intonation |

from lat. intono – speak loudly

I. The most important musical-theoretical. and aesthetic a concept that has three interrelated meanings:

1) Altitude organization (correlation and connection) of music. horizontal tones. In sounding music, it really exists only in unity with the temporal organization of tones – rhythm. “Intonation… is closely fused with rhythm as a factor disciplining the revelation of music” (B. V. Asafiev). The unity of I. and rhythm forms a melody (in its broadest sense), in which I., as its high-pitched side, can be distinguished only theoretically, in abstraction.

Muses. I. is related in origin and in many ways similar to speech, understood as changes in the sound (“tone”) of the voice and, above all, its pitch (“speech melody”). I. in music is similar to I. speech (if we mean the vertical side of the latter) in its content function (although in speech the main carrier of content is the word – see I, 2) and in some structural features, representing as well as speech I., the process of pitch changes in sounds, expressing emotions and regulated in speech and wok. music by the laws of respiration and muscular activity of the vocal cords. Music addiction. I. from these patterns is already reflected in the construction of a sound-pitch, melodic. lines (the presence of reference sounds similar to the same sounds in speech I.; the location of the main one in the lower part of the vocal range: the alternation of ascents and descents; descending, as a rule, the direction of the pitch line in the conclusion, the phase of movement, etc.), it affects and in the articulation of music. I. (the presence of caesuras of various depths, etc.), in some general prerequisites for its expressiveness (an increase in emotional tension when moving up and a discharge when moving down, in speech and vocal music associated with an increase in the efforts of the muscles of the vocal apparatus and with muscle relaxation).

The differences between the two indicated types of I. are also significant, both in their content (see I, 2) and in form. If in speech I. the sounds are not differentiated and do not have a fixed at least with relates. accuracy of height, then in music I. create muses. tones are sounds that are more or less strictly delimited in pitch due to the constancy of the oscillation frequency that characterizes each of them (although here, too, the fixation of pitch is not absolute – see I, 3). Muses. tones, unlike speech sounds, in each case belong to k.-l. historically established musical-sound system, form among themselves constant height relationships (intervals) fixed in practice and are mutually conjugated on the basis of a certain system of functional-logical. relationships and connections (lada). Thanks to this music. I. qualitatively differs from speech – it is more independent, developed and has an immeasurably greater express. opportunities.

I. (as a high-pitched organization of tones) serves as a constructive and expressive-semantic basis of music. Without rhythm (as well as without rhythm and dynamics, as well as timbre, which are inextricably linked with it), music cannot exist. Thus, music as a whole has intonation. nature. The fundamental and dominant role of I. in music is due to several factors: a) the pitch relations of tones, being very mobile and flexible, are very diverse; certain psycho-physiological the premises determine their leading role in the expression by means of music of the changeable, subtly differentiated and infinitely rich world of human spiritual movements; b) pitch relationships of tones due to the fixed pitch of each of them, as a rule, are easily remembered and reproduced and therefore are able to ensure the functioning of music as a means of communication between people; c) the possibility of a relatively accurate correlation of tones according to their height and the establishment between them on this basis of clear and strong functional-logical. connections made it possible to develop in music a variety of methods of melodic, harmonic. and polyphonic. development, express the possibilities of which far exceed the possibilities of, say, one rhythmic, dynamic. or timbre development.

2) Manner (“system”, “warehouse”, “tone”) of music. statements, “the quality of meaningful pronunciation” (B. V. Asafiev) in music. It lies in the complex of characteristic features of the muses. forms (high-altitude, rhythmic, timbre, articulatory, etc.), which determine its semantics, i.e., emotional, semantic, and other meanings for those who perceive. I. – one of the deepest layers of form in music, closest to the content, most directly and fully expressing it. This understanding of music I. is similar to understanding speech intonation as expressed. tone of speech, emotions the coloring of its sound, depending on the speech situation and expressing the attitude of the speaker to the subject of the statement, as well as the features of his personality, national and social affiliation. I. in music, as in speech, can have expressive (emotional), logical-semantic, characteristic and genre meanings. The expressive meaning of music. I. is determined by the feelings, moods and volitional aspirations of the composer and performer expressed in it. In this sense, they say, for example, about the muses that sound in a given. the work (or its section) intonations of appeal, anger, jubilation, anxiety, triumph, determination, “affection, sympathy, participation, maternal or love greetings, compassion, friendly support” (B. V. Asafiev about Tchaikovsky’s music ), etc. The logical-semantic meaning of I. is determined by whether it expresses a statement, a question, the completion of a thought, etc. Finally, I. can be decomposed. according to its characteristic value, incl. national (Russian, Georgian, German, French) and social (Russian peasant, raznochinno-city, etc.), as well as genre meaning (song, ariose, recitative; narrative, scherzo, meditative; household, oratory, etc.).

Sec. I. values ​​are determined by numerous. factors. An important, although not the only one, is the more or less mediated and transformed (see I, 1) reproduction in music of speech I. correspondingly. values. The transformation of verbal I. (diverse in many respects and historically changing) into musical music takes place continuously throughout the development of music. art and largely determines the ability of music to embody various emotions, thoughts, strong-willed aspirations and character traits, convey them to listeners and influence the latter. Sources of expressiveness of music. I. also serve as associations with other sounds (both musical and non-musical – see I, 3) due to the auditory experience of society and the prerequisites of direct physiological. impact on emotions. the realm of man.

This or that I. muses. utterances are decisively predetermined by the composer. Music created by him. sounds have potential. value, depending on their physical. properties and associations. The performer, by his own means (dynamic, agogic, coloristic, and in singing and playing instruments without a fixed pitch—also by varying the pitch within the zone—see I, 3) reveals the author’s I. and interprets it in accordance with his own individual and social positions. The identification by the performer (which may also be the author) of composer’s I., i.e., intonation, is the real existence of music. Its fullness and societies. this being, however, acquires meaning only under the condition of perception of music by the listener. The listener perceives, reproduces in his mind, experiences and assimilates the composer’s I. (in its performing interpretation) also individually, on the basis of his own. musical experience, which, however, is part of society. experience and its conditioned. That. “The phenomenon of intonation binds into a unity musical creativity, performance and listening – hearing” (B. V. Asafiev).

3) Each of the smallest specific conjugations of tones in music. an utterance that has a relatively independent expression. meaning; semantic unit in music. Usually consists of 2-3 or more sounds in monophony or consonances; in excl. cases, it may also consist of one sound or consonance, isolated by its position in the muses. context and expressiveness.

Because the main express. the means in music is the melody, I. is mostly understood as a brief study of tones in monophony, as a particle of a melody, a singsong. However, in cases where relatively independent expresses. meaning in music. the work acquires certain harmonic, rhythmic, timbre elements, we can speak of harmonic, rhythmic, respectively. and even timbre I. or about complex I.: melodic-harmonic, harmonic-timbre, etc. But in other cases, with the subordinate role of these elements, rhythm, timbre and harmony (to a lesser extent – dynamics) still have an effect on the perception of melodic intonations, giving them this or that illumination, these or those shades of expressiveness. The meaning of each given I. to a large extent also depends on its environment, on the muses. context, in which it enters, as well as from its fulfillment. interpretations (see I, 2).

Relatively independent. the emotional-figurative meaning of a separate I. depends not only on its own. properties and place in the context, but also from the listener’s perception. Therefore, the division of muses. flow on I. and the definition of their meaning is due to both objective factors and subjective ones, including muses. auditory education and listener experience. However, to the extent that certain sound pairings (more precisely, types of sound pairings) due to their repeated use in music. creativity and the assimilation of societies. practice become familiar and familiar to the ear, their selection and comprehension as independent I. begins to depend not only on the listener’s individualities, but also on the skills, musical and aesthetic. tastes and views of entire societies. groups.

I. may coincide with the motive, melodic. or harmonic. turnover, thematic cell (grain). The difference, however, lies in the fact that the definition of sound conjugation as a motive, turnover, cell, etc., is based on its objective features (the presence of an accent that unites a group of sounds, and a caesura that separates this group from the neighboring one, the nature of melodic and harmonic functional connections between tones or chords, the role of a given complex in the construction of a theme and in its development, etc.), while when selecting I., they proceed from expressing. the meanings of the meaning of sound pairings, from their semantics, thereby inevitably introducing a subjective element.

I. sometimes metaphorically called muses. “word” (B. V. Asafiev). Music likeness. I. word in the language is partially justified by the features of their similarity in content, form and function. I. is similar to a word as a short sound conjugation that has a certain meaning, which arose in the process of people’s communication and represents such a semantic unit that can be separated from the sound stream. The similarity also lies in the fact that intonations, like words, are elements of a complex, developed system that functions in certain social conditions. By analogy with verbal (natural) language, the system of I. (more precisely, their types) found in the work of k.-l. composer, group of composers, in music. culture k.-l. people, etc., can conditionally be called “intonation. language” of this composer, group, culture.

Music difference. I. from the word consists in the fact that it is a conjugation of qualitatively different sounds – muses. tones, a cut expresses special, arts. content, arises on the basis of other sound properties and relations (see I, 1), as a rule, does not have a stable, repeatedly reproduced form (only types of speech are more or less stable) and therefore is created anew by each author in each utterance (although with a focus on a certain intonational type); I. is fundamentally polysemantic in content. Only to exclude. In some cases, it expresses a specific concept, but even then its meaning cannot be accurately and unambiguously conveyed by words. I. much more than a word, depends in its meaning on the context. At the same time, the content of a particular I. (emotion, etc.) is inextricably linked with a given material form (sound), that is, it can be expressed only by it, so that the connection between content and form in I. is, as a rule, much less indirect. than in a word, not arbitrary and not conditional, due to which the elements of one “intonation. languages” do not need to be translated into another “language” and do not allow such a translation. The perception of the meaning of I., i.e., its “understanding”, to a much lesser extent requires preliminary. knowledge of the corresponding “language”, because Ch. arr. on the basis of the associations it evokes with other sounds, as well as the psychophysiological prerequisites contained in it. impact. I., included in this “intonation. language”, are not connected within this system in any way stable and obligatory. rules for their formation and connection. Therefore, the opinion seems reasonable, according to Krom, unlike the word, I. cannot be called a sign, but “intonation. language” – a sign system. In order to be punted by the listeners, the composer in his work cannot but rely on the already known surrounding societies. environment and the muses learned by it. and nemuz. sound conjugation. Of the musical, I. Nar. play a special role as a source and prototype for composer creativity. and everyday (non-folklore) music, common in a particular social group and being part of its life, a direct (natural) spontaneous sound manifestation of the attitude of its members to reality. From nemuz. sound pairings play a similar role available in each nat. language stable, everyday reproduced in speech practice intonation. turns (intonemes) that have, for everyone who uses this language, a more or less constant, definite, partially already conditional meaning (the intoonemes of a question, exclamation, assertion, surprise, doubt, various emotional states and motives, etc.).

The composer can reproduce existing sound pairings in an exact or modified form, or create new, original sound pairings, one way or another focusing on the types of these sound pairings. At the same time, and in the work of each author, among the many reproduced and original conjugations of tones, one can distinguish typical I., variants of which are all the rest. The totality of such typical I., characteristic of a given composer and forming the basis, the material of his “intonation. language”, forms its “intonation. dictionary” (term by B. V. Asafiev). The totality of typical I., existing in societies. practice of this era, located in this historical. the period “at the hearing” of the nation or many nations, forms, respectively, nat. or international “intonation. dictionary of the era”, including as a basis I. nar. and household music, as well as I. prof. music creativity, assimilated by the public consciousness.

Due to the above serious differences between I. and the word, “intonation. dictionary” is a completely different phenomenon compared to lexic. fund of verbal (verbal) language and should be understood in many respects as a conditional, metaphorical. term.

Nar. and household I. are characteristic elements of correspondence. music genres. folklore and everyday music. Therefore, “intonation. dictionary of the epoch” is closely connected with the genres prevailing in the given epoch, its “genre fund”. Reliance on this fund (and thus on the “intonation dictionary of the era”) and a generalized embodiment of its typical. features in creativity, i.e., “generalization through the genre” (A. A. Alshvang), largely determines the intelligibility and understandability of music for listeners of a given society.

Referring to the “intonation. dictionary of the era”, the composer reflects it in his work with varying degrees of independence and activity. This activity can manifest itself in the selection of I., their modification while maintaining the same expression. meanings, their generalization, their rethinking (re-intonation), i.e., such a change, which gives them a new meaning, and, finally, in the synthesis of decomp. intonations and whole intonations. spheres.

National and international “intonation. dictionaries” are constantly evolving and updating as a result of the death of some I., changes in others, and the appearance of third ones. In certain periods – usually marked by major shifts in social life – the intensity of this process increases dramatically. Significant and rapid update of “intonation. dictionary” during such periods (for example, in the 2nd half of the 18th century in France, in the 50-60s of the 19th century in Russia, in the first years after the Great October Socialist Revolution) B.V. Asafiev called “intonation. crises.” But in general, “intonation. dictionary “any nat. music culture is very stable, evolving gradually and even during the “intonation”. crises” is not undergoing a radical breakdown, but only a partial, albeit intensive, renewal.

“Intonation. dictionary” of each composer is also gradually updated due to the inclusion of new I. and the emergence of new variants of typical intonations. the forms underlying this “vocabulary”. Ch. serve as means of transformation And. arr. changes in intervals and modal structure, rhythm, and genre character (and, in complex imitations, also in harmony). In addition, express. the value of I. is affected by changes in tempo, timbre, and register. Depending on the depth of the transformation, one can speak of the appearance of either a variant of the same I., or a new I. as another variant of the same standard form, or a new I. as one of the variants of another standard form. In determining this, auditory perception plays a decisive role.

I. can be transformed and within the same muses. works. Variation, the creation of a new variant, or the qualitative development of c.-l. are possible here. one I. The concept of intonation. development is also associated with a combination of decomp. I. horizontally (smooth transition or comparison in contrast) and vertically (intonation. counterpoint); “intonation. modulation ”(transition from one sphere of I. to another); intonation conflict and struggle; the displacement of some I. by others or the formation of synthetic I., etc.

Mutual arrangement and ratio And. in prod. constitutes its intonation. structure, and internal figurative-semantic connections I. in the immediate. research or at a distance (“intonation. arches”), their development and all kinds of transformations – intonation. dramaturgy, which is the primary side of the muses. drama in general, the most important means of revealing the content of the muses. works.

Own means, in accordance with the general interpretation of the product, transforms and develops it I. and the performer (see I, 2), who has a certain freedom in this regard, but within the framework of revealing intonation. dramaturgy predetermined by the composer. The same condition limits the freedom of modification of I. in the process of their perception and mental reproduction by the listener; at the same time, it is so individualized. reproduction (internal intonation) as a manifestation of listener activity is a necessary moment for a full-fledged perception of music.

Questions about the essence of music. I., intonation. the nature of music, the relationship and difference of muses. and speech I. and others have long been developed by science (although in many cases without the use of the term “I.”), and most actively and fruitfully in those periods when the problem of the interaction of muses. and speech I. became especially relevant for the muses. creativity. They were partially staged already in the music. theory and aesthetics of antiquity (Aristotle, Dionysius of Halicarnassus), and then the Middle Ages (John Cotton) and the Renaissance (V. Galilee). Means. contribution to their development was made by the French. musicians of the 18th century who belonged to the enlighteners (J. J. Rousseau, D. Diderot) or were under their direct control. influence (A. Gretry, K. V. Gluck). During this period, in particular, the idea was formulated for the first time about the correlation of “melody intonations” with “speech intonations”, that the singing voice “imitates various expressions of a speaking voice animated by feelings” (Rousseau). Of great importance for the development of the theory of I. were the works and statements of advanced Russian. composers and critics of the 19th century, especially A. S. Dargomyzhsky, A. N. Serov, M. P. Mussorgsky, and V. V. Stasov. So, Serov put forward the provisions on music as a “special kind of poetic language” and, simultaneously with N. G. Chernyshevsky, on the primacy of the wok. intonations in relation to instrumental; Mussorgsky pointed to the importance of speech idioms as the source and basis of “the melody created by human speech”; Stasov, speaking about the work of Mussorgsky, for the first time spoke about the “truth of intonations.” A peculiar doctrine of I. developed in the beginning. 20th century B. L. Yavorsky (see II), who called I. “the smallest (by construction) monophonic sound form in time” and defined the intonation system as “one of the forms of social consciousness.” Ideas Russian. and foreign musicians about intonation. the nature of music, its connection with the I. of speech, the role of the prevailing intonations of the era, the significance of the process of intonation as the real existence of music in society, and many others. others are generalized and developed in numerous. works of B. V. Asafiev, who created a deep and extremely fruitful (although not completely clearly formulated and not devoid of separate gaps and internal contradictions) “intonation. theory” music. creativity, performance and perception and developed the principles of intonation. music analysis. Musicologists of the USSR and other socialists continue to develop this progressive theory, which is of paramount scientific importance. countries.

II. In B. L. Yavorsky’s “modal rhythm theory” it is a juxtaposition (change) of two modal moments, presented in one voice (see Modal rhythm).

III. The degree of acoustic accuracy of reproduction of the pitch and their ratios (intervals) with music. performance. True, “clean” I. (as opposed to false, “dirty”) – a coincidence of factual. the height of the sounding tone with the necessary, i.e., due to its place in the music. sound system and mode, which is fixed by its designation (graphic, verbal or otherwise). As shown by the owl. acoustician N. A. Garbuzov, I. can be perceived by hearing as true even when the indicated coincidence is not absolutely exact (as is usually the case when music is performed by voice or instruments without a fixed pitch of each tone). The condition for such perception is the location of the sounding tone within a certain swarm, limited. areas of heights close to the required. This area was named by N.A. Garbuzov a zone.

IV. In the zone theory of pitch hearing by N. A. Garbuzov, the pitch difference between two intervals that are part of the same zone.

V. In the production and tuning of music. instruments with a fixed pitch of sounds (organ, piano, etc.) – the evenness of all sections and points of the instrument’s scale in terms of volume and timbre. Achieved through special operations, which are called the intonation of the instrument.

VI. In Western Europe. music until ser. 18th century – a short introduction to the wok. or instr. prod. (or cycle), similar to intrade or prelude. In Gregorian chant, I. was intended to establish the tonality of the tune and the height of its initial tone and was originally vocal, and from the 14th century, as a rule, organ. Later I. also composed for the clavier and other instruments. The most well-known are the organ instruments created in the 16th century. A. and J. Gabrieli.

References:

1) Asafiev B.V., Musical form as a process, book. 1-2, M., 1930-47, L., 1971; his own, Speech intonation, M.-L., 1965; his own, “Eugene Onegin” – lyrical scenes of P. I. Tchaikovsky. Experience of intonation analysis of style and musical dramaturgy, M.-L., 1944; his, Glinka, M., 1947, 1950; his own, Glinka’s Rumor, ch. 1. Glinka’s intonation culture: self-education of hearing, its growth and nutrition, in collection: M. I. Glinka, M.-L., 1950; Mazel L. A., O melody, M., 1952; Vanslov V.V., The concept of intonation in Soviet musicology, in the book: Questions of Musicology, vol. 1 (1953-1954), M., 1954; Kremlev Yu. A., Essays on musical aesthetics, M., 1957, under the title: Essays on the aesthetics of music, M., 1972; Mazel L. A., On the musical-theoretical concept of B. Asafiev, “SM”, 1957, No 3; Orlova B. M., B. V. Asafiev. Leningrad, 1964; intonation and musical image. Articles and studies of musicologists of the Soviet Union and other socialist countries, ed. Edited by B. M. Yarustovsky. Moscow, 1965. Shakhnazarova N. G., Intonation “dictionary” and the problem of folk music, M., 1966; Sohor AH, Music as a form of art, M., 1961, 1970; Nazaikinsky E., Psychology of musical perception, M., 1972; Kucera V., Vevoj a obsah Asafjevovy intotonacnin teorie, “Hudebni veda”, 1961, No 4; Kluge R., Definition der Begriffe Gestalt und Intonation…, “Beiträge zur Musikwissenschaft”, 1964, No 2; Jiranek J., Asafjevova teorie intotonace, jeji genez and a viznam, Praha, 1967;

2) Yavorsky V. L., The structure of musical speech, M., 1908;

3) and 4) Garbuzov HA, Zone nature of pitch hearing, M., 1948; Pereverzev N. K., Problems of musical intonation, M., 1966;

5) Protscher G., History of organ playing and organ composition, vols. 1-2, В., 1959.

A. H. Coxop