Сучасна гармонія у теоретичному і практичному курсах системи музичної освіти

Abstract

У статті досліджено питання вивчення сучасної (функціональної і модальної) гармонії в спеціалізованих курсах середніх та вищих музичних навчальних закладах. Розглянуто основні засади, що можуть увійти в цей курс, і запропоновано форми роботи на практичних занятях. Охарактеризовано, яким чином можна застосувати запропоновані методи в курсі сучасної гармонії.

В статье исследованы вопросы изучения современной (функциональной и модальной) гармонии в специализированных курсах средних и высших учебных заведений. Рассмотрены основные принципы, на которых может быть построен данный курс, и предложены формы работы на практических занятиях. Охарактеризовано, каким образом можно применить предложенные методы в курсе современной гармонии.

The article is devoted to the study of contemporary (functional and modal) harmony in specialized courses in secondary and higher education institutions. The basic principles that can be built this course and proposed ways of working. Today musical education preserves the traditions inherent in the period of its formation. Changes in the system of music education do not violate the general concept and continuity of traditions. Contemporary harmony has been given attention by domestic musicologists, including its main course. Despite the active processes in the system of music education, the forms of education basically remain traditional, including the basic program requirements, especially those concerning the musical and theoretical preparation of students. However, the preparation of students in music and theoretical disciplines today requires a conceptual change. It’s about the course of harmony, which begins at the College of Music and continues at the university. Textbooks and problem books are limited to the functional major-minor harmony, the question arises whether to expand these boundaries. This issue is topical and controversial and requires an early resolution. In the practice of musicians, there is a significant lack of knowledge of the harmony of the twentieth and twenty-first centuries, hence some misunderstanding of the processes and laws of modern music. And since the basic musical and theoretical basis is concentrated in the music college, this lack needs to be filled here. It is necessary to decide how to organize and combine the course of modal contemporary and ancient harmony with the course of classical tonal-functional harmony. The tonality in the contemporary music is an expanded tonality, polytonality, jazz harmony with obligatory functional connections, predominance of the tertiary type of accordion, accords with non-primary tones. The modality in contemporary music is a broad concept, it includes all types of the tones connections, except for functional. Therefore, a special organization of contemporary composition can be considered, serial and seriality compositions, aleatory, sonoristics, etc. We propose this version of the classification of accords: 1. Simple chords (monoaccords): a) three-sound: tertiary, quart, quint, hemithon, mixed; b) four-sound: tertiary, quarto-quint, mixed, clusters; c) five-sound: tertiary, mixed, clusters. 2. Composite accords (polyaccords): a) accords from 6 to 8 sounds: on a tertiary basis, on quarto-fifth, mixed accords, clusters; b) chords from 8 sounds or more: terraced skyscrapers, mixed accords, clusters. This classification indicates that the quantity of tones in the accord depends on how much it is possible to analyze it: the fewer tones, the more options for their classification and detailing, if there are more tones in the accord, then the classification is reduced to general types and less detailed. You can offer it in college, since the main types of accords are covered.