Fret functions |

Fret functions – the meanings of sounds and consonances in harmony (altitude system).

F. l. represent a manifestation of musical-semantic connections, through which logicality and coherence of the muses are achieved. whole. In the tradition of Russian terminology mode is usually interpreted as a generalizing category in relation to all types of pitch systems (from ancient, oriental, folk modes to the diverse and complex pitch structures of professional music of the 20th century). Accordingly, the concept of F. l. is also the most common, correlated with the most decomp. types of musical-semantic meanings of sounds and consonances, although they allow specification in one of the types (their meanings in modal systems – special “modes” of music of the 14th-15th centuries, in contrast to the values, for example, in the harmonic tonality of the 18th-19th centuries as a special type of modal system). Since the forms of embodiment of the mode are historically changeable, then F. l. how specific sound relations evolve historically, and the transition to more developed and complex types of ph. ultimately reflects the progress of the muses. thinking.

Systematics F. l. depends on the elements of the high-altitude organization, which in its composition receive certain meanings, and on the forms of the musical (sound) expression of the logical. relationships between the elements of the modal (altitude) system. All elements of the mode receive systemic significance, both simple (at the elementary level of the material) and composite (at higher levels of cohesion of simple elements into more complex unities). Simple elements – otd. sounds (“monads”), intervals, double sounds (“dyads”), triads (“triads”), other chords as the material of the system. Composite – dec. the kind of “microlads” in the composition of the mode (for example, tetrachords, pentachords, trichords within the framework of more voluminous monodich. modes; certain chord groups, subsystems, a chord with adjacent sounds or consonances, etc. in polygonal modes). Certain F. l. acquire, for example, c.-l. large modal units (one or another tonality, system) in relation to others of the same within a single large whole (the tonality of a secondary theme is like D to the main tonic, etc.). Muz.-logical. relationships in the field of mode are expressed in the division of modal elements into the main (central) and subordinate (peripheral), then in a more detailed semantic differentiation of the latter; hence the fundamental role of the category of foundation as the central F. l. in different its modifications (see Lad). The correct adequate understanding (hearing) of music presupposes thinking in the categories of those F. l., which are inherent in this particular music. system (for example, the use of the Western-European system of major and minor with their phonographs for processing old Russian folk songs, the interpretation of all pitch systems from the standpoint of Western-European harmony of the 18-19th centuries with its F. l., etc.).

It is fundamentally important for F. l. difference 2 main. types of modal (sound) systems depending on the structure of their material – monophonic or polyphonic (in the 20th century also sonorant). Hence the most general division of the types of F. l. into monodic and chord-harmonic. P. l. in different ancient, middle-century. and Nar. monodic. modes (i.e., monodic F. l.) typologically have much in common with each other. To simple monodich. F. l. (i.e., the modal values ​​of individual sounds and consonances) primarily include the values ​​of Ch. fret supports: center. tone (stop, reference tone, tonic; its purpose is to be a modal support of musical thought), final tone (finalis; in many cases it coincides with the center tone, which then can also be called finalis), the second reference tone (repercussion , tone of repetition, confinalis, dominant tone, dominant; usually paired with the final); also local supports (local centers, variable centers; if the supports move from main tones of the mode to side ones), initial tone (initialis, initial; 1st sound of the melody; often coincides with the final one). To composite monodich. F. l. include values ​​determined. melodic revolutions, chants – typical conclusions. formulas, clauses (in some cases, their tones also have their own structural functions, for example, ultima, penultima and antepenultima; see Cadence), typical initial turns (initio, initiation), ancient Russian chants formulas. chants, Gregorian melodies. See, for example, differentiation F. l. center. tone (as1) and final tone (es1) in the example at st. Ancient Greek modes (column 306), finalis and repercussions – at Art. Medieval frets; see the changes of local supports (e1, d1, e1) in the melody “Lord I cried” at st. Sound system (column 447), differentiation F. l. initial and final tones in the melody “Antarbahis” at st. Indian music (column 511). See also modal values ​​(i.e. F. l.) typical melodic. revolutions (eg, initial, final) in art. Medieval modes (column 241), Melody (column 520), Full cadence (column 366), Znamenny chant (columns 466-67), Melody (column 519).

Systems F. l. in a polygon frets, synthesizing fret material of 2 types (single-headed and multi-headed), have a two-dimensional (interdimensional) character. In melodic voices, especially in the main (see Melody), appear monodich. F. l.; they enter into a complex interaction with F. l. vertical consonances (see. Harmony), generating, in particular, the values ​​of the elements of one layer of F. l. relative to the elements of another (for example, melodic tones relative to chords, or vice versa; “interlayer”, interdimensional phlebotomy, arising from the interaction of monodic and chord-harmonic phlebodies). Hence the art. wealth F. l. in music of developed polyphony. Projection of chord-harmonic. F. l. the melody is affected by the prevalence of chord sounds (jumps), perceived as single-functional (they are opposed as functionally contrasting “transits” passing and auxiliary sounds), in a decrease in the value of the primary factor of linear tension (higher – more intense) in favor of harmonic-functional (growth tension when leaving the foundation, the decline – when returning to the foundation), in replacing the melodic basso continuo with a zigzag jump line basse fondamentale, etc. The influence of monodic F. l. on chord-harmonic is reflected in the very concepts of the main. tonal functions (central tone – central chord, tonic; repercussion – dominant chord), and their effect on chord sequences is manifested in regulation through the main. sound steps (their monophonic phonographs) of the choice and semantic meaning of the chords harmonizing the melody (for example, in the final cadence of the choir “Glory” from the opera “Ivan Susanin” – the value for the harmony of the backbone of the supporting sounds of the melody:

cf. Digital system), in refers. harmonic autonomy of the modal complexes of a melody within the framework of polyphony (for example, in the feeling of the harmonious integrity of the modal complex of a single-headed theme within the polygonal fabric of the fugue, sometimes even in contradiction with the Ph. l. of other voices). Interdimensional functional relationships are found in cases of abstraction from normative F. l. sounds and consonances of a given system under the influence of the interaction of heterogeneous (monodic and chord-harmonic) F. l. Yes, monodic. F. l. in a melody subordinate to the chord F. l. D 7, are transformed up to the complete reversal of gravity (for example, the sound of the 1st step gravitates into the 7th, etc.); subordination of the chord to F. l. melodic sounds forms, for example, the function of duplication (in faubourdon, early organum, in music of the 20th century, see, for example, also the piano prelude of C. Debussy “The Sunken Cathedral”).

The modal harmony of the Middle Ages and the Renaissance (especially in the 15th-16th centuries) is characterized by the balance of monodic. and chord harmonic. F. l. (typically linear-polyphonic thinking); indicative are the rules for determining the mode and dominant F. l. “by tenor”, that is, one voice each; like the sounds of a melody of consonance decomp. steps freely follow each other, and defined. there is no clear preference for chords as the main ones in harmony; outside of cadences, “tonal connection may be completely absent, and each chord … may be followed by each other chord” (S. I. Taneev, 1909; see, for example, samples of music by J. Palestrina in St. Polyphony, columns 347, 348, Josquin Despres – in the article Canon, column 692).

Tonal harmony (17-19 centuries) is marked by the predominance of chord-harmonic. F. l. over monodic (see Harmonic tonality, Harmonic function, Tonality, Dominant, Subdominant, Tonic, Major, Minor, Modulation, Deviation, Variable functions, Relationship of keys). Just like the two-fret “harmonic. tonality “West-Europe. music is synthetic. a modal system of a special kind, its own variety of F. l. there is a special one. their type, called “tonal functions” (H. Riemann, “Vereinfachte Harmonielehre oder Lehre von den tonalen Funktionen der Akkorde”, 1893). Classic functions (T, D, S) operate on the basis of the highest natural relationship – the quintal connection between the main. the tones of chords on the IV-IV steps – practically regardless of one or another of their modal characteristics (for example, on whether the tonic is major or minor); so it’s specific here. the term “tonal functions” (correlative to the term “modal functions”), and not the general “F. l.” (combining both). harmonic tonality is characterized by an intense functional attraction to the center. chord (tonic), penetrating the entire structure of the fret, extremely distinct identification of harmonics. functions of each consonance and otd. sound interval. Due to the power of tonal functions, “the tonality of one department affects the tonality of another, the beginning of the piece affects its conclusion” (S. I. Taneev, 1909).

Transition to 20th century music characterized initially by updating the classic. functionality (serving as the main model for many new systems of functional relations), the creation of new sound structures from the traditional. and updated tonal material. Therefore, the technique of functional inversion (“conversion” and further rebirth of tonal gravity) is widespread: the direction of movement from the center to the periphery (R. Wagner, introduction to the opera “Tristan and Isolde”), from standing to unsteady (N. A. Rimsky-Korsakov, “The Tale of the Invisible City of Kitezh and the Maiden Fevronia”, end of the 3rd d.; A. N. Skryabin, harmony in production op. 40-50), from consonance to dissonance and, further, a tendency to avoid consonance (S. V. Rachmaninov, romance “Au!”), from a chord to a non-chord formation (the appearance of side tones in a chord as a result of fixing delays, auxiliary and other non-chord sounds in its structure). With the rebirth of tradition. old F. l. in this way, for example, dissonant tonality arises (Scriabin, late sonatas for pianoforte; A. Berg, Wozzeck, 1st act, 2nd scene, dissonant cis-moll, see musical example in Art. Accord , column 82, 1st chord – T), derivative modes (S. S. Prokofiev, “Fleeting”, No 2, March from the opera “Love for Three Oranges” – from C-dur; D. D. Shostakovich, 9 symphony, 1st movement, beginning of the side part of the exposition – as-moll as a derivative of T from G-dur), atonic structures (N. Ya. Myaskovsky, 6th symphony, 1st part, main section of the side part ; the tonic chord Fis-dur appears only in the final part). On a new basis, the variety of modes is revived; accordingly, a variety of types of F. l. (system functions, meanings of sounds and consonances within the given system).

In the new music of the 20th century. along with the traditional types F. l. (monodic-modal; chord-harmonic, in particular tonal) other systemic functions are also presented, denoting the semantic meanings of the elements, in particular in the technique of the center (“developing variation” as an expediently directed modified repetition of the chosen sound group, as it were, a variation on it). Center functions are important. height (high-altitude abutment) in the form of otd. sound (central tone, according to I. F. Stravinsky – “poles”; for example, in the piano play “Signs on White”, 1974, tone a2 by E. V. Denisov; see also an example in Art. Dodecaphony, column 274, central tone es), center. consonances (e.g. polychord Fis-dur + C-dur in the basis of the 2nd scene of Stravinsky’s ballet “Petrushka”, see an example in Art. Polychord, column 329), center. positions of the series (for example, the series in the position ge-dis-fis-cis-fdhbca-gis in A. Webern’s vocal cycle op. 25, see an example in the article Pointillism). When using sonorno-harmonic. technique, a sense of certainty of a high-altitude abutment is achievable without revealing a clear basic. tones (the end of the finale of the 2nd piano concerto by R. K. Shchedrin). However, the use of the term “F. l.” in relation to many phenomena of harmony in the 20th century. seems problematic (or even impossible), their definition requires the development of more precise terminology.

References: see under the articles mentioned.

Yu. N. Kholopov