Tonality |

Faransanci tonalite, Jamusanci. Tonalitat, kuma Tonart

1) Matsayin matsayi na yanayin (kayyade ta IV Sposobina, 1951, dangane da ra'ayin BL Yavorsky; misali, a cikin C-dur "C" shine nadi na tsawo na babban sautin yanayin, kuma "dur" - "manyan" - yanayin yanayin).

2) Matsayin matsayi. tsarin tsakiya na haɗin haɗin tsayin da aka bambanta aiki; T. a cikin wannan ma'ana shine haɗin kai na yanayin da ainihin T., watau, tonality (ana ɗauka cewa T. yana cikin wani wuri a wani tsayi, duk da haka, a wasu lokuta ana fahimtar kalmar ko da ba tare da irin wannan wuri ba. gaba daya yayi daidai da manufar yanayin, musamman a kasashen waje lit-re). T. a cikin wannan ma'anar kuma yana da mahimmanci a cikin tsohuwar monody (duba: Lbs J., "Tonalnosc melodii gregorianskich", 1965) da kiɗa na karni na 20. (Duba, misali: Rufer J., “Die Zwölftonreihe: Träger einer neuen Tonalität”, 1951).

3) A kunkuntar hanya ta musamman. ma'anar T. shine tsarin bambance-bambancen haɗin filin aiki, wanda aka tsara shi a tsakiya bisa tushen baƙar fata triad. T. a cikin wannan ma'anar daidai yake da "tonality na jituwa" halayyar gargajiya-romantic. tsarin jituwa na ƙarni na 17-19; a cikin wannan yanayin, kasancewar yawancin T. da aka ƙayyade. tsarin dangantakar su da juna (tsarin T.; duba Circle na biyar, Dangantakar Maɓallai).

Ana nufin "T." (a cikin kunkuntar, ƙayyadaddun ma'ana) hanyoyin - manyan da ƙananan - ana iya tunanin su a matsayin suna tsaye a kan daidai da sauran hanyoyin (Ionian, Aeolian, Phrygian, yau da kullum, pentatonic, da dai sauransu); a haƙiƙa, bambancin da ke tsakanin su yana da girma wanda ya zama tabbataccen ma'ana. adawa na manya da kanana a matsayin masu jituwa. monophonic tonalities. tashin hankali. Sabanin monodic. frets, manya da ƙanana T .. sun kasance a cikin ext. kuzari da aiki, tsananin motsi mai ma'ana, daidaitaccen daidaitawa cikin hankali da wadatar dangantakar aiki. Dangane da waɗannan kaddarorin, sautin (ba kamar nau'ikan monodic) yana da alaƙa da jan hankali a sarari kuma koyaushe a tsakiyar yanayin ("aiki a nesa", SI Taneev; tonic yana mamaye inda ba ya sauti); canje-canje na yau da kullun (metric) na cibiyoyin gida (matakai, ayyuka), ba wai kawai ba soke babban nauyi ba, amma fahimtar shi da ƙarfafa shi zuwa matsakaicin; dialectical rabo tsakanin abutment da m (musamman, alal misali, a cikin tsarin tsarin guda ɗaya, tare da babban gravitation na digiri na VII a cikin I, sautin digiri na I zai iya jawo hankalin VII). Saboda tsananin jan hankali zuwa tsakiyar tsarin jituwa. T., kamar yadda yake, shayar da wasu hanyoyi a matsayin matakai, "hanyoyi na ciki" (BV Asafiev, "Form Music as a Process", 1963, p. 346; matakai - Dorian, tsohon yanayin Phrygian tare da babban tonic a matsayin Phrygian. juya ya zama wani ɓangare na ƙarami masu jituwa, da sauransu). Don haka, manya da ƙanana sun haɗu da hanyoyin da suka gabace su a tarihi, kasancewar a lokaci guda ma'auni na sabbin ƙa'idodin tsarin tsarin. Ƙarfafawar tsarin tonal yana da alaƙa a kaikaice tare da yanayin tunanin Turai a cikin Zamanin Zamani (musamman, tare da ra'ayoyin Haske). "Modality yana wakiltar, a gaskiya, kwanciyar hankali, da kuma tonality ra'ayi mai mahimmanci na duniya" (E. Lovinsky).

A cikin tsarin T., T. dabam yana samun tabbatacce. aiki a cikin jituwa mai ƙarfi. kuma mai launi. dangantaka; Wannan aikin yana da alaƙa da ra'ayoyi masu yawa game da hali da launi na sautin. Don haka, C-dur, sautin "tsakiya" a cikin tsarin, ya zama mafi "mai sauƙi", "fari". Mawaƙa, gami da manyan mawaƙa, galibi suna da abin da ake kira. Launi ji (na NA Rimsky-Korsakov, launi T. E-dur ne mai haske kore, fastoci, da launi na spring birches, Es-dur ne duhu, m, launin toka-bluish, sautin na "birane" da kuma "sansanin gandun daji" ; L Beethoven da ake kira h-moll "black tonality"), don haka wannan ko wancan T. wani lokaci yana hade da ma'anar. zai bayyana. yanayin kiɗan (misali, WA Mozart's D-dur, Beethoven's c-moll, As-dur), da kuma jujjuyawar samfurin. - tare da canji mai salo (alal misali, Mozart's motet Ave verum corpus, K.-V. 618, D-dur, an canza shi cikin tsarin F. Liszt zuwa H-dur, ta haka ne aka sami “romanticization”).

Bayan zamanin rinjaye na gargajiya manyan-kananan T. manufar "T." Har ila yau, yana da alaƙa da ra'ayi na reshe na kida-ma'ana. tsari, watau, game da wani nau'i na "ka'idar tsari" a cikin kowane tsarin dangantakar magana. Mafi hadaddun tsarin tonal sun zama (daga karni na 17) muhimmiyar hanya ce ta kiɗa mai cin gashin kanta. bayyanawa, da wasan kwaikwayo na tonal wani lokaci suna gasa da rubutu, mataki, jigo. Kamar int. Rayuwar T. tana bayyana a cikin canje-canje na maɗaukaki (matakai, ayyuka - nau'in "micro-lads"), tsarin tonal mai mahimmanci, wanda ke tattare da mafi girman matakin jituwa, yana rayuwa cikin motsin motsin motsi, T canje-canje. Don haka, tsarin tonal na gaba ɗaya ya zama ɗaya daga cikin muhimman abubuwan da ke cikin ci gaban tunanin kiɗa. PI Tchaikovsky ya rubuta: “Bari tsarin waƙar ya zama mafi ɓatacce, fiye da ainihin tunanin kiɗan, wanda ya dogara kai tsaye ga daidaitawa da jituwa.” A cikin ingantaccen tsarin tonal otd. T. na iya taka rawa mai kama da jigogi (misali, e-moll na jigo na biyu na ƙarshe na sonata na 7 na Prokofiev don piano a matsayin nunin E-dur na motsi na 2 na sonata ya haifar da ƙima. thematic intonation “arch” -tunani akan sikelin duka zagayowar).

Matsayin T. a cikin ginin muses yana da girma na musamman. siffofi, musamman ma manya (sonata, rondo, cyclic, babban opera): "Ci gaba da zama a cikin maɓalli ɗaya, ya bambanta da sauyi ko žasa da sauri na gyare-gyare, juxtaposition na ma'auni mai bambanta, a hankali ko canzawa kwatsam zuwa sabon maɓalli, shirya komawa zuwa Babban ", - duk waɗannan suna nufin "sadar da taimako da ƙwanƙwasa zuwa manyan sassan abun da ke ciki kuma ya sauƙaƙa wa mai sauraro ya fahimci siffarsa" (SI Taneev; duba Form Musical).

Yiwuwar maimaita dalilai a cikin sauran jituwa ya haifar da sabon salo mai ƙarfi na jigogi; yiwuwar maimaita jigogi. formations a cikin wasu T. sun sa ya yiwu a gina manyan kayan tarihi masu tasowa. siffofin. Abubuwan da ke motsa motsi iri ɗaya na iya ɗaukar wani daban, har ma da akasin haka, ma'ana dangane da bambance-bambance a cikin tsarin tonal (alal misali, tsawaita rarrabuwa a ƙarƙashin yanayin canje-canjen tonal yana ba da tasirin haɓakar haɓakawa, kuma a ƙarƙashin yanayin tonic na tonic. babban tonality, akasin haka, sakamakon "coagulation", ci gaba da dakatarwa). A cikin nau'i na operatic, canji a cikin T. sau da yawa yana daidai da canji a cikin yanayin makirci. Tsarin tonal ɗaya kawai zai iya zama Layer na muses. siffofin, misali. canjin T. a cikin 1st d. "Aure na Figaro" na Mozart.

Siffar sautin mai tsafta da balagagge (watau “sautin jituwa”) siffa ce ta kidan kidan na gargajiya na Viennese da mawaƙa waɗanda ke kusa da su a tsarin lokaci (mafi yawan duka, zamanin tsakiyar 17th da tsakiyar 19th). ƙarni). Duk da haka, harmonic T. yana faruwa da yawa a baya, kuma yana yaduwa a cikin kiɗa na karni na 20. Madaidaitan iyakokin tarihin lokaci na T. a matsayin na musamman, ƙayyadaddun. yana da wuya a kafa nau'i na damuwa, tun da decomp. za a iya ɗauka a matsayin tushe. hadaddun siffofinsa: A. Mashabe kwanan wata fitowar masu jituwa. T. karni na 14, G. Besseler - karni na 15, E. Lovinsky - karni na 16, M. Bukofzer - karni na 17. (Duba Dahhaus S., Untersuchungen über die Entstehung der harmonischen Tonalität, 1); IDAN Stravinsky yana nufin rinjayen T. zuwa lokaci daga tsakiya. 1968 zuwa Ser. Ƙarni na 17 Complex Ch. alamomin al'ada (jituwa) T.: a) tsakiyar T. triad ne mai baƙar fata (haka kuma, mai yiwuwa a matsayin haɗin kai, kuma ba a matsayin haɗin kai ba); b) yanayin - babba ko ƙarami, wakilta ta hanyar tsarin ƙididdiga da waƙa mai motsi "tare da zane" na waɗannan waƙoƙin; c) Tsarin damuwa dangane da ayyuka 19 (T, D da S); "halayen dissonances" (S tare da na shida, D tare da na bakwai; lokaci X. Riemann); T shine consonance; d) canjin jituwa a cikin T., jin kai tsaye na sha'awar tonic; e) tsarin tsarin ƙididdiga da alaƙa na quint na huɗu na ƙididdiga a waje (kamar idan an canza su daga cadences kuma an fadada zuwa duk haɗin gwiwa; don haka kalmar "cadence t."), matsayi. gradation na jituwa (maɓalli da maɓalli); f) ƙaƙƙarfan ma'aunin ma'auni mai ƙarfi ("tonal rhythm"), da kuma nau'i - ginin da ya danganci murabba'i da haɗin kai, "rhyming" cadences; g) manyan nau'ikan da suka dogara akan daidaitawa (watau canza T.).

Mallakar irin wannan tsarin ya fada a karni na 17-19, lokacin da hadadden Ch. Ana gabatar da alamun T., a matsayin mai mulkin, gaba daya. Wani ɓangare na haɗuwa da alamun, wanda ke ba da jin dadin T. (kamar yadda ya saba da yanayin), ana lura da shi ko da a cikin otd. rubuce-rubucen Renaissance (ƙarni na 14-16).

A cikin G. de Macho (wanda kuma ya hada ayyukan kiɗa na monophonic), a cikin ɗayan le (No 12; "Le on mutuwa"), ɓangaren "Dolans cuer las" an rubuta shi a cikin babban yanayin tare da rinjaye na tonic. triads a ko'ina cikin tsarin farar:

G. de Macho. Layi No 12, sanduna 37-44.

"Monodic major" a cikin wani yanki daga aikin. Masho har yanzu yana da nisa daga classic. nau'in T., duk da daidaituwar alamu da yawa (na sama, b, d. e, f an gabatar da su). Ch. Bambanci shine ɗakin ajiya na monophonic wanda ba ya nufin rakiyar homophonic. Ɗaya daga cikin bayyanar farko na rhythm na aiki a cikin polyphony shine a cikin waƙar (rondo) na G. Dufay "Helas, ma dame" ("wanda jigon sa ya fito daga sabuwar duniya," a cewar Besseler):

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

ra'ayi na jituwa. T. ya taso ne sakamakon sauye-sauyen aiki mai ma'ana da kuma fifikon masu jituwa. mahadi a cikin ma'auni-quarto-quint, T - D da D - T a cikin jituwa. tsarin gaba daya. A lokaci guda, cibiyar tsarin ba ta da yawa (ko da yake yana faruwa lokaci-lokaci, sanduna 29, 30), amma na biyar (ba da izinin duka manyan da ƙananan kashi uku ba tare da niyya ba na yanayin gauraye-ƙananan yanayin) ; Yanayin ya fi waƙa fiye da maɗaukaki (ƙwaƙwalwar ba shine tushen tsarin ba), rhythm (ba tare da metric extrapolation ba) ba tonal ba ne, amma modal (ma'auni biyar ba tare da wani ma'auni ba zuwa squareness); tonal nauyi yana sananne tare da gefuna na gine-gine, kuma ba gaba ɗaya ba (ɓangaren murya ba ya fara kwata-kwata tare da tonic); babu tonal-aikin gradation, kazalika da haɗin haɗin kai da dissonance tare da ma'anar tonal na jituwa; a cikin rarraba cadences, son zuciya ga rinjaye ba shi da girma. Gabaɗaya, ko da waɗannan bayyanannun alamun sautin azaman tsarin tsari na nau'in nau'in na musamman har yanzu ba su ƙyale mu mu danganta irin waɗannan sifofin zuwa sautin da ya dace ba; wannan tsari ne na al'ada (daga ra'ayi na T. a cikin ma'ana mai mahimmanci - "modal tonality") na ƙarni na 15-16, a cikin tsarin da keɓaɓɓen sassan da ke tsiro. sassan T. (duba Dahinaus C, 1968, shafi na 74-77). Rushewar Ikklisiya tana jin daɗi a cikin wasu kiɗan. samfur. con. 16- roqo. Karni na 17 ya haifar da nau'in "free T" na musamman. – ba modal, amma ba tukuna na gargajiya (motets ta N. Vicentino, madrigals na Luca Marenzio da C. Gesualdo, Enharmonic Sonata na G. Valentini; duba misali a shafi na 567, kasa).

Rashin ma'auni mai tsayi da kuma madaidaicin ma'auni. ka'idoji ba su yarda a dangana irin wannan tsarin ga coci ba. tashin hankali.

C. Gesualdo. Madrid "Merce!".

Kasancewar wani tsaye a cikin cadences, tsakiya. chord - wani baƙar fata triad, canjin "matakan jituwa-mataki" yana ba da dalilin la'akari da wannan nau'i na musamman na T. - chromatic-modal T.

Sannu a hankali kafa rinjayen ƙananan ƙarami ya fara ne a cikin karni na 17, musamman a cikin raye-raye, yau da kullum, da kiɗa na zamani.

Duk da haka, tsofaffin majami'u damuwa suna ko'ina a cikin kiɗa na bene na 1st. Karni na 17, misali. 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, duba Tabuiatura nova, III. pars). Ko da JS Bach, wanda waƙarsa ta mamaye ci gaban harmonica. T., irin waɗannan abubuwan ba sabon abu ba ne, misali. chorales

J. Dowland. Madrid "Farka, ƙauna!" (1597).

Aus tiefer Ba schrei' ich zu dir da Erbarm' dich mein, O Herre Gott (bayan Schmieder Nos. 38.6 da 305; Yanayin Phrygian), Mit Fried' da Freud'ich fahr' dahin (382, Dorian), Komm, Gott Schöpfer , heiliger Geist (370; Mixolydian).

Yankin da ya ƙare a cikin haɓaka aikin katako mai ƙarfi na babban-kananan nau'in ya faɗi a zamanin gargajiyar Viennese. Babban ma'auni na daidaituwa na wannan lokacin ana la'akari da manyan kaddarorin jituwa gabaɗaya; sun ƙunshi galibin abubuwan da ke cikin duk littattafan koyarwa masu jituwa (duba Harmony, Ayyukan masu jituwa).

Ci gaban T. a bene na 2. Ƙarni na 19 ya ƙunshi faɗaɗa iyakokin T. (gauraye manyan-kananan, ƙarin tsarin chromatic.), haɓaka dangantakar tonal-aikin, polarizing diatonic. da chromatic. jituwa, haɓaka launi. ma'anar t., Farfadowar modal jituwa a kan wani sabon tushe (musamman dangane da tasirin labarun kan aikin mawaƙa, musamman ma a cikin sababbin makarantu na ƙasa, misali, Rashanci), amfani da yanayin yanayi, kazalika. a matsayin masu ma'ana na "artificial" (duba Sposobin I V., "Lectures on the course of jituwa", 1969). Waɗannan da wasu sabbin abubuwa suna nuna saurin juyin halittar t. Haɗin tasirin sabbin kaddarorin t. nau'in (a cikin F. Liszt, R. Wagner, MP Mussorgsky, NA Rimsky-Korsakov) daga tsattsauran ra'ayi na T. na iya zama kamar kin amincewa da shi. An haifar da tattaunawar, alal misali, ta gabatarwar Wagner's Tristan und Isolde, inda aka rufe tonic na farko ta hanyar jinkiri mai tsawo, sakamakon abin da ra'ayi na kuskure ya tashi game da cikakken rashin tonic a cikin wasan ("cikakken kaucewa). na tonic”; duba Kurt E., “Romantic Harmony da rikicinta a Wagner's “Tristan”, M., 1975, shafi na 305; wannan kuma shi ne dalilin rashin fahimtarsa ​​na tsarin jituwa na sashe na farko kamar yadda aka fahimce shi sosai. "Mafi rinjaye", shafi na 299, kuma ba a matsayin bayanin al'ada ba., da kuma ma'anar da ba daidai ba na iyakoki na sashin farko - sanduna 1-15 maimakon 1-17). Symptomatic shine sunan ɗayan wasan kwaikwayo na ƙarshen Liszt - Bagatelle Without Tonality (1885).

Bayyanar sababbin kaddarorin T., yana motsa shi daga na gargajiya. nau'in, zuwa farkon. Ƙarni na 20 ya haifar da canje-canje mai zurfi a cikin tsarin, wanda mutane da yawa suka gane kamar lalata, lalata t., "atonality". Si Taneyev ya bayyana farkon sabon tsarin tonal (a cikin "Mobile Counterpoint of Strict Writing", kammala a 1906).

Ma’ana T. ƙaramin tsarin aiki mai ƙarfi, Taneyev ya rubuta: “Bayan ya ɗauki matsayin coci, tsarin tonal ɗinmu yanzu, bi da bi, ya zama sabon tsarin da ke neman ya lalata tonality kuma ya maye gurbin diatonic tushen jituwa. tare da chromatic daya, kuma lalata tonality yana haifar da bazuwar nau'in kiɗa "(ibid., Moscow, 1959, shafi na 9).

Daga baya, "sabon tsarin" (amma zuwa Taneyev) ake kira kalmar "sabon fasaha". Asalin kamancensa da na gargajiya T. ya ƙunshi gaskiyar cewa “sabon T.” shi ma matsayi ne. tsarin bambance-bambancen haɗin kai na tsayin daka na aiki, yana haɗa da ma'ana. haɗi a cikin tsarin farar. Ba kamar tsohon tonality, sabon zai iya dogara ba kawai a kan tonic tonic, amma kuma a kan kowane zaɓaɓɓen rukuni na sauti, ba kawai a kan diatonic. tushe, amma yadu amfani da jituwa akan kowane ɗayan sauti na 12 azaman mai zaman kansa mai aiki (haɗuwa da duk hanyoyin yana ba da yanayin poly-mode ko “fretless” – “sabo, daga yanayin T.”; duba Nü11 E. von, “B Bartok, Ein Beitrag zur Morphologie der neuen Musik”, 1930); ma'anar ma'anar sautuka da baƙaƙe na iya wakiltar al'ada ta sabuwar hanya. dabarar TSDT, amma ana iya bayyana ta in ba haka ba. Halittu. Bambancin kuma ya ta'allaka ne a cikin gaskiyar cewa tsattsauran tsattsauran ra'ayi na T. ya kasance daidai da tsari, amma sabon T. yana da daidaikun mutane kuma saboda haka ba shi da hadaddun abubuwa guda ɗaya na sauti, wato, ba shi da daidaiton aiki. Saboda haka, a cikin ɗaya ko wata muqala, ana amfani da haɗuwa daban-daban na alamun T.

A cikin samarwa AN Scriabin na ƙarshen zamani na kerawa T. yana riƙe da ayyukansa na tsari, amma na gargajiya. Ana maye gurbin jituwa da sababbi waɗanda ke ƙirƙirar yanayi na musamman (“Yanayin Scriabin”). Don haka, alal misali, a cikin cibiyar "Prometheus". chord - sanannen "Prometheus" sautin shida tare da osn. sautin Fis (misali A, ƙasa), tsakiya. Sphere ("babban T.") - 4 irin waɗannan sautunan shida a cikin ƙananan ƙananan matakan (yanayin da aka rage; misali B); Tsarin daidaitawa (a cikin ɓangaren haɗin kai - misali C), tsarin tonal na baje-kolin - misali D (shirin jituwa na "Prometheus" ya kasance na musamman, kodayake ba cikakke cikakke ba, wanda marubucin Luce ya daidaita):

Ka'idodin sabon gidan wasan kwaikwayo sun haɗa da gina opera na Berg Wozzeck (1921), wanda yawanci ana ɗaukarsa a matsayin samfurin "Salon Atonal na Novensky", duk da ƙin yarda da marubucin ga kalmar "shaidan" "atonal". Tonic ba kawai otd ba. Lambobin opera (misali, 2nd scene na 1st d. – “eis”; tafiya daga fage na 3 na d. – “C”, ukunsa – “As”; rawa a fage na 1 4 – rana – “ g", wurin da aka kashe Maryamu, wuri na 2 na rana ta 2 - tare da tsakiyar sautin "H", da dai sauransu) da kuma dukan opera gaba ɗaya (kwadar da babban sautin "g"), amma ƙari. fiye da haka - a duk samarwa. ka'idar "Leit Heights" an aiwatar da shi akai-akai (a cikin mahallin leit tonalities). iya, ch. Jarumin yana da leittonics “Cis” (2st d., mashaya 1 – lafazin farko na sunan “Wozzeck”; ƙarin sanduna 5-87, kalmomin Wozzeck sojan “Haka ne, Mista Captain”; sanduna 89- 136 - Wozzeck's arioso "Mu talakawa!", A cikin 153d sanduna 3-220 - cis-moll triad "haske" a cikin babban ma'anar na 319th scene). Ba za a iya fahimtar wasu mahimman ra'ayoyin wasan opera ba tare da la'akari da wasan kwaikwayo na tonal; Don haka, bala'i na waƙar yara a cikin yanayin ƙarshe na opera (bayan Wozzeck ta mutu, 4rd d., Bars 3-372) ya ta'allaka ne a cikin gaskiyar cewa wannan waƙar tana sauti a cikin sautin eis (moll), Wozzeck's leitton; wannan ya bayyana ra'ayin marubucin cewa yara marasa kulawa ba su da "wozzets". (Cf. König W., Tona-litätsstrukturen a cikin Alban Bergs Oper “Wozzeck”, 75.)

Dabarar dodecaphonic-serial, wanda ke gabatar da daidaituwar tsarin ba tare da sautin ba, zai iya daidai amfani da tasirin sautin kuma yayi ba tare da shi ba. Sabanin ra'ayi mara kyau, dodecaphony yana sauƙin haɗuwa tare da ka'idar (sabon) T., da kuma kasancewar cibiyar. sautin abu ne na yau da kullun don shi. Babban ra'ayin jerin sautin 12 ya samo asali ne azaman hanyar da za ta iya ramawa ga asarar ingantaccen tasirin tonic da t. concerto, sonata cycle). Idan samfurin serial yana kunshe a kan samfurin tonal, to, aikin tushe, tonic, tonal sphere za a iya yin ko dai ta hanyar jeri akan takamaiman. sauti, ko keɓaɓɓen sautunan tunani, tazara, maɗaukaki. "Layin da ke cikin asalinsa yanzu yana taka rawa iri ɗaya da "maɓalli na asali" da ake amfani da su; “reprise” na komawa gareshi a zahiri. Mu cadence a cikin wannan sautin! Wannan kwatancin tare da ƙa'idodin tsarin farko ana kiyaye shi sosai (…)” (Webern A., Lectures on Music, 1975, shafi na 79). Misali, wasan kwaikwayo na AA Babadzhanyan “Choral” (daga “Hotuna shida” na piano) an rubuta shi a cikin “babban T.” tare da tsakiyar d (da ƙananan launi). Fugue na RK Shchedrin akan jigo mai sauti 12 yana da bayyana T. a-moll a sarari. Wani lokaci dangantakar tsayi yana da wuya a bambanta.

A. Webern. Concert op. 24.

Don haka, yin amfani da kusancin jerin abubuwa a cikin concerto op. 24 (don jerin, duba Art. Dodecaphony), Webern yana karɓar rukuni na sautuna uku don takamaiman. tsawo, komawa zuwa Crimea ana la'akari da komawa zuwa "babban maɓalli". Misalin da ke ƙasa yana nuna sautuna uku na babba. Spheres (A), farkon motsi na farko (B) da ƙarshen ƙarshen wasan kide-kide na Webern (C).

Duk da haka, don kiɗan sautin 12, irin wannan ka'idar "sautin ɗaya" abun da ke ciki ba lallai ba ne (kamar yadda a cikin kiɗan tonal na gargajiya). Duk da haka, wasu sassa na T., ko da a cikin sabon nau'i, ana amfani da su sosai. Saboda haka, cello sonata na EV Denisov (1971) yana da cibiyar, sautin "d", serial 2nd violin concerto na AG Schnittke yana da tonic "g". A cikin kiɗa na 70s. Ƙarni na 20 akwai halaye don ƙarfafa ƙa'idar sabon T.

Tarihin koyarwa game da T. ya samo asali ne daga ka'idar coci. hanyoyin (duba hanyoyin zamani). A cikin tsarin sa, an haɓaka ra'ayoyi game da finalis a matsayin nau'in "tonic" na yanayin. "Yanayin" (yanayin) kanta, daga mahimmin ra'ayi, ana iya la'akari da shi a matsayin daya daga cikin nau'i (nau'i) na T. Ayyukan gabatar da sautin (musica ficta, musica falsa) ya haifar da yanayi don bayyanar da bayyanar. melodic sakamako. da chordal gravitation zuwa tonic. Ka'idar jumla ta tarihi ta shirya ka'idar "cadences of tone". Glarean a cikin Dodecachord (1547) bisa ka'ida ya halatta hanyoyin Ionian da Aeolian waɗanda suka wanzu tun da farko, wanda ma'auninsu ya zo daidai da manya da ƙanana na halitta. J. Tsarlino ("The Doctrine of Harmony", 1558) dangane da Tsakiyar Zamani. rukunan rabbai sun fassara baƙaƙen triads a matsayin raka'a kuma ya haifar da ka'idar babba da ƙarami; ya kuma lura da babba ko ƙarami na duk hanyoyin. A shekara ta 1615, ɗan ƙasar Holland S. de Co (de Caus) ya sake suna cocin da ake yi. sautunan cikin rinjaye (a cikin ingantattun hanyoyi - digiri na biyar, a cikin plagal - IV). I. Rosenmuller ya rubuta kimanin. 1650 game da wanzuwar hanyoyi guda uku kawai - manya, ƙanana da Phrygian. A cikin 70s. Ƙarni na 17 NP Diletsky ya raba "kiɗa" zuwa "mai ban dariya" (watau manyan), "mai tausayi" (ƙananan) da "gauraye". A cikin 1694, Charles Masson ya sami nau'i biyu kawai (Mode majeur da Mode mineur); a cikin kowannensu matakai 3 suna "masu mahimmanci" (Finale, Mediante, Dominante). A cikin "Ƙamus ɗin Kiɗa" na S. de Brossard (1703), frets suna bayyana akan kowane ɗayan 12 chromatic semitones. gamma. Asalin koyarwar t. (ba tare da wannan kalmar ba) JF Rameau ne ya kirkiro ("Traité de l'harmonie…", 1722, "Nouveau systeme de musique théorique", 1726). An gina tashin hankali a kan ma'auni (kuma ba ma'auni ba). Rameau yana siffanta yanayin a matsayin tsari na gado wanda aka ƙaddara ta hanyar sau uku, watau, rabon manyan maƙallan maɓalli uku - T, D da S. Tabbatar da alaƙar ma'auni na cadence, tare da bambanci na tonic da dissonant D. da S, sun bayyana rinjayen tonic akan duk maƙallan yanayin.

Kalmar "T." ya fara bayyana a cikin FAJ Castile-Blaz (1821). T. - "dukiyar yanayin kiɗa, wanda aka bayyana (akwai) a cikin amfani da mahimman matakansa" (watau I, IV da V); FJ Fetis (1844) ya ba da shawarar ka'idar nau'ikan 4 na T.: haɗin kai (ordre unito-nique) - idan samfurin. an rubuta shi a cikin maɓalli ɗaya, ba tare da gyare-gyare a cikin wasu ba (daidai da kiɗa na karni na 16); transitonality - ana amfani da gyare-gyare a cikin sautunan kusa (a fili, kiɗan baroque); pluritonality - ana amfani da modulations a cikin sautunan nesa, anharmonisms (zamanin gargajiya na Viennese); omnitonality ("all-tonality") - cakuda abubuwa na maɓalli daban-daban, kowane nau'i na kowane nau'i na iya biye da shi (zamanin romanticism). Ba za a iya cewa, duk da haka, rubutun Fetis ya kafu sosai. X. Riemann (1893) ya ƙirƙiri ka'idar aikin katako. Kamar Rameau, ya ci gaba daga nau'in maɗaukaki a matsayin cibiyar tsarin kuma ya nemi ya bayyana sautin ta hanyar alaƙar sauti da sauti. Ba kamar Rameau ba, Riemann ba kawai ya kafa T. 3 ch ba. chord, amma an rage musu ("kawai mahimman jituwa") duk sauran (wato a cikin T. Riemann yana da tushe 3 kawai wanda ya dace da ayyuka 3 - T, D da S; saboda haka, tsarin Riemann kawai yana aiki sosai) . G. Schenker (1906, 1935) tabbataccen sautin a matsayin ka'idar dabi'a da aka ƙaddara ta abubuwan tarihi marasa haɓakawa na kayan sauti. T. ya dogara ne akan baƙar fata triad, diatonic da maƙarƙashiya (kamar contrapunctus simplex). Kiɗa na zamani, a cewar Schenker, shine lalacewa da raguwar abubuwan da ke haifar da tonality. Schoenberg (1911) yayi nazari daki-daki akan albarkatun zamani. masu jituwa da shi. tsarin kuma ya zo ga ƙarshe cewa na zamani. kiɗan tonal yana "a kan iyakokin T." (bisa tsohuwar fahimtar T.). Ya kira (ba tare da takamaiman ma'anar ba) sabon "jihohi" na sautin (c. 1900-1910; na M. Reger, G. Mahler, Schoenberg) ta kalmomin "sautin iyo" (schwebende; tonic ya bayyana da wuya, an kauce masa tare da isasshe bayyanannun sautin). ; misali, waƙar Schoenberg "The Temptation" op. 6, No 7) da kuma "janye" T. (aufgehobene; duka tonic da consonant triads an kauce wa, "wandering chords" ana amfani da - wayo na bakwai chords, ƙãra triads, sauran tonal mahara chords).

Dalibin Riemann G. Erpf (1927) ya yi ƙoƙari ya bayyana al'amuran kiɗan a cikin 10's da 20's daga mahangar ka'idar aiki mai ƙarfi da kusanci ga sabon abu na kiɗa a tarihi. Har ila yau, Erpf ya gabatar da manufar "cibiyar murya" (Klangzentrum), ko "cibiyar sauti" (misali, wasan kwaikwayo na Schoenberg. 19 No 6), wanda ke da mahimmanci ga ka'idar sabon sautin; T. tare da irin wannan cibiyar wani lokaci kuma ana kiransa Kerntonalität ("core-T."). Webern (ch. arr. daga mahangar al'ada t.) ya siffanta ci gaban waƙa "bayan litattafai" a matsayin "lalacewar t." (Webern A., Lectures on Music, shafi na 44); jigon T. ya kayyade tafe. hanya: "dogara ga babban sautin", "hanyoyin siffatawa", "hanyoyin sadarwa" (ibid., shafi na 51). T. an lalata shi ta "bifurcation" na diatonic. matakai (shafi na 53, 66), "fadada albarkatun sauti" (shafi na 50), yaduwar rashin daidaituwa na tonal, bacewar buƙatar komawa ga babban. sautin, yanayin rashin maimaita sautunan (shafi na 55, 74-75), yin siffa ba tare da na gargajiya ba. magana T. (shafi na 71-74). P. Hindemith (1937) ya gina cikakken ka'idar sabon T., bisa ga mataki 12 ("jerin I", misali, a cikin tsarin.

yuwuwar rashin jituwa akan kowannen su. Tsarin dabi'un Hindemith don abubuwan T. ya bambanta sosai. A cewar Hindemith, duk kiɗan tonal ne; Nisantar tonal sadarwa yana da wahala kamar nauyin ƙasa. IDAN ra'ayin Stravinsky game da tonality na musamman ne. Da tonal (a cikin kunkuntar ma'ana) jituwa cikin tunani, ya rubuta: "Harmony… yana da kyakkyawan tarihi amma taƙaitaccen tarihi" ("Tattaunawa", 1971, shafi na 237); "Ba mu kasance cikin tsarin T. na gargajiya ba a ma'anar makaranta" ("Musikalische Poetik", 1949, S. 26). Stravinsky yana manne da "sabon T." ("waɗanda ba na tonal ba" tonal ne, "amma ba a cikin tsarin tonal na karni na 18"; "Tattaunawa", shafi na 245) a cikin ɗaya daga cikin bambance-bambancensa, wanda ya kira "polarity na sauti, tazara, har ma. hadadden sauti"; “Tonal (ko sauti-“tonale”) sandar sanda ita ce… babban axis na kiɗan,” T. “Hanya ce ta daidaita kiɗa bisa ga waɗannan sandunan.” Kalmar "sandi", duk da haka, ba daidai ba ne, tun da yake kuma yana nuna "kwanciyar iyaka", wanda Stravinsky bai nufi ba. J. Rufer, bisa ga ra'ayoyin makarantar New Viennese, ya ba da shawarar kalmar "sabon sautin", yana la'akari da shi a matsayin mai ɗaukar nauyin sautin 12. Rubutun X. Lang "Tarihin ra'ayi da kalmar "tonality" ("Begriffsgeschichte des Terminus "Tonalität", 1956) ya ƙunshi mahimman bayanai game da tarihin Tonalism.

A cikin Rasha, ka'idar sautin ta samo asali da farko dangane da kalmomin "sautin" (VF Odoevsky, Wasika zuwa Mawallafi, 1863; GA Laroche, Glinka da Muhimmancinsa a Tarihin Kiɗa, Rubutun Rasha, 1867-68; PI Tchaikovsky , "Jagora zuwa nazarin aiki na jituwa", 1872), "tsari" (Jamus Tonart, wanda AS Famintsyn ya fassara "Littafin jituwa" na EF Richter, 1868; HA Rimsky -Korsakov, "Littafin Harmony", 1884-85 ), “yanayin” (Odoevsky, ibid; Tchaikovsky, ibid), “view” (daga Ton-art, Famintsyn na AB Marx’s Universal Textbook of Music ya fassara, 1872). Tchaikovsky's "Short Handbook of Harmony" (1875) yayi amfani sosai da kalmar "T." (wani lokaci kuma a cikin Jagoran Nazarin Aiki na Harmony). SI Taneyev ya gabatar da ka'idar "haɗin kai tonality" (duba aikinsa: "Analysis of modulation tsare-tsaren ...", 1927; alal misali, maye gurbi na G-dur, A-dur ya haifar da ra'ayin T.D. -dur, haɗa su, da kuma haifar da sha'awar tonal zuwa gare shi). Kamar yadda yake a Yamma, a cikin Rasha, an fara fahimtar sababbin abubuwan da suka faru a fannin tonality a matsayin rashin "haɗin kai na tonal" (Laroche, ibid.) ko tonality (Taneyev, Wasika zuwa Tchaikovsky na Agusta 6, 1880), a sakamakon haka. "a waje da iyakokin tsarin" (Rimsky-Korsakov, ibid.). Yawancin abubuwan mamaki da ke hade da sabon sautin (ba tare da wannan kalma ba) Yavorsky ya bayyana (tsarin 12-semitone, dissonant and dispersed tonic, multiplicity na modal structures a cikin sautin, kuma mafi yawan hanyoyin suna waje manyan da ƙananan). ); karkashin rinjayar Yavorsky Rasha. Ilimin kida na ka'idar ya nemi nemo sabbin hanyoyi (sababbin tsaunuka masu tsayi), misali. a cikin samar da Scriabin na ƙarshen zamani na kerawa (BL Yavorsky, "Tsarin magana na kiɗa", 1908; "Yan kaɗan tunani dangane da ranar tunawa da Liszt", 1911; Protopov SV, "Abubuwan da tsarin tsarin magana" , 1930) ko Impressionists, - rubuta BV Asafiev, - bai wuce iyaka na tonal jituwa tsarin "(" Musical Form a matsayin Tsari", M., 1963, shafi na 99). GL Catuar (mai bin PO Gewart) ya haɓaka nau'ikan abin da ake kira. tsawaita T. (manyan-kananan da tsarin chromatic). BV Asafiev ya ba da nazarin abubuwan mamaki na sautin (ayyukan sautin, D, da S, tsarin tsarin "Turai", sautin gabatarwa, da fassarar salo na abubuwan sautin) daga ra'ayi na ka'idar shiga. . Yu. Ci gaban N. Tyulin na ra'ayin bambance-bambancen ya haɓaka ka'idar ayyukan sautin. Yawan masu kida na owls (MM Skorik, SM Slonimsky, ME Tarakanov, HP Tiftikidi, LA Karklinsh, da dai sauransu) a cikin 60-70s. yayi nazari daki-daki akan tsarin zamani. 12-mataki (chromatic) tonality. Tarakanov ya haɓaka ra'ayin "sabon T" (duba labarinsa: "Sabon tonality a cikin kiɗa na 1972th karni", XNUMX).

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Yu. N. Kholopov