Tonalitas et ratio musica in qua toni vel chorda tam ordinantur ut hierarchiam stabilitatum et attractionum perceptarum adducunt. Tonus vel chorda maximam stabilitatem habens tonicus appellatur. Tonalitas fuit praevalens ratio musica in Europaeo musicae classicae usu a saeculo quinto decimo exeunte ad saeculum vicensimum ineunte. Tonalité, vocabulum Francicum ab Alexandro Stephano Choron[1] factum, a Francisco Iosepho Fétis anno 1840 adhibitum est.[2] Secundum autem Carolum Dahlhaus, nomen tonalité factum est a Francisco Henrico Iosepho Blaze anno 1821.[3]

Cadentia authentica perfecta (progressio IV–V–I, in harmonia partium quattuor) in C maiore Sono Play info.

Quamquam Fétis verbum tonalité pro nomine generali rationis structurae musicae, dixitque de generibus tonalitatum (Francice types de tonalités), non de ratione singulari, nomen hodie saepissime adhibetur ad significandam tonalitatem maiorem–minorem, rationem structurae musicae per aetatem usus communis adhibitae. Tonalitas maior-minor etiam tonalitas harmonica, tonalitas diatonica, tonalitas usus communis, tonalitas functionalis, vel tantum tonalitas appellatur. Ergo, arguit, melodiae melodice tonales harmonizationi resistunt et in musica Occidentali iterum intrant solum postquam "tonalitas harmonica relicta est," ut in musica Claudii Debussy: "tonalitas melodica cum modulatione est tonalitas hodierna [Debussiana]."[4][5]

Nexus interni

Notae recensere

  1. Choron 1810.
  2. Brown 2005:xiii; Heyer 2001; Judd 1998a:5; Reti 1958; Simms 1975:119.
  3. Dahlhaus 1967:960; Dahlhaus 1980:51.
  4. Anglice: "melodic tonality plus modulation is [Debussy's] modern tonality."
  5. Reti 1958:23.

Bibliographia recensere

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Nexus externi recensere

  Vicicitatio habet citationes quae ad Tonalitas spectant.