Ancient Greek frets |

Ancient Greek hom yog cov qauv suab paj nruag hauv cov suab paj nruag ntawm Greek thaum ub, uas tsis paub polyphony hauv kev xav niaj hnub no. Lub hauv paus ntawm lub modal system yog tetrachords (thawj zaug xwb descending ones). Nyob ntawm seb muaj pes tsawg lub sij hawm ntawm tetrachords, cov Greeks txawv 3 lub siab, los yog genera (genn): diatonic, chromatic thiab enharmonic (qhov txawv yog qhia nrog qee qhov yooj yim):

Nyob rau hauv lem, diatonic. tetrachords muaj 3 hom, sib txawv ntawm qhov chaw loj thiab me me vib nas this:

Kev ntxhov siab ntawm kev txiav txim siab dua tau tshwm sim raws li kev sib txuas ntawm tetrachords. Muaj ob lub hauv paus ntsiab lus ntawm kev sib koom ua ke: "fused" (synapn) nrog qhov sib txuam ntawm cov suab sib txuas hauv tetrachords (piv txwv li, d1-c1 - h - a, a - g - f - e) thiab "sib cais" (diasenxis), nrog rau cov suab uas nyob ib sab tau sib cais los ntawm ib lub suab tag nrho (piv txwv li, e1 – d1 – c1 – h, a – g – f – e). Qhov tseem ceeb tshaj plaws ntawm cov koom haum ntawm tetrachords yog hom octave (lub npe hu ua "hom octaves" lossis armoniai - "kev sib haum xeeb"). Lub ntsiab frets tau suav hais tias yog Dorian, Phrygian thiab Lydian, to-rye tau tsim los ntawm kev sib txuas ob qhov kev sib txuas lus. tetrachords zoo tib yam hauv cov qauv; Mixolydian ("Mixed-Lydian") tau txhais raws li kev sib xyaw tshwj xeeb ntawm Lydian tetrachords.

Sab - hypolades tau tsim los ntawm cov tseem ceeb los ntawm kev kho cov tetrachords thiab ntxiv cov nplai rau octave (cov npe ntawm Greek hom tsis sib xws nrog cov European tom qab). Scheme ntawm xya octave hom:

Tag nrho saib ntawm lwm yam Greek. lub modal system feem ntau sawv cev rau sustnma teleion - "zoo meej (ie tiav) system". Hauv qab no yog qhov hu ua. "taw" (lossis "tsis-modulating") system - amethabolon:

Lub npe kauj ruam yog los ntawm qhov chaw rho tawm ntawm ib lub suab ntawm cov hlua. thov instrument. Tus kheej ntawm cov npe ntawm cov kauj ruam hauv octave (xws li, vntn siv rau ob qho tib si a1 thiab e1) qhia txog tetrachordal (thiab tsis yog octave) txoj cai ntawm ext. qauv ntawm qhov system. Dr. ib tug variant ntawm lub zoo meej system - metabolon yog tus cwj pwm los ntawm qhov ntxig ntawm "retractable" tetrachord synnmmenon (lit. – txuas) dl – c1 – b – a, expanding lub ntim ntawm lub system.

Thaum lub zoo meej system twb pauv mus rau lwm theem, thiaj li hu ua. transpositional scales, nrog kev pab los ntawm qhov uas nws muaj peev xwm tau txais nyob rau hauv tib lub ntau yam (lyre, cithara) dec. modal scales (tonoi - yuam sij).

Frets thiab genera (nrog rau rhythms) raug ntaus nqi los ntawm Greeks ib yam dab tsi ("ethos"). Yog li, hom Dorian (fools - ib qho ntawm cov neeg Greek hauv paus txawm) tau suav tias yog nruj, ua siab loj, coj ncaj ncees tshaj plaws; Phrygian (Phrygia thiab Lydia - thaj tsam ntawm Asia Me) - zoo siab, mob siab rau, Bacchic:

Kev siv chromatic thiab anharmonic. genera distinguishes Greek suab paj nruag los ntawm European tom qab. Diatonism, uas dominates nyob rau hauv lub yav tas los, yog cov Greeks, txawm hais tias qhov tseem ceeb tshaj plaws, tab sis tseem tsuas yog ib qho ntawm peb cov modal intonations. kheej kheej. Muaj kev nplua nuj ntawm melodic possibilities. intonation kuj tau hais nyob rau hauv ntau yam mixs ntawm mus ob peb vas, cov kev taw qhia ntawm intonational "xim" (xpoai), uas tsis yog tas li tshwj xeeb mus ob peb vas.

Greek cov txheej txheem ntawm hom tau muaj keeb kwm hloov zuj zus. Qhov loj tshaj frets ntawm antique. Tim Nkij teb chaws, thaj, tau txuam nrog pentatonic nplai, uas tau tshwm sim nyob rau hauv kev kho ntawm lub archaic. hlua. cuab yeej. Lub kaw lus ntawm hom thiab inclinations tsim nyob rau hauv lub hauv paus ntawm tetrachords tsim nyob rau hauv cov kev taw qhia ntawm expanding lub modal ntau yam.

References: Plato, Txoj Cai lossis Lub Xeev, Op., Ntu III, trans. los ntawm Greek, vol. 3, St. Petersburg, 1863, § 398, p. 164–67; Aristotle, Txoj Cai, trans. los ntawm Greek, M., 1911, phau ntawv. VIII, ib. 7 ib,p. 372–77; Plutarch, On Music, trans. los ntawm Greek, P., 1922; Anonymous, Introduction to the harmonica, Preliminary remarks, translation and explain, notes by GA Ivanov, “Philological Review”, 1894, vol. VII, ib. 1–2; Petr BI, On compositions, structures and modes in ancient Greek music, K., 1901; Ancient thinkers txog art, comp. Asmus BF, M., 1937; Gruber RI, Keeb kwm ntawm suab paj nruag kab lis kev cai, vol. 1, ntu 1, M.-L., 1941; Ancient suab paj nruag aesthetics. Nkag mus. sau ntawv thiab sau cov ntawv los ntawm AF Losev. Foreword thiab general ed. VP Shestakova, M., 1960; Gertsman EB, Kev nkag siab ntawm cov suab sib txawv hauv cov suab paj nruag thaum ub, "Bulletin of Ancient History", 1971, No 4; Bellermann, F., Die Tonleitern und Musiknoten der Griechen, B., 1847; Westphal R., Harmonik und Melopüe der Griechen, Lpz., 1864; Gevaert fr. A., Histoire et théorie de la musique de l'antiquité, v. 1-2, Gand, 1875-81; Riemann H., Katechismus der Musikgeschichte, Bd 1, Lpz., 1888; pyc. ib., M., 1896; Monro DB, Cov hom suab paj nruag Greek thaum ub, Oxf., 1894; Abert H., Die Lehre vom Ethos in der griechischen Musik, Lpz., 1899; Sachs C., Die Musik der Antike, Potsdam, 1928; pyc. rau. otd. tshooj hauv qab lub taub hau. "Musical-theoretical views thiab instruments ntawm ancient Greeks", nyob rau hauv Sat: Suab paj nruag kab lis kev cai ntawm lub ancient ntiaj teb no, L., 1937; Gombosi O., Tonarten und Stimmmungen der antiken Musik, Kph., 1939; Ursprung O., Die antiken Transpositionsskalen und die Kirchentöne, “AfMf”, 1940, Jahrg. 5, H. 3, S. 129–52; Dzhudzhev S., Theory on Bulgarian folk music, vol. 2, Sofia, 1955; Husmann, H., Grundlagen der antiken und orientalischen Musikkultur, B., 1961.

Yu. H. Kholopov