Ithoni |
I-French tonalite, isiJalimane. I-Tonalitat, futhi i-Tonart
1) Isikhundla sokuphakama kwemodi (enqunywe ngu-IV Sposobina, 1951, ngokusekelwe embonweni ka-BL Yavorsky; isibonelo, ku-C-dur "C" ukuqokwa kokuphakama kwethoni eyinhloko yemodi, futhi “dur” – “okukhulu” – isici semodi).
2) I-Hierarchical. uhlelo olumaphakathi lokuxhunywa kobude obuhlukene obusebenzayo; I-T. ngalo mqondo iwubunye bemodi kanye ne-T. yangempela, okungukuthi, i-tonality (kucatshangwa ukuthi i-T. isendaweni ekuphakameni okuthile, nokho, kwezinye izimo leli gama liqondwa ngisho nangaphandle kwendawo enjalo, ehambisana ngokuphelele nomqondo wemodi, ikakhulukazi emazweni angaphandle i-lit-re). I-T. ngalo mqondo iphinde ibe yimvelo ku-monody yasendulo (bona: Lbs J., "Tonalnosc melodii gregorianskich", 1965) nomculo wekhulu lama-20. (Bheka, isibonelo: Rufer J., “Die Zwölftonreihe: Träger einer neuen Tonalität”, 1951).
3) Ngendlela emincane, eqondile. incazelo ye-T. iwuhlelo lokuxhumanisa kwephimbo okuhlukene okusebenzayo, okubekwe phakathi nendawo ngesisekelo sikangwaqa ongunxantathu. I-T. ngalo mqondo iyafana nesici "se-harmonic tonality" ye-classical-romantic. izinhlelo zokuvumelana zekhulu le-17-19; kulokhu, ukuba khona kwabaningi T. futhi kuchazwe. amasistimu wokuhlobana kwawo nomunye nomunye (amasistimu we-T.; bheka i-Circle of Fifths, Ubudlelwane Bokhiye).
Ibizwa ngokuthi “T.” (ngomqondo omncane, othize) izindlela - ezinkulu nezincane - zingacatshangwa njengezimi ngokulingana nezinye izindlela (Ionian, Aeolian, Phrygian, nsuku zonke, pentatonic, njll.); empeleni, umehluko phakathi kwabo mkhulu kangangokuthi uyathetheleleka ngokwetemu. ukuphikiswa kokukhulu nokuncane njenge-harmonic. amathoni we-monophonic. ukukhathazeka. Ngokungafani ne-monodic. ama-frets, amakhulu kanye nama-T amancane .. angokwemvelo ku-ext. amandla kanye nomsebenzi, ukuqina kokunyakaza okunenjongo, ukuhlangana okulungiswe ngokunengqondo okukhulu nokunotha kobudlelwano bokusebenza. Ngokuhambisana nalezi zakhiwo, ithoni (ngokungafani nezindlela ze-monodic) ibonakala ngokukhanga okucacile futhi okuzwakalayo njalo enkabeni yemodi ("isenzo esikude", SI Taneev; i-tonic ibusa lapho ingezwakali khona); izinguquko ezivamile (zemethrikhi) zezikhungo zendawo (izinyathelo, imisebenzi), hhayi nje kuphela ukukhansela amandla adonsela phansi amaphakathi, kodwa ukuqaphela nokuwaqinisa kakhulu; ngokwe-dialectical isilinganiso phakathi kwe-abutment kanye nalezo ezingazinzile (ikakhulukazi, isibonelo, ngaphakathi kohlaka lwesistimu eyodwa, ne-gravitation evamile ye-VII degree ku-I, umsindo we-I degree ungase uhehe ku-VII). Ngenxa yokukhanga okunamandla enkabeni yesistimu ye-harmonic. T., njengokungathi, wathatha ezinye izindlela njengezinyathelo, "izindlela zangaphakathi" (BV Asafiev, "Ifomu Lomculo Njengenqubo", 1963, ikhasi 346; izinyathelo - uDorian, imodi yangaphambili yaseFrygian ene-tonic enkulu njenge-Frygian ukuphenduka kwaba yingxenye ye-harmonic encane, njll.). Ngakho-ke, ezinkulu nezincane zenza izindlela ezandulelayo ngokomlando, ngesikhathi esifanayo ziwukubonakaliswa kwezimiso ezintsha zokuhleleka kwe-modal. I-dynamism yesistimu ye-tonal ixhunywe ngokungaqondile nesimo sokucabanga kwaseYurophu eNkathini Yanamuhla (ikakhulukazi, nemibono yokuKhanya). "I-Modality imelela, eqinisweni, ukuzinza, kanye ne-tonality umbono oguquguqukayo wezwe" (E. Lovinsky).
Kuhlelo lwe-T., i-T. ehlukile ithola okuqondile. sebenza ku-harmonic eguquguqukayo. kanye nombala. ubudlelwano; Lo msebenzi uhlotshaniswa nemibono esabalele mayelana nomlingisi nombala wethoni. Ngakho, i-C-dur, ithoni "ephakathi" ohlelweni, ibonakala "ilula", "imhlophe". Abaculi, kuhlanganise nabaqambi abakhulu, bavame ukuba nalokhu okuthiwa. ukuzwa kombala (ku-NA Rimsky-Korsakov, umbala T. E-dur uluhlaza ngokugqamile, umfundisi, umbala wama-spring birches, i-Es-dur imnyama, imnyama, i-grey-bluish, ithoni "yamadolobha" kanye "nezinqaba" ; L Beethoven wabiza i-h-moll ngokuthi “ithoni elimnyama”), ngakho lokhu noma lokho T. ngezinye izikhathi kuhlotshaniswa nencazelo. izoveza. uhlobo lomculo (isibonelo, i-WA Mozart's D-dur, i-c-moll ka-Beethoven, i-As-dur), kanye nokuguqulwa komkhiqizo. – ngokushintsha kwesitayela (isibonelo, i-motet ka-Mozart ethi Ave verum corpus, K.-V. 618, D-dur, idluliselwe ngohlelo luka-F. Liszt kuya ku-H-dur, ngaleyo ndlela yenze “i-romaticization”).
Ngemva kwenkathi yokubusa kwe-classical major-minor T. umqondo we-“T.” ibuye ihlotshaniswe nomqondo we-branched musical-logical. isakhiwo, okungukuthi, mayelana nohlobo “lwesimiso sokuhleleka” kunoma iyiphi isistimu yobudlelwano bephimbo. Izakhiwo zethoni eziyinkimbinkimbi kakhulu zaba (kusukela ngekhulu le-17) indlela yomculo ebalulekile, ezimele. ukuvezwa kwemizwa, kanye nokudlalwa kwephimbo kwesinye isikhathi kuncintisana nombhalo, isiteji, netimu. Njenge-int. Ukuphila kuka-T. kuvezwa izinguquko zamachords (izinyathelo, imisebenzi - uhlobo "lwabafana abancane"), isakhiwo sethoni esibalulekile, esihlanganisa izinga eliphezulu lokuvumelana, siphila ngokuguquguquka okunenjongo, izinguquko ze-T. Ngakho-ke, isakhiwo se-tonal sisonke siba esinye sezici ezibaluleke kakhulu emicabangweni yomculo wokuthuthukiswa. U-PI Tchaikovsky wabhala: “Iphethini yomculo mayibonakaliswe kangcono kunawona kanye umcabango womculo, oncike ngokuqondile ekuguquguqukeni nasekuvumelanani.” Kusakhiwo sethoni esithuthukisiwe otd. T. ingadlala indima efana nezindikimba (isibonelo, i-e-moll yetimu yesibili yesiphetho se-sonata yesi-7 ye-Prokofiev yepiyano njengokubonakaliswa kwe-E-dur yokunyakaza kwe-2 kwe-sonata idala i-quasi- iphimbo lengqikithi “i-arch”-isikhumbuzo ngomjikelezo ophelele).
Iqhaza lika-T. ekwakhiweni kweminyuziyamu inkulu kakhulu. amafomu, ikakhulukazi amakhulu (i-sonata, i-rondo, i-cyclic, i-opera enkulu): “Ukuhlala okuqhubekayo kukhiye owodwa, ngokumelene noshintsho olusheshayo noma oluncane lokuguquguquka, ukuhlangana kwezikali ezihlukile, ukuguqulwa kancane kancane noma okungazelelwe kukhiye omusha, ukubuyela okulungiselelwe eyinhloko”, – zonke lezi ziyizindlela zokuthi “ukuxhumana ngokukhululeka kanye nokuquleka ezingxenyeni ezinkulu zengoma futhi kwenze kube lula ngomlaleli ukuba abone isimo sayo” (SI Taneev; bheka Ifomu Lomculo).
Amathuba okuphindaphinda izisusa ngokunye ukuvumelana kwaholela ekwakhiweni okusha, okuguquguqukayo kwezindikimba; ithuba lokuphinda izingqikithi. ukwakheka kwezinye i-T. kwenza kwaba nokwenzeka ukwakha iminyuziyamu emikhulu ekhulayo. amafomu. Izakhi ezifanayo zesisusa zingathatha okuhlukile, ngisho okuphambene, okusho kuye ngokuthi umehluko wesakhiwo se-tonal (isibonelo, ukuhlukana okude ngaphansi kwezimo zokushintsha kwethoni kunikeza umphumela wokuthuthuka okuthuthukisiwe, nangaphansi kwezimo ze-tonic i-tonality eyinhloko, ngokuphambene nalokho, umphumela "we-coagulation", ukuthuthukiswa kokuyeka). Ngefomu le-operatic, ushintsho ku-T. ngokuvamile lufana noshintsho esimweni sesakhiwo. Uhlelo olulodwa kuphela lwethoni olungaba ungqimba lwamamuse. amafomu, isb. ushintsho lwe-T. ku-1st d. "Umshado kaFigaro" nguMozart.
Ukubukeka okuhlanzekile nokuvuthiwe kwethoni (okungukuthi, “ithoni evumelanayo”) kuwuphawu lomculo wasendulo waseViennese nabaqambi abasondelene nabo ngokulandelana kwesikhathi (ikakhulukazi, inkathi yamaphakathi ne-17 naphakathi no-19. amakhulu eminyaka). Kodwa-ke, i-harmonic T. yenzeke ngaphambili kakhulu, futhi isakazeke kakhulu emculweni wekhulu lama-20. Imingcele enembile yokulandelana kwezikhathi ye-T. njengento ekhethekile, eqondile. kunzima ukusungula amafomu we-fret, kusukela ekuwohlokeni. ingathathwa njengesisekelo. izici zayo eziyinkimbinkimbi: A. Mashabe usuku ukuvela kweharmonics. T. Ikhulu le-14, G. Besseler - ikhulu le-15, E. Lovinsky - ikhulu le-16, uM. Bukofzer - ikhulu le-17. (Bheka i-Dahhaus S., Untersuchungen über die Entstehung der harmonischen Tonalität, 1); UMA uStravinsky ebhekisela ukubusa kuka-T. enkathini esuka phakathi nendawo. 1968 kuya ku-Ser. I-17th Century Complex Ch. izimpawu ze-classic (harmonic) T.: a) isikhungo se-T. i-consonant triad (ngaphezu kwalokho, icatshangwa njengobunye, hhayi njengenhlanganisela yezikhawu); b) imodi - enkulu noma encane, emelelwa uhlelo lokucula nomculo ohambayo “kuseyili” walawa maculo; c) ukwakheka kokukhathazeka okusekelwe emisebenzini eyi-19 (T, D kanye no-S); “ukuhlukana kwezimpawu” (S with a sixth, D with seven; term X. Riemann); T ungwaqa; d) ushintsho lokuvumelana ngaphakathi kwe-T., umuzwa oqondile wokuthambekela ku-tonic; e) isistimu yama-cadence kanye nobudlelwano bengxenye yesine yama-chords angaphandle kwama-cadence (njengokungathi kudluliswe kusuka kuma-cadence futhi kwanwetshwa kukho konke ukuxhumana; yingakho igama elithi "cadence t."), ngokulandelana. ukuhlukaniswa kwama-harmonies (ama-chords nezihluthulelo); f) i-metrical extrapolation eshiwo ngokuqinile (“i-tonal rhythm”), kanye nefomu – ukwakhiwa okusekelwe ekusikweleni nokuncika kokunye, “okunesigqi”; g) amafomu amakhulu asekelwe ekushintshashintsheni (okungukuthi, ukushintsha T.).
Ukubusa kwesimiso esinjalo kuwela ekhulwini le-17-19, lapho inkimbinkimbi yeCh. Izimpawu zika-T zinikezwa, njengomthetho, ngokuphelele. Inhlanganisela ingxenye yezimpawu, enikeza umuzwa we-T. (ngokuphambene nendlela), ibonwa ngisho naku-otd. imibhalo yeRenaissance (ikhulu le-14-16).
Ku-G. de Macho (owaphinde waqamba imisebenzi yomculo we-monophonic), kwenye ye-le (Nombolo 12; "Le on death"), ingxenye ethi "Dolans cuer las" ibhalwe ngemodi enkulu ngokubusa kwe-tonic. unxantathu kulo lonke uhlaka lwephimbo:
G. de Macho. Lay No 12, imigoqo 37-44.
"Monodic major" kungcaphuno evela emsebenzini. UMasho usekude neklasikhi. uhlobo T., naphezu ukuqondana kwenani lezimpawu (ezingenhla, b, d. e, f zithulwa). Ch. umehluko uyinqolobane ye-monophonic engasho ukuhambisana kwe-homophonic. Okunye kokubonakaliswa kokuqala kwesigqi esisebenzayo ku-polyphony kuseculweni (rondo) ka-G. Dufay “Helas, ma dame” (“okuvumelana kwakho kubonakala sengathi kuvela ezweni elisha,” ngokusho kukaBesseler):
G. Dufay. U-Rondo "Helas, ma dame par amours".
umbono wokuvumelana. I-T. ivela ngenxa yoshintsho olulinganisiwe lokusebenza kanye nokubusa kwama-harmonics. ama-compounds ku-quarto-quint ratio, T - D no-D - T ku-harmonic. ukwakheka kwawo wonke. Ngesikhathi esifanayo, isikhungo sesistimu asisona i-triad engako (yize yenzeka ngezikhathi ezithile, amabha 29, 30), kodwa ingxenye yesihlanu (ivumela kokubili izingxenye ezintathu ezinkulu nezincane ngaphandle komthelela wamabomu wemodi exubile enkulu-encane) ; imodi inomsindo kakhulu kune-chordal (i-chord ayisona isisekelo sesistimu), isigqi (esingenayo i-metric extrapolation) asiyona i-tonal, kodwa i-modal (izinyathelo ezinhlanu ngaphandle kokuma kwe-squareness); amandla adonsela phansi ethoni abonakala emaphethelweni ezakhiwo, futhi hhayi ngokuphelele (ingxenye yezwi ayiqali nhlobo nge-tonic); akukho ukuhlukaniswa kwethoni-ukusebenza, kanye nokuxhumanisa i-consonance ne-dissonance nencazelo yethoni yokuvumelana; ekusabalaliseni ama-cadence, ukuchema ngakunye kukhulu ngokungenakulinganiswa. Ngokuvamile, ngisho nalezi zimpawu ezicacile zethoni njengesistimu ye-modal yohlobo olukhethekile namanje azisivumeli ukuba sibonise izakhiwo ezinjalo ngethoni efanele; lokhu kuyindlela evamile (kusukela ekubukeni kwe-T. ngomqondo obanzi - "i-modal tonality") yekhulu le-15-16, ngaphakathi kohlaka lapho izigaba ezihlukene zivuthwa khona. izingxenye T. (bheka Dahinaus C, 1968, p. 74-77). Ukuwa kwesonto kuyakhathaza komunye umculo. umkhiqizo. con. 16 - cela. Ikhulu le-17 lenze uhlobo olukhethekile lwe-“T” yamahhala. - ayisekho i-modal, kodwa engakabi ye-classical (i-motets ka-N. Vicentino, i-madrigals ka-Luca Marenzio no-C. Gesualdo, i-Enharmonic Sonata ka-G. Valentini; bheka isibonelo kukholamu 567, ngezansi).
Ukungabi bikho kwesikali se-modal esizinzile kanye ne-melodic ehambisanayo. amafomula awakuvumeli ukuthi lezi zakhiwo zifakwe esontweni. ukukhathazeka.
C. Gesualdo. UMadrigal "Merce!".
Ukuba khona kokuma okuthile kuma-cadence, maphakathi. i-chord - i-consonant triad, ukuguqulwa kwe "harmonies-steps" kunikeza isizathu sokubheka lokhu njengohlobo olukhethekile lwe-T. - chromatic-modal T.
Ukusungulwa kancane kancane kokubusa kwesigqi esikhulu-esincane kwaqala ngekhulu le-17, ngokuyinhloko emdansweni, wansuku zonke, nomculo wezwe.
Kodwa-ke, ama-frets amasonto amadala atholakala yonke indawo emculweni we-1st floor. Ngokwesibonelo, ekhulwini le-17. 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, bona i-Tabuiatura nova, III. iziqephu). Ngisho no-JS Bach, omculo wakhe ubuswa i-harmonica ethuthukisiwe. T., izenzakalo ezinjalo azivamile, isibonelo. amakhorale
J. Downland. UMadrigal “Phaphama, Sithandwa!” (1597).
U-Aus tiefer Not schrei' ich zu dir no-Erbarm' dich mein, O Herre Gott (emva kuka-Schmieder Nos. 38.6 no-305; imodi yaseFrygian), Mit Fried' und Freud'ich fahr' dahin (382, Dorian), Komm, Gott Schöpfer , i-heiliger Geist (370; i-Mixolydian).
Indawo efinyelela umvuthwandaba ekuthuthukisweni kwe-timbre esebenza ngokuqinile yohlobo olukhulu-oluncane ingena enkathini yama-Viennese yakudala. Okuyinhloko okujwayelekile kokuvumelana kwalesi sikhathi kubhekwa njengezakhiwo eziyinhloko zokuvumelana ngokujwayelekile; bakha ikakhulukazi okuqukethwe kuzo zonke izincwadi ezivumelanayo (bona Harmony, Harmonic function).
Intuthuko ka-T esitezi sesi-2. Ikhulu le-19 liqukethe ekwandiseni imikhawulo ye-T. (amasistimu ahlanganisiwe amakhulu-amancane, ama-chromatic aqhubekayo), okucebisa ubudlelwano bokusebenza kwethoni, i-polarizing diatonic. kanye ne-chromatic. ukuvumelana, ukukhuliswa kombala. incazelo ye-t., ukuvuselelwa kokuvumelana kwe-modal ngesisekelo esisha (ikakhulukazi mayelana nomthelela wezinganekwane emsebenzini wabaqambi, ikakhulukazi ezikoleni ezintsha zezwe, isibonelo, isiRashiya), ukusetshenziswa kwezindlela zemvelo, kanye njengama-symmetrical "okwenziwayo" (bheka i-Sposobin I V., "Izinkulumo ezihamba phambili zokuvumelana", 1969). Lezi nezinye izici ezintsha zibonisa ukuvela ngokushesha kwe-t. Umthelela ohlanganisiwe wezakhiwo ezintsha ze-t. uhlobo (ku-F. Liszt, R. Wagner, MP Mussorgsky, NA Rimsky-Korsakov) ngokombono we-T. eqinile kungase kubonakale njengokuyinqaba. Ingxoxo yasungulwa, ngokwesibonelo, isingeniso se-Tristan und Isolde kaWagner, lapho ithoni yokuqala imbozwa ukubambezeleka okude, ngenxa yalokho kwavela umbono oyiphutha mayelana nokungabikho ngokuphelele kwe-tonic emdlalweni (“ukugwema ngokuphelele of tonic”; bheka uKurt E., “Romantic Harmony and its crisis in Wagner’s “Tristan”, M., 1975, p. 305; lesi futhi isizathu sokuchaza kwakhe kabi ukwakheka kwe-harmonic kwesigaba sokuqala njengokuqondwa kabanzi. "i-dominant upbeat", p. 299, futhi hhayi njengokuchazwa okujwayelekile. , kanye nencazelo engalungile yemingcele yesigaba sokuqala - imigoqo 1-15 esikhundleni sika-1-17). I-Symptomatic igama lomunye wemidlalo yeshashalazi kaLiszt yakamuva - i-Bagatelle Without Tonality (1885).
Ukuvela kwezakhiwo ezintsha ze-T., ukuyisusa kude ne-classical. uhlobo, ekuqaleni. Ikhulu lama-20 laholela ezinguqukweni ezijulile ohlelweni, okwabonwa abaningi njengokubola, ukubhujiswa kwe-t., "i-atonality". Ukuqala kwesistimu ye-tonal entsha kwashiwo ngu-SI Taneyev (ku-"Mobile Counterpoint of Strict Writing", eyaqedwa ngo-1906).
Esho isimiso esiqinile esisebenzayo sika-T. esithi, uTaneyev wabhala: “Njengoba sesithathe isikhundla sezimiso zesonto, isimiso sethu sethoni manje sesiyawohloka sibe isimiso esisha esifuna ukucekela phansi ukuguquguquka kwezwi nokuthatha indawo yesisekelo se-diatonic sokuvumelana. nge-chromatic, kanye nokucekelwa phansi kwe-tonality kuholela ekuwohlokeni komculo” (ibid., Moscow, 1959, p. 9).
Kamuva, "uhlelo olusha" (kodwa kuTaneyev) lwabizwa ngokuthi "ubuchwepheshe obusha". Ukufana kwayo okuyisisekelo ne-T. yakudala kuhlanganisa neqiniso lokuthi “i-T” entsha. ibuye ibe yi-hierarchical. uhlelo lokuxhumana okunokwehlukaniswa okusebenzayo kokuphakama okuphezulu, okuhlanganisa okunengqondo. ukuxhumeka kusakhiwo sephimbo. Ngokungafani ne-tonality endala, entsha ayikwazi ukuthembela kuphela ku-consonant tonic, kodwa futhi kunoma yiliphi iqembu lemisindo elikhethwe ngokushesha, hhayi kuphela ku-diatonic. isisekelo, kodwa sebenzisa kakhulu ukuvumelana kunoma iyiphi imisindo eyi-12 njengezimele ngokusebenza (ukuxuba zonke izindlela kunikeza i-poly-mode noma "i-fretless" - "entsha, engaphandle kwe-modal T."; bona i-Nü11 E. von, "B . Bartok, Ein Beitrag zur Morphologie der neuen Musik”, 1930); incazelo ye-semantic yemisindo nongwaqa ingamela uhlobo lwakudala ngendlela entsha. ifomula ye-TSDT, kodwa ingase idalulwe ngenye indlela. Izidalwa. Umehluko futhi ulele eqinisweni lokuthi i-classical eqinile T. iyunifomu yesakhiwo, kodwa i-T. entsha yomuntu ngamunye ngakho-ke ayinayo inkimbinkimbi eyodwa yezakhi zomsindo, okungukuthi, ayinakho ukufana kokusebenza. Ngakho-ke, endabeni eyodwa noma kwenye, inhlanganisela ehlukene yezimpawu ze-T isetshenziswa.
Ekukhiqizeni i-AN Scriabin yenkathi yakamuva yokudala i-T. igcina imisebenzi yayo yesakhiwo, kodwa yendabuko. ama-harmonies athathelwa indawo amasha adala imodi ekhethekile ("imodi ye-Scriabin"). Ngakho, isibonelo, esikhungweni "Prometheus". i-chord - i-"Prometheus" edumile enethoni eyisithupha ne-osn. ithoni Fis (isibonelo A, ngezansi), phakathi nendawo. i-sphere ("i-T eyinhloko.") - 4 amathoni ayisithupha anjalo ochungechungeni oluphansi kakhulu (imodi encishisiwe; isibonelo B); i-modulation scheme (engxenyeni yokuxhuma - isibonelo C), uhlelo lwe-tonal lwe-exposition - isibonelo D (uhlelo lwe-harmonic lwe-"Prometheus" lwalukhethekile, nakuba lungalungile ngokuphelele, olulungiswe umqambi engxenyeni ye-Luce):
Izimiso zetiyetha entsha zisekela ukwakhiwa kwe-opera ka-Berg i-Wozzeck (1921), evame ukuthathwa njengemodeli “yesitayela se-Novensky atonal”, naphezu kokuphikisa okunamandla kombhali kwegama “likaSathane” elithi “atonal”. I-Tonic ayinayo i-otd kuphela. izinombolo ze-opera (isb., isigcawu sesibili sosuku loku-2 – “eis”; imashi isuka endaweni yesi-1 yosuku loku-3 – “C”, abathathu bakhe – “Njengoba”; idansa esigcawini sesine ngosuku lwesi-1 – “ g”, indawo yokubulawa kukaMary, isigcawu sesi-4 sosuku lwe-2 – ngethoni emaphakathi ethi “H”, njll.) kanye nayo yonke i-opera iyonke (chord ngethoni eyinhloko “g” ), kodwa ngaphezulu kunalokho - kukho konke ukukhiqizwa. umgomo "wokuphakama kwe-leit" wawuqhutshwa ngokuqhubekayo (ngokwengqikithi ye-leit tonalities). Yebo, ch. iqhawe linezinhlamvu ezithi “Cis” (2st d., bar 2 – indlela yokuqala yokuphimisela igama elithi “Wozzeck”; imigoqo eyengeziwe 1-5, amagama kaWozzeck isosha “Kunjalo, Mnu. Captain”; amabha 87- 89 - I-arioso ka-Wozzeck ethi "Thina bantu abampofu!", kumabha angu-136d 153-3 - i-cis-moll triad "ikhanya" ku-chord eyinhloko yesigcawu sesi-220). Eminye eyisisekelo imibono ye-opera ayikwazi ukuqondwa ngaphandle kokucabangela i-tonal dramaturgy; Ngakho, usizi lwengoma yezingane endaweni yokugcina ye-opera (ngemuva kokufa kukaWozzeck, 319rd d., imigoqo 4-3) ilele eqinisweni lokuthi le ngoma izwakala ngethoni ethi eis (moll), leitton kaWozzeck; lokhu kuveza umbono womqambi wokuthi izingane ezinganaki “zingama-wozzet” amancane. (Cf. König W., Tona-litätsstrukturen in Alban Bergs Oper “Wozzeck”, 372.)
I-dodecaphonic-serial technique, eyethula ukuhambisana kwesakhiwo ngokuzimela kwethoni, ingasebenzisa ngokulinganayo umphumela wethoni futhi yenze ngaphandle kwayo. Ngokuphambene nokungaqondi kahle okudumile, i-dodecaphony ihlanganiswa kalula nesimiso se-T. (entsha), kanye nokuba khona kwesikhungo. ithoni iyimpahla ejwayelekile yayo. Wona kanye umbono wochungechunge lwamathoni ayi-12 ekuqaleni wavela njengendlela ekwazi ukunxephezela umphumela owakhayo olahlekile we-tonic kanye ne-t. concerto, umjikelezo we-sonata). Uma ukukhiqizwa kwe-serial kuhlanganiswa kumodeli yethoni, khona-ke umsebenzi wesisekelo, i-tonic, i-tonal sphere ingenziwa noma ngochungechunge kokuthile. iphimbo, noma imisindo eyireferensi eyabelwe ngokukhethekile, izikhawu, izingoma. “Umugqa osesimweni sawo soqobo manje udlala indima efanayo “nokhiye oyisisekelo” osetshenziselwa ukudlala; “ukuphindisela” kubuyela kuye ngokwemvelo. Sidlala ngezwi elifanayo! Lokhu kufaniswa nezimiso zesakhiwo sangaphambili kugcinwa ngokuqaphela (…)” (Webern A., Lectures on Music, 1975, p. 79). Isibonelo, umdlalo ka-AA Babadzhanyan othi “Choral” (kusukela “Izithombe Eziyisithupha” zepiyano) ubhalwe “ngo-T” owodwa. enomaphakathi d (kanye nombala omncane). I-fugue ye-RK Shchedrin endikimbeni enethoni engu-12 ine-T. a-moll evezwe ngokucacile. Kwesinye isikhathi ubudlelwano be-altitude kunzima ukuhlukanisa.
A. Webern. I-op yekhonsathi. 24.
Ngakho-ke, ukusebenzisa ukuhambisana kochungechunge ku-op yekhonsathi. 24 (ngochungechunge, bheka i-Art. Dodecaphony), i-Webern ithola iqembu lamathoni amathathu okuqondile. ukuphakama, ukubuyela eCrimea kuthathwa njengokubuyela "kukhiye oyinhloko". Isibonelo esingezansi sibonisa imisindo emithathu ye-main. ama-spheres (A), ukuqala kokunyakaza koku-1 (B) kanye nokuphela kwesiphetho sekhonsathi ka-Webern (C).
Kodwa-ke, emculweni wethoni engu-12, isimiso esinjalo sokuqamba "ithoni eyodwa" akudingekile (njengakumculo we-tonal wakudala). Noma kunjalo, izingxenye ezithile ze-T., ngisho noma zisesimweni esisha, zivame ukusetshenziswa kakhulu. Ngakho-ke, i-cello sonata ka-EV Denisov (1971) inesikhungo, ithoni "d", ikhonsathi yesibili ye-violin ka-AG Schnittke ine-tonic "g". Emculweni wama-2s. Ikhulu lama-70 kukhona ukuthambekela kokuqinisa isimiso esisha se-T.
Umlando wezimfundiso ngoT. usekelwe embonweni wesonto. izindlela (bona izindlela zeNkathi Ephakathi). Ngaphakathi kohlaka lwayo, imibono yathuthukiswa mayelana nesiphetho njengohlobo lwe "tonic" yemodi. "Imodi" (imodi) ngokwayo, ngokombono obanzi, ingabhekwa njengenye yezinhlobo (izinhlobo) ze-T. Umkhuba wokwethula ithoni (musica ficta, musica falsa) wakha izimo zokuvela kwezwi. umphumela we-melodic. kanye ne-chordal gravitation ebheke ku-tonic. Ithiyori yezigatshana ngokomlando yalungisa inkolelo-mbono “yemisindo ezwakalayo”. UGlarean encwadini yakhe i-Dodecachord (1547) ngokwethiyori wagunyaza izindlela ze-Ionian ne-Aeolian ezazikhona kudala, izikali zazo ezihambisana nezincane ezinkulu nezemvelo. J. Tsarlino (“The Doctrine of Harmony”, 1558) esekelwe eNkathini Ephakathi. imfundiso yezilinganiso ihumushe ongwaqa abathathu njengamayunithi futhi yakha inkolelo-mbono yokukhulu nokuncane; wabuye waphawula umlingiswa omkhulu noma omncane wazo zonke izindlela. Ngo-1615, i-Dutchman S. de Co (de Caus) yaqamba kabusha isonto le-repercussion. amathoni abe konamandla (ngezindlela eziyiqiniso - idigri yesihlanu, ku-plagal - IV). I. Rosenmuller ubhale cishe. 1650 mayelana nokuba khona kwezindlela ezintathu kuphela - ezinkulu, ezincane kanye neFrygian. Ngama-70s. Ikhulu le-17 i-NP Diletsky ihlukanisa "umculo" ube "okuhlekisayo" (okungukuthi, okukhulu), "okudabukisayo" (okuncane) kanye "okuxubile". Ngo-1694, uCharles Masson wathola izindlela ezimbili kuphela (i-Mode majeur ne-Mode miur); kuzo zonke izinyathelo ezi-3 "zibalulekile" (Finale, Mediante, Dominante). Ku-“Musical Dictionary” ka-S. de Brossard (1703), ama-frets avela ku-semitones ngayinye kwayi-12 chromatic. gamma. Imfundiso eyisisekelo ye-t. (ngaphandle kwaleli gama) yadalwa ngu-JF Rameau (“Traité de l'harmonie …”, 1722, “Nouveau systéme de musique théorique”, 1726). I-fret yakhiwe ngesisekelo se-chord (hhayi isikali). I-Rameau iveza imodi njengokulandelana okunqunywa ingxenye ephindwe kathathu, okungukuthi, isilinganiso sezingoma ezintathu eziyinhloko - T, D kanye no-S. Ukulungiswa kobudlelwane bamaculo e-cadence, kanye nokugqama kongwaqa bongwaqa kanye ne-dissonant D. kanye no-S, bachaza ukubusa kwe-tonic phezu kwazo zonke izingoma zemodi.
Igama elithi "T". okokuqala kwavela ku-FAJ Castile-Blaz (1821). T. - "impahla yemodi yomculo, evezwayo (ekhona) ekusetshenzisweni kwezinyathelo zayo ezibalulekile" (okungukuthi, I, IV kanye no-V); U-FJ Fetis (1844) uhlongoze ithiyori yezinhlobo ezi-4 ze-T.: ubumbano (ordre unito-nique) - uma umkhiqizo. ibhalwe ngesihluthulelo esisodwa, ngaphandle kokuguqulwa kwezinye (okuhambisana nomculo wekhulu le-16); i-transitonality - i-modulations isetshenziswa kumathoni aseduze (ngokusobala, umculo we-baroque); i-pluritonality - ama-modulations asetshenziswa kumathoni akude, ama-anharmonisms (inkathi yama-Viennese classics); i-omnitonality ("all-tonality") - inhlanganisela yezakhi zokhiye abahlukene, i-chord ngayinye ingalandelwa ngayinye (inkathi ye-romanticism). Nokho, akunakushiwo ukuthi indlela yokubhala kaFetis inesisekelo esihle. U-X. Riemann (1893) udale ithiyori esebenza ngokuqinile ye-timbre. NjengoRameau, usuke esigabeni se-chord njengesikhungo sohlelo futhi wafuna ukuchaza ithoni ngobudlelwano bemisindo nongwaqa. Ngokungafani no-Rameau, u-Riemann akazange nje asekele u-T. 3 ch. i-chord, kodwa yehliselwe kubo (“okuwukuphela kokuvumelana okubalulekile”) konke okunye (okungukuthi, ku-T. Riemann inezisekelo ezi-3 kuphela ezihambisana nemisebenzi emi-3 - T, D kanye no-S; ngakho-ke, uhlelo lwe-Riemann kuphela olusebenza ngokuqinile) . G. Schenker (1906, 1935) ithoni eqinisekisiwe njengomthetho wemvelo onqunywa izici zomlando ezingaguquki zezinto ezizwakalayo. I-T. isekelwe kunxantathu ongwaqa, i-diatonic kanye ne-consonant counterpoint (njenge-contrapunctus simplex). Umculo wesimanje, ngokusho kuka-Schenker, ukuwohloka nokwehla kwamandla emvelo adala ukuguquguquka kwezwi. U-Schoenberg (1911) wafunda ngokuningiliziwe izinsiza zesimanje. harmonic kuye. uhlelo futhi bafinyelela esiphethweni sokuthi yesimanje. umculo we-tonal “usemngceleni we-T.” (ngokusekelwe ekuqondeni okudala kuka-T.). Ubize (ngaphandle kwencazelo enembile) “izimo” ezintsha zephimbo (c. 1900–1910; ngu-M. Reger, G. Mahler, Schoenberg) ngamagama athi “ntantayo” ithoni (schwebende; i-tonic ibonakala ingavamile, igwenywa iphimbo elicace ngokwanele). ; isibonelo, ingoma kaSchoenberg ethi “The Temptation” op. 6, No 7) kanye "nokuhoxiswa" T. (aufgehobene; kokubili i-tonic ne-consonant triads iyagwenywa, "ama-wandering chords" asetshenziswa - ama-chords esikhombisa ahlakaniphile, ama-triad anda, amanye ama-tonal multiple chords).
Umfundi ka-Riemann u-G. Erpf (1927) wenza umzamo wokuchaza izinto ezenzeka emculweni ngeminyaka yama-10's kanye nama-20's ngokombono wethiyori esebenza ngokuqinile kanye nokubheka okwenzeka emculweni ngokomlando. U-Erpf uphinde wabeka phambili umqondo we-“consonance-center” (Klangzentrum), noma “isikhungo somsindo” (isibonelo, i-schoenberg’s play op. 19 No 6), ebalulekile kumbono wethoni entsha; T. enesikhungo esinjalo ngezinye izikhathi ibizwa nangokuthi i-Kerntonalität (“core-T.”). U-Webern (ch. arr. ngokombono we-classical t.) uphawula ukuthuthukiswa komculo “ngemuva kokwakudala” ngokuthi “ukubhujiswa kwe-t.” (Webern A., Izinkulumo ngoMculo, p. 44); ingqikithi ka T. wanquma umkhondo. indlela: "ukuthembela ezwini eliyinhloko", "izindlela zokubumba", "izindlela zokuxhumana" (ibid., p. 51). T. yabhujiswa "i-bifurcation" ye-diatonic. izinyathelo (ikhasi 53, 66), "ukunwetshwa kwezinsiza ezizwakalayo" (ikhasi 50), ukusabalala kokungaqondakali kwethoni, ukunyamalala kwesidingo sokubuyela kokuyinhloko. iphimbo, ukuthambekela kokungaphindaphindi kwamathoni (ikhasi 55, 74-75), ukubumba ngaphandle kokwakudala. isisho T. (amakhasi 71-74). U-P. Hindemith (1937) wakha ithiyori enemininingwane ye-T. entsha, esekelwe esinyathelweni esiyi-12 ("uchungechunge I", isibonelo, ohlelweni
ukuthi kungenzeka noma iyiphi i-dissonance ngayinye yazo. Isistimu ye-Hindemith yamanani yezakhi ze-T. ihlukaniswe kakhulu. Ngokusho kwe-Hindemith, wonke umculo unethoni; ukugwema ukuxhumana namathoni kunzima njengamandla adonsela phansi omhlaba. UMA umbono kaStravinsky we-tonality uhlukile. Ngokuvumelana kwethoni (ngomqondo omncane) engqondweni, wabhala: “Harmony ... yayinomlando ogqamile kodwa omfushane” (“Dialogues”, 1971, p. 237); "Asisekho ngaphansi kohlaka lwe-classical T. ngomqondo wesikole" ("Musikalische Poetik", 1949, S. 26). U-Stravinsky unamathela ku-“T” entsha. (Umculo “ongeyona ithoni” uyithoni, “kodwa hhayi ohlelweni lwethoni lwekhulu le-18”; “Dialogues”, p. 245) kokunye kwezinhlobonhlobo zawo, akubiza ngokuthi “i-polarity yomsindo, isikhawu, ngisho umsindo oyinkimbinkimbi”; "ithoni (noma ithoni-"ithoni") i-pole ... i-eksisi eyinhloko yomculo," i-T. "iyindlela yokuqondisa umculo ngokwalezi zigxobo." Igama elithi "pole", noma kunjalo, alinembile, ngoba libuye lisho "isigxobo esiphambene", okwakungasho uStravinsky. J. Rufer, ngokusekelwe emibonweni yesikole esisha saseViennese, uhlongoze igama elithi "ithoni entsha", ebheka ukuthi yiyona ephethe uchungechunge lwamathoni angu-12. Uhlaka lwe-X. Lang “Umlando womqondo kanye negama elithi “tonality” (“Begriffsgeschichte des Terminus “Tonalität”, 1956) liqukethe ulwazi oluyisisekelo mayelana nomlando weTonalism.
E-Russia, inkolelo-mbono yephimbo yasungulwa ekuqaleni mayelana namagama “ithoni” (VF Odoevsky, Incwadi Eya Kumshicileli, 1863; GA Laroche, Glinka kanye Nokubaluleka Kwayo Emlandweni Womculo, I-Bulletin YaseRussia, 1867-68; PI Tchaikovsky , "Umhlahlandlela wesifundo esisebenzayo sokuvumelana", 1872), "uhlelo" (i-German Tonart, ehunyushwe ngu-AS Famintsyn "Incwadi yokuvumelana" ngu-EF Richter, 1868; HA Rimsky -Korsakov, "Textbook of Harmony", 1884-85 ), “imodi” (Odoevsky, ibid; Tchaikovsky, ibid), “buka” (kusuka ku-Ton-art, ehunyushwe nguFamintsyn we-AB Marx's Universal Textbook of Music, 1872). I-“Short Handbook of Harmony” kaTchaikovsky (1875) isebenzisa kakhulu igama elithi “T.” (ngezinye izikhathi futhi kuMhlahlandlela Wokufunda Okusebenzayo Kokuvumelana). U-SI Taneyev wabeka phambili inkolelo-mbono "yokuhlanganisa i-tonality" (bheka umsebenzi wakhe: "Ukuhlaziywa kwezinhlelo zokuguquguquka kwe-modulation ...", 1927; isibonelo, ukulandelana kokuchezuka ku-G-dur, A-dur kuveza umqondo we-T. D. -dur, ukuwahlanganisa , futhi kudala ukukhanga kwethoni kuwo). NjengaseNtshonalanga, eRussia, izenzakalo ezintsha emkhakheni we-tonality ekuqaleni zazibhekwa njengokungabikho “kobunye bethoni” (Laroche, ibid.) "ngaphandle kwemikhawulo yesistimu" ( Rimsky-Korsakov, ibid.). Izigigaba ezimbalwa ezihlotshaniswa nethoni entsha (ngaphandle kwaleli gama) zachazwa ngu-Yavorsky (uhlelo lwe-semitone eyi-6, i-tonic ehlukanisiwe nehlakazekile, ukuphindaphindeka kwezakhiwo ze-modal kwithoni, futhi eziningi zezindlela zingaphandle kokukhulu nokuncane. ); ngaphansi kwethonya likaYavorsky Russian. i-theoretical musicology yafuna ukuthola izindlela ezintsha (izakhiwo ezintsha zokuphakama okuphezulu), isibonelo. ekukhiqizeni i-Scriabin yenkathi yakamuva yokusungula (BL Yavorsky, "Isakhiwo senkulumo yomculo", 1880; "Imicabango embalwa mayelana nokugubha usuku lukaLiszt", 12; Protopopov SV, "Izici zesakhiwo senkulumo yomculo" , 1908) noma i-Impressionists, - wabhala u-BV Asafiev, - akazange adlule imingcele ye-tonal harmonic system "(" Ifomu Lomculo Njengenqubo ", M., 1911, p. 1930). I-GL Catuar (elandela u-PO Gewart) ithuthukise izinhlobo zalokho okubizwa. i-T. enwetshiwe (amasistimu amakhulu-amancane kanye ne-chromatic). U-BV Asafiev unikeze ukuhlaziywa kwezimo zethoni (imisebenzi yethoni, D, no-S, ukwakheka "kwemodi yaseYurophu," ithoni yesethulo, nokuchazwa kwesitayela kwezakhi zethoni) ngokombono wethiyori yezwi. . Yu. Ukuthuthukiswa komqondo ka-N. Tyulin wokushintshashintsha kwengeze kakhulu itiyori yemisebenzi yethoni. Inani lezazi zomculo wezikhova (MM Skorik, SM Slonimsky, ME Tarakanov, HP Tiftikidi, LA Karklinsh, njll.) ngeminyaka yama-1963-99s. wafunda kabanzi ngesakhiwo sesimanje. 60-step (chromatic) tonality. UTarakanov wakha ngokukhethekile umbono we "T omusha" (bheka isihloko sakhe: "Izwi elisha emculweni wekhulu le-70", 12).
References: IGrammar yomculi ka-Nikolai Diletsky (ed. C. AT. Smolensky), iSt. Petersburg, ngo-1910, yanyatheliswa kabusha. (ngaphansi kwe-oda. AT. AT. Protopopova), M., 1979; (Odoevsky V. F.), Incwadi evela kuNkosana V. P. U-Odoevsky kumshicileli mayelana nomculo wakudala waseRussia Omkhulu, eqoqweni: I-Kaliki iyadlula?, ingxenye XNUMX. 2, cha. 5, M., 1863, okufanayo, encwadini: Odoevsky V. F. Amagugu omculo nemibhalo, M., 1956; Laroche G. A., Glinka kanye nokubaluleka kwayo emlandweni womculo, "Russian Messenger", 1867, No 10, 1868, No 1, 9-10, okufanayo, encwadini: Laroche G. A., Izihloko Ezikhethiwe, vol. 1, L., 1974; Tchaikovsky P. I., Umhlahlandlela wesifundo esisebenzayo sokuvumelana, M., 1872; Rimsky-Korsakov N. A., Harmony Textbook, no. 1-2, iSt. Petersburg, 1884-85; Yavorsky B. L., Isakhiwo senkulumo yomculo, ingxenye. 1-3, M., 1908; yakhe, Imicabango embalwa mayelana nesikhumbuzo sikaP. Liszt, “Music”, 1911, No 45; Taneev S. I., I-counterpoint Movable yokubhala okuqinile, i-Leipzig, 1909, M., 1959; Belyaev V., "Ukuhlaziywa kokuguqulwa kwe-sonatas kaBeethoven" S. FUTHI. Taneeva, encwadini: Incwadi yesiRashiya ekhuluma ngoBeethoven, M., 1927; Taneev S. I., Incwadi eya kuP. FUTHI. Tchaikovsky yango-August 6, 1880, encwadini: P. FUTHI. Chaikovsky. C. FUTHI. I-Taneev. Izincwadi, M., 1951; yakhe, Izinhlamvu eziningana ezindabeni zomculo-thiyori, encwadini: S. FUTHI. I-Taneev. izinto zokwakha kanye nemibhalo, njll. 1, eMoscow, ngo-1952; Avramov A. M., "Ultrachromatism" noma "omnitonality"?, "Musical Contemporary", 1916, incwadi. 4-5; Roslavets N. A., Mayelana nami kanye nomsebenzi wami, "Umculo Wanamuhla", 1924, No 5; UCathar G. L., Inkambo yethiyori yokuvumelana, ingxenye. 1-2, M., 1924-25; Rosenov E. K., Ekwandiseni nasekuguqulweni kwesistimu yethoni, kokuthi: Ukuqoqwa kwemisebenzi yekhomishana yama-acoustics omculo, vol. 1, M., 1925; Ubungozi P. A., Ukuphela KweTonality, Umculo Wesimanje, 1926, No 15-16; I-Protopopov S. V., Izakhi zesakhiwo senkulumo yomculo, ingxenye. 1-2, M., 1930-31; Asafiev B. V., Ifomu lomculo njengenqubo, incwadi. 1-2, M., 1930-47, (zombili izincwadi zihlangene), L., 1971; Mazel L., Ryzhkin I., Izindatshana zomlando wethiyori yomculo, umq. 1-2, M.-L., 1934-39; Tyulin Yu. H., Ukufundisa ngokuzwana, L., 1937, M., 1966; Ogolevets A., Isingeniso sokucabanga komculo wesimanje, M., 1946; Sposobin I. V., Ithiyori yokuqala yomculo, M., 1951; eyakhe, Izinkulumo zendlela yokuzwana, M., 1969; Slonimsky C. M., Prokofiev's Symphonies, M.-L., 1964; Skrebkov C. S., Indlela yokuhumusha i-tonality?, “SM”, 1965, No 2; Tiftikidi H. P., The Chromatic System, ku: Musicology, vol. 3, A.-A., 1967; Tarakanov M., Isitayela sama-symphonies kaProkofiev, M., 1968; yakhe, I-tonality entsha emculweni wekhulu lama-XX, eqoqweni: Izinkinga Zesayensi Yomculo, vol. 1, eMoscow, ngo-1972; Skorik M., Ladovaya uhlelo S. Prokofieva, K., 1969; Karklinsh L. A., Harmony H. Ya Myaskovsky, M., 1971; Mazel L. A., Izinkinga zokuvumelana kwakudala, M., 1972; Dyachkova L., Emgomeni oyinhloko wesistimu ye-harmonic ye-Stravinsky (uhlelo lwezigxobo), encwadini: I. P. Stravinsky. Imibhalo nezinto zokwakha, M., 1973; UMüller T. F., Harmoniya, M., 1976; Zarlino G., Le istitutioni harmonice, Venetia, 1558 (ifaksi ku: Izikhumbuzo zomculo nezincwadi zomculo ku-facsimile, uchungechunge lwesibili, N. Y., 1965); Sawubona S. de, Harmonic Institution…, Frankfurt, 1615; Rameau J. Ph., ISivumelwano Sokuvumelana…, R., 1722; его же, Uhlelo olusha lomculo wetiyetha…, R., 1726; Castil-Blaze F. H. J., Isichazamazwi Somculo Wesimanje, c. 1-2, R., 1821; UFйtis F. J., Traitй complet de la theory…, R., 1844; Riemann H., Einfachte Harmonielehre…, L.-N. Y., 1893 (rus. nge. – Riman G., Ukuvumelana Okulula?, M., 1896, okufanayo, 1901); eyakhe, Geschichte der Musiktheorie…, Lpz., 1898; eyakhe, u-bber Tonalität, encwadini yakhe ethi: Präludien und Studien, Bd 3, Lpz., (1901); eyakhe, Folklonstische Tonalitätsstudien, Lpz., 1916; UGevaert F. A., ISivumelwano sokuvumelana kwethiyori nokungokoqobo, v. 1-2, R.-Brux., 1905-07, Schenker H., Imibono emisha yomculo nemicabango..., vol. 1, Stuttg.-B., 1906, vol. 3, W., 1935; SchцnbergA., Harmonielehre, Lpz.-W., 1911; Кurt E., Izimfuneko zokuvumelana kwethiyori…, Bern, 1913; его же, Romantic Harmony…, Bern-Lpz., 1920 (рус. nge. – Kurt E., Ukuvumelana kwezothando kanye nenhlekelele yayo ku-Wagner's Tristan, M., 1975); Hu11 A., Ukuvumelana Kwesimanje…, L., 1914; Touzé M., La tonalité chromatique, “RM”, 1922, v. 3; Gьldenstein G, Theorie der Tonart, Stuttg., (1927), Basel-Stuttg., 1973; Erpf H., izifundo zokuvumelana nobuchwepheshe bomsindo womculo wesimanje, Lpz., 1927; Steinbauer O., Ingqikithi ye-tonality, eMunich, 1928; Cimbro A., Qui voci secolari sulla tonalita, «Rass. mus.", 1929, No. 2; Hamburger W., tonality, “The Prelude”, 1930, year 10, H. 1; Nhle E. kusukela, B Bartok, Halle, 1930; I-Karg-Elert S., i-Polaristic theory of sound and tonality (i-harmonic logic), i-Lpz., 1931; Yasser I, A theory of evolving tonality, N. Y., 1932; yakhe ethi, The future of tonality, L., 1934; Stravinsky I., Chroniques de ma vie, P., 1935 (rus. nge. - Stravinsky I., Umlando wempilo yami, L., 1963); eyakhe, Poétique musicale, (Dijon), 1942 (rus. nge. - Stravinsky I., Imicabango evela "Izinkondlo Zomculo", encwadini: I. F. Stravinsky. Imibhalo nezinto zokwakha, M., 1973); Stravinsky engxoxweni noRobert Craft, L., 1958 (rus. nge. – Stravinsky I., Dialogues …, L., 1971); Appelbaum W., Accidentien und Tonalität in den Musikdenkmälern des 15. 16 kanye. Century, В., 1936 (Diss.); Hindemith P., Umyalelo ekuqanjweni, vol. 1, Mainz, 1937; Guryin O., Fre tonalitet til atonalitet, Oslo, 1938; UDankert W., I-Melodic tonality kanye nobudlelwano bethoni, "Umculo", 1941/42, vol. 34; Waden J. L., Aspects of tonality emculweni wakuqala waseYurophu, Phil., 1947; Кatz A., Inselelo yesiko lomculo. Umqondo omusha we-tonality, L., 1947; Rohwer J., Tonale Instructions, Tl 1-2, Wolfenbьttel, 1949-51; его жe, Embuzweni wemvelo ye-tonality…, «Mf», 1954, vol. 7, h. 2; Вesseler H., Bourdon noFauxbourdon, Lpz., 1, 1950; Sсhad1974er F., Inkinga ye-tonality, Z., 1 (diss.); Вadings H., Tonalitcitsproblemen en de nieuwe muziek, Brux., 1950; U-Rufer J., Uchungechunge lwamathoni ayishumi nambili: ophethe ithoni entsha, «ЦMz», 1951, unyaka. 6, Cha 6/7; Salzer F., Ukulalela kwesakhiwo, v. 1-2, N. Y., 1952; Machabey A., Geníse de la tonalitй musicale classique, P., 1955; Neumann F., Tonality and Atonality…, (Landsberg), 1955; Ва11if C1., Isingeniso а la mйtatonalitй, P., 1956; Lang H., Conceptual umlando wegama elithi «tonality», Freiburg, 1956 (diss.); Reti R., Tonality. Atonality. Pantonality, L., 1958 (rus. nge. - Reti R., Tonality emculweni wesimanje, L., 1968); Travis R., Towards a new concept of tonality?, Journal of Music Theory, 1959, v. 3, No2; Zipp F., Ingabe uchungechunge lwe-overtone yemvelo kanye ne-tonality isiphelelwe yisikhathi?, «Musica», 1960, vol. 14, h. 5; Webren A., Indlela eya emculweni omusha, W., 1960 (рус. nge. – Webrn A., Izinkulumo ngoMculo, M., 1975); Eggebrecht H., Musik als Tonsprache, “AfMw”, 1961, Jahrg. 18, h. 1; Hibberd L., «Tonality» kanye nezinkinga ezihlobene namatemu, «MR», 1961, v. 22, cha. 1; I-Lowinsky E., i-Tonality kanye ne-atonality emculweni wekhulu leshumi nesithupha, i-Berk.-Los Ang., 1961; I-Apfe1 E., Isakhiwo sethoni somculo wakamuva wenkathi ephakathi njengesisekelo sethonili enkulu-encane, «Mf», 1962, vol. 15, h. 3; eyakhe, Spätmittelalterliche Klangstruktur und Dur-Moll-Tonalität, ibid., 1963, Jahrg. 16, h. 2; Dah1haus C., Umqondo we-tonality emculweni omusha, umbiko weCongress, Kassel, 1962; eго же, uphenyo ngemvelaphi ye-harmonic tonality, Kassel - (u. a.), 1968; Finscher L., Ama-oda weTonal ekuqaleni kwezikhathi zanamuhla, в кн.: Izinkinga zomculo zangaleso sikhathi, vol. 10, Kassel, 1962; Pfrogner H., Emqondweni we-tonality yesikhathi sethu, "Musica", 1962, vol. 16, h. 4; Reck A., Amathuba okuhlolwa kwethoni, «Mf», 1962, vol. 15, h. 2; U-Reichert G., Ukhiye nokuguquguquka emculweni omdala, в кн.: Izinkinga zomculo zangaleso sikhathi, vol. 10, Kassel, 1962; Barford Ph., Tonality, «MR», 1963, v. 24, Cha 3; Las J., The tonality of Gregorian melodies, Kr., 1965; Sanders E. H., Izici zeTonal zekhulu le-13 leminyaka ye-english polyphony, «Acta musicologica», 1965, v. 37; Ernst. V., Ngomqondo we-tonality, umbiko weCongress, Lpz., 1966; Reinecke H P., Emcabangweni we-tonality, там же; Marggraf W., iphimbo nokuzwana engomeni yesiFulentshi phakathi kukaMachaut noDufay, «AfMw», 1966, vol. 23, h. 1; UGeorge G., I-Tonality kanye nesakhiwo somculo, N. Y.-Wash., 1970; I-Despic D., i-Teorija tonaliteta, i-Beograd, i-1971; Atcherson W., Key and mode ekhulwini le-17, "Journal of Music Theory", 1973, v. 17, No2; U-Кцnig W., Izakhiwo ze-tonality ku-opera ka-Alban Berg ethi "Wozzeck", Tutzing, 1974.
Yu. N. Kholopov
