Ordo tonorum







Arnoldus Schoenberg, Angelopoli, 1948.


Ordo tonorum vel ordo notarum, etiam series et copia,[1] in musica est copia classium tonorum non identidem disposita, usitate duodecim tonorum in musica copiarum ratione diagrammatis chromatici, sed copiae maiores et minores aliquando inveniuntur.




Index






  • 1 Historia et usus


  • 2 Ratio et artes compositionales


  • 3 Nexus interni


  • 4 Notae


  • 5 Bibliographia


  • 6 Nexus externi





Historia et usus |


Ordines tonorum sunt fundamenta Arnoldi Schoenberg rationis tonorum duodecim et plurimorum generum musicae serialis. Compositores saeculi vicensimi ordinibus tonorum in musica late uti solebant, e.g. in Sostakoviciano ordinum tonorum duodecim usu, "sine commutationibus dodecaphonicis,"[2][3] sed unus in praeludio in A minore in libro secundo congeriei Das Wohltemperierte Klavier (1742) Ioannis Sebastiani Bach agnotus est,[4] et ante saeculum duodevicensimum exiens fuit technica ars statuta, in Wolfgangi Amadei Mozart quattrocinium chordarum in C maiore, K. 157 (1772), quattrocinium in E-molli maiore, K. 428, quintocinium chordarum in G minore, K. 516 (1790), Symphonia in G minore, K. 550 (1788), at aliis operibus inventa.[5]Beethoven quoque hac ratione usus est, sed ex toto, "Mozart technicam rationem serialem multo saepius quam Beethoven adhibere videtur."[6][7]Ioannes Keller affirmat Schoenberg hanc artem serialem Aetate Classica scivisse, et "Schoenberg scientiam serialismi classici repressisse quia eius narcissismum vulneravisset."[8][9] Praeterea adsunt exempla in operibus Francisci Liszt.



Ratio et artes compositionales |




Principales ordinis tonorum Weberanorum formae in Variationes pro piano, op. 27. Quae hexachorda quartum chromaticum implet, B cardine (finis ordinis P1 et initium ordinis IR8), et ergo a tritono prominente in medio ordine conectum Sono Audire info.[10]


Ordines tonorum litteris et numeris superscriptis usitate designantur, sed exempla ut RI11, vel RI11, vel RI-11 etiam apparere possunt. Numeri significant primum (P vel I) vel ultimum (R vel RI) numerum classis tonorum formae ordinis datae, saepissime per c=0. P significat primum, formam rectam prorsum ientem. I significat inversionem, formam sursum deorsum versatam prorsum ientem. R significat retrogradum, formam rectam retrorsum ientem. RI significat retrogradum inversum, formam sursum deorsum versatam retrorsum ientem. Transpositio per numerum T indicatur; exempli gratia, P8 est transpositio T(4) ordinis P4.[11]


Nexus interni


Litteraria ordinis tonorum analogia invenitur in poematibus Georgii Perec, quae quoque ex certa litterarum copia solum semel utuntur. Locutio ordo tonorum etiam adhiberi potest ad alias congeries musicas vel diagrammata ut in musica Arabica describenda adhiberi potest.



  • Intervallum tonorum

  • Reticulum Klumpenhouweranum

  • Theoria copiarum (musica)



Notae |




  1. ↑ Perle 1977:3.


  2. ↑ Anglice: "without dodecophonic transformations."


  3. ↑ Kirkman et Ivashkin 2013.


  4. ↑ Discovery Reveals Bach's Postmodern Side 2009.


  5. ↑ Keller 1955:14–21.


  6. ↑ Anglice: "Mozart seems to have employed serial technique far more often than Beethoven."


  7. ↑ Keller 1955:22–23.


  8. ↑ Anglice: "Schoenberg repressed his knowledge of classical serialism because it would have injured his narcissism."


  9. ↑ Keller 1955, 23.


  10. ↑ Leeuw 2005:158.


  11. ↑ Perle 1996:3.



Bibliographia |




  • Discovery Reveals Bach's Postmodern Side.. 2009. Weekend Edition Sunday, 6 September. National Public Radio.

  • Keller, Hans. 1955. Strict Serial Technique in Classical Music. Tempo series nova, 37:12–24.

  • Kirkman, Andrew, et Alexander Ivashkin. 2013. Contemplating Shostakovich: Life, Music and Film: Life, Music and Film. Ashgate. ISBN 978-1-4094-7202-5.

  • Leeuw, Ton de. 2005. Music of the Twentieth Century: A Study of Its Elements and Structure. Conv. ex Batavico a Stephano Taylor. Amstelodami: Amsterdam University Press. ISBN 90-5356-765-8.

  • Leeuw, Ton de. 1964, 1977. Muziek van de twintigste eeuw: een onderzoek naar haar elementen en structuur. Utrecht: Oosthoek, 1964. Impressio 3a, Utrecht: Bohn, Scheltema & Holkema. ISBN 90-313-0244-9.

  • Perle, George. 1977. Serial Composition and Atonality: An Introduction to the Music of Schoenberg, Berg, and Webern. Ed. 4a. Berkeleiae, Angelopoli, et Londinii: University of California Press. ISBN 0-520-03395-7.

  • Perle, George. 1996. Twelve-Tone Tonality. Ed. 2a, retractata et aucta. Berkeleiae: University of California Press. ISBN 0-520-20142-6.



Nexus externi |



  • Hunter, David J.. et Paul T. von Hippel. "How Rare Is Symmetry in Musical 12-Tone Rows?" www.scribd.com


  • Repositorium datorum ordinum tonotrum et troporum, www.uni-graz.at




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