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Culture and Art
Reference:
Medova A.A.
Musical Modality as a Type of Thinking: the Logic of Modal Mood
// Culture and Art.
2015. ¹ 5.
P. 565-574.
DOI: 10.7256/2454-0625.2015.5.16422 URL: https://en.nbpublish.com/library_read_article.php?id=16422
Ìóçûêàëüíàÿ ìîäàëüíîñòü êàê òèï ìûøëåíèÿ: ëîãèêà ìîäàëüíîãî ëàäà
Medova Anastasiya Anatol'evna
PhD in Philosophy
assistant professor of the Philosophical Department at Siberian State Technological University
660049, Russia, Krasnoyarsk Region, Krasnoyarsk, str. Mira, 82, room No. 321
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amedova@list.ru
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Other publications by this author
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DOI: 10.7256/2454-0625.2015.5.16422
Received:
19-09-2015
Published:
13-10-2015
Abstract:
The paper is devoted to the typical features of music modality from the point of view of their harmonic imlementation. The purpose of the article is to demonstrate the features of modal harmony as a special type of musical thinking. The subject of the research is the peculiarities of the composition of folk and medieval modal moods. Based on the examples of the Catholic Church moduses, Russian folk songs and Indian traditional moods "tkhat" the author considers the logic of sound sequences and functional relationships within the modal moods. The author also analyzes the principles of the composition of the sequences of moods in the sound continuum, harmonic roles of their tones and ontological aspects of the modal mood. The research is based on the method of harmonic analysis and comparative analysis of the principles of modality and tonality of moods. For the purpose of interpreting modal moods as a type of thinking and aesthetic world view, the author has also appealed to the philosophical idea of the unity of substance and form postulated in modal ontologies. The novelty of the author's research is caused by the fact that the author applies the logical-ontological approach to the interpretation of harmonic phenomena and summarizes peculiarities of European, Russian and Indian moods as historical forms of modal thinking in music. In the course of the research the author has defined such features of harmonic modality as the impossibility of the unification of moods, reproduction of moods in a form of any number of sequences that potentially have different pitches of sound, folding of each sequence of modal functions and, on the contrary, performance of one and the same function at different levels. These qualities speak of particular plasticity of modal musical thinking within which such phenonena as the mood, melody (tune) and musical form tend to be indistinguishable.
Keywords:
modality, modal harmony, modal mood, tonality, modal thinking, raga, tkhat, modal variability, modus, modal integrity
References
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