Homofonia [1] [2] [3] [4] [5] , rarely homophony [6] (from the ancient Greek ὁμοφωνία - “monotonous”, “sub-echo”, from the ancient Greek ὁμός “the same”, “One and the same” and other Greek φων »“ sound ”; English homophony , German Homophonie ) in its most common meaning is the warehouse of polyphony (simplified: melody with accompaniment), inherent in European composer music in the XVII – XIX centuries.
Content
Basic Values
1) Homophonic (or homophonic-harmonic) is a warehouse of polyphonic music, in which three textures of different value are usually distinguished: melody ( tessiture , and also, as a rule, a timbre isolated layer of texture that carries the “musical thought” of the whole), accompaniment ( can be structured in many ways, in the simplest case - chord ) and bass. In other words, “the normal structure of a homophonic warehouse consists of three planes: melody, middle voices and bass” [7] . In addition to this (normative) structure of homophonic music, the texture of non-melodic voices can be organized extremely ingeniously and diversely. A homophonic composition can be sustained in a mono-rhythmic texture (as in the four-voice treatments of Protestant chorals and hymns with chord “pillars”). The melody in the accompaniment may contain obligate melodic voices competing in meaning with the main melody, elements of imitational polyphony can be included in the accompaniment (as often happens, for example, in baroque music), etc.
In Russian musical science, the homophonic warehouse was formerly also called “homophonic-harmonic,” which is an obvious pleonasm , since harmony as a category of music is not logically opposed to polyphony . The semantic pandan to homophony is not harmony, but polyphony (a polyphony warehouse, in which the tessitar and musical-logical functions of each individual voices are identical). The homophonic warehouse, which dominated the professional (compositional) music of Europe in the 17th — 19th centuries (with the remaining compositional and technical and artistic significance of polyphony), constituted the most important prerequisite for harmonic tonality .
2) Describing the so-called ancient music (for example, the polyphony of the 15th-16th centuries), “homophony” is also called mono - rhythmic (in English-speaking homorhythmic , “homo-rhythmic”) texture, that is, in which every voice of a polyphonic whole moves in the same or very similar rhythm. The technique of the old homophony in the original treatises was called contrapunctus simplex [8] . Samples monoritmicheskogo polyphony - vocal genres of medieval and Renaissance music with syllabic chant text: polyphonic processing hymns (polyphonic) conductus , English, French, especially Italian kinds fauxbourdon (fauxbourdon, falsobordone), polyphonic Italian songs of the XVI century ( frottola , Villanelle , canzonet , balletto ), a Spanish romance of the same time, and others. A striking example of an old-time homophony is the section “Et incarnatus est” from the Credo of the Mass of Joskin Depre “Pange lingua” (see the musical illustration).
In analyzes of old-fashioned harmony, any homophonic texture of three or more voices is often undifferentiatedly designated as “chord” [9] , which is true only for those cases when the pitch context reveals the logic of conjugation of the basic tones of consonances (as in classic-romantic harmony). In many examples of ancient polyphonic music (especially in the era of the Middle Ages), where concordas conceived as interval complexes are conjugated according to the rules of simple counterpoint , it is more accurate to speak about mono-rhythmic texture rather than chord.
Other values
In ancient Greek harmonica (in Ptolemy ), the octave and double octave were called homophones ( ὁμό - due to the identity of the modal functions of the lower and upper sounds in these intervals) [10] , in later Latin science, unison (Latin) was also attributed to homophones in homophones.
Notes
- ↑ Kholopov Yu. N. Homophony // Musical Encyclopedia . Volume 1. M., 1973, p. 1047.
- ↑ Katunyan M. I. Homophony // Great Russian Encyclopedia . Volume 7. M., 2007, p.391.
- Е. Zakharenko, E.N., etc. A new dictionary of foreign words. M., 2008, p.224.
- ↑ Comprehensive dictionary of modern Russian vocabulary. Volume 1. M .: Russian, 1991, p.233.
- ↑ M.V. Zarva. Russian word stress. 2001 p. 111
- ↑ Large explanatory dictionary of the Russian language. Ch. ed. S.A. Kuznetsov p. 207
- ↑ Tyulin Yu. N., Privano N. G. Theoretical Foundations of Harmony. M., 1956, p. 233.
- ↑ Translated from Latin - “simple counterpoint ”.
- ↑ In the authoritative musical encyclopedia "The New Grove Dictionary of Music and Musicians", examples of Zoschen’s given type of texture are described in this way: "Josquin's style ..." (New Grove Dictionary [2001], article "Josquin").
- ↑ Claudius Ptolemy . Harmonica in three books; Porphyry. Commentary on Ptolemy's Harmonica. The publication was prepared by VG Tsypin. M .: Scientific Publishing Center "Moscow Conservatory", 2013, p.434 (Index), etc.
See also
- Homophones (linguistic term)
- Homorhytmic (English music term)
Literature
- Riemann H. Große Kompositionslehre I. Der homophone Satz. Berlin, Stuttgart, 1902.
- Katunyan M.I. Homophony // Great Russian Encyclopedia. T.7. M., 2007, pp.391-392.
Links
- Homophony in the Great Russian Encyclopedia (2007)
- Homophony // Brockhaus and Efron Encyclopedic Dictionary : 86 t. (82 t. And 4 add.). - SPb. , 1890-1907. (year of article?)
- Solovyov N. F. Homophone // Encyclopedic Dictionary of Brockhaus and Efron : 86 t. (82 t. And 4 extra.). - SPb. , 1890-1907. (year of article?)