkachamara polyphony na sutartin, "Folk Art", Vilnius, 10, Mba 1969; Diachkova L. S., Polytonality na ọrụ Stravinsky, na: Ajụjụ nke Echiche Egwu, vol. 2, Moscow, 1970; Kiseleva E., Polyharmony na polytonality na ọrụ nke C. Prokofiev, na: Ajụjụ nke Ozizi Egwu, vol. 2, M., 1970; Raiso V. Yu., Ọzọ banyere polytonality, “SM” 1971, Mba 4; nke ya, Nsogbu nke nkwekọrịta polytonal, 1974 (diss); ya, Polytonality na ụdị egwu, na Sat: Music na Modernity, vol. 10, M., 1976; ya, Polytonality na ọrụ nke Soviet na ndị mba ọzọ na-ede egwú nke narị afọ XX, M., 1977; Vyantskus A., Theoretical ntọala nke polyscale na polytonality, na: Menotyra, vol. 1, Vilnius, 1967; ya, Ụdị atọ nke polytonality, "SM", 1972, Mba 3; nke ya, Ladovye formations. Polymodality na polytonality, na: Nsogbu nke Sayensị Egwu, vol. 2, Moscow, 1973; Khanbekyan A., Folk diatonic na ọrụ ya na polytonality nke A. Khachaturian, na: Egwu na Modernity, vol. 8, M., 1974; Deroux J., Egwu Polytonal, “RM”, 1921; Koechlin M. Ch., Evolution nke nkwekọ. Oge dị ugbu a…, в кн.: Encyclopedia of music and dictionary of the conservatory, onye nchoputa A. Lavignac, (v. 6), nt. 2 p., 1925; Erpf H., ọmụmụ banyere nkwekọrịta na nkà na ụzụ ụda nke egwu ọgbara ọhụrụ, Lpz., 1927; Mersmann H., Asụsụ Tonal nke Egwu Ọhụrụ, Mainz, 1928; его же, ozizi egwu, В., (1930); Terpander, Ọrụ nke Polytonality na egwu ọgbara ọhụrụ, Oge Egwu, 1930, Dec; Machabey A., Dissonance, polytonalitй et atonalitй, «RM», 1931, v. 12; Nwu E. v. d., Modern Harmony, Lpz., 1932; Hindemith P., Ntuziaka na nhazi, (Tl 1), Mainz, 1937; Pruvost Вrudent, De la polytonalitй, «Courier musicale», 1939, Mba 9; Sikorski K., Harmonie, cz. 3, (Kr., 1949); Wellek A., Atonality and polytonality – obituary, «Musikleben», 1949, vol. 2, H. 4; Klein R., Zur Definition der Bitonalitдt, «ЦMz», 1951, Ọ dịghị 11-12; Boulez P., Stravinsky demeure, в сб.: Musique russe, P., 1953; Searle H., Mkpebi nke narị afọ nke Abụọ, L., 1955; Karthaus W., Usoro egwu, V., 1962; Ulehla L., Nkwekọrịta nke oge a, N. Y., 1966; Linda B.
