RETROSPECTIVE OF THE TRANSFORMATION OF MUSICAL MATERIAL IN THE PROCESS OF FORMATION OF POLYVOICE

Abstract

The article states that even in ancient Greece, the terminological awareness of the concept of harmony determined the regularity of the interaction of tones in a scale, as a system ratio and combination of various structures of tetrachords. In other words, this term covered the sounding of horizontal-linear objects in time at the level of formed sound scales. It was found out that in the process of the development of polyphony starting from the Middle Ages, the understanding of the term harmony began to be associated with the vertical, which was perceived as the coherence of the tones of different voices in the simultaneous sounding of a gradual organization of one-moment constructions of a polyphonic texture. It is submitted that the complex system of rules for the use of intervals, which was formed in the theory of a purely vocal polyphonic "strict style", emphasizes the great importance attached to the simultaneous interaction of voices. At the same time, there was also a subordinate value of the vertical intervals in relation to the horizontal movement, i.e. the melodic lines of the voices, subordinated to a complex system of counterpoints and imitations. The vertical was evaluated by the result of fixing the consonance created at the moment, and the interval was evaluated by the degree and tonal value of the intervals, their consonance or dissonance, and the musical and aesthetic perception of the sound. It is outlined that as a result, the practice of polyphony primarily formed the theoretical perception of harmony as a musical-aesthetic characteristic of the sounding of intervals, relegating the lado-dynamic factor to the second place, in accordance with the real meaning of vertical relationships in the context of concretizing compositional techniques. The next stages of the understanding of harmony defined it not only as the coordination of tones at a given fixed moment, but also as the coordination of consonance in their sequence at the level of crystallization of the defined standards of a polyphonic complex, as an independent integral construction of the formation of chordal structures with independent signs of the formation of homophony and awareness of the regularities of the sequence of complexes. In this situation, the importance of harmonic elements – chords – in their defined ratios is emphasized in the foreground, where the order determines its properties through the logical differentiation of chords and is perceived as their ratio. In the conditions of today's musicology, the tendency to weaken the doctrine of differentiation of the concepts of harmony and order has once again manifested itself, which confirms the theoretical concept of the continuity of evolutionary processes related to technological issues of the organization of musical material in a historical-retrospective aspect.