on music theory

"The idea of \u200b\u200bmusical harmony"

1. Harmony in the surrounding world

2. The role of harmony in music

3. Chords

4. Connce and dissonances

Conclusion

Literature

1. Harmony in the surrounding world

What do we understand usually under the word "harmony"? What are the people around us characterize this word? We are talking about the harmony of the universe, referring to the beauty and perfection of the world (the area is scientific and natural and philosophical); We use the word "harmony" due to the personality of a person (harmonious nature), characterizing his spiritual internal integrity (etiko-psychological region); Inconale, harmonious, we call artistic work - poems, prose, paintings, movies, etc., - if we feel naturalness in them. Organic, harmony (this is the artistic and aesthetic region).

The philosophical and aesthetic concept of harmony was developed with deep antiquity. In the Greeks, it was reflected in the myths about space and chaos, about harmony. In the V-IV centuries. BC e. The first evidence of the application of the word "harmony" is noted in a special musical and theoretical sense. Philolia and Plato "Harmony" called an octave sound (octave species), which thought as a clutch of quarts and quints. The aristochene "Harmony" is named one of the three - Anarmonic - childbirth of Melosa.

In all these different areas, with the word "harmony", we have an idea of \u200b\u200bthe consistency of the whole and parts, beauty, in short - that reasonable proportionality began, "which is the basis of all perfect in life and art. Music is not an exception here: harmony, harmony in a wide artistic and aesthetic sense, every significant musical work is characterized, the author's style.

2. The role of harmony in music

With deep antiquity, the harmony of music was associated with the harmony of space, and, as the philosopher I.A. Gerasimov, music carried and a certain philosophical meaning. A true musician could only be considered the one who was consonant with a space tone through her music

The question is why the music was considered as something that denotes the relationship between the earth and heavenly, cosmic order and the earthly world requires appeal to the concept of harmony. The concept of harmony itself requires some additional decryption in this connection. Despite the fact that harmony from a technical point of view traditionally communicates first of all with music, the very concept itself is much wider. When mentioning the harmony of the world, there is due to its order and a certain perfect structure, the structure characterized primarily by its spatial location. The concept of harmony spreads, thus on spatial figures. This is obvious and from the presence of numerous references to architectural harmony. The reversibility of the concept of harmony reflects the characteristics of the architecture as non-uncomfortable, frozen music. For all the metaphoricity of these definitions, they reflect quite recognizable and specific combination and substitution of spatial and temporal characteristics. It is known a geometric perception of sound, for example, concluded in the ornament, characteristic of the Ancient East or Pythagorean geometric images of harmonic sounds, which is only an illustration of the stability of the marked bond.

Music is a special type of modeling of the world, where it is considered as a perfect system. The latter allocates it from other ideas about the myth. Music is meaningful, but for the plurality of its meaning there is a constant frame of a musical syntax, described by mathematical structures. Already in this duality, the music is similar to both the world, and the science speaking on a clear language of mathematics, but trying to cover the variety of changing peace.

Music harmony is one of the most slenderly organized phenomena. The abstractness of the sound needs a supercontruited logic - otherwise the music would not say anything to people. One glance to modal and tonal systems, for example, can reveal by scientists from different areas possible models of a harmonious organization, where instincts and the aspirations of tones are born in the boundless acoustic medium, permeated by the human creative spirit.

Amazing the ability of musical art to predict the greatest achievements of scientific thought. But no less surprising and the ability of the musical theory: appearing with natural deception, it steals stably on the basis of predicted scientific booms to master them in deployed musical and theoretical systems.

The concept of harmony in music is approximately 2500 years. The traditional concept of harmony (and the corresponding interpretation of the most important compositional and technical discipline) as the science of chords in the major-mining tonal system was mainly at the beginning of the XVIII century.

Let us turn to ancient Greek mythology. Harmony was a daughter of Ares - the god of war and discord and Aphrodite - the Goddess of Love and Beauty. That is why the compound of the insidious and destructive strength and the comprehensive force of eternal youth, life and love is such a basis for the equilibrium and peace, personified harmony. And harmony in music almost never appears in its completed form, but on the contrary, it is achieved in the development, struggle, becoming.

Pythagoreans very deeply and with endless persistence understood the musical harmony as a consonance, and the Connce - necessarily as a quart, quint and octave in comparison with the main tone. Someone declared the Consonance to Douodezima, that is, the compound of octaves and quints, or even two octaves. Basically, however, everywhere appeared, first of all, as conjunction of the quart, Quinta and Oktawa. It was an inexorable requirement of an ancient hearing, which is clearly and very stubborn, first of all, considered the conjunctions of the quart, Quint and Oktava, and with this requirement we need to be considered as an irrefutable historical fact.

Subsequently, the concept of harmony retained its semantic basis ("Logos"), but the specific ideas about harmony as sound-coherent coherence were dictated by the estimated criteria for this historical era. With the development of many-voice music, the harmony was divided into "simple" (one-haired) and "composite" (polyphonic; in the treatise of the English theorist W. Odinton "The sum of the theory of music", and the XIV century); Later, the harmony began to interpret as the doctrine of chords and their relationships (J. Tsarlino, 1558, - the theory of chord, major and minor, majority or the minority of all the lands; at M. Mersenna, 1636-1637, - the ideas of world harmony, the role of bass as The foundation of harmony, opening the phenomenon of overtones in the composition of musical sound).

The sound in music is the initial element, the kernel, from which a musical work is born. But arbitrary order of sounds can not be called the work of art, that is, the presence of the initial elements is not beauty. Music, real music, only Toga begins when its sounds are organized according to the laws of harmony - natural natural laws that the musical work inevitably obeys. I want to note that this art is important not only in music, but also in any other sphere. With the harmony, you can easily apply it both in ordinary life and magical.

The presence of harmony is noticeable in any product. In the highest, harmonious manifestations, it affects how continuously flowing light, in which, undoubtedly, there is a defill of the unearthly, divine harmony. The course of music carries the seal of an elevated rest and equilibrium. This does not mean, of course, that there is no dramatic development in them, it does not feel a hot pulse of life. In general, absolutely serene states rarely arise.

The science of harmony in the new sense of the word, as the science of chords and their submissions, essentially begins with theoretical works of Ramo.

In the works of Ramo clearly, the tendency towards naturally scientific explanation of musical phenomena is distinguished. He seeks to withdraw the laws of music from a single, given nature of the foundation. Such is the "sounding body" - a sound that includes a number of partial tones. "There is nothing more natural," writes Ramo, which is something directly comes from tone "" (136, p. 64). The principle of harmony Ramo recognizes the main sound (fundamental bass), from which the intervals and chords are derived. It also determines the connections of consonant in Lada, the relationship of tonalities. Chord thinks Ramo as acoustic and functional unity. Basic, regulatory conserving conserving sober, it takes out of three intervals concluded in a row of overtones: pure quints, large and low colors. The reference quint interval can be divided into two terminats in various ways, which gives major and minor sober, and thus two Lada - Major and Minor (134, p. 33). The main type of Ramo chord recognizes the chord built by the flares. Others are considered as its appeals. This has made an invisible order to understand the harmonic phenomena. From the so-called triple proportion of Ramo displays the quinting relationship of three sober. He revealed essentially the functional nature of harmonic ties, classified harmonic sequences and cadentsies. It has been established that the process of musical development is managed harmony.

True by catching a really characteristic of classical music, the dependence of the melody from harmonious logic, Ramo unilaterally absolisted this position, not wanting to notice and take into account in its theory the dynamic role of the melody, which alone could only put the genuine movement proposed by it a classically balanced harmony model. It is unilaterally a RAMO who has collided with a no less unilateral position of J.-zh. Rousseau, who approved the primacy of the melody, consists of the cause of the famous dispute of Ramo and Rousseau.

The musical theory operates the word "harmony" in a strictly defined sense.

Under harmony, one of the main parties to the musical language associated with the association of sounds in simultaneity (so to speak, with a vertical "incision" of the musical tissue), and the union of consonance with each other (horizontal "cut"). Harmony is a complex area of \u200b\u200bmusical expressiveness, it combines many elements of musical speech - melody, rhythm, leads the laws of development of the work.

In order to make an initial, the most common idea of \u200b\u200bharmony, let's start with a specific example, remembering the theme of the play of the Migra "Tosca in Motherland." We listen to it, paying special attention to the consonance, of which is escort.

First of all, we note that all consonances are different: and in its composition (in some - three different sounds, in others - four), and in terms of sound quality, the impression is made - from the soft, rather calm (first), "durable", sustainable (second, last) to the most tense, unstable (third, sixth, seventh) with a large number of intermediate shades between them. So different consonances give a rich coloring melodic voice, telling him such emotional nuances, which he himself and does not possess.

We will find further that consonance, although we are separated by pauses, are closely interrelated with each other, alone is naturally moving to others. Any arbitrary permutation will break this connection, violates the natural sound of music.

Pay attention another feature of harmony in this example. The melody without accompaniment disintegrates into four separate phrases, the similarities of them serves to dismember the melody. And the accompaniment constructed on different consonents, besides consistently interconnected, as if arising from one of the other, disguises this similarity, removes the effect of "literal" repetition, and as a result we perceive the whole topic as a single, updated and developing. Finally, only in the unity of the melody and accompaniment, we get a clear idea of \u200b\u200bthe completion of the topic: After a series of sufficiently intense chords, a more relaxed final creates a sense of the end of musical thought. Moreover, this feeling is much more clearly and weighed in comparison with the feeling that the end of only one melody is completed.

Thus, in this example, it is obvious how the role of harmony in the music work is essential. From our brief analysis, it is clear that two sides are equally important in harmony - arising sound combinations and their connection between themselves.

So, harmony is a certain system of combinations of sounds vertically to the consonance and communication system of these consonances.

The term "harmony" in relation to music originated in ancient Greece and meant certain ratios of sounds. And since the music of those times was one-haired, then these natural relationships were output from the melody - from following the sounds of one after another (that is, in terms of melodic intervals). Over time, the concept of harmony has changed. This happened with the development of polyphony, with the advent of not one, and several votes when the question arose about their consistency in simultaneous sound.

Music XX century. I developed a slightly different concept of harmony, with which there are consistent difficulties in its theoretical awareness and that, accordingly, constitutes one of the most important special problems of modern exercise about harmony.

At the same time, the perception of a particular chord, as harmony (that is, consonance) or as a set of unrelated sounds depends on the musical experience of the listener. So, an unprepared listener, the harmony of the music of the 20th century may seem like a chaotic set of sounds taken in simultaneity.

We will get acquainted closer with the means of harmony, considering first the properties of individual consonants, and then the logic of their combinations.

3. Chords

Among the limitless number of possible harmonic combinations (and possibly, in principle, any sound combination) in music is allocated by their organizations of chords - such consonants that are built on the flares. The very natural terrical principle of the structure of the chords has developed in music, it was not immediately formed gradually as imperfect consonons (defects, sect) were used.

Music Medieval Music was mainly focused on the consonance of the committed condesons (quart, quint, octave). Now MM perceive them as "empty", they have a special color flavor for us and apply in cases where the composer wants to emphasize the effect of a heal, empty space in music. So, for example, the eleventh Symphony of Shostakovich begins, illustrating the void of a huge Palace Square with music.

The most important representative of the chords tonic group is sober from the first stage (T5 / 3), which realizes the function of stability, rest, stability. This chord is the goal of any sequence of chords. Chords of the subdominant and dominant group are unstable, but in different ways. The chords of the dominant group sound hard and sharply to resolve in tonic. The most pronounced chord of the dominant group is sober from the fifth stage (D5 / 3). Chords of the subdominant group sound more gently, less intense compared to chords of the dominant group. The main chord of the subdominant group is sober from the fourth stage (S5 / 3).

As the harmonic turnover is developing, each subsequent chord has a more intense sound compared to the previous chord. It follows the main rule that is used in constructing a sequence of chords: the chords of the subdominant group cannot follow the chords of the dominant group. Any sequence of chords tends to resolve in tonic. T-S-D-T is a template for which a harmonic turnover is built (may be complete, but may be incomplete, i.e. it may contain only tonic and chords of the subdominant group, or only tonic and chords of the dominant group).

The terrical principle of the structure of chords has become the main in classical harmony of the XVIII-XIX centuries. The stable regularity in the construction of chords is due to many reasons - acoustic, physiological, peculiarities of perception - and is confirmed by a long musical practice. Does not lose this principle of its importance and in the music of our days, although along with it there are other principles, and today it is often chords to call the concells of the most different structure.

The most common chords are truskia, major and minor. Recall that sober is a chord, consisting of two coats and having a quint between extreme voices.

The agreed harness and completeness of the sound with the minimum number of non-repeating sounds, the relief of the road painting (majority - minority) - all this distinguishes the considered sober. They are the most versatile among all chords, their range of application is unusually wide, expressive possibilities of multifaceted.

However, Major and Minor are not exhausted in the musical practice of truskia. Two identical flares (and not different, as so far) give other options for sober: two large - increased sober, two small - reduced.

It is known that the smaller the phenomenon (including the chord), the scope of its application by vivid characteristic. Indeed, each of these chords has a specific color and therefore a very definite circle of expressive opportunities.

Increased sober, for example, often carries the mysteriously enchanted flavor. With it, the composer can create the impression of fantastic fabulousness, the unreality of what is happening, sound frosting. Many music episodes with the use of enlarged sober can be found in Roman Corsakov. For example, the enlarged sober undergoes the basis of both harmony and the melodies of the theme of a cochonian (a fabulous character of the "Kashing immortal"):

In the subject of sea princes from the Opera Sadko - the reference chord is also increased sober.

Reduced sober - in contrast to the increased - applied in artistic practice as independent harmony is very rare.

The chords of their four sounds, formed by adding to the sober-free large or small terration, are called septaxes (their extreme sounds are septim). The view of the sober-free septactor, and the value added to the sober-ups (large or small) is determined by one of the most common types of septaxcord.

Small minor septakord Small major septakord

Reduced septakkord

Perhaps the most definite expressive effect has a reduced septakord (related to the character of the sound with a reduced sober, but more concentrated, "condensed" compared to it). It is used to express in music moments of confusion, emotional stress, fear. So, a sudden impact of a reduced septopkord is disturbed by a light, major flavor of a restrained-concentrated, lyrical second part of the "Appassionates" Beethoven and breaks up the unrestrained whirlwind of the dramatic finals of Sonata:

Reduced septaxcords make up the basis of harmony of the beginning of the Pathetic Sonatas Beethoven, whose name itself speaks of the nature of its main image:

A thread ceremony in the opera Roman-korsakov "Tale of the Invisible Grade Kitege" is sharply interrupted with a reduced septakord.

The already mentioned play of the Mragian "Tosca in Motherland" begins a very common small minor sepkord, which sounds very gently, elegant.

One of the appeals (see about the circulation of chords below) of septaxcord with a reduced quint is part of the harmony of the initial topic of the Sol-minor symphony of Mozart - lyrical, Egyptic-excited.

Naturally, all chords - and sober and septakorda - in their structure only contains the prerequisites for one or another artistic effect. In a specific essay, a number of techniques, the composer can increase the initial, "natural" properties of the chord or, on the contrary, muffle them. The expressiveness of this or that chord depends on the entire musical context - melodies, the location of the votes in chords, the register (and if it is instrumental music, then the timbre), tempo, volume, etc., for example, the same major sober in the final of the fifth symphony Beethoven sounds like a solemn, licking anthem.

At the beginning of the Opera Wagner "Loangrin" it is perceived otherwise - transparent, Zybko, air.

In the subject of love from the symphonic poem of Tchaikovsky "Romeo and Juliet", major soberly paint the topic into enlightened tones: it is a lyribically agitated, the thrill image.

Soft and shaded minor sober also gives a wide emotional sound range - from the calm library of Romance Varlamov "At the dawn, you will not be boudes" to deep mourning sorrow.

Thus, only in connection with many musical techniques, the specific nature of the sound of chords is detected, the artistic result is achieved by the composer.

In particular, for harmony, as such, the location of the sounds of chord on registers is of great importance. Chord whose tones are compact, focused in a small amount, gives the effect of more dense sound. Such a location of sounds is called tesne . Conversely, unfolded, with a large space between the voices, the chord sounds volumetric, Gulko. This location is called wide . In artistic practice (and especially if the composer writes for a symphony orchestra, where the possibilities of using the registers are very high) effects caused by different arrangements of chords are almost limitless.

In connection with chords, another moment is important affecting their sound, nature and meaning. It is associated with which of the chord tones is located in the lowest voice. If there is the main tone, it attaches the most definite sound chord, and if the terrtic or kvinty tone of the chord sounds in the bass, then the overall sound changes somewhat.

The sober can have two appeals: sext-chord and quarterstaccord:

Fig. Handling sober

sextakkord Quincestaccord

Sextakcord in comparison with the soberly perceived as it were for a more relief, the terry tone has a bass to melodic mobility. Therefore, sextaccords are usually used in the middle of musical constructions, at the moments of harmonic development. Quartcextaccord has known activity, sound tension and therefore is used as a "stimulator" to achieve final stability at the time of completion of one or another musical construction.

Thus, the soberness of the same sound composition can - with the help of different locations and appeals - to give a whole series of expressive shades. Naturally, the conversion of septakords carry even more different nuances. These appeals are three:

The use of different appeals to sober and septakkords, among other things, helps the composer to achieve smooth votes. If we turn to the topic of the final of the Fifth Symphony of Beethoven (Example 50), we will see that the major sober and small major sepectakord are used here in general, without appeals. The bass is moving in large jumps, which also contributes to the creation of a decisive, courageous nature of those. On the contrary, the smooth maintenance of bass is usually associated with the use of chord appeals and almost always - with a softer character character (see Bass Movement in Examples 74 O and 193).

Of course, not only consonance, built by the flares, are used in music. For example, in the famous romance of Borodin "Sleeping Princess" a great expressive role is played by the Bolshaya Bolshaya Convening:

Replacing the main chords, as if working around the sober basis (la-bembol - before - mi-Bemol Nowhere does it sound in the "pure" form), the main consonances complicate and enrich the harmony. Without these seconds, the music would have sounded everybody and straightly, and Borodin tends to the image of a mysterious, muted.

The role of neutaneous consonance in modern music, where we meet almost any harmonic combinations (along with the "classic" terrent). Such, for example, children's play S. Slonim's "March Barmaley". It is based on the quarters of consonants who inform music in this case a humorous shade:

S. Slonim. Marsh Barmaley. Soon very rhythmic

4. Connce and dissonances

All the harmonious consonances used in music differ not only on the principles of the structure, by the number of sounds of sounds. There is another important criterion that is easy to understand, comparing, say, already familiar to us a major and enlarged sober. The first sounds more consistently, slightly, ply, can create a feeling of rest. Chords of this type are called consonances. The second sounds more sharply, his sounds are contrary to each other, it causes the need for further movement - such consonances are called dissonances. "

The word "Connce" translated from Latin means a consonant sound, and "dissonance" is a non-stroke, "disagreeable" sound. From here, by the way, the use of the last word in colloquial speech to designate phenomena, which violates the order established by the system, etc.

The separation of consonances to the consonances and dissonances, which arose in the musical science in the Middle Ages, began with binary intervals. Consonsons include clean octaves, quints, quarts - acoustically the most naturally arising from the first, the lowest overtones - they are called perfect, as well as the defects and sectors (imperfect consonants). Dissonances - second and septim, as well as increased and reduced quarts, quints, octaves. In the folk song, "dry, sluggish", in the second tact you can find a variety of intervals - a large and small flares, quarts, quint.

Among the chords, the Conncers will be major and minor sober, consisting of conconating intervals, dissonances - increased and reduced sober, sepkord and other consonances, including dissonating intervals.

Despite the tremendous importance of the consonation chords in organizing a harmonic movement, harmony never boiled down to the consecision of some of the consonances - it would deprive the music of aspiration, and slowed down the course of musical thought. No musical work can be built only on congestive combinations. The dissonance is the most important stimulant of development in music.

The relationship of dissonance and consonance is one of the most important laws of classical music.

Various dissonances encountered in music, despite their "natural" rigidity, are used in a rather wide expressive range; The means of dissonant harmony are reached not only the effects of tension, acuteness sound, - can be obtained with its help and soft, shaded the flavor (as it was in the romance of Borodin), which will be more colorful and exquisitive than the consonant harmony could give.

One of the most important features of dissonsants is that being "inconsistent", they seem to lose the music of the feeling of rest, require movement that is usually associated with the need to transition to the dissonance in Connce, its permissions. Let us return again to the chords of the well-known play of the Grieg. The first and penultimate chords are dissonances (Septaxdords), although the first sounds softer, the second sharper, and both are permitted in subsequent consonances: the first one in the tonic sextaccord, the second - in the tonic sober. Similar samples of permits we see, in particular in the Patathetic Sonate Beethoven, where the reduced septakord is allowed in the first tact in the sober, and in the second and third tacks in sextaccord.

Of course, not every time the dissonance immediately follows Connce. There may be a rather long sequence of dissonances - thus accumulates the voltage in harmony, the need for permission increases. Ultimately, in the conclusion of the musical phrase, the construction will come to a particular consonance (so, five dissonant consonants precede the conserving sober-free sober.

Throughout the history of musical practice, the perception of dissonances changed. At first there was a long process of fixing dissonances as independent consonance, then, due to the duration and frequency of use, many of the dissonances became so habitual that their discrepancy was noticeably softened. Such, for example, a small major septakord, built on the V stage of Lada, is the so-called dominantsepekkord (which includes one of the most stressful intervals - Triton seemed in the Middle Ages "Devil in Music"). Over the past three centuries, this chord was exceptionally widespread, and his discreteness became a little noticeable, habitual, lost that sharpness, which he had at the time of appearance in the music of this chord. Very gently sounds dissony small minor sepectakord.

However, with all the nuances of the perception of dissonsants, their meaning and sense in classical music does not change; The pattern of movement from dissonance to Conason is not changed. Only in our century, dissonance becomes more autonomous - not only does not require permission, but sometimes publishes the role of those sustainable supports in the music, which previously performed only the consonances. Under certain conditions, we perceive some of the dissonant combinations as independent, not necessarily causing the appearance of the Connce. For example, when it becomes complicated by additional (so-called inaccord) sounds, the main sober, from which the work is usually begins. For example, in the play of Debussi "Puppet Coke-Uk" 1 Even before the main theme melody entry, a dance accompaniment sounds, based on the sober tonality of Mi-Flat Major, complicated by the dissonating layers:

With the help of "superfluous", dissony sound f Merry, teasing consonant, so corresponding to the perky and slightly joking character of the play.

Another nature is beginning to be the beginning of Cantata Sviridov for the words of Pasternak "Snow is walking" - the tranquility of a soft winter landscape is captured in music:

In the creation of a musical image, a harmony belongs to harmony - intermittent sober (Re. - fa resid - la and s. - re - phase), complicated by additional, dissony sounds, differ in a special sample; Each chord sounds like in the haze.

Conclusion

Probably contradictory the nature of harmony and caused the fact that the harmony of the musical is almost entirely built on opposites. The opposites are bright major and sad minor; The Consonance with his consonant sound is opposed to dissonance with his angular tension - such is always intense, dynamic and changeable world of musical harmony.

In fact, harmony in the musical work expresses the aspirations and suffering, dreams and hopes, anxiety and meditation - everything that is full of human life. The root ability of musical harmony - in the ability to transfer various shades of human feelings, sometimes directly opposite. After all, harmony at all times relied on the Lada, various in their expressive meaning. Already ancient Greek philosophers argued about the nature of the impact of musical lands, recognizing that the change in even one sound within the Lada leads to the opposite assessment of its expressiveness. And it really is. Major and minor sober differs only in one sound, and they sound completely different.

The world of human feelings, all the high and low, beautiful and ugly, which is in the human soul, - everything is reflected in musical art. The appeal to this, figurative, the sphere led to the fact that the musical harmony discovered inexhaustible artistic wealth, a variety of expressive means and techniques. Truly the world of the human soul represents an inexhaustible treasury of all sorts of wonders, which will not meet anywhere else.

In the music addressed to human feelings, the unprecedented heyday reached not only the comparison of Major and Minor, able to express the change of sentiment and images, but also dissonant harmonies, transmitting the roughness of the appearance and character, contradictions of the inner world of man, conflicts and clashes between people.

Harmony always arises from opposites and contradictions where there is love. After all, harmony is a genuine soul of art, his beauty and the truth.

Literature

1. Holopov Yu. N., Harmony. Theoretical course, M., 1988.

2. Harmony: Theoretical course: tutorial. - SPb.: Publishing "Lan", 2003. - 544 p., Il. - (textbooks for universities. Specific literature).

3. Book of music: Popular essays. / Sost. Golovinsky, M. Orthershtern - m.; Publishing house. Composer, 1988.

4. TB Romanovskiy music, inappropriate music, not ashamed in music and science.

"KZK-UAK is a broken and dance of the beginning of our century.

on music theory

"The idea of \u200b\u200bmusical harmony"

1. Harmony in the surrounding world

2. The role of harmony in music

3. Chords

4. Connce and dissonances

Conclusion

Literature

1. Harmony in the surrounding world

What do we understand usually under the word "harmony"? What are the people around us characterize this word? We are talking about the harmony of the universe, referring to the beauty and perfection of the world (the area is scientific and natural and philosophical); We use the word "harmony" due to the personality of a person (harmonious nature), characterizing his spiritual internal integrity (etiko-psychological region); Inconale, harmonious, we call artistic work - poems, prose, paintings, movies, etc., - if we feel naturalness in them. Organic, harmony (this is the artistic and aesthetic region).

The philosophical and aesthetic concept of harmony was developed with deep antiquity. In the Greeks, it was reflected in the myths about space and chaos, about harmony. In the V-IV centuries. BC e. The first evidence of the application of the word "harmony" is noted in a special musical and theoretical sense. Philolia and Plato "Harmony" called an octave sound (octave species), which thought as a clutch of quarts and quints. The aristochene "Harmony" is named one of the three - Anarmonic - childbirth of Melosa.

In all these different areas, with the word "harmony", we have an idea of \u200b\u200bthe consistency of the whole and parts, beauty, in short - that reasonable proportionality began, "which is the basis of all perfect in life and art. Music is not an exception here: harmony, harmony in a wide artistic and aesthetic sense, every significant musical work is characterized, the author's style.

2. The role of harmony in music

With deep antiquity, the harmony of music was associated with the harmony of space, and, as the philosopher I.A. Gerasimov, music carried and a certain philosophical meaning. A true musician could only be considered the one who was consonant with a space tone through her music

The question is why the music was considered as something that denotes the relationship between the earth and heavenly, cosmic order and the earthly world requires appeal to the concept of harmony. The concept of harmony itself requires some additional decryption in this connection. Despite the fact that harmony from a technical point of view traditionally communicates first of all with music, the very concept itself is much wider. When mentioning the harmony of the world, there is due to its order and a certain perfect structure, the structure characterized primarily by its spatial location. The concept of harmony spreads, thus on spatial figures. This is obvious and from the presence of numerous references to architectural harmony. The reversibility of the concept of harmony reflects the characteristics of the architecture as non-uncomfortable, frozen music. For all the metaphoricity of these definitions, they reflect quite recognizable and specific combination and substitution of spatial and temporal characteristics. It is known a geometric perception of sound, for example, concluded in the ornament, characteristic of the Ancient East or Pythagorean geometric images of harmonic sounds, which is only an illustration of the stability of the marked bond.

Music is a special type of modeling of the world, where it is considered as a perfect system. The latter allocates it from other ideas about the myth. Music is meaningful, but for the plurality of its meaning there is a constant frame of a musical syntax, described by mathematical structures. Already in this duality, the music is similar to both the world, and the science speaking on a clear language of mathematics, but trying to cover the variety of changing peace.

Music harmony is one of the most slenderly organized phenomena. The abstractness of the sound needs a supercontruited logic - otherwise the music would not say anything to people. One glance to modal and tonal systems, for example, can reveal by scientists from different areas possible models of a harmonious organization, where instincts and the aspirations of tones are born in the boundless acoustic medium, permeated by the human creative spirit.

Amazing the ability of musical art to predict the greatest achievements of scientific thought. But no less surprising and the ability of the musical theory: appearing with natural deception, it steals stably on the basis of predicted scientific booms to master them in deployed musical and theoretical systems.

The concept of harmony in music is approximately 2500 years. The traditional concept of harmony (and the corresponding interpretation of the most important compositional and technical discipline) as the science of chords in the major-mining tonal system was mainly at the beginning of the XVIII century.

Let us turn to ancient Greek mythology. Harmony was a daughter of Ares - the god of war and discord and Aphrodite - the Goddess of Love and Beauty. That is why the compound of the insidious and destructive strength and the comprehensive force of eternal youth, life and love is such a basis for the equilibrium and peace, personified harmony. And harmony in music almost never appears in its completed form, but on the contrary, it is achieved in the development, struggle, becoming.

Pythagoreans very deeply and with endless persistence understood the musical harmony as a consonance, and the Connce - necessarily as a quart, quint and octave in comparison with the main tone. Someone declared the Consonance to Douodezima, that is, the compound of octaves and quints, or even two octaves. Basically, however, everywhere appeared, first of all, as conjunction of the quart, Quinta and Oktawa. It was an inexorable requirement of an ancient hearing, which is clearly and very stubborn, first of all, considered the conjunctions of the quart, Quint and Oktava, and with this requirement we need to be considered as an irrefutable historical fact.

Subsequently, the concept of harmony retained its semantic basis ("Logos"), but the specific ideas about harmony as sound-coherent coherence were dictated by the estimated criteria for this historical era. With the development of many-voice music, the harmony was divided into "simple" (one-haired) and "composite" (polyphonic; in the treatise of the English theorist W. Odinton "The sum of the theory of music", and the XIV century); Later, the harmony began to interpret as the doctrine of chords and their relationships (J. Tsarlino, 1558, - the theory of chord, major and minor, majority or the minority of all the lands; at M. Mersenna, 1636-1637, - the ideas of world harmony, the role of bass as The foundation of harmony, opening the phenomenon of overtones in the composition of musical sound).

The sound in music is the initial element, the kernel, from which a musical work is born. But arbitrary order of sounds can not be called the work of art, that is, the presence of the initial elements is not beauty. Music, real music, only Toga begins when its sounds are organized according to the laws of harmony - natural natural laws that the musical work inevitably obeys. I want to note that this art is important not only in music, but also in any other sphere. With the harmony, you can easily apply it both in ordinary life and magical.

The presence of harmony is noticeable in any product. In the highest, harmonious manifestations, it affects how continuously flowing light, in which, undoubtedly, there is a defill of the unearthly, divine harmony. The course of music carries the seal of an elevated rest and equilibrium. This does not mean, of course, that there is no dramatic development in them, it does not feel a hot pulse of life. In general, absolutely serene states rarely arise.

The science of harmony in the new sense of the word, as the science of chords and their submissions, essentially begins with theoretical works of Ramo.

In the works of Ramo clearly, the tendency towards naturally scientific explanation of musical phenomena is distinguished. He seeks to withdraw the laws of music from a single, given nature of the foundation. Such is the "sounding body" - a sound that includes a number of partial tones. "There is nothing more natural," writes Ramo, which is something directly comes from tone "" (136, p. 64). The principle of harmony Ramo recognizes the main sound (fundamental bass), from which the intervals and chords are derived. It also determines the connections of consonant in Lada, the relationship of tonalities. Chord thinks Ramo as acoustic and functional unity. Basic, regulatory conserving conserving sober, it takes out of three intervals concluded in a row of overtones: pure quints, large and low colors. The reference quint interval can be divided into two terminats in various ways, which gives major and minor sober, and thus two Lada - Major and Minor (134, p. 33). The main type of Ramo chord recognizes the chord built by the flares. Others are considered as its appeals. This has made an invisible order to understand the harmonic phenomena. From the so-called triple proportion of Ramo displays the quinting relationship of three sober. He revealed essentially the functional nature of harmonic ties, classified harmonic sequences and cadentsies. It has been established that the process of musical development is managed harmony.

True by catching a really characteristic of classical music, the dependence of the melody from harmonious logic, Ramo unilaterally absolisted this position, not wanting to notice and take into account in its theory the dynamic role of the melody, which alone could only put the genuine movement proposed by it a classically balanced harmony model. It is unilaterally a RAMO who has collided with a no less unilateral position of J.-zh. Rousseau, who approved the primacy of the melody, consists of the cause of the famous dispute of Ramo and Rousseau.

Abstract on the theory of music "View of Music Harmony" Content 1. Harmony in the surrounding world 2. The role of harmony in music 3. Chords 4. Consonsons and dissonances Conclusion Literature 1. Harmony in the outside world What do we understand usually under the word "harmony"? What are the people around us characterize this word? We are talking about the harmony of the universe, referring to the beauty and perfection of the world (the area is scientific and natural and philosophical); We use the word "harmony" due to the personality of a person (harmonious nature), characterizing his spiritual internal integrity (etiko-psychological region); And finally, harmonious we call the artistic work - poems, prose, paintings, movies, etc. - if we feel naturalness in them. Organic, harmony (this is the artistic and aesthetic region). The philosophical and aesthetic concept of harmony was developed with deep antiquity.

In the Greeks, it was reflected in the myths about space and chaos, about harmony.

In the V-IV centuries. BC e. The first evidence of the application of the word "harmony" is noted in a special musical and theoretical sense. Philolia and Plato "Harmony" called an octave sound (octave species), which thought as a clutch of quarts and quints. The aristochene "Harmony" is named one of the three - Anarmonic - childbirth of Melosa. In all these different areas, with the word "harmony", we have an idea of \u200b\u200bthe consistency of the whole and parts, beauty, in short - that reasonable proportionality began, "which is the basis of all perfect in life and art.

Music is not an exception here: harmony, harmony in a wide artistic and aesthetic sense, every significant musical work is characterized, the author's style. 2.

The role of harmony in music

Music is meaningful, but for the plurality of its meanings is constant ... over time, the concept of harmony has changed. In artistic practice (and especially if the composer writes for Sympho ... Therefore, sextaccords are usually used in the middle of musical constructions ... Over the past three centuries, this chord has received an exceptionally wide distribution ...

The conclusion is probably contrary to the nature of harmony and caused the fact that the harmony of the musical is almost entirely constructed on opposites.

The opposites are bright major and sad minor; The Consonance with his consonant sound is opposed to dissonance with his angular tension - such is always intense, dynamic and changeable world of musical harmony.

In fact, harmony in the musical work expresses the aspirations and suffering, dreams and hopes, anxiety and meditation - everything that is full of human life. The root ability of musical harmony - in the ability to transfer various shades of human feelings, sometimes directly opposite.

After all, harmony at all times relied on the Lada, various in their expressive meaning. Already ancient Greek philosophers argued about the nature of the impact of musical lands, recognizing that the change in even one sound within the Lada leads to the opposite assessment of its expressiveness. And it really is. Major and minor sober differs only in one sound, and they sound completely different. The world of human feelings, all high and low, beautiful and ugly, that there is everything in the human soul is reflected in musical art.

The appeal to this, figurative, the sphere led to the fact that the musical harmony discovered inexhaustible artistic wealth, a variety of expressive means and techniques. Truly the world of the human soul represents an inexhaustible treasury of all sorts of wonders, which will not meet anywhere else. In the music addressed to human feelings, the unprecedented heyday reached not only the comparison of Major and Minor, able to express the change of sentiment and images, but also dissonant harmonies, transmitting the roughness of the appearance and character, contradictions of the inner world of man, conflicts and clashes between people.

Harmony always arises from opposites and contradictions where there is love. After all, harmony is a genuine soul of art, his beauty and the truth. Literature 1. Halopov Y. N Harmony. Theoretical course, m 1988. 2. Harmony: Theoretical course: Tutorial. - SPb.: Publishing "Lan", 2003 544 with IL. - (Textbooks for universities.

Speed \u200b\u200bliterature). 3. Book of music: Popular essays. / Sost. Golovinsky, M. Orthershtern - m.; Publishing house. Composer, 1988 4. TB Romanovskiy music, inappropriate music, not ashamed in music and science.

What we will do with the material obtained:

If this material has proven to be useful for you, you can save it to your social networking page:

More abstracts, coursework, thesis on this topic:

In pairs, they always seek to be harmony, so harmonious couples (those in the amount give nine) will be the following
Almost stenographic output of the lessons of hell has begun in July of the year classrooms of the course of the course downloaded from here HTTP Yafh Narod RU ASG HTML .. content fragment from lesson How to get harmony of non-harmonic couples to make at least nine children ..

Harmonic oscillations. Energy of a simple harmonic movement
Harmonic oscillations occur when the power returns them back to the part with the position of equilibrium ... F KX .. In harmonic oscillations, the force is expressed through the leg of the throat ..

Main methods of musical memory in musical pedagogy
The sound that is an object of perception for one of our main senses, plays an important role as a component of the image captured in the memory. The auditory perception is generally an important mental ability, and it .. so, if you heard on the radio that A. Smetana at the beginning of his musical career was known as a man of unrestrained ..

The history of the development of the music culture of Khakassia (its interaction and mutual enrichment with the Russian musical culture)
HISTORY OF THE DEVELOPMENT OF MUSIC CULTURE KHAKASIY Her interaction and mutual enrichment with the Russian musical culture Introduction The problem of development .. Studying the process of formation and development of the music culture of Khakassia, her .. The most reliable in the issue of social science is not to forget the main historical connection, look at every question with ..

Sound, melody, harmony. Musical instruments
Properties of musical sound We perceive a large number of different sounds. But not all sounds are equally used in music. In the musical .. These tools include almost all the drums: a triangle, a small drum .. Therefore, to distinguish the noise tools more reliable than that criterion, is it possible on this instrument to perform a melody ..

Practical work. Representing information in computer. Coding and counting the number of information. Acquisition of binary information presentation skills in computer
Objective of work .. Acquisition of the skills of presenting binary information in .. The procedure for performing work ..

The development of musical thinking among students of junior classes in a musical school
The new function of education caused by the culture is designed to promote the development of a creative person (Abulkhanova-Slavskaya, V.S.Bibler, N.E. Works B.V. Asafieva, N.L. Grodzenskaya, V.N. Shatzka, and others laid Basics for .. Much value are the work performed at the junction of musical psychology and music status (V.V. Medushevsky ..

Natural science foundations of ideas about the surrounding reality. Basics of concepts of the deterministic physical picture of the world
Module Natural Scientific Basics of Representations of Environmental Real .. The topic of the basis of the concepts of representing a deterministic physical picture .. From observations to establish the theory through the theory, correct observations is the best way to find the truth ..

The socio-political thought of ancient Russia. "Book Representations". Sphere ideologies
The study of the ideas of political divided the fate of ideas of philosophical. Initially, the existence of any independent systems of philosophical and .. It is unlikely that it can be fully agreed. The case is probably in .. ignore the philosophical idea of \u200b\u200bancient Russia only because of its religious orientation is now impossible. It is that ..

Performances of a perfect person in various cultures
And relativism and dogmatism are not aiming for the search for truth, and this is dangerous for human existence. Therefore, society, where people are free, i.e. the perfect person, respectively, is the one who has suffered a fate of fate and who .. according to the ancients, the above requirements answered the figure of Socrates. On the one hand, he was respectable ..

Harmony (Greek - slightness, rigor, proportionality).
Harmony - female character from myths.
The word has a wide range of applications, is used not only in music, but also in other art types.

In music, harmony is associated with the evolution of the musical language and in different epochs had a different meaning. Of the ancient Greeks in one-haired music, this word meant the consistency of sounds horizontally.
In the middle of the century, when the multipath appeared, this word meant the coherence of sounds vertically. Starting from the XVIII century, when the science of harmony appeared, it began to designate science on chords and the relationship of these chords. Sometimes the word "harmony" denotes specifically defined consonance.

Harmony - a means of musical expressiveness - closely related to melody, meter, rhythm, shape. Changing harmony usually happens on changing the share. On a strong share of the clock, sustainable functions are usually located, and on weak - unstable

Frequency change of harmony

(harmonic pulse)depends on the pace of the work, namely at a slow pace, harmony changes more often[In the tact may be 3-4 harmony], in a rapid pace, the pulse less often [one harmony can cover several clocks].

Chopin - Prelude C-Moll

Communication with form

The connection of harmony with the form manifests itself in the membership of the musical work. Harmony helps to create cesura Or, on the contrary, smoothed them. Elliptical revolutions or ellipses smooth cesura.

Ellipse (Greek - skip, omission) - Literary Reception is a pass implied word. For example, 7 troubles are one answer.

In music - this is a pass of a stable consonance, which should resolve an unstable chord. The ellipse includes interrupted turns.

Ellipsis techniques used Wagner to seek "endless melody" and the feeling of continuing musical development.

Harmony is closely connected with a melody. It deepens the meaning of melodic turnover, he betrays a special meaning. This connection is felt in the methods of harmonic variation and with a developed melodic harmony line is simpler. In a challenging harmony, a simple melody.

"If the melody reigns, then harmony manages."

L.A. Mazl

The basis of harmony is a chord.
Accord - the consonance is not a random, perceived as a whole.
Chords are divided into two groups:
1. Mono-interval structure - can be built in terms, quarts, quints, seconds.
2. The interval structure is consisting of various intervals (part-in terms, part-in quarts).

The classic harmony uses the chord of the terts structure. The terr chords on the number of quotes are divided into sober, sepkord, Nonakcords, etc.
Any chord has two sides: phonetic, functional.
The chord phonism is its coloring, which depends on the interval of the chord.
Functionality is its stability or unstable and prenateness to any function (T, S, D). Determined functionality of the steps. Chord can be set forth in choral texture (all sounds are taken together)

In artistic practice, the chord is located varied, with the use of figuration techniques.
The figuration is a way to change the chord.
There are three types of chord figures:
1. Rhythmic - sounds are repeated in any rhythmic figure
2. Harmonic - sounds are given in different ways.
3. Melodic - associated with the emergence of inaccord sounds in the harmony. Most often, these sounds appear in the melody.

There are 4 types of inaccord sounds:
1. Passing - appear on weak stakes of the clock, filling the intervals
2. Auxiliary - on a weak share of the clock as one-sided source
3. Detention - on a strong stake. Sound, delayed from the previous harmony
4. POINT - appearance in the harmony of subsequent sounds
In musical practice, chord has coloristic duplication.

In practice, a four-voice presentation of a chord on two notophers in violin and bass keys, the names of which are taken from choral practice.

S (oprano)
A (LTO)

T (ENOR)
B (ASS)

When presenting, the sober is given with the doubling of the main tone. A basic tone is always located in the bass, which doubles some of the upper voices. Top voices include S, A, T.
The chord has a melody position that is determined by the upper voice.
Chord can be made in close or wide arrangement. With a close location, the distance between voices is 3 + 4, with a wide 5 + 6.
The bass will be from the tenor at a distance of 2 octave. Crossing votes is unacceptable.

Harmony in the surrounding world

What do we understand usually under the word "harmony"? What are the people around us characterize this word? We are talking about the harmony of the universe, referring to the beauty and perfection of the world (the area is scientific and natural and philosophical); We use the word "harmony" due to the personality of a person (harmonious nature), characterizing his spiritual internal integrity (etiko-psychological region); and finally, we call the artistic work harmonious - poems, prose, paintings, movies, etc., - if we feel naturalness in them. Organic, harmony (this is the artistic and aesthetic region).

The philosophical and aesthetic concept of harmony was developed with deep antiquity. In the Greeks, it was reflected in the myths about space and chaos, about harmony. In V - IV centuries. BC e. The first evidence of the application of the word "harmony" is noted in a special musical and theoretical sense. Philolia and Plato "Harmony" called an octave sound (octave species), which thought as a clutch of quarts and quints. The aristochene "Harmony" is named one of the three - Anarmonic - childbirth of Melosa.

In all these different areas, with the word "harmony", we have an idea of \u200b\u200bthe consistency of the whole and parts, beauty, in short - that reasonable proportionality began, "which is the basis of all perfect in life and art. Music is not an exception here: harmony, harmony in a wide artistic and aesthetic sense, every significant musical work is characterized, the author's style.

The role of harmony in music

With deep antiquity, the harmony of music was associated with the harmony of space, and, as the philosopher I.A. Gerasimov, music carried and a certain philosophical meaning. A true musician could only be considered the one who was consonant with a space tone through her music

The question is why the music was considered as something that denotes the relationship between the earth and heavenly, cosmic order and the earthly world requires appeal to the concept of harmony. The concept of harmony itself requires some additional decryption in this connection. Despite the fact that harmony from a technical point of view traditionally communicates first of all with music, the very concept itself is much wider. When mentioning the harmony of the world, there is due to its order and a certain perfect structure, the structure characterized primarily by its spatial location. The concept of harmony spreads, thus on spatial figures. This is obvious and from the presence of numerous references to architectural harmony. The reversibility of the concept of harmony reflects the characteristics of the architecture as non-uncomfortable, frozen music. For all the metaphoricity of these definitions, they reflect quite recognizable and specific combination and substitution of spatial and temporal characteristics. It is known a geometric perception of sound, for example, concluded in the ornament, characteristic of the Ancient East or Pythagorean geometric images of harmonic sounds, which is only an illustration of the stability of the marked bond.

Music is a special type of modeling of the world, where it is considered as a perfect system. The latter allocates it from other ideas about the myth. Music is meaningful, but for the plurality of its meaning there is a constant frame of a musical syntax, described by mathematical structures. Already in this duality, the music is similar to both the world, and the science speaking on a clear language of mathematics, but trying to cover the variety of changing peace.

Music harmony is one of the most slenderly organized phenomena. The abstractness of the sound needs a supercontruited logic - otherwise the music would not say anything to people. One glance to modal and tonal systems, for example, can reveal by scientists from different areas possible models of a harmonious organization, where instincts and the aspirations of tones are born in the boundless acoustic medium, permeated by the human creative spirit.

Amazing the ability of musical art to predict the greatest achievements of scientific thought. But no less surprising and the ability of the musical theory: appearing with natural deception, it steals stably on the basis of predicted scientific booms to master them in deployed musical and theoretical systems.

The concept of harmony in music is approximately 2500 years. The traditional concept of harmony (and the corresponding interpretation of the most important compositional and technical discipline) as the science of chords in the major-mining tonal system was mainly at the beginning of the XVIII century.

Let us turn to ancient Greek mythology. Harmony was a daughter of Ares - the god of war and discord and Aphrodite - the Goddess of Love and Beauty. That is why the compound of the insidious and destructive strength and the comprehensive force of eternal youth, life and love is such a basis for the equilibrium and peace, personified harmony. And harmony in music almost never appears in its completed form, but on the contrary, it is achieved in the development, struggle, becoming.

Pythagoreans very deeply and with endless persistence understood the musical harmony as a consonance, and the Connce - necessarily as a quart, quint and octave in comparison with the main tone. Someone declared the Consonance to Douodezima, that is, the compound of octaves and quints, or even two octaves. Basically, however, everywhere appeared, first of all, as conjunction of the quart, Quinta and Oktawa. It was an inexorable requirement of an ancient hearing, which is clearly and very stubborn, first of all, considered the conjunctions of the quart, Quint and Oktava, and with this requirement we need to be considered as an irrefutable historical fact.

Subsequently, the concept of harmony retained its semantic basis ("Logos"), but the specific ideas about harmony as sound-coherent coherence were dictated by the estimated criteria for this historical era. With the development of many-voice music, the harmony was divided into "simple" (one-haired) and "composite" (polyphonic; in the treatise of the English theorist W. Odinton "The sum of the theory of music", and the XIV century); Later, harmony began to interpret as the doctrine of chords and their relationships (J. Tsarlino, 1558, - the theory of chord, major and minor, majority or the minority of all the lands; at M. Mersenna, 1636--1637, - the ideas of world harmony, The role of bass as the foundation of harmony, the opening of the wrapper phenomenon in the musical sound).

The sound in music is the initial element, the kernel, from which a musical work is born. But arbitrary order of sounds can not be called the work of art, that is, the presence of the initial elements is not beauty. Music, real music, only Toga begins when its sounds are organized according to the laws of harmony - natural natural laws that the musical work inevitably obeys. I want to note that this art is important not only in music, but also in any other sphere. With the harmony, you can easily apply it both in ordinary life and magical.

The presence of harmony is noticeable in any product. In the highest, harmonious manifestations, it affects how continuously flowing light, in which, undoubtedly, there is a defill of the unearthly, divine harmony. The course of music carries the seal of an elevated rest and equilibrium. This does not mean, of course, that there is no dramatic development in them, it does not feel a hot pulse of life. In general, absolutely serene states rarely arise.

The science of harmony in the new sense of the word, as the science of chords and their submissions, essentially begins with theoretical works of Ramo.

In the works of Ramo clearly, the tendency towards naturally scientific explanation of musical phenomena is distinguished. He seeks to withdraw the laws of music from a single, given nature of the foundation. Such is the "sounding body" - a sound that includes a number of partial tones. "There is nothing more natural," writes Ramo, which is something directly comes from tone "" (136, p. 64). The principle of harmony Ramo recognizes the main sound (fundamental bass), from which the intervals and chords are derived. It also determines the connections of consonant in Lada, the relationship of tonalities. Chord thinks Ramo as acoustic and functional unity. Basic, regulatory conserving conserving sober, it takes out of three intervals concluded in a row of overtones: pure quints, large and low colors. The reference quint interval can be divided into two terminats in various ways, which gives major and minor sober, and thus two Lada - Major and Minor (134, p. 33). The main type of Ramo chord recognizes the chord built by the flares. Others are considered as its appeals. This has made an invisible order to understand the harmonic phenomena. From the so-called triple proportion of Ramo displays the quinting relationship of three sober. He revealed essentially the functional nature of harmonic ties, classified harmonic sequences and cadentsies. It has been established that the process of musical development is managed harmony.

True by catching a really characteristic of classical music, the dependence of the melody from harmonious logic, Ramo unilaterally absolisted this position, not wanting to notice and take into account in its theory the dynamic role of the melody, which alone could only put the genuine movement proposed by it a classically balanced harmony model. It is unilaterally a RAMO who has collided with a no less unilateral position of J.-zh. Rousseau, who approved the primacy of the melody, consists of the cause of the famous dispute of Ramo and Rousseau.

The musical theory operates the word "harmony" in a strictly defined sense.

Under harmony, one of the main parties to the musical language associated with the association of sounds in simultaneity (so to speak, with a vertical "incision" of the musical tissue), and the union of consonance with each other (horizontal "cut"). Harmony is a complex area of \u200b\u200bmusical expressiveness, it combines many elements of musical speech - melody, rhythm, leads the laws of development of the work.

In order to make an initial, the most common idea of \u200b\u200bharmony, let's start with a specific example, remembering the theme of the play of the Migra "Tosca in Motherland." We listen to it, paying special attention to the consonance, of which is escort.

First of all, we note that all consonances are different: and in its composition (in some - three different sounds, in others - four), and in terms of the quality of the sound, produced by the impression - from the soft, rather calm (first), "durable ", Sustainable (second, last) to the most intense, unstable (third, sixth, seventh) with a large number of intermediate shades between them. So different consonances give a rich coloring melodic voice, telling him such emotional nuances, which he himself and does not possess.

We will find further that consonance, although we are separated by pauses, are closely interrelated with each other, alone is naturally moving to others. Any arbitrary permutation will break this connection, violates the natural sound of music.

Pay attention another feature of harmony in this example. The melody without accompaniment disintegrates into four separate phrases, the similarities of them serves to dismember the melody. And the accompaniment constructed on different consonents, besides consistently interconnected, as if arising from one of the other, disguises this similarity, removes the effect of "literal" repetition, and as a result we perceive the whole topic as a single, updated and developing. Finally, only in the unity of the melody and accompaniment, we get a clear idea of \u200b\u200bthe completion of the topic: After a series of sufficiently intense chords, a more relaxed final creates a sense of the end of musical thought. Moreover, this feeling is much more clearly and weighed in comparison with the feeling that the end of only one melody is completed.

Thus, in this example, it is obvious how the role of harmony in the music work is essential. From our brief analysis, it is clear that two sides are equally important in harmony - arising sound combinations and their connection between themselves.

So, harmony is a certain system of combinations of sounds vertically to the consonance and communication system of these consonances.

The term "harmony" in relation to music originated in ancient Greece and meant certain ratios of sounds. And since the music of those times was one-haired, then these natural relationships were output from the melody - from following the sounds of one after another (that is, in terms of melodic intervals). Over time, the concept of harmony has changed. This happened with the development of polyphony, with the advent of not one, and several votes when the question arose about their consistency in simultaneous sound.

Music XX century. I developed a slightly different concept of harmony, with which there are consistent difficulties in its theoretical awareness and that, accordingly, constitutes one of the most important special problems of modern exercise about harmony.

At the same time, the perception of a particular chord, as harmony (that is, consonance) or as a set of unrelated sounds depends on the musical experience of the listener. So, an unprepared listener, the harmony of the music of the 20th century may seem like a chaotic set of sounds taken in simultaneity.

We will get acquainted closer with the means of harmony, considering first the properties of individual consonants, and then the logic of their combinations.