Tonality |

French tonalite, German. Tonalitat, nakwa Tonart

1) Ọnọdụ ịdị elu nke ọnọdụ ahụ (nke IV Sposobina kpebisiri ike, 1951, dabere na echiche nke BL Yavorsky; dịka ọmụmaatụ, na C-dur “C” bụ nhọpụta nke ịdị elu nke ụda isi nke ọnọdụ ahụ, na "dur" - "isi" - njirimara ọnọdụ).

2) Usoro nhazi. Centralized usoro nke arụ ọrụ dị iche iche njikọ elu; T. na nke a n'echiche bụ ịdị n'otu nke mode na n'ezie T., ie, tonality (ọ na-eche na T. na- localized na a ụfọdụ elu, Otú ọ dị, n'ọnọdụ ụfọdụ okwu na-aghọta ọbụna na-enweghị ndị dị otú ahụ localization. kpamkpam dabara na echiche nke mode, karịsịa na mba ọzọ lit-re). T. n'echiche a bụkwa ihe pụtara na monody oge ochie (lee: Lbs J., "Tonalnosc melodii gregorianskich", 1965) na egwu nke narị afọ nke 20. (Lee, dịka ọmụmaatụ: Rufer J., "Die Zwölftonreihe: Träger einer neuen Tonalität", 1951).

3) N'ụzọ dị warara, kpọmkwem. ihe T. pụtara bụ usoro njikọ pitch dị iche na-arụ ọrụ, nke edobere n'usoro n'usoro na ndabere nke consonant triad. T. n'echiche a bụ otu ihe ahụ dị ka "harmonic tonality" e ji mara oge gboo-romantic. usoro nkwekọ nke narị afọ nke 17-19; na nke a, ọnụnọ nke ọtụtụ T. na kọwaa. usoro nke mmekọrịta ha na ibe ha (usoro nke T.; lee Circle nke Fifths, Mmekọrịta nke igodo).

A na-akpọ ya "T." (n'ụzọ dị warara, kpọmkwem n'echiche) ụdịdị - isi na obere - nwere ike iche n'echiche dị ka ndị na-eguzo n'otu n'otu na ụdị ndị ọzọ (Ionian, Aeolian, Phrygian, kwa ụbọchị, pentatonic, wdg); n'ezie, ihe dị iche n'etiti ha dị ukwuu nke na ọ bụ nnọọ ziri ezi terminological. mmegide nke isi na obere dị ka harmonic. monophonic tonalities. iwe iwe. N'adịghị ka monodic. frets, isi na obere T .. dị na ext. dynamism na ọrụ, ike nke mmegharị ahụ nwere nzube, nhazi nke ọma n'ụzọ ezi uche dị na ya na ụbara mmekọrịta ọrụ. Dị ka ihe ndị a si dị, ụda (n'adịghị ka ụdịdị monodic) bụ ihe na-adọrọ mmasị nke ọma na mgbe niile na etiti ọnọdụ ahụ ("omume dị anya", SI Taneev; tonic na-achịkwa ebe ọ naghị ada ụda); Mgbanwe mgbe niile (metric) nke mpaghara mpaghara (nzọụkwụ, ọrụ), ọ bụghị naanị na ịkagbu ikike ndọda nke etiti, mana ịmara ya na ime ka ọ dịkwuo elu; dialectical ruru n'etiti abutment na ndị na-ejighị n'aka (karịsịa, dịka ọmụmaatụ, n'ime usoro nke otu usoro, na mkpokọta gravitation nke VII ogo na m, ụda nke I ogo nwere ike dọtara na VII). N'ihi mmasị dị ike na etiti nke usoro harmonic. T., dị ka a pụrụ isi kwuo ya, etinye uche na ụdịdị ndị ọzọ dị ka nzọụkwụ, "ụdị ime ime" (BV Asafiev, "Form Music as a Process", 1963, p. 346; nzọụkwụ - Dorian, nke mbụ Phrygian mode nwere nnukwu tonic dị ka Phrygian. ntụgharị ghọrọ akụkụ nke harmonic obere, wdg). Ya mere, ndị isi na ndị nta chịkọtara ụdịdị ndị bu ya ụzọ n'akụkọ ihe mere eme, n'otu oge ahụ bụ ụkpụrụ nke ụkpụrụ ọhụrụ nke nhazi modal. Mgbanwe nke usoro ụda ụda na-ejikọta ya na ọdịdị nke echiche Europe n'oge a (karịsịa, na echiche nke Enlightenment). "Modality na-anọchi anya, n'ezie, kwụsiri ike, na ụda ụda echiche dị ike nke ụwa" (E. Lovinsky).

Na usoro T., T. dị iche iche na-enweta ihe doro anya. arụ ọrụ na harmonic dị ike. na colorist. mmekọrịta; Ejikọtara ọrụ a na echiche zuru ebe niile gbasara agwa na agba nke ụda. Ya mere, C-dur, ụda "etiti" na usoro ahụ, yiri ka ọ dị "dị mfe", "ọcha". Ndị na-egwu egwu, gụnyere ndị na-ede egwú bụ isi, na-enwekarị ihe a na-akpọ. agba anụ (maka NA Rimsky-Korsakov, agba T. E-dur na-egbuke egbuke akwụkwọ ndụ akwụkwọ ndụ, pastoral, agba nke mmiri birch, Es-dur bụ ọchịchịrị, gloomy, isi awọ-bluish, ụda nke "obodo" na "ụlọ ewu ewu" ; L Beethoven a na-akpọ h-moll "tonality ojii"), ya mere nke a ma ọ bụ T. na-ejikọta ya na nkọwa. ga-ekwupụta. ọdịdị egwu (dịka ọmụmaatụ, WA Mozart's D-dur, Beethoven's c-moll, As-dur), na ntụgharị nke ngwaahịa ahụ. - na mgbanwe stylistic (dịka ọmụmaatụ, Mozart's motet Ave verum corpus, K.-V. 618, D-dur, bufere n'usoro nke F. Liszt na H-dur, si otú a na-enweta "romanticization").

Mgbe oge ọchịchị nke oge gboo isi-obere T. echiche nke "T." na-ejikọta ya na echiche nke a branched musical-ezi uche. Nhazi, ya bụ, gbasara ụdị “ụkpụrụ nke usoro” n'usoro ọ bụla nke mmekọrịta pitch. Ihe owuwu ụda kachasị dị mgbagwoju anya ghọrọ (site na narị afọ nke 17) ụzọ egwu dị mkpa, nke kwụụrụ onwe ya. nkwuputa okwu, na ihe nkiri ụda olu na-asọrịta mpi mgbe ụfọdụ na ederede, ogbo, isiokwu. Dị ka int. A na-egosipụta ndụ T. na mgbanwe nke chords (nzọụkwụ, ọrụ - ụdị "micro-lads"), usoro ihe dị mkpa, na-etinye ọkwa dị elu nke nkwekọ, na-ebi ndụ na mmegharị mgbanwe mgbanwe, T mgbanwe. Ya mere, usoro ụda nke dum na-aghọ otu n'ime ihe kachasị mkpa na echiche egwu mmepe. PI Tchaikovsky dere, sị: “Ka usoro egwú ahụ bụrụ nke ọma emebiela karịa ihe bụ́ isi echiche nke egwú, bụ́ nke na-adabere kpọmkwem ná mgbanwe mgbanwe na nkwekọ.” N'ime usoro tonal mepere emepe otd. T. nwere ike ịrụ ọrụ yiri isiokwu (dịka ọmụmaatụ, e-moll nke abụọ isiokwu nke ikpeazụ nke Prokofiev's 7th sonata maka piano dị ka a echiche nke E-dur nke 2nd ije nke sonata emepụta a quasi- thematic intonation "arch" - reminiscence na a ọnụ ọgụgụ dum okirikiri).

Ọrụ nke T. na-ewu muses bụ Wezuga ukwuu. ụdị, karịsịa ndị buru ibu (sonata, rondo, cyclic, nnukwu opera): "Nnọgide na-adịgide adịgide n'otu igodo, megidere mgbanwe mgbanwe ngwa ngwa ma ọ bụ dị ntakịrị, juxtaposition nke akpịrịkpa dị iche iche, ntụgharị nwayọọ nwayọọ ma ọ bụ na mberede gaa na igodo ọhụrụ, njikere ịlaghachi na ya. nke bụ isi", - ihe ndị a niile pụtara na "na-akpakọrịta enyemaka na ịgbanye na akụkụ buru ibu nke ihe mejupụtara ma mee ka ọ dịrị onye na-ege ntị mfe ịghọta ụdị ya" (SI Taneev; lee Musical Form).

Onwere ike ikwugharị ebumnobi n'ime nkwekọrịta ọzọ mere ka e nwee usoro ọhụrụ, dị ike nke isiokwu; ohere nke ikwugharị isiokwu. formations na ndị ọzọ T. mere ka o kwe omume iwu organically na-emepe emepe nnukwu muses. ụdị. Otu ebumnobi ọcha nwere ike na-na a dị iche iche, ọbụna na-abụghị, nke pụtara dabere na ihe dị iche na tonal Ọdịdị (atụ, ruo ogologo oge fragmentation n'okpuru ọnọdụ nke ụda mgbanwe na-enye mmetụta nke ihe ka njọ mmepe, na n'okpuru ọnọdụ nke tonic nke. isi tonality, n'ụzọ megidere nke ahụ, mmetụta nke "coagulation", mmepe nkwụsị). N'ụdị operatic, mgbanwe na T. na-abụkarị mgbanwe na ọnọdụ nkata. Naanị otu atụmatụ tonal nwere ike ịghọ akwa akwa muses. ụdị, dịka ọmụmaatụ. mgbanwe nke T. na 1st d. "Alụmdi na Nwunye nke Figaro" nke Mozart dere.

Ọdịdị dị ọcha na nke tozuru oke nke ụda (ya bụ, "ụda kwekọrọ") bụ njirimara nke egwu nke oge ochie na ndị na-ede egwú Viennese bụ ndị nọ ha nso n'usoro oge (karịsịa, oge nke etiti 17th na etiti 19th). ọtụtụ narị afọ). Otú ọ dị, harmonic T. pụtara na mbụ, ma bụrụkwa ebe niile na egwu nke narị afọ nke 20. Ogologo oge ogologo oge nke T. dị ka ihe pụrụ iche, nke akọwapụtara. ọ na-esiri ike ịmepụta ụdị nke iwe ọkụ, ebe ọ bụ na decomp. enwere ike iwere ya dị ka ihe ndabere. mgbagwoju nke atụmatụ ya: A. Mashabe ụbọchị mmalite nke harmonics. T. narị afọ nke 14, G. Besseler - narị afọ nke 15, E. Lovinsky - narị afọ nke 16, M. Bukofzer - narị afọ nke 17. (Lee Dahhaus S., Unterschungen über die Entstehung der harmonischen Tonalität, 1); Ọ BỤRỤ na Stravinsky na-ezo aka ikike nke T. na oge site n'etiti. 1968 ka Ser. Narị afọ nke 17 Complex Ch. akara nke a kpochapụwo (harmonic) T .: a) etiti T. bụ consonant triad (ọkwa, conceivable dị ka a ịdị n'otu, na ọ bụghị dị ka nchikota nke etiti oge); b) mode – isi ma ọ bụ obere, na-anọchi anya usoro egwu egwu na egwu na-agagharị "n'akụkụ kwaaji" nke ụdọ ndị a; c) Ọdịdị obi mgbawa dabere na ọrụ 19 (T, D na S); "Nkwekọrịta njirimara" (S na nke isii, D nwere nke asaa; okwu X. Riemann); T bụ nkwenye; d) mgbanwe nke nkwekọrịta n'ime T., mmetụta kpọmkwem nke ọchịchọ na tonic; e) usoro nke cadences na nke anọ-quint mmekọrịta nke chords n'èzí cadences (dị ka a ga-asị na a na-ebufe ya site na cadences ma gbasaa na njikọ niile; ya mere okwu ahụ bụ "cadence t."), hierarchical. gradation nke harmonies (ụkọ na igodo); f) metrical extrapolation a na-akpọ nke ọma (“ụda ụda olu”), yana ụdị – ihe owuwu dabere na squareness na nke na-adabere na ya, “rhyming” cadences; g) ụdị buru ibu dabere na mgbanwe (ya bụ, ịgbanwe T.).

Ọchịchị nke usoro dị otú ahụ dabara na narị afọ nke 17-19, mgbe mgbagwoju anya nke Ch. A na-egosipụta akara T., dịka iwu, kpamkpam. A na-ahụ akụkụ nke ihe ịrịba ama, nke na-enye mmetụta nke T. (na-emegide usoro), ọbụna na otd. ihe odide nke Renaissance (narị afọ 14-16).

Na G. de Macho (onye mekwara monophonic musical ọrụ), na otu n'ime le (Ọ dịghị 12; "Le on ọnwụ"), akụkụ "Dolans cuer las" e dere na a isi mode na-achị tonic. triads n'ime usoro pitch niile:

G. de Macho. Dina Nke 12, Ogwe 37-44.

"Monodic major" n'ime edemede sitere na ọrụ ahụ. Masho ka dị anya na kpochapụwo. ụdị T., n'agbanyeghị ndaba nke ọtụtụ akara (nke dị n'elu, b, d. e, f na-egosi). Ch. ihe dị iche bụ ụlọ nkwakọba ihe nke monophonic nke na-apụtaghị ihe na-akwado homophonic. Otu n'ime ngosipụta mbụ nke ụda olu na-arụ ọrụ na polyphony bụ na egwu (rondo) nke G. Dufay "Helas, ma dame" ("onye nkwekọ ya yiri ka ọ sitere na ụwa ọhụrụ," dị ka Besseler si kwuo):

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

echiche nke nkwekọ. T. na-ebilite n'ihi ngbanwe ọrụ nke metrized na oke nke harmonics. Ogige ndị dị na quarto-quint, T - D na D - T n'otu n'otu. Ọdịdị nke dum. N'otu oge ahụ, etiti nke usoro ahụ abụghị triad (ọ bụ ezie na ọ na-eme mgbe ụfọdụ, ogwe 29, 30), mana nke ise (na-enye ohere ma ndị isi na obere ụzọ n'ụzọ atọ na-enweghị mmetụta uche nke ọnọdụ isi-obere) ; mode bụ ihe ụtọ karịa chordal (ụda ahụ abụghị ihe ndabere nke usoro ahụ), ụda (na-enweghị metric extrapolation) abụghị ụda ụda, ma modal (ise jikoro na-enweghị nghazi na squareness); A na-ahụta ike ndọda n'akụkụ ọnụ nke ihe owuwu ahụ, ọ bụghịkwa kpamkpam (akụkụ ụda anaghị amalite ma ọlị na tonic); enweghị ụda-ọrụ gradation, yana njikọ nke consonance na dissonance na ụda pụtara nkwekọ; na nkesa nke cadences, nhụsianya n'ebe ndị na-achị achị bụ nke ukwuu. N'ozuzu, ọbụna ndị a doro anya ihe ịrịba ama nke ụda dị ka a modal usoro nke a pụrụ iche ụdị ka na-adịghị ekwe ka anyị si kwuo dị otú ahụ owuwu na ụda kwesịrị ekwesị; nke a bụ ihe a na-ahụkarị (site n'echiche nke T. n'ụzọ sara mbara - "modal tonality") nke narị afọ nke 15-16, n'ime usoro nke akụkụ dị iche iche na-eto. akụkụ nke T. (lee Dahinaus C, 1968, p. 74-77). Ọdịda nke chọọchị ahụ na-ewekarị egwú ụfọdụ. prod. con. 16 - ịrịọ arịrịọ. Narị afọ nke 17 kere ụdị pụrụ iche nke “T n'efu.” – agaghịkwa modal, ma ọ bụghị ma oge gboo (motets nke N. Vicentino, madrigals nke Luca Marenzio na C. Gesualdo, Enharmonic Sonata nke G. Valentini; lee ihe atụ na kọlụm 567, n'okpuru).

Enweghi ihe nrịbama modal kwụsiri ike na ụda olu kwekọrọ. usoro anaghị ekwe ka enye ndị dị otú ahụ owuwu na chọọchị. iwe iwe.

C. Gesualdo. Madrigal "Merce!".

Ọnụnọ nke ụfọdụ eguzo na cadences, center. chord - consonant triad, mgbanwe nke "harmonies-nzọụkwụ" na-enye ihe mere a ga-eji tụlee nke a dị ka ụdị T. - chromatic-modal T.

Mwepụta nke nta nke nta nke ọchịchị nke obere ukwe malitere na narị afọ nke 17, nke kachasị n'ịgba egwu, egwu ụbọchị, na nke ụwa.

Otú ọ dị, ndị ụka ochie frets bụ ebe nile na egwu nke 1st floor. Dị ka ihe atụ, narị afọ nke 17. J. Frescobaldi (Ricercare sopra Mi, Re, Fa, Mi – Terzo tuono, Canzona – Sesto tuono. Ausgewählte Orgelwerke, Bd II, Mba 7, 15), S. Scheidt (Kyrie dominicale IV. Toni cum Gloria, Magnificats, see Tabuiatura nova, III. pars). Ọbụna JS Bach, onye egwu ya na-achịkwa harmonica mepere emepe. T., ihe ndị dị otú ahụ abụghị ihe ọhụrụ, dịka ọmụmaatụ. chorales

J. Dowland. Madrigal "Teta, ịhụnanya!" (1597).

Aus tiefer Ọ bụghị schrei' ich zu dir na Erbarm' dich mein, O Herre Gott (mgbe Schmieder Nos. 38.6 na 305; Phrygian mode), Mit Fried' und Freud'ich fahr' dahin (382, Dorian), Komm, Gott Schöpfer , heiliger Geist (370; Mixolydian).

Mpaghara na-agwụ agwụ na mmepe nke timbre na-arụ ọrụ nke ọma nke ụdị obere obere na-adaba na oge ochie nke Viennese. Main regularities nke nkwekọ nke oge a na-ewere isi Njirimara nke nkwekọ n'ozuzu; ha mebere tumadi ọdịnaya nke akwụkwọ nkwekọrịta niile (lee Harmony, Harmonic ọrụ).

Mmepe T. na 2nd floor. Narị afọ nke 19 mejupụtara na ịgbasa oke nke T. (agwakọta isi-obere, n'ihu chromatic. Sistemu), enriching tonal-ọrụ mmekọrịta, polarizing diatonic. na chromatic. nkwekọ, mmụba nke agba. pụtara t., revival nke modal nkwekọ na ọhụrụ ndabere (n'ụzọ bụ isi na njikọ na mmetụta nke akụkọ ifo na-arụ ọrụ nke composers, karịsịa na ọhụrụ mba ụlọ akwụkwọ, ihe atụ, Russian), ojiji nke eke ụdịdị, nakwa. dị ka “aka arụrụala” symmetrical (lee Sposobin I V., “Nkuzi gbasara usoro nkwekọ”, 1969). Ihe ndị a na ihe ọhụrụ ndị ọzọ na-egosi mgbanwe ngwa ngwa nke t. Mmetụta ngwakọta nke ihe ọhụrụ nke t. ụdị (na F. Liszt, R. Wagner, MP Mussorgsky, NA Rimsky-Korsakov) site n'echiche nke siri ike T. nwere ike iyi ka a jụrụ ya. Emepụtara mkparịta ụka ahụ, dịka ọmụmaatụ, site na mmeghe nke Wagner's Tristan und Isolde, bụ ebe a na-ekpuchi tonic mbụ site na ogologo oge, n'ihi ya, echiche na-ezighị ezi bilitere banyere enweghị tonic zuru oke na egwuregwu ahụ ("ngụkọta nkwụsịtụ). nke tonic”; lee Kurt E., “Romantic Harmony na nsogbu ya dị na Wagner's “Tristan”, M., 1975, p. 305; nke a bụkwa ihe kpatara nkọwahie ya maka nhazi nkwekọ nke ngalaba nke mbụ dị ka a ghọtara nke ọma. "oke elu", p. 299, ma ọ bụghị dị ka ihe ngosi normative. , na nkọwa na-ezighị ezi nke ókèala nke ngalaba mbụ - ogwe 1-15 kama 1-17). Symptomatic bụ aha otu egwuregwu nke Liszt's late period - Bagatelle Without Tonality (1885).

Mmapụta nke ihe ọhụrụ T., na-akpali ya pụọ ​​na oge gboo. ụdị, na mmalite. Narị afọ 20 mere ka mgbanwe dị ukwuu na usoro ahụ, nke ọtụtụ ndị ghọtara dị ka ire ere, mbibi nke t., "atonality". SI Taneyev kwuru mmalite nke usoro ụda ụda ọhụrụ (na "Mobile Counterpoint of Strict Writing", dechara na 1906).

Taneyev dere, sị: “N'ịbụ onye e debere ụkpụrụ nke chọọchị, usoro ụda olu anyị na-aghọzi usoro ihe ọhụrụ nke na-achọ ibibi ụda olu ma dochie ihe ndabere nke ịdị n'otu nke diatonic. ya na chromatic, na mbibi nke ụda olu na-eduga n'ụdị egwu egwu" (ibid., Moscow, 1959, p. 9).

E mesịa, a na-akpọ "usoro ọhụrụ" (ma Taneyev) okwu ahụ bụ "teknụzụ ọhụrụ". Myirịta ya bụ isi na oge gboo T. mejupụtara n'eziokwu na “T ọhụrụ” ahụ. bụkwa ọkwa ọkwa. usoro nke na-arụ ọrụ dị iche iche njikọ elu elu, na-etinye ezi uche. njikọ na pitch Ọdịdị. N'adịghị ka ụda ochie, nke ọhụrụ nwere ike ịdabere na ọ bụghị naanị na consonant tonic, kamakwa na otu ụda ọ bụla a họọrọ nke ọma, ọ bụghị naanị na diatonic. ndabere, ma n'ọtụtụ ebe na-eji harmonies na nke ọ bụla n'ime 12 ụda dị ka arụ ọrụ onwe (ịgwakọta niile ụdịdị na-enye a poly-mode ma ọ bụ "fretless" - "ọhụrụ, nke-nke-modal T."; hụ Nü11 E. von, "B Bartok, Ein Beitrag zur Morphologie der neuen Musik”, 1930; ntụgharị uche nke ụda na consonances nwere ike ịnọchite anya kpochapụ n'ụzọ ọhụrụ. usoro TSDT, mana enwere ike igosipụta ma ọ bụghị. Ihe okike. Ihe dị iche na-adaberekwa n'eziokwu na ndị siri ike oge gboo T. bụ structurally edo, ma ọhụrụ T. bụ n'otu n'otu na ya mere enweghị otu mgbagwoju nke ụda ọcha, ya bụ, ọ dịghị ọtọ uniformity. N'ihi ya, n'otu edemede ma ọ bụ ọzọ, a na-eji nchịkọta dị iche iche nke akara T.

Na mmepụta AN Scriabin nke oge ikpeazụ nke imepụta ihe T. na-ejigide ọrụ nhazi ya, ma omenala. A na-eji ndị ọhụrụ na-emepụta ọnọdụ pụrụ iche ("Scriabin mode") dochie nkwekọrịta. Ya mere, dịka ọmụmaatụ, na etiti "Prometheus". chord - "Prometheus" a ma ama na ụda isii na osn. ụda Fis (atụ A, n'okpuru), etiti. Sphere ("isi T.") - 4 ụda isii dị otú ahụ na usoro obere oge (mbelata ọnọdụ; ihe atụ B); Atụmatụ mgbanwe (n'akụkụ njikọ - ọmụmaatụ C), atụmatụ ụda nke ngosi - ihe atụ D (atụmatụ kwekọrọ na "Prometheus" bụ nke pụrụ iche, ọ bụ ezie na ọ bụghị nke zuru oke, nke onye na-ede egwú na akụkụ Luce kwadoro):

Ụkpụrụ nke ụlọ ihe nkiri ọhụrụ a na-adabere n'iwu nke Berg's opera Wozzeck (1921), nke a na-ewerekarị dị ka ihe nlereanya nke "Novensky atonal style", n'agbanyeghị oke iwe nke onye edemede na-emegide okwu "satan" nke "atonal". Tonic nwere ọ bụghị naanị otd. ọnụọgụ opera (dịka ọmụmaatụ, ọnọdụ nke abụọ nke 2st d. – “eis”; ngagharị site na ọnọdụ nke atọ nke 1st d. – “C”, trio ya –“Dịka”; agba egwu na ọnọdụ nke anọ 3 – ụbọchị -“ g”, ebe ogbugbu Meri, ihe ngosi nke abụọ nke ụbọchị nke abụọ – na ụda etiti “H”, wdg) na opera dum n'ozuzu ya (ụda na isi ụda “g”), mana karịa. karịa nke ahụ - na mmepụta niile. a na-eme ụkpụrụ nke "leit highs" mgbe niile (n'ọnọdụ nke leit tonalities). Ee, ch. dike nwere leittonics “Cis” (1st d., mmanya 4 – nke mbụ ịkpọpụta aha “Wozzeck”; Ogwe ndị ọzọ 2-2, okwu Wozzeck onye agha “Nke ahụ dị mma, Mr. Captain”; Ogwe 2- 1 – Wozzeck's arioso "Anyị ndị ogbenye!", na 5d mmanya 87-89 - cis-moll triad "na-enwu n'ime" na isi okwu nke 136th scene). A pụghị ịghọta ụfọdụ isi echiche nke opera na-eburu n'uche ihe nkiri ụda; Ya mere, ọdachi nke egwu ụmụaka na mpaghara ikpeazụ nke opera (mgbe Wozzeck nwụsịrị, 153rd d., Bar 3-220) dị n'eziokwu na egwu a na-ada na ụda eis (moll), Wozzeck's leitton; nke a na-ekpughe echiche onye na-ede egwú na ụmụaka na-enweghị mmasị bụ obere "wozzets". (Cf. König W., Tona-litätsstrukturen na Alban Bergs Oper “Wozzeck”, 319.)

Usoro dodecaphonic-serial, nke na-ewebata nhazi nke nhazi ahụ n'adabereghị na ụda, nwere ike iji mmetụta nke ụda mee ihe na-enweghị ya. N'adịghị ka echiche na-ezighị ezi na-ewu ewu, a na-ejikọta dodecaphony ngwa ngwa na ụkpụrụ nke (ọhụrụ) T., na ọnụnọ nke etiti. ụda bụ ihe a na-ahụkarị maka ya. Echiche nke usoro ụda olu 12 malitere dị ka ụzọ nwere ike ịkwụ ụgwọ maka mmetụta bara uru nke tonic na t. concerto, sonata okirikiri). Ọ bụrụ na a na-emepụta usoro mmepụta ihe na ihe nlereanya nke tonal, mgbe ahụ, ọrụ nke ntọala, tonic, tonal sphere nwere ike ịrụ ọrụ ma ọ bụ site na usoro na kpọmkwem. pitch, ma ọ bụ ụda nrụtụ aka ekenyere puru iche, nkeji oge, ụdọ. "Ahịrị n'ụdị mbụ ya ugbu a na-arụ otu ọrụ dị ka "isi igodo" eji egwuri egwu; “nkwughachi” ahụ na-alaghachikwute ya n'ụzọ nkịtị. Anyị cadence n'otu ụda! A na-edobe ihe atụ a na ụkpụrụ nhazi mbụ nke ọma (…)” (Webern A., Lectures on Music, 1975, p. 79). Dị ka ihe atụ, e dere egwuregwu AA Babadzhanyan bụ́ “Choral” (sitere na “Foto isii” maka piano) n’otu “isi T”. na etiti d (na obere agba). Fugue nke RK Shchedrin na isiokwu 12 nwere ụda T. a-moll gosipụtara nke ọma. Mgbe ụfọdụ, mmekọrịta dị elu na-esi ike ịmata ọdịiche.

A. Webern. Ihe nkiri op. 24.

Ya mere, iji mmekọ nke usoro na concerto op. 24 (maka usoro, lee Art. Dodecaphony), Webern na-enweta otu ụda atọ maka otu. elu, a na-aghọta nlọghachi na Crimea dị ka nlọghachi na "isi igodo". Ihe atụ dị n'okpuru na-egosi ụda atọ nke isi. Spheres (A), mmalite nke mmegharị nke mbụ (B) na njedebe nke ikpeazụ nke Webern's concerto (C).

Otú ọ dị, maka egwu 12-ụda, ụkpụrụ dị otú ahụ nke ihe mejupụtara "otu ụda" adịghị mkpa (dị ka egwu egwu oge gboo). Ka o sina dị, a na-ejikarị ụfọdụ akụkụ nke T., ọbụlagodi na ụdị ọhụrụ. Ya mere, cello sonata nke EV Denisov (1971) nwere etiti, ụda "d", serial 2nd violin concerto nke AG Schnittke nwere tonic "g". Na egwu nke 70s. Na narị afọ nke 20 e nwere ọchịchọ ime ka ụkpụrụ nke ọhụrụ T.

Akụkọ banyere nkuzi gbasara T. gbanyere mkpọrọgwụ na tiori nke ụka. ụdịdị (lee ụdịdị ochie). N'ime usoro ya, e mepụtara echiche banyere finalis dị ka ụdị "tonic" nke ọnọdụ ahụ. "Ụdị" (mode) n'onwe ya, site n'echiche sara mbara, enwere ike iwere ya dị ka otu n'ime ụdị (ụdị) nke T. Omume nke iwebata ụda (musica ficta, musica falsa) kere ọnọdụ maka ọdịdị ọdịdị ahụ. mmetụta dị ụtọ. na chordal gravitation kwupụta tonic. Ozizi nke nkebiokwu n'akụkọ ihe mere eme kwadebere echiche nke "cadences of tone". Glarean na Dodecachord ya (1547) kwadoro usoro nke Ionian na Aeolian nke dị adị ogologo oge gara aga, nke akpịrịkpa ya dabara na nnukwu na obere anụ ahụ. J. Tsarlino ("Ozizi nke Harmony", 1558) dabere n'oge emepechabeghị anya. ozizi nke oke tụgharịrị consonant triads dị ka nkeji na kere tiori nke isi na obere; o kwukwara isi ma ọ bụ obere agwa nke ụdịdị niile. N'afọ 1615, onye Dutch bụ S. de Co (de Caus) degharịrị aha chọọchị ahụ repercussion. ụda n'ime ndị na-achị (na ezigbo ụdịdị - ogo nke ise, na plagal - IV). I. Rosenmuller dee ihe ruru. 1650 gbasara ịdị adị nke naanị ụdịdị atọ - isi, obere na Phrygian. N'ime afọ 70. Narị afọ nke 17 NP Diletsky kewara "egwu" n'ime "ihe ọchị" (ya bụ, isi), "obi ebere" (obere) na "agwakọta". Na 1694, Charles Masson chọtara naanị ụdịdị abụọ (Mode majeur na Mode mineur); na nke ọ bụla n'ime ha 3 nzọụkwụ bụ "dị mkpa" (Finale, Mediante, Dominante). N'akwụkwọ ọkọwa okwu "Musical Music" nke S. de Brossard (1703), frets na-apụta na nke ọ bụla n'ime 12 chromatic semitones. gamma. Ozizi isi nke t. (na-enweghị okwu a) bụ JF Rameau kere (“Traité de l'harmonie…”, 1722, “Nouveau systéme de musique théorique”, 1726). A na-ewu mgbakasị ahụ na ndabere nke ụdọ (ọ bụghị ọnụ ọgụgụ). Rameau na-akọwa ọnọdụ ahụ dị ka usoro usoro nke siri ike site na okpukpu atọ, ya bụ, nha nke isi atọ - T, D na S. Nkwenye nke njikọ nke cadence chords, yana ọdịiche nke consonant tonic na dissonant D. na S, kọwara ikike nke tonic n'elu kọlụm niile nke ọnọdụ ahụ.

Okwu a bụ "T" Nke mbụ pụtara na FAJ Castile-Blaz (1821). T. - "ihe onwunwe nke ọnọdụ egwu, nke egosipụtara (dị) n'iji usoro ya dị mkpa" (ie, I, IV na V); FJ Fetis (1844) tụrụ aro a tiori nke 4 ụdị T.: unitonality (ordre unito-nique) - ma ọ bụrụ na ngwaahịa. edere ya n'otu igodo, na-enweghị modulations n'ime ndị ọzọ (kwekọrọ na egwu nke narị afọ nke 16); transitonality - a na-eji modulations eme ihe na ụda nso (o doro anya, egwu baroque); pluritonality - a na-eji modulations mee ihe na ụda dị anya, anharmonisms (oge nke oge ochie nke Viennese); omnitonality ("all-tonality") - ngwakọta nke ihe dị iche iche nke igodo dị iche iche, nke ọ bụla nwere ike soro nke ọ bụla (oge nke romanticism). Otú ọ dị, a pụghị ikwu na ụdị Fetis tọrọ ntọala nke ọma. X. Riemann (1893) mepụtara tiori nke na-arụ ọrụ nke ọma. Dị ka Rameau, ọ gara n'ihu na ụdị nke ụdọ dị ka etiti nke usoro ahụ ma chọọ ịkọwa ụda site na mmekọrịta nke ụda na consonances. N'adịghị ka Rameau, Riemann adabereghị naanị T. 3 ch. chord, ma belatara ha ("naanị mkpa harmonies") ndị ọzọ niile (ya bụ, na T. Riemann nwere nanị 3 bases kwekọrọ na 3 ọrụ - T, D na S; Ya mere, naanị Riemann usoro bụ nnọọ arụ ọrụ) . G. Schenker (1906, 1935) kwadoro ụda dị ka iwu okike kpebisiri ike site n'akụkọ ihe mere eme na-adịghị agbanwe agbanwe nke ụda ihe. T. dabere na consonant triad, diatonic na consonant counterpoint (dị ka contrapunctus simplex). Egwu ọgbara ọhụrụ, dị ka Schenker si kwuo, bụ mmebi na ọdịda nke ikike okike na-ebute ụda olu. Schoenberg (1911) mụrụ n'ụzọ zuru ezu ihe onwunwe nke oge a. harmonic ya. usoro wee bịa na nkwubi okwu na oge a. Egwu tonal dị "n'ókè nke T." (dabere na nghọta ochie nke T.). Ọ kpọrọ (na-enweghị nkọwa doro anya) "steeti" ọhụrụ nke ụda (c. 1900-1910; nke M. Reger, G. Mahler, Schoenberg) site na okwu "floating" ụda (schwebende; tonic na-apụta adịkarịghị, a na-ezere ya na ya. ụda doro anya zuru oke). ; dịka ọmụmaatụ, egwu Schoenberg "The Temptation" op. 6, Mba 7) na "wepụrụ" T. (aufgehobene; ma tonic na consonant triads na-ezere, a na-eji "ịwagharị egwu egwu" - egwu nke asaa nke ọma, ụba triads, ndị ọzọ tonal multiple chords).

Nwa akwụkwọ Riemann G. Erpf (1927) gbara mbọ ịkọwa ihe egwu egwu dị na 10 na 20 site n'echiche nke echiche na-arụ ọrụ nke ọma yana ịbịaru nso nso na egwu egwu n'akụkọ ihe mere eme. Erpf nyekwara echiche nke "consonance-center" (Klangzentrum), ma ọ bụ "ụda center" (dịka ọmụmaatụ, Schoenberg's play op. 19 No 6), nke dị mkpa maka tiori nke ụda ọhụrụ; A na-akpọkwa T. nwere etiti dị otú ahụ Kerntonalität ("isi-T") mgbe ụfọdụ. Webern (ch. arr. site n'echiche nke oge gboo t.) na-akọwa mmepe nke egwu "mgbe oge ochie" dị ka "mbibi nke t." (Webern A., nkuzi na egwu, p. 44); ihe kacha mkpa nke T. o kpebisiri ike nchọta. ụzọ: "ịdabere na isi ụda", "ụzọ nke ịkpụzi", "ụzọ nke nkwurịta okwu" (ibid., p. 51). Ebibiri T. site na "bifurcation" nke diatonic. nzọụkwụ (p. 53, 66), "mgbasawanye nke ụda ụda" (p. 50), mgbasa nke ụda ụda, mwepu nke mkpa ịlaghachi na isi. ụda, ọchịchọ nke na-abụghị ikwugharị ụda (p. 55, 74-75), nhazi enweghị oge gboo. akpaalaokwu T. (p. 71-74). P. Hindemith (1937) na-ewulite nkọwa zuru ezu nke T. ọhụrụ, dabere na usoro 12 ("usoro I", dịka ọmụmaatụ, na usoro ahụ.

ohere nke dissonance ọ bụla na nke ọ bụla n'ime ha. Usoro ụkpụrụ nke Hindemith maka ihe ndị dị na T. dị nnọọ iche. Dị ka Hindemith si kwuo, egwu niile bụ ụda; izere nkwurịta okwu tonal siri ike dị ka ike ndọda nke ụwa. Ọ BỤRỤ na echiche Stravinsky banyere ụda olu pụrụ iche. N'iburu nkwekọ (n'echiche dị warara) n'uche, o dere, sị: "Harmony… nwere akụkọ ihe mere eme na-egbuke egbuke ma dị nkenke" ("Dialogues", 1971, p. 237); "Anyị anọghịkwa n'ime usoro nke oge gboo T. n'echiche ụlọ akwụkwọ" ("Musikalische Poetik", 1949, S. 26). Stravinsky na-agbaso "T ọhụrụ" ahụ. (Egwu "na-abụghị ụda" bụ ụda, "ma ọ bụghị na usoro ụda nke narị afọ nke 18"; "Dialogues", p. 245) n'otu n'ime ụdị ya, nke ọ kpọrọ "polarity nke ụda, etiti oge, na ọbụna mgbagwoju anya ụda"; “Tonal (ma ọ bụ ụda-“tonale”) ogwe bụ… isi axis nke egwu,” T. bụ naanị “ụzọ e si eduzi egwu dịka okporo osisi ndị a si dị.” Okwu a bụ "osisi", Otú ọ dị, ezighị ezi, ebe ọ na-egosikwa "osisi dị n'akụkụ", nke Stravinsky apụtaghị. J. Rufer, dabere na echiche nke ụlọ akwụkwọ New Viennese, tụrụ aro okwu ahụ "ụda ọhụrụ", na-ewere ya dị ka onye na-ebu usoro 12-tone. Akwụkwọ edemede nke X. Lang " Akụkọ ihe mere eme nke echiche na okwu "tonality" ("Begriffsgeschichte des Terminus "Tonalität", 1956) nwere ozi dị mkpa gbasara akụkọ ihe mere eme nke Tonalism.

Na Russia, tiori nke ụda malitere na mbụ n'ihe metụtara okwu "ụda" (VF Odoevsky, Akwụkwọ ozi na-ebipụta akwụkwọ, 1863; GA Laroche, Glinka na mkpa ya na History of Music, Russian Bulletin, 1867-68; PI Tchaikovsky , "Nduzi maka ọmụmụ ihe bara uru nke nkwekọrịta", 1872), "usoro" (German Tonart, nke AS Famintsyn sụgharịrị "Akwụkwọ nke nkwekọrịta" nke EF Richter, 1868; HA Rimsky -Korsakov, "Akwụkwọ nke Harmony", 1884-85 ), “mode” (Odoevsky, ibid; Tchaikovsky, ibid), “ele” (si na Ton-art, nke Famintsyn sụgharịrị nke AB Marx's Universal Textbook of Music, 1872). Akwụkwọ “Short Handbook of Harmony” nke Tchaikovsky (1875) ji okwu ahụ bụ “T” mee ihe nke ukwuu. (mgbe ụfọdụ nakwa na Ntuziaka maka Ọmụmụ Ihe Ọmụma nke Harmony). SI Taneyev webatara echiche nke "ịdị n'otu ụda olu" (lee ọrụ ya: "Ntụle nke atụmatụ mgbanwe ...", 1927; dịka ọmụmaatụ, mgbanwe nke ntụgharị na G-dur, A-dur na-akpali echiche nke T.D. -dur, ime ka ha dị n'otu, ma na-emepụtakwa ụda mmasị na ya). Dị ka ọ dị n'Ebe Ọdịda Anyanwụ Ụwa, na Russia, a ghọtara ihe ọhụrụ ọhụrụ na mpaghara ụda olu dị ka enweghị "ịdị n'otu ụda" (Laroche, ibid.) ma ọ bụ ụda olu (Taneyev, Letter to Tchaikovsky nke August 6, 1880), n'ihi ya. "N'èzí ókè nke usoro" (Rimsky-Korsakov, ibid.). A ọnụ ọgụgụ nke phenomena metụtara ọhụrụ ụda (na-enweghị okwu a) ka Yavorsky kọwara (usoro 12-semitone, dissonant na chụsasịrị tonic, multiplicity nke modal Ọdịdị na ụda, na ọtụtụ n'ime ụdịdị dị n'èzí isi na obere. ); n'okpuru nduzi nke Yavorsky Russian. theoretical musicology chọrọ ịchọta ụdịdị ọhụrụ (ihe owuwu dị elu ọhụrụ), dịka ọmụmaatụ. na mmepụta Scriabin nke mbubreyo oge nke creativity (BL Yavorsky, "The Ọdịdị nke egwu okwu", 1908; "Ole na ole echiche na njikọ na ncheta nke Liszt", 1911; Protopov SV, "Elements nke Ọdịdị nke egwu okwu" , 1930) ma Impressionists, - dere BV Asafiev, - agabigaghị ókè nke tonal harmonic usoro "(" Musical Ụdị dị ka a Usoro ", M., 1963, p. 99). GL Catuar (na-eso PO Gewart) mepụtara ụdị nke a na-akpọ. agbatị T. (isi-obere na chromatic usoro). BV Asafiev nyere nyocha nke phenomena nke ụda (ọrụ nke ụda, D, na S, Ọdịdị nke "European mode," okwu mmeghe, na nkọwa nke stylistic nke ihe ndị dị na ụda) site n'echiche nke echiche innation. . Yu. Nkwalite nke N. Tyulin nke echiche nke mgbanwe dị iche iche gbakwunyere tiori nke ọrụ ụda olu. A ọnụ ọgụgụ nke ikwiikwii musicologists (MM Skorik, SM Slonimsky, ME Tarakanov, HP Tiftikidi, LA Karklinsh, wdg) na 60-70s. mụọ n'ụzọ zuru ezu Ọdịdị nke oge a. 12-nzọụkwụ (chromatic) tonality. Tarakanov mepụtara pụrụ iche echiche nke "T ọhụrụ" (lee ya isiokwu: "New tonality na egwu nke 1972 narị afọ", XNUMX).

References: Grammar Onye egwu nke Nikolai Diletsky (ed. C. AT. Smolensky), St. Petersburg, 1910, e bipụtara ya. (n'usoro. AT. AT. Protopopova), M., 1979; (Odoevsky V. F.), Akwụkwọ ozi si n'aka Prince V. P. Odoevsky nye onye nkwusa banyere egwu primordial Great Russian, na mkpokọta: Kaliki passable?, Akụkụ XNUMX. 2, Mba. 5, M., 1863, otu ahụ, n'akwụkwọ: Odoevsky V. F. Ihe nketa egwu na agụmagụ, M., 1956; Laroche G. A., Glinka na mkpa ya na akụkọ ihe mere eme nke egwu, "Russian Messenger", 1867, No 10, 1868, No 1, 9-10, otu, n'ime akwụkwọ: Laroche G. A., Akụkọ ahọpụtara, vol. 1, L., 1974; Tchaikovsky P. I., Nduzi maka ọmụmụ ihe bara uru nke nkwekọrịta, M., 1872; Rimsky-Korsakov N. A., Harmony Textbook, mba. 1-2, St. Petersburg, 1884-85; Yavorsky B. L., Ọdịdị nke okwu egwu egwu, akụkụ. 1-3, M., 1908; ya, Echiche ole na ole gbasara ncheta ncheta P. Liszt, “Egwu”, 1911, Mba 45; Taneev S. I., Ntụgharị nke ederede siri ike, Leipzig, 1909, M., 1959; Belyaev V., "Nnyocha nke modulations na Beethoven's sonatas" S. NA. Taneeva, n'akwụkwọ: Akwụkwọ Russian banyere Beethoven, M., 1927; Taneev S. I., Akwụkwọ ozi P. NA. Tchaikovsky dere August 6, 1880 n'akwụkwọ: P. NA. Chaikovsky. C. NA. Taneev. Akwụkwọ ozi, M., 1951; ya, Ọtụtụ akwụkwọ ozi na okwu egwu-theoretical, n'ime akwụkwọ: S. NA. Taneev. ihe na akwụkwọ, wdg. 1, Moscow, 1952; Avramov A. M., “Ultrachromatism” ma ọ bụ “omnitonality”?, “Musical Contemporary”, 1916, akwụkwọ. 4-5; Ndị Roslavets N. A., Banyere onwe m na ọrụ m, "Egwu nke oge a", 1924, Mba 5; Cathar G. L., Usoro nkwekọ, akụkụ. 1-2, M., 1924-25; Rosenov E. K., Na mgbasawanye na mgbanwe nke usoro ụda, na: Nchịkọta ọrụ nke Commission on Musical Acoustics, vol. 1, M., 1925; Ihe ize ndụ P. A., Ọgwụgwụ nke Tonality, Egwu ọgbara ọhụrụ, 1926, Ọ dịghị 15-16; Protopov S. V., Ihe nke nhazi okwu egwu, akụkụ. 1-2, M., 1930-31; Asafiev B. V., Ụdị egwu dị ka usoro, akwụkwọ. 1-2, M., 1930-47, (akwụkwọ abụọ ahụ ọnụ), L., 1971; Mazel L., Ryzhkin I., Essays on the History of theoretical musicology, vol. 1-2, M.-L., 1934-39; Tyulin Yu. H., Nkuzi gbasara nkwekọ, L., 1937, M., 1966; Ogolevets A., Okwu mmalite nke echiche egwu ọgbara ọhụrụ, M., 1946; Sposobin I. V., Ozizi Elementary nke egwu, M., 1951; nke ya, Nkuzi nkuzi gbasara usoro nkwekọ, M., 1969; Slonimsky C. M., Symphonies Prokofiev, M.-L., 1964; Skrebkov C. S., Otu esi akọwa ụda olu?, “SM”, 1965, Mba 2; Tiftikidi H. P., The Chromatic Sistemu, na: Musicology, vol. 3, A.-A., 1967; Tarakanov M., Ụdị nke Prokofiev's symphonies, M., 1968; ya, New tonality na egwu nke XX narị afọ, na mkpokọta: Nsogbu nke Musical Science, vol. 1, Moscow, 1972; Skorik M., Ladovaya sistemu S. Prokofieva, K., 1969; Karklinsh L. A., Harmony H. Ya Myaskovsky, M., 1971; Mazel L. A., Nsogbu nke nkwekọrịta oge gboo, M., 1972; Dyachkova L., Na isi ụkpụrụ nke usoro harmonic Stravinsky (usoro okporo osisi), n'akwụkwọ: I. P. Stravinsky. Akụkọ na ihe, M., 1973; Müller T. F., Harmoniya, M., 1976; Zarlino G., Le istitutioni harmonice, Venetia, 1558 (ihe dị na: Ncheta nke egwu na akwụkwọ egwu na facsimile, usoro nke abụọ, N. Y., 1965); Asụsụ S. de, Harmonic Institution…, Frankfurt, 1615; Rameau J. Ph., Nkwekọrịta nkwekọ…, R., 1722; его же, Usoro egwu egwu ọhụrụ…, R., 1726; Castil-Blaze F. H. J., Akwụkwọ ọkọwa okwu nke egwu ọgbara ọhụrụ, c. 1-2, R., 1821; Fétis F. J., Traitй complet de la theory…, R., 1844; Riemann H., Einfacte Harmonielehre…, L.-N. Y., 1893 (Rus. kwa. – Riman G., Nkwekọrịta dị mfe?, M., 1896, otu ahụ, 1901); nke ya, Geschichte der Musiktheorie…, Lpz., 1898; nke ya, bber Tonalität, n'akwụkwọ ya: Präludien und Studien, Bd 3, Lpz., (1901); nke ya, Folklonstische Tonalitätsstudien, Lpz., 1916; Gevaert F. A., Treaty of theoretical and bara uru nkwekọ, v. 1-2, R.-Brux., 1905-07, Schenker H., Echiche egwu ọhụrụ na echiche efu…, vol. 1, Stuttg.-B., 1906, vol. 3, W., 1935; SchцnbergA., Harmonielehre, Lpz.-W., 1911; Кurt E., Ihe ndị a chọrọ maka nkwekọ usoro iwu…, Bern, 1913; Dị ka, Romantic Harmony…, Bern-Lpz., 1920 (рус. kwa. – Kurt E., Nkwekọrịta ịhụnanya na nsogbu ya na Wagner's Tristan, M., 1975); Hu11 A., Nkwekọrịta ọgbara ọhụrụ…, L., 1914; Touzé M., La tonalité chromatique, “RM”, 1922, v. 3; Gьldenstein G, Theorie der Tonart, Stuttg., (1927), Basel-Stuttg., 1973; Erpf H., ọmụmụ banyere nkwekọrịta na nkà na ụzụ ụda nke egwu ọgbara ọhụrụ, Lpz., 1927; Steinbauer O., Isi nke ụda olu, Munich, 1928; Cimbro A., Qui voci secolari sulla tonalita, «Rass. mus.", 1929, Mba. 2; Hamburger W., tonality, “The Prelude”, 1930, afọ 10, H. 1; Nwu E. site na, B Bartok, Halle, 1930; Karg-Elert S., Theory Polaristic nke ụda na ụda olu (ihe mgbagwoju anya), Lpz., 1931; Yasser I, Ozizi nke na-agbanwe ụda olu, N. Y., 1932; ya, Ọdịnihu nke ụda olu, L., 1934; Stravinsky I., Chroniques de ma vie, P., 1935 (rus. kwa. – Stravinsky I., Ihe ndekọ nke ndụ m, L., 1963); nke ya, Poétique musicale, (Dijon), 1942 (rus. kwa. - Stravinsky I., Echiche sitere na "Poetics Music", n'akwụkwọ: I. F. Stravinsky. Akụkọ na ihe, M., 1973); Stravinsky na mkparịta ụka ya na Robert Craft, L., 1958 (rus. kwa. - Stravinsky I., Mkparịta ụka…, L., 1971); Appelbaum W., Accidentien und Tonalität na den Musikdenkmälern des 15. 16 und. Narị afọ, В., 1936 (Diss.); Hindemith P., Ntuziaka na nhazi, vol. 1, Mainz, 1937; Guryin O., Fre tonalitet ruo atonalitet, Oslo, 1938; Dankert W., Melodic tonality na njikọ ụda, «Egwu ahụ», 1941/42, vol. 34; Waden J. L., Akụkụ nke tonality na egwu Europe oge ochie, Phil., 1947; Кatz A., Ihe ịma aka maka ọdịnala egwu. Echiche ọhụrụ nke ụda olu, L., 1947; Rohwer J., Ntuziaka Tonale, Tl 1-2, Wolfenbьttel, 1949-51; его жe, Na ajụjụ gbasara ọdịdị ụda olu…, «Mf», 1954, vol. 7, H. 2; Вesseler H., Bourdon na Fauxbourdon, Lpz., 1, 1950; Sсhad1974er F., Nsogbu nke tonality, Z., 1 (diss.); Вadings H., Tonalitcitsproblemen en de nieuwe muziek, Brux., 1950; Rufer J., Usoro nke ụda iri na abụọ: onye na-ebu ụda ọhụrụ, «ЦMz», 1951, afọ. 6, Mba 6/7; Salzer F., Nnụ ụlọ, v. 1-2, N. Y., 1952; Machabey A., Geníse de la tonalitй musicale classique, P., 1955; Neumann F., Tonality na Atonality…, (Landsberg), 1955; Ва11if C1., Okwu Mmalite а la mйtatonalitй, P., 1956; Lang H., Conceptual akụkọ ihe mere eme nke okwu «tonality», Freiburg, 1956 (diss.); Reti R., Tonality. Atọhapụ. Pantonality, L., 1958 (rus. kwa. - Reti R., Tonality na egwu ọgbara ọhụrụ, L., 1968); Travis R., Kwupụta echiche ọhụrụ nke tonality?, Journal of Music Theory, 1959, v. 3, Mba2; Zipp F., Usoro usoro ụda olu eke na ụda olu emechiela?, «Musica», 1960, vol. 14, H. 5; Webern A., Ụzọ maka egwu ọhụrụ, W., 1960 (рус. kwa. - Webern A., nkuzi na egwu, M., 1975); Eggebrecht H., Musik als Tonsprache, “AfMw”, 1961, Jahrg. 18, H. 1; Hibberd L., «Tonality» na nsogbu ndị yiri ya na okwu okwu, «MR», 1961, v. 22, Mba. 1; Lowinsky E., Tonality na atonality na egwu narị afọ nke iri na isii, Berk.-Los Ang., 1961; Apfe1 E., Nhazi ụda nke egwu oge ochie dị ka ndabere nke isi-obere ụda, «Mf», 1962, vol. 15, H. 3; nke ya, Spätmittelalterliche Klangstruktur und Dur-Moll-Tonalität, ibid., 1963, Jahrg. 16, H. 2; Dah1haus C., Echiche nke ụda olu na egwu ọhụrụ, akụkọ Congress, Kassel, 1962; eго же, nyocha banyere mmalite nke tonality kwekọrọ, Kassel - (u. a.), 1968; Finscher L., Iwu Tonal na mmalite nke oge a, в кн.: Okwu egwu nke oge, vol. 10, Kassel, 1962; Pfrogner H., Na echiche nke tonality nke oge anyị, «Musica», 1962, vol. 16, H. 4; Reck A., Ohere nke ịgụ ụda ụda, «Mf», 1962, vol. 15, H. 2; Reichert G., igodo na ụda olu na egwu ochie, в кн.: Okwu egwu nke oge, vol. 10, Kassel, 1962; Barford Ph., Tonality, «MR», 1963, v. 24, Mba 3; Las J., ụda olu ụtọ Gregorian, Kr., 1965; Sanders E. H., Akụkụ ụda nke narị afọ nke 13 bekee polyphony, «Acta musicologica», 1965, v. 37; Ernst. V., Na echiche nke tonality, Congress akụkọ, Lpz., 1966; Reinecke H P., Na echiche nke tonality, там же; Marggraf W., ụda olu na nkwekọ na chanson French n'etiti Machaut na Dufay, «AfMw», 1966, vol. 23, H. 1; George G., Tonality na usoro egwu, N. Y.-Wash., 1970; Despic D., Teorija tonaliteta, Beograd, 1971; Atcherson W., Igodo na ọnọdụ na narị afọ nke 17, "Journal of Music Theory", 1973, v. 17, Nke 2; Кцnig W., Ọdịdị nke ụda olu na Alban Berg's opera «Wozzeck», Tutzing, 1974.

Yu. N. Kholopov