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Resolution – voltage drop during the transition from dissonance to consonance, from harmonic. functional instability (D, S) to stability (T), from a non-chord sound to a chord one, as well as such a transition itself. The succession of states of tension and release of tension is physiologically and psychologically perceived as a relief that gives satisfaction, and is associated with a transition to a more pleasant one, to pleasure. Hence the aesthetic the value of R. and the corresponding aesthetic. functions of sounds-tensions and sounds-R. (they are also preserved with their diverse interweaving). Continuous wave-like fluctuation of tension and R. is similar to the breathing of a living organism, systole and diastole. R. is determined. voicing techniques (for example, the movement of the introductory tone upwards into the primary tonic, a non-chord sound into an adjacent chord one). Of particular importance here belongs to the move per second (large and small), because. it perfectly “erases the trace” of the previous sound. Nevertheless, under the conditions of a developed harmonic R. and non-secondary thinking are possible (P. I. Tchaikovsky, “Francesca da Rimini”, last bars). Related to R., but not identical to him, coloristic. removal of quasi-dominant tension (Des7> – Des) in F. Chopin’s nocturne b-moll op. 9 No 3. R. suggests the idea of ​​a permissive consonance and the expectation of it. It is most typical for the music of the major-minor system (its formation began in the middle of the 15th century, its dominance was in the 17th-19th centuries; much of it survived into the 20th century). Wed-century. monody R. as a formative moment is alien (in principle, the effects of tension and discharge are avoided in it, without which R. is unattainable). In polyphony, the category of R. is fixed as a technique for subordinating dissonance to consonance. Their polarization, especially the polarization of functional stability and instability, created the conditions for the effectiveness of R. and its acute perception (even F. Couperin called the process of R. the term “se sauver”, literally – to be saved).

The correlation of the categories “tension” – “resolution” can be extended to constructions of larger scales (for example, to an unstable middle or a development and a repetition “resolving” its tension); in this case, the R. effect acquires a broader meaning, influencing shaping. In the era of romanticism (and in the 20th century), new forms of rhythm developed (in particular, incomplete R., as well as R., based on one side of harmonic tension; for example, in Chopin’s mazurka in C-dur op.24 No 2 revealing the resolving chord is carried out by comparing all three triads: T, D and S, while their pairs – T and D, T and S – do not determine it). In the music of the 20th century the new manifested itself, in particular, in the violation of the polarity of dissonance and consonance, instead of which a multi-stage gradation of dissonance was established (theoretically, in A. Schoenberg, P. Hindemith; in the latter, “harmonisches Gefälle” – “harmonious relief”). Thanks to complex (dissonant) tonics, it turned out to be possible to resolve a stronger dissonance into a less intense one and replace the dissonance-consonance transition with a multi-stage transition from the strongest dissonance to the strongest consonance, as well as to lead, for example, the tonic sound. prima into a chord major seventh (contrary to traditional gravitation, see – S. S. Prokofiev, Fleeting, No 14, bars 24-25), internally resolve the tonic. consonance (Prokofiev, Sarcasms, No 3, last bars).

References: Rohwer J., Das “Ablösungsprinzip” in der abendländischen Musik…, “Zeitschrift für Musiktheorie”, 1976, H. 1. See also lit. under the articles Harmony, Dissonance, Dominant, Lad, Subdominant.

Yu. N. Kholopov