Repercussion , also the tone of recitation , also tenor ( Latin repercussa <vox> - echo, echo; from the verb repercutere again / repeatedly strike, in the context - repeatedly sound) in the Gregorian chorus - the modal fret function, the second (after the finalis ) its support .
Content
Brief
The tone of recitation is pronounced in the chant of the psalms , where it is usually called the "tenor" ( lat. Tenor , rarely lat. Tuba letters. "Trumpet"), i.e. tone holding the same height (from lat. tenere to keep). Often (though not always) the repercussion can be distinguished in a Gregorian melody written in a particular church tone .
Secondary tone is the most important category of any modal fret. However, it is not customary to call “repercussion” or “tenor” any secondary modal support (for example, the dominant tone in the system of a large banner singing ).
Repercussion should not be confused with dominant . Dominant is the most important tonal function in the major-minor key system and the modest support closest to the tonic. The modal mode does not unfold as a system of gravitations between the center and the periphery, but by bypassing the steps of the scale, hence the special “effective” meaning of the repercussion. In addition, the dominant is always in relation to the closest acoustic relationship (a quint above or a quart below) to the tonic, repercussion can be related to the finalis and to other consonances (see musical notation).
Although the term “repercussion” has historically been associated with the church monody of Catholics, modern scholars sometimes extend this term to polyphonic modal modes (in Western European music of the Middle Ages and Renaissance); with such extrapolation, repercussion is called not one tone, but harmony ( concord or chord ) [1] .
The word "repercussion" is often used as a synonym for the (original medieval) terms "confinalis" (confinalis) and "affinalis" (affinalis), which is not entirely true (see Confinalis ).
Historical essay
The substantive form of the participle repercussa (from the verb repercutere repeatedly strike, in the context - to renew the sound of a certain height) did not occur in musical theory until the end of the 15th century [2] , although the concept of a secondary mode of speech in one form or another was already present in treatises of the high Middle Ages. Often the terms repercutere , vox repercussa , repercussio point to such a foundation , but the description of the repercussion could do without any special terms, such as that of John Cotton (c. 1100):
Also, note that these two consonances — the quart and fifth — are most pleasing in the [Gregorian] chant, if they are located in the proper places. They sound beautiful if, after going down [by a quart or fifth], the melody immediately rises to its original height, and this happens several times, as in the Hallelujah Vox exultationis [3] .
- John Cotton. About music, chap. 19
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Repercussion and Repercussion
Repercussion should be distinguished from repercussion . The last term refers to the display of the dominant steps of a modal (monodic or polyphonic) fret [4] .
Notes
- ↑ Such consonance is also endowed with the epithet "harmonic", meaning "polyphonic", "different heights." The term “harmonic repercussion” is not commonly used in domestic works on the history of harmony.
- ↑ Lexicon musicum Latunum. Fasz. 15. München, 2015, Sp. 1056-1059. "Repercussus" in this grammatical form appeared no earlier than the 16th century.
- ↑ Animadvertendum praeterea quod maximam in cantu iocunditatem faciunt istae duae consonantiae diatessaron et diapente, si convenienter in suis locis disponantur; pulchrum namque sonum reddunt si remissa aliquotiens statim in eisdem vocibus elevantur; quemadmodum patet in Alleluia Vox exultationis. ( CSM 1, p. 123).
- ↑ See, for example, in the article: Kholopov Yu.N. Categories of tonality and fret in Palestrina's music (2002).
Literature
- Apel W. Gregorian Chant. London, 1958.
- Repercussus // Musical Encyclopedic Dictionary . Moscow, 1990.
- Hiley D. Western Plainchant: A Handbook. Oxford, 1993.