Tonality |

Tonalite Faransiis, Jarmal. Tonalitat, sidoo kale Tonart

1) Meesha sare ee qaabka (waxaa go'aamiyay IV Sposobina, 1951, oo ku saleysan fikradda BL Yavorsky; tusaale ahaan, C-dur "C" waa magacaabista dhererka codka ugu weyn ee qaabka, iyo "dur" - "weyn" - hab sifo).

2) Heerarkiis. nidaamka dhexe ee isku xirka dhererka si habsami leh u kala duwan; T. macnahan waa midnimada qaabka iyo T. dhabta ah, ie, tonality (waxaa loo maleynayaa in T. ay ku yaalliin meel sare oo gaar ah, si kastaba ha ahaatee, xaaladaha qaarkood ereyga waa la fahmaa xitaa iyada oo aan la soo koobin). gebi ahaanba ku beegan fikradda habka, gaar ahaan dalalka shisheeye lit-re). T. Dareenkan ayaa sidoo kale ku jira hal-abuurka qadiimiga ah (eeg: Lbs J., "Tonalnosc melodii gregorianskich", 1965) iyo muusigii qarnigii 20aad. (Eeg, tusaale ahaan: Rufer J., "Die Zwölftonreihe: Träger einer neuen Tonalität", 1951).

3) Si cidhiidhi ah, hab gaar ah. micnaha T. waa nidaam isku xirnaanta garoommada si shaqeyneysa oo kala duwan, oo si heersare ah u dhexeeysa iyadoo lagu salaynayo shibbane saddex geesood ah. T. marka la eego macnahan waxay la mid tahay "dhammaan tonality harmonic" sifada classical-romantic. nidaamyada wada noolaanshaha ee qarniyadii 17-19aad; kiiskan, joogitaanka T. badan oo la qeexay. nidaamyada xidhiidhka ay la leeyihiin midba midka kale (nidaamka T.; eeg Circle of Shanaad, Xiriirka furayaasha).

Waxaa loo tixraacaa "T." (si cidhiidhi ah, dareen gaar ah) hababka - waaweyn iyo kuwa yar - waxaa loo malayn karaa inay la siman yihiin hababka kale (Ionian, Aeolian, Phrygian, maalin kasta, pentatonic, iwm); run ahaantii, farqiga u dhexeeya waa mid aad u weyn oo ay tahay arrin macquul ah eray bixin. mucaaradnimada weyn iyo kuwa yar sida harmonic. tonalities monophonic. xanaaqsan. Si ka duwan monodic frets, waaweyn iyo kuwa yar yar T .. waxay ku jiraan ext. firfircoonida iyo dhaqdhaqaaqa, xoojinta dhaqdhaqaaqa ujeedo leh, xarun dhexe ee ugu macquulsan ee la hagaajiyay iyo qaninimada xiriirka shaqeynta. Iyadoo la raacayo sifooyinkaas, codka (oo ka duwan hababka monodic) waxaa lagu gartaa soo jiidasho si cad oo joogto ah oo loogu talagalay bartamaha qaabka ("ficilka fogaanta", SI Taneev; tonic ayaa xukuma meesha aysan ku dhawaaqin); Isbeddelka joogtada ah (metric) ee xarumaha maxalliga ah (tallaabooyin, shaqooyin), ma aha oo kaliya inaan la baabi'in cuf-jiidka dhexe, laakiin garashada iyo xoojinta ugu badnaan; lahjad saamiga u dhexeeya abutment iyo kuwa aan xasilloonayn (gaar ahaan, tusaale ahaan, gudahood qaab-dhismeedka hal nidaam, oo leh cuf-jiidka guud ee heerka VII ee I, codka I degree laga yaabaa in la soo jiito VII). Sababtoo ah soo jiidashada xoogga leh ee xarunta nidaamka harmonic. T., sida ay ahayd, nuugay habab kale sida tillaabooyinka, "hababka gudaha" (BV Asafiev, "Foomka Muusiga ee Geedi socodka", 1963, p. 346; tillaabooyinka - Dorian, qaabkii hore ee Phrygian oo leh tonic weyn sida Phrygian leexashadu waxay noqotay qayb ka mid ah kuwa yaryar ee harmonic, iwm.). Haddaba, waaweyn iyo kuwa yar-yarba waxay si guud u dhigeen hababkii iyaga ka horreeyay ee taariikh ahaan, iyagoo isla markaa ahaa qaab-dhismeedka mabaadi'da cusub ee habaynta habraaca. Dhaqdhaqaaqa nidaamka tonal wuxuu si aan toos ahayn ugu xiran yahay dabeecadda fekerka Yurub ee Casriga casriga ah (gaar ahaan, fikradaha Iftiinka). "Modality waxay ka dhigan tahay, dhab ahaantii, xasilloon, iyo tonality aragti firfircoon ee adduunka" (E. Lovinsky).

Nidaamka T., T. gaar ah ayaa helaya qeexan. ku shaqaynta habdhiska firfircoon. iyo midabeeyaha. cilaaqaadka; Shaqadani waxay la xiriirtaa fikrado baahsan oo ku saabsan dabeecadda iyo midabka codka. Sidaa darteed, C-dur, codka "dhexe" ee nidaamka, wuxuu u muuqdaa mid "fudud", "caddaan". Fanaaniinta, oo ay ku jiraan halabuurayaasha waaweyn, ayaa inta badan leh waxa loogu yeero. maqalka midabka (Naa Rimsky-Korsakov, midabka T. E-dur waa cagaar dhalaalaya, xoolo-dhaqato, midabka bjørk guga, Es-dur waa madow, mugdi, cawl-buluug, dhawaaqa "magaalooyinka" iyo "qalcado" ; L Beethoven oo loo yaqaan h-moll "tonality black"), markaa tan ama T. ayaa mararka qaarkood la xidhiidha qeexida. sheegi doonaa. dabeecadda muusiga (tusaale ahaan, WA Mozart's D-dur, Beethoven's c-moll, As-dur), iyo beddelka badeecada. - oo leh isbeddel qaabaysan (tusaale ahaan, Mozart's motet Ave verum corpus, K.-V. 618, D-dur, oo lagu wareejiyay habaynta F. Liszt ilaa H-dur, oo lagu maray "romanticization").

Ka dib waagii awoodda sare ee qadiimiga weyn-yar T. fikradda "T." waxa kale oo lala xidhiidhiyaa fikradda muusik-macquul ah oo la jahawareersan yahay. qaab dhismeedka, ie, oo ku saabsan nooc ka mid ah "mabda'a nidaamka" ee nidaam kasta oo xiriirka garaaf ah. Qaab dhismeedka tonal-ka ugu qalafsan waxay noqdeen (laga bilaabo qarnigii 17-aad) oo ah hab muusik oo muhiim ah, oo iska madax bannaan. muujinta, iyo riwaayadaha tonal mararka qaarkood waxay ku tartamaan qoraal, marxalad, mawduuc. Sida int. Nolosha T. waxa lagu muujiyaa isbeddellada chords (tallaabooyin, hawlo - nooc ka mid ah "micro-lads"), qaab-dhismeed tonal ah, oo muujinaya heerka ugu sarreeya ee wada-noolaanshaha, waxay ku nool yihiin dhaqdhaqaaqyo qaabayn ujeedo leh, isbeddellada T. Sidaa daraadeed, qaabka tonal ee guud ahaan wuxuu noqdaa mid ka mid ah walxaha ugu muhiimsan ee horumarinta fikradaha muusikada. PI Tchaikovsky: "Hannaanka heesuhu si ka wanaagsan ha u xumaado," marka loo eego nuxurka fikirka muusiga, kaas oo si toos ah ugu xidhan habaynta iyo is-waafajinta. Qaab dhismeedka tonal ee horumaray ee otd. T. waxay ka ciyaari kartaa door la mid ah mawduucyada (tusaale ahaan, e-moll ee mawduuca labaad ee dhamaadka Prokofiev's sonata 7th ee piano sida ka tarjumaysa E-dur ee dhaqdhaqaaqa 2aad ee sonata waxay abuurtaa quasi- Mawduucyada "Arch" - xasuusinta miisaan wareeg ah).

Doorka T. ee dhismaha muuska waa mid aad u weyn. foomamka, gaar ahaan kuwa waaweyn (sonata, rondo, wareeg, opera weyn): " Joogitaanka joogtada ah ee hal fure, oo ka soo horjeeda in badan ama ka yar isbeddelka isbeddelka degdegga ah, isku-dhafka miisaanka isbarbardhigga, si tartiib ah ama degdeg ah u wareejinta furaha cusub, soo noqoshada diyaarsan midda ugu weyn", - dhammaan kuwan waxaa loola jeedaa in " la xiriir gargaarka iyo barar qaybaha waaweyn ee halabuurka iyo in ay u fududeeyaan dhegeystaha si ay u fahmaan qaabkeeda" (SI Taneev; eeg Foomka Muusiga).

Suurtagalnimada in lagu soo celiyo ujeedooyinka is-waafajinta kale waxay keentay qaab cusub oo firfircoon oo mawduucyo ah; suurtogalnimada in mawduucyada lagu celiyo. samaynta T. kale ayaa suurtogeliyay in la dhiso organic ahaan horumarinta muses waaweyn. foomamka. Qodobbada isku midka ah ee isku midka ah waxay qaadan karaan noocyo kala duwan, xitaa ka soo horjeeda, taasoo macnaheedu yahay iyadoo ku xiran farqiga u dhexeeya qaabdhismeedka tonal (tusaale ahaan, kala-goysyada dheer ee xaaladaha isbeddelka tonal waxay siinaysaa saameynta horumarka sii xumaanaya, iyo xaaladaha tonic ee tonic. tonality ugu weyn, liddi ku ah, saamaynta "xinjirowga", horumarinta joojinta). Qaabka hawlgalka, isbeddelka T. wuxuu badiyaa la mid yahay isbeddelka xaaladda goobta. Kaliya hal qorshe tonal ayaa noqon kara lakabka muuska. foomamka, tusaale ahaan. isbeddelka T. ee d. "Guurka Figaro" ee Mozart.

Muuqaalka asalka ah ee saafiga ah iyo muuqaalka qaan gaadhka ah ee codka (ie, "dhawaaq is-waafaji") ayaa ah astaanta muusiga ee fasallada Viennese iyo laxamiistaha kuwaas oo taariikh ahaan iyaga u dhow (inta badan dhammaan, waagii bartamihii 17-aad iyo badhtamihii 19-aad qarniyo). Si kastaba ha ahaatee, harmonic T. waxay dhacdaa wakhti hore, sidoo kale waxay ku baahsan tahay muusikada qarnigii 20aad. Soohdimaha taariikhiga ah ee saxda ah ee T. sida gaar ah, gaar ah. Way adag tahay in la sameeyo qaababka xanaaqa, tan iyo markii ay burburtay. waxa loo qaadan karaa sal. ka kooban sifooyinkeeda: A. Mashabe taariikhda soo ifbaxa harmonics. T. qarnigii 14aad, G. Besseler - qarnigii 15aad, E. Lovinsky - qarnigii 16aad, M. Bukofzer - qarnigii 17aad. (Fiiri Dahhaus S., Unterschungen über die Entstehung der harmonischen Tonalität, 1); HADDII Stravinsky u jeediyo xukunka T. wakhtiga dhexda. 1968 ilaa Ser. Qarnigii 17aad Complex Ch. calamadaha qadiimiga ah (harmonic) T.: a) xarunta T. waa shibbane saddex geesood ah (sidoo kale, la malayn karo midnimo ahaan, oo aan ahayn isku darka dhexda); b) qaab – weyn ama mid yar, oo ay matalaan nidaamka qoob-ka-ciyaarka iyo laxanka ku socda “shirka” ee chords-kan; c) qaab dhismeedka murugada ku salaysan 19 hawlood (T, D iyo S); "Dissonances dabeecadda" (S oo leh lixaad, D oo leh toddobaad; ereyga X. Riemann); T waa shibbane; d) isbeddelka is-waafajinta gudaha T., dareenka tooska ah ee u janjeera tonic; e) nidaamka cadences iyo xidhiidhada rubuc-qarniga ah ee chords ka baxsan cadences (sida haddii laga soo wareejiyay cadences oo la fidiyey dhammaan xidhiidhada; haddaba ereyga "cadence t."), heer sare ah. kala-soocidda is-waafajinta (xeerka iyo furayaasha); f) mitirka dheeraadka ah ee si xooggan loogu dhawaaqo ("laxanka tonal"), iyo sidoo kale qaab - dhisme ku salaysan labajibbaarnimada iyo isku-tiirsanaanta, "qaafiyada" cadences; g) foomamka waaweyn ee ku salaysan habaynta (tusaale, Beddelka T.).

Xukunka nidaamka noocan oo kale ah wuxuu ku dhacaa qarniyadii 17-aad -19aad, marka dhismaha Ch. Calaamadaha T. waxaa loo soo bandhigay, sida caadiga ah, gebi ahaanba. Qayb ka mid ah calaamado isku dhafan, oo siinaya dareenka T. (oo ka soo horjeeda habdhaqanka), ayaa lagu arkay xitaa otd. qoraaladii Renaissance (qarnigii 14-16).

G. de Macho (oo sidoo kale ka kooban shaqooyinka muusikada monophonic), mid ka mid ah le (No 12; "Le on death"), qaybta "Dolans cuer las" waxay ku qoran tahay hab weyn oo leh awoodda tonic. saddex-geesoodka guud ahaan dhismaha garoonka:

G. de Macho. Jidka No12, baararka 37-44.

"Monodic major" oo ka mid ah qayb ka mid ah shaqada. Masho weli way ka fog tahay classic. nooca T., inkastoo ay isku beegmeen tiro calaamado ah (kuwa kore, b, d. e, f ayaa la soo bandhigay). Ch. Farqiga u dhexeeyaa waa bakhaar monophonic ah oo aan ka turjumayn wehel-qoyseedka. Mid ka mid ah muujinta ugu horreysa ee laxanka functional in polyphony waa heesta (rondo) ee G. Dufay "Helas, ma dame" ("kaas oo wada noolaanshaha u muuqda inuu ka yimid adduun cusub," sida uu qabo Besseler):

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

aragtida wada noolaanshaha. T. waxay ku soo baxdaa natiijada isbeddellada hawleed ee mitirka ah iyo sarraynta harmonics. xeryahooda ku jira saamiga quarto-quint, T - D iyo D - T oo isku dhafan. qaab dhismeedka guud ahaan. Isla mar ahaantaana, xarunta dhexe ee nidaamku maaha mid aad u badan (inkasta oo ay mararka qaarkood dhacdo, baararka 29, 30), laakiin shanaad (u oggolaanaya saddexda qaybood ee waaweyn iyo kuwa yaryar iyada oo aan saameyn ula kac ah oo isku dhafan oo yar yar) ; qaabku wuu ka laxan badan yahay chordal (xeerka ma aha saldhigga nidaamka), laxanka (oo aan ka baxsanayn metric extrapolation) ma aha tonal, laakiin modal (shan cabbir oo aan lahayn jihayn labajibbaaran); cuf-jiidka tonal ayaa lagu ogaan karaa cidhifyada dhismayaasha, oo aan ahayn gebi ahaanba (qaybta codku kuma bilaabato gebi ahaanba tonic); ma jiro tonal-shaqo qalinjabin, iyo sidoo kale isku xirka shibbane iyo dissonance la macnaha tonal ee wada noolaanshaha; Marka la qaybinayo cadceesyada, eexda loo qabo kan talada haysa ayaa ah mid si xad dhaaf ah u weyn. Guud ahaan, xitaa calaamadahan cad ee dhawaaqa sida nidaamka moodeelka ah ee nooc gaar ah weli ma noo ogola in aan u nisbaynno qaab-dhismeedkan si habboon; tani waa hab-dhaqameed caadi ah (laga soo bilaabo dhinaca aragtida T. ee dareenka ballaaran - "tonality modal") ee qarniyadii 15-16aad, oo ku dhex jira qaab-dhismeedka qaybo kala duwan oo bislaaday. qaybaha T. (eeg Dahinaus C, 1968, p. 74-77). Burburkii kaniisadda ayaa ka careysiiya muusikada qaarkood. prod. con. 16 – dawarsi Qarnigii 17aad waxa uu abuuray nooc gaar ah oo ah "free T." - modal mar dambe, laakiin aan weli classical (motets by N. Vicentino, madrigals by Luca Marenzio iyo C. Gesualdo, Enharmonic Sonata by G. Valentini; eeg tusaale tiirka 567, hoose).

Maqnaanshaha miisaan habaysan oo deggan iyo laxanka u dhigma. qaacidooyinka ma ogola in loo nisbeeyo qaab dhismeedka kaniisadda. xanaaqsan.

C. Gesualdo. Madrid "Merce!".

Joogitaanka qaar ka mid ah taagan ee cadences, xarunta. chord - shibbane triad ah, isbeddelka "tilaabo-tilaabo" waxay ku siinaysaa sabab loo tixgeliyo nooca gaarka ah ee T.-chromatic-modal T.

Aasaaska tartiib-tartiibka ah ee xukunka laxanka-yar yar wuxuu bilaabmay qarnigii 17-aad, ugu horrayn qoob ka ciyaarka, maalin walba, iyo muusiga cilmaaniga ah.

Si kastaba ha ahaatee, kaniisadihii hore waxay ku badan yihiin muusikada dabaqa 1aad. Tusaale ahaan qarnigii 17aad. 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, eeg Tabuiatura nova, III. pars). Xitaa JS Bach, oo muusigiisa ay u badan tahay harmonica horumarsan. T., ifafaalahan oo kale maaha wax aan caadi ahayn, tusaale ahaan. chorales

J. Dowland. Madrid "Kac, Jacayl!" (1597).

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

Aagga ugu sarreeya ee horumarinta timbre si adag u shaqeeya ee nooca weyn-yar yar wuxuu ku dhacaa xilligii classics Viennese. Inta badan is-waafajinta muddadan waxaa loo tixgeliyaa sifooyinka ugu muhiimsan ee wadajirka guud ahaan; Waxay ka kooban yihiin inta badan nuxurka dhammaan buugaagta is-waafajinta (eeg Harmony, Harmonic function).

Horumarinta T. ee dabaqa 2aad. Qarnigii 19-aad waxa uu ka kooban yahay ballaarinta xadka T. (isku-dhafka weyn-yar-yar, hababka chromatic. dheeraad ah), kobcinta xiriirka tonal-functional, polarizing diatonic. iyo chromatic. wada noolaanshaha, xoojinta midabka. macnaha t., dib u soo noolaynta wada noolaanshaha modal ku salaysan cusub (inta badan ee la xidhiidha saamaynta folklore ee shaqada ee laxamiistaha, gaar ahaan dugsiyada cusub ee qaranka, tusaale ahaan, Ruush), isticmaalka hababka dabiiciga ah, iyo sidoo kale. sida kuwa simmetrical ah "macmal" ah (fiiri Sposobin I V., "Lectures on the course of wada-noolaanshaha", 1969). Kuwaas iyo astaamo kale oo cusub ayaa muujinaya horumarka degdega ah ee t. Saamaynta isku dhafan ee guryaha cusub ee t. nooca (ee F. Liszt, R. Wagner, MP Mussorgsky, NA Rimsky-Korsakov) marka la eego si adag T. waxay u ekaan kartaa diidmo ah. Wadahadalka waxaa la soo saaray, tusaale ahaan, hordhaca Wagner's Tristan und Isolde, halkaas oo tonic-ka bilawga ah uu daboolay dib u dhac dheer, taas oo keentay fikrad khaldan ayaa ka dhalatay maqnaanshaha buuxda ee tonic ee ciyaarta ("wadarta ka fogaanshaha). ee tonic”; eeg Kurt E., “Harmaynta Jacaylka iyo dhibaatadeeda Wagner's “Tristan”, M., 1975, p. 305; tani waa sidoo kale sababta uu si khaldan u fasiray qaab-dhismeedka iswaafajinta ee qaybta hore si ballaadhan loo fahmay. "kor u kac weyn", bogga 299, oo aan ahayn muujin caadi ah, iyo qeexida khaldan ee xuduudaha qaybta hore - baararka 1-15 halkii 1-17). Calaamaduhu waa magaca mid ka mid ah riwaayadihii Liszt ee xilligii dambe - Bagatelle Without Tonality (1885).

Soo ifbaxa guryaha cusub ee T., oo ka fogaanaya qadiimiga. nooca, ilaa bilowgii. Qarnigii 20-aad waxa uu horseeday isbeddello qoto dheer oo ku yimi nidaamka, kuwaas oo ay dad badani u arkayeen burburka, burburinta t., “atonality”. Bilawga nidaamka tonal cusub ayaa lagu sheegay SI Taneyev (ee "Mobile Counterpoint of Strict Writing", oo la dhammeeyey 1906).

Micnaha T. nidaam adag oo shaqeynaya oo yar-yar, Taneyev ayaa qoray: "Ka dib markii uu qaatay booska hababka kaniisadaha, nidaamka tonal-keena hadda, markeeda, wuu sii xumaanayaa nidaam cusub oo doonaya inuu burburiyo tonity oo beddelo saldhigga diatonic ee wada noolaanshaha. oo leh mid chromatic ah, iyo burburinta tonality waxay keenaysaa in qaab muusiko ah burburiyo" (ibid., Moscow, 1959, p. 9).

Ka dib, "nidaamka cusub" (laakiin Taneyev) ayaa loo yaqaan "teknoolajiyada cusub". Isku midnimadeeda aasaasiga ah ee qadiimiga ah ee T. waxay ka kooban tahay xaqiiqda ah "T cusub." sidoo kale waa kala sareyn. nidaam ka mid ah isku xirka joogga sare oo si shaqeynaya u kala duwan yahay, oo muujinaya macquul. isku xirka qaab dhismeedka garoonka. Si ka duwan tonity-kii hore, kan cusubi wuxuu ku tiirsanaan karaa ma aha oo kaliya tonic shibbane, laakiin sidoo kale koox kasta oo si habboon loo doortay ee dhawaaqyada, ma aha oo kaliya diatonic. ku salaysan, laakiin si ballaaran loo isticmaalo is-waafajinta mid kasta oo ka mid ah 12 dhawaaqyada sida shaqeynta madaxbannaan (isku-darka dhammaan hababka ayaa siinaya qaab-badan ama "fretless" - "cusub, ka baxsan-modal T."; eeg Nü11 E. von, "B Bartok, Ein Beitrag zur Morphologie der neuen Musik”, 1930); macnaha semantiga ee dhawaaqyada iyo shibbanayaasha waxay matali karaan qaab cusub oo caadi ah. qaacidada TSDT, laakiin waxaa laga yaabaa in si kale loo shaaciyo. Makhluuqa. Farqiga u dhexeeya ayaa sidoo kale ku jira xaqiiqda ah in T. adag ee qadiimiga ah uu yahay mid isku mid ah, laakiin T. cusub ayaa ah mid shakhsi ahaaneed oo sidaas darteed ma laha hal adag oo ah walxo dhawaaq ah, taas oo ah, ma laha labis shaqeyneed. Sidaa darteed, hal ama qoraal kale, isku-dhafka kala duwan ee calaamadaha T ayaa loo isticmaalaa.

Soo saarista AN Scriabin ee xilliga dambe ee hal-abuurka T. waxa uu hayaa hawlihiisa qaabdhismeed, laakiin dhaqameed. iswaafajinta waxaa lagu badalaa kuwa cusub oo abuura hab gaar ah ("Scriabin mode"). Marka, tusaale ahaan, xarunta "Prometheus". chord - caanka ah "Prometheus" lix-tone leh osn. tone Fis (tusaale A, hoos), dhexe. sphere ("main T.") - 4 lix-tones ee taxanaha hoose ee soo noqnoqda (qaab la dhimay, tusaale B); Nidaamka habaynta (qaybta isku xidhka - tusaale C), qorshaha tonal ee bandhigga - tusaale D (qorshaha is-waafajinta ee "Prometheus" wuxuu ahaa mid gaar ah, inkasta oo uusan si buuxda sax ahayn, oo uu hagaajiyay curiyaha qaybta Luce):

Mabaadi'da masraxa cusub ayaa hoosta ka xariiqaya dhismaha Berg's opera Wozzeck (1921), kaas oo sida caadiga ah loo tixgeliyo tusaale ahaan "qaabka atonal Novensky", in kasta oo qoraagu diidmo adag ka haysto ereyga "shayaadiinta" "atonal". Tonic ma aha oo kaliya otd. nambarada opera (tusaale, goobta 2aad ee d. - "eis"; ka soco goobta 1aad ee d. - "C", saddexdiisa - "Sida"; qoob ka ciyaarka goobta 3aad 1-aad maalintii - " g", goobta dilka Maryan, goobta 4aad ee maalinta 2aad - oo leh codka dhexe "H", iwm. marka laga reebo - dhammaan wax soo saarka. mabda'a ah "meelaha dhaadheer" si joogto ah ayaa loo fuliyay (marka la eego macnaha guud). Haa, ch. Halyeygu waxa uu leeyahay leittonics “Cis” (2st d., bar 2 – dhawaaqa ugu horreeya ee magaca “Wozzeck”; baararka dheeraad ah 1-5, erayada Wozzeck askariga “Taasi waa sax, Mudane Captain”; baararka 87- 89 - Wozzeck's arioso "Anagu dadka saboolka ah!", ee baararka 136d 153-3 - cis-moll triad "ku dhex iftiimay" ee jilbaha ugu muhiimsan ee muuqaalka 220aad). Qaar ka mid ah fikradaha aasaasiga ah ee opera lama fahmi karo iyada oo aan xisaabta lagu darin riwaayadaha tonal; Haddaba, masiibada heesta carruurta ee goobta ugu dambeysa ee opera (ka dib dhimashadii Wozzeck, 319rd d., baararka 4-3) waxay ku jirtaa xaqiiqda ah in heestani ay ku dhawaaqdo codka eis (moll), Wozzeck's leitton; Tani waxay daaha ka qaadaysaa fikradda curiyaha ee ah in carruurta aan taxadarka lahayn ay yihiin "wozzets" yar. (Cf. König W., Tona-litätsstrukturen ee Alban Bergs Oper “Wozzeck”, 372.)

Farsamada taxanaha ah ee dodecaphonic, oo soo bandhigaysa isku xirnaanta qaab-dhismeedka si ka madax banaan codka, waxay si isku mid ah u isticmaali kartaa saameynta codka oo ay sameyso iyada oo aan lahayn. Ka soo horjeeda fikradda khaldan ee caanka ah, dodecaphony si fudud ayaa loogu daraa mabda'a (cusub) T., iyo joogitaanka xarun. codku waa hanti caadi ah. Fikradda taxanaha ah ee 12-tone asal ahaan waxay u kacday hab awood u leh in lagu magdhabo saameynta waxtarka leh ee lumay ee tonic iyo t. concerto, wareegga sonata). Haddii wax soo saarka taxane ah uu ka kooban yahay qaabka tonal, ka dibna shaqada aasaasiga ah, tonic, tonal sphere waxaa lagu samayn karaa mid taxane ah oo gaar ah. garoon, ama dhawaaqyo tixraaceed oo si gaar ah loo qoondeeyay, durayaal, koorno. "Safka qaabka asalka ah hadda wuxuu ciyaarayaa isla doorka "furaha aasaasiga ah" ee loo isticmaalo; "cabashada" si dabiici ah ayay isaga ugu soo noqotaa. Isku cod baannu ku caddaynaynaa! Isbarbardhiggan mabaadi'da dhismeed ee hore waxa loo ilaalinayaa si miyir leh (…)” (Webern A., Lectures on Music, 1975, p. 79). Tusaale ahaan, riwaayadii AA Babadzhanyan ee " Choral" (laga bilaabo "Lix Pictures" ee biyaano) ayaa lagu qoray hal "main T." oo leh xarun d (iyo midab yar). Fugue RK Shchedrin oo ku saabsan mawduuc 12-tone ah ayaa si cad u muujiyay T. a-moll. Mararka qaarkood cilaaqaadka sare way adagtahay in la kala saaro.

A. Webern. riwaayad op. 24.

Sidaa darteed, adoo isticmaalaya xidhiidhka taxanaha ee concerto op. 24 (taxane ah, fiiri Art. Dodecaphony), Webern waxay helaysaa koox saddex-tone ah oo gaar ah. dhererka, ku noqoshada Crimean waxaa loo arkaa inay tahay dib u soo noqoshada "furaha ugu weyn". Tusaalaha hoose wuxuu muujinayaa saddexda dhawaaq ee ugu weyn. spheres (A), bilawga dhaqdhaqaaqa 1aad (B) iyo dhamaadka dhamaadka riwaayada Webern (C).

Si kastaba ha ahaatee, muusikada 12-tone ah, mabda'a noocan oo kale ah ee "hal-tone" ma aha lagama maarmaan (sida muusiga tonal classic). Si kastaba ha ahaatee, qaybo ka mid ah T., xitaa haddii qaab cusub, ayaa inta badan la isticmaalaa. Sidaa darteed, cello sonata by EV Denisov (1971) waxay leedahay xarun, codka "d", riwaayadaha 2aad ee violin ee AG Schnittke wuxuu leeyahay tonic "g". Muusigga 70-meeyadii. Qarnigii 20-aad waxaa jiray u jeedooyin lagu xoojinayo mabda'a T-da cusub.

Taariikhda waxbarista ku saabsan T. waxay ku qotontaa aragtida kaniisadda. hababka (eeg hababka dhexe). Qaab-dhismeedkeeda, fikrado ayaa laga sameeyay finalis sida nooc ka mid ah "tonic" ee qaabka. Habka "qaabka" (habka) laftiisa, laga soo bilaabo aragti ballaadhan, waxaa loo tixgelin karaa mid ka mid ah qaababka (noocyada) T. Dhaqanka soo bandhigida codka (musica ficta, musica falsa) ayaa abuuray shuruudaha muuqaalka muuqaalka saamayn melodic. iyo cufisjiidka chordal dhanka tonic. Aragtida faqradu waxay taariikh ahaan diyaarisay aragtida "cadences of tone". Glarean ee Dodecachord (1547) aragti ahaan wuxuu sharciyeeyay hababka Ionian iyo Aeolian ee jiray waqti dheer ka hor, miisaankooduna ku beegan yahay kuwa waaweyn iyo kuwa yaryar. J. Tsarlino ("Doctrine of Harmony", 1558) oo ku salaysan qarniyadii dhexe. caqiidada saamiga waxay u fasirtay shibbanayaasha triads sida unugyo waxayna abuurtay aragtida waaweyn iyo kuwa yar; Waxa kale oo uu xusay dabeecadda weyn ama yar ee dhammaan hababka. Sannadkii 1615 kii, Dutchman S. de Co (de Caus) wuxuu u beddelay kaniisadda falcelinta. codadka ugu sarreeya (hababka dhabta ah - darajada shanaad, ee plagal - IV). I. Rosenmuller ayaa qoray qiyaastii. 1650 ku saabsan jiritaanka saddex nooc oo keliya - waaweyn, yar iyo Phrygian. Sanadihii 70aadkii. Qarnigii 17aad NP Diletsky wuxuu u kala qaybiyaa "muusiyada" " funny" (ie, major), "naxariso" (yar) iyo "isku dhafan". 1694kii, Charles Masson wuxuu helay laba nooc oo kaliya (Mode majeur iyo Mode mineur); Mid kasta oo iyaga ka mid ah 3 tillaabo waa "muhiim" (Finale, Mediante, Dominante). In "Qamuuska Muusiga" ee S. de Brossard (1703), xanaaq ayaa ka muuqda mid kasta oo ka mid ah 12-ka semitones chromatic. gama. Caqiidada aasaasiga ah ee t. (Eraygan la'aanteed) waxaa abuuray JF Rameau ("Traité de l'harmonie...", 1722, "Nouveau systéme de musique théorique", 1726). Dareenku wuxuu ku salaysan yahay qoob-ka-ciyaarka (oo aan ahayn cabbirka). Rameau waxa uu qaabku u tilmaamayaa in uu yahay nidaam isku xigxig ah oo lagu go'aamiyey saami saddex-laab ah, ie, saamiga saddexda xargo ee ugu waaweyn – T, D iyo S. Xaq-u-yeelashada xidhiidhka xargaha cadceedda, oo ay weheliso isbarbardhigga shibbanaha tonic iyo dissonant D. iyo S, waxay sharxeen awoodda tonic ee dhammaan chords ee habka.

Erayga "T." Markii ugu horreysay waxay ka soo muuqatay FAJ Castile-Blaz (1821). T. - "hantida qaabka muusiga, kaas oo lagu muujiyey (jira) isticmaalka tallaabooyinkeeda muhiimka ah" (ie, I, IV iyo V); FJ Fetis (1844) wuxuu soo jeediyay aragti ah 4 nooc oo T.: midnimo (ordre unito-nique) - haddii alaabta. waxay ku qoran tahay hal fure, iyada oo aan la beddelin kuwa kale (oo u dhiganta muusigga qarnigii 16aad); transitonality - modulations ayaa loo adeegsadaa dhawaaqyo dhow (sida muuqata, muusiga baroque); pluritonality - modulations waxaa loo isticmaalaa dhawaaqyo fog, anharmonisms (xilliga Viennese classics); omnitonality ("all-tonality") - isku dhaf ah walxo furayaal kala duwan, mid kasta oo ka mid ah chord waxaa raaci kara mid kasta (xilliga jaceylka). Lama odhan karo, si kastaba ha ahaatee, in nooca Fetis si fiican loo aasaasay. X. Riemann (1893) waxa uu abuuray aragti si adag u shaqaynaysa ee timbre. Sida Rameau, wuxuu ka sii socday qaybta chord-ka oo ah xarunta dhexe ee nidaamka oo wuxuu raadiyay inuu sharaxo tonity iyada oo loo marayo xiriirka dhawaaqa iyo shibbanayaasha. Si ka duwan Rameau, Riemann si sahal ah uguma salayn T.3 ch. chord, laakiin la dhimay iyaga ("is-waafajinta kaliya ee muhiimka ah") inta soo hartay (taas oo ah, T. Riemann waxay leedahay 3 saldhig oo kaliya oo u dhiganta 3 hawlood - T, D iyo S; Sidaa darteed, kaliya nidaamka Riemann ayaa si adag u shaqeeya) . G. Schenker (1906, 1935) codka la caddeeyey inuu yahay sharci dabiici ah oo lagu go'aamiyey sifooyinka taariikh ahaan aan kobcin ee alaabta dhawaaqa. T. waxay ku salaysan tahay shibbane triad, diatonic iyo shibbanaha counterpoint (sida contrapunctus simplex). Muusiga casriga ah, sida uu qabo Schenker, waa hoos u dhaca iyo hoos u dhaca awoodaha dabiiciga ah ee keena tonality. Schoenberg (1911) ayaa si faahfaahsan u bartay khayraadka casriga ah. harmonic isaga. nidaamka oo yimid gabagabada in casriga ah. muusiga tonal waa "xuduudaha T." (oo ku salaysan fahamkii hore ee T.). Waxa uu u yeedhay (iyada oo aan si sax ah loo qeexin) "dawlada" cusub ee codka (c. 1900-1910; M. Reger, G. Mahler, Schoenberg) ereyada "sabbaynaya" tone (schwebende; tonic ayaa u muuqda mid dhif ah, waa laga fogaadaa cod cad oo ku filan). ; tusaale ahaan, heesta Schoenberg ee “The Temptation” op. 6, No 7) iyo "la baxay" T. (aufgehobene; labadaba tonic iyo shibbane triads waa la iska ilaaliyaa, "cords wareega" ayaa la isticmaalaa - xariifka toddobaad ee xariif ah, triads kordhay, chords kale oo badan tonal).

Ardayga Riemann G. Erpf (1927) waxa uu isku dayay in uu sharaxo ifafaalaha muusiga ee 10-kii iyo 20-meeyadii iyada oo laga eegayo aragtida si adag u shaqaynaysa iyo in uu u dhawaado ifafaalaha muusiga taariikh ahaan. Erpf waxa kale oo uu soo bandhigay fikradda ah "xarunta shibbane" (Klangzentrum), ama "xarunta dhawaaqa" (tusaale, Schoenberg's play op. 19 No 6), taas oo muhiim u ah aragtida codka cusub; T. xarun noocan oo kale ah waxaa mararka qaarkood loo yaqaan Kerntonalität ("core-T"). Webern (ch. arr. marka laga eego aragtida qadiimiga ah ee t.) waxay ku sifaysan tahay horumarinta muusigga "ka bacdi classics" sida "burburinta t." (Webern A., Muxaadarooyinka Muusiga, bogga 44); nuxurka T. wuxuu go'aamiyay raadraaca. habka: "ku tiirsanaanta codka ugu weyn", "macnaha qaabeynta", "macnaha isgaarsiinta" (ibid., p. 51). T. waxaa burburiyay "bifurcation" ee diatonic. Tallaabooyinka (b. 53, 66), "Balaadhinta kheyraadka dhawaaqa" (bogga 50), faafinta madmadowga tonal, luminta baahida loo qabo in lagu soo laabto ugu weyn. lahjad, u janjeerta soo noqnoqon la'aanta dhawaaqyada (bogga 55, 74-75), qaabaynta iyada oo aan lahayn qadiimiga. sarbeeb T. (bogga 71-74). P. Hindemith (1937) wuxuu dhisay aragti tafatiran ee T. cusub, oo ku salaysan 12-tallaabo ("taxane I", tusaale ahaan, nidaamka

suurtagalnimada khilaaf kasta oo iyaga ka mid ah. Nidaamka qiyamka Hindemith ee walxaha T. waa mid aad u kala duwan. Sida laga soo xigtay Hindemith, dhammaan muusikada waa tonal; ka fogaanshaha wada xidhiidhka tonal waa u adag tahay sida cuf-jiidka dhulka. Haddi aragtida Stravinsky ee tonality ay tahay mid gaar ah. Isaga oo tonal (macnaha cidhiidhiga ah) maskaxda ku haya is-waafajinta, wuxuu qoray: "Harmony… wuxuu lahaa taariikh qurux badan laakiin taariikh gaaban" ("Dialogues", 1971, p. 237); "Mar dambe kuma dhex jirno qaab-dhismeedka T. qadiimiga ah ee macnaha dugsiga" ("Musikalische Poetik", 1949, S. 26). Stravinsky wuxuu u hoggaansamaa "T cusub". ("aan tonal ahayn" muusiggu waa tonal, "laakin kuma jiro nidaamka tonal ee qarnigii 18-aad"; "Dialogues", p. 245) mid ka mid ah noocyadeeda, kaas oo uu ugu yeeray "colanimada codka, dhexda, iyo xitaa kakan codka"; "Tonal (ama dhawaaq-"tonale") tiirku waa ... dhidibka ugu weyn ee muusiga," T. waa kaliya "hab lagu hago muusiga sida ay tirarkan yihiin." Si kastaba ha ahaatee, ereyga "cirka", si kastaba ha ahaatee, waa khalad, maadaama ay sidoo kale tilmaamayso "cirka ka soo horjeeda", taas oo Stravinsky uusan ula jeedin. J. Rufer, oo ku salaysan fikradaha dugsiga cusub ee Viennese, ayaa soo jeediyay ereyga "dhawaaq cusub", isaga oo tixgelinaya inuu yahay mid sita taxanaha 12-tone. Qoraalka X. Lang "Taariikhda fikradda iyo ereyga "tonality" ("Begriffsgeschichte des Terminus "Tonalität", 1956) wuxuu ka kooban yahay macluumaad aasaasi ah oo ku saabsan taariikhda Tonalism.

Ruushka, aragtida codka ayaa la sameeyay markii hore iyada oo la xiriirta ereyada "tone" (VF Odoevsky, Warqad ku socota Publisher, 1863; GA Laroche, Glinka iyo Muhiimadda ay u leedahay Taariikhda Muusiga, Bulletin Ruush, 1867-68; PI Tchaikovsky , "Hagaha daraasadda la taaban karo ee is-waafajinta", 1872), "nidaamka" (German Tonart, oo uu tarjumay AS Famintsyn "Buugga is-waafajinta" ee EF Richter, 1868; HA Rimsky -Korsakov, "Buugga Harmony", 1884-85 ), "habka" (Odoevsky, ibid; Tchaikovsky, ibid), "aragti" (laga soo bilaabo Ton-farshaxan, oo uu tarjumay Famintsyn ee AB Marx's Universal Textbook of Music, 1872). Tchaikovsky's "Buug-gacmeedka Gaaban ee Harmony" (1875) ayaa si ballaaran u isticmaala ereyga "T." (mararka qaarkood sidoo kale ku jira Tusaha Daraasadda Dhaqan ee Wada-noolaanshaha). SI Taneyev wuxuu soo bandhigay aragtida "midaynta tonality" (eeg shaqadiisa: "Falanqaynta qorshayaasha habaynta ...", 1927; tusaale ahaan, isku xigxiga leexinta ee G-dur, A-dur waxay kicisaa fikradda TD -dur, midayntooda, sidoo kale waxay abuurtaa soo jiidasho tonal ah). Sida Galbeedka, Ruushka, ifafaale cusub oo ku saabsan tonality ayaa markii hore loo arkay maqnaanshaha "midnimo tonal" (Laroche, ibid.) ama tonality (Taneyev, Warqad ku socota Tchaikovsky ee Ogosto 6, 1880), natiijada "ka baxsan xadka nidaamka" (Rimsky-Korsakov, ibid.). Tiro ka mid ah ifafaale la xidhiidha codka cusub (la'aanteed ereygan) ayaa lagu tilmaamay Yavorsky (nidaamka 12-semitone, tonic dissonant iyo kala firdhiyey, tirada badan ee qaab-dhismeedka modal ee codka, iyo inta badan hababka waa ka baxsan weyn iyo yar yar. ; hoos saamaynta Yavorsky Ruush. Muusigga aragtiyeed waxay raadisay habab cusub (qaab-dhismeedyo sare oo cusub), tusaale ahaan. soo saarista Scriabin ee xilliga dambe ee hal-abuurka (BL Yavorsky, "qaab-dhismeedka hadalka muusiga", 1908; "Fikrado dhowr ah oo la xidhiidha sannad-guuradii Liszt", 1911; Protopov SV, "Qeybaha qaabdhismeedka hadalka muusikada" , 1930) Midkoodna Impressionists, - qoray BV Asafiev, - ma dhaafin xadka nidaamka harmonic tonal "(" Foomka Muusikada sida Geedi socodka ah ", M., 1963, p. 99). GL Catuar (oo raacaya PO Gewart) waxay soo saartay noocyada waxa loogu yeero. fidsan T. (nidaamyada yaryar iyo kuwa chromatic). BV Asafiev wuxuu bixiyay falanqeyn ku saabsan dhacdooyinka dhawaaqa (shaqooyinka codka, D, iyo S, qaab dhismeedka "qaabka Yurub", codka hordhaca ah, iyo tarjumaadda stylistic ee walxaha codka) marka loo eego aragtida gelinta . Yu. Horumarinta N. Tyulin ee fikradda kala duwanaanshiyaha ayaa si weyn u xoojiyay aragtida shaqooyinka codka. Tiro ka mid ah dhakhaatiirta muusiga owls (MM Skorik, SM Slonimsky, ME Tarakanov, HP Tiftikidi, LA Karklinsh, iwm) ee 60-70s. si faahfaahsan u bartay qaab-dhismeedka casriga ah. 12-talaabo (chromatic) tonality. Tarakanov ayaa si gaar ah u horumariyay fikradda "T cusub" (fiiri maqaalkiisa: "Tonality New in music of the 1972th century", XNUMX).

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Yu. N. Kholopov