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1 1.. :.... : 1 (, ). (, ).,, ( ),,,,,,.. (,,,,, ) , 1. ) Stanley Sadie, ed., New Grove Dictionary of Music, Theory, Theorists, vol. 19, s.v. Claude V. Palisca, p.741;, :, 2(1997), ), (Hans Tischler ),??(, 1997),

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3 3-1. ( 6 ).., : 1 1 1, 1/28, 2/35, 3/44. 4 (,,, ) ( )., ( 4-3 ). 1 (A. M. S. Boethius, ). 1,. 15 (Ugolino di Urbevetano Ugolino of Orvieto, ), ( Declaratio musice descipline, 1430 )., (Johannes Tinctoris, ) 4 ) Ruth Halle Rowen, Music Through Sources and Documents(NJ: Prentice-Hall, 1979), pp ) Ruth Halle Rowen, Music Through Sources and Documents, pp ) Jean Edmiston, Boethius on Pythagorean Music, Music Review 35(1974), pp (De institutione musica, 500, 5), (musica mundana), (musica humana), ( ) (musica instrumentalis)

4 15 (Franchinus Gaffurius, ). 1, (Johann Kepler, ) (Harmonices mundi, 1619) : 5. 1 (Joseph Sauveur, ) ( : Systme gnral des intervalles des sons, 1701), (Jean Philippe Rameau, ) (, Traitde l'harmonie, 1722). 1 (, Affentenlehre) (Moritz Hauptmann, ), - (Franois-Joseph Ftis, ), (Hermann von helmholtz, ) (III-6 ). 1 7 ) 15 ( )12 ( ), ,,. Stanley Sadie, ed., Theory, Theorists, p ) (Gioseffo Zarlino, ) (Le istitutioni harmoniche, 1558(III-5 ). 9 ), ( :, 1991), 303. ) John A. Kimmy, Jr., A Critique of Musicology: Clarifying the Scope, Limits, and Purpuses of Musicology(Lewinston: The Edwin Mellon Press, 1988), pp , ) (RenDescartes, ) (Traitdes passions de l' me, 1649) (Marin Mersenne, ) (Harmonie universelle, 1636).,, 305. ) (Die Natur de Harmonik und Metrik, 1853)

5 5 20,, (Thomas Clifton) , ( Harmonic Elements). 1,,. 1 ( ) (9 ) (Guido d'arezzo, ) (Micrologus, 1026), (Die Lehre von den Tonempfindungen als physiologische Grundlage f r die Theorie der Musik, 1863): John A. Kimmy, Jr., A Critique of Musicology, pp , , 237. (Traitcomplet de la thorie et de la pratique de l'harmonie, 1844): Matthew Shirlaw, The Theory of Harmony(NY: Da Capo Press, 1969), pp ), :, ) 12 (Milton Babbit, 1916-) (Set Theory) (Allen Forte, 1926-), (Iannis Xenakis, 1922-), (Information Theory) (Lejaren Hiller, 1924-). Stanley Sadie, Theory, Theorists, p.760. ) Thomas Clifton, Music as Heard: A Study in Applied Phenomenology(New Haven: Yale University, 1983). ). Norman Carden, Pythagoras and Aristoxenus Reconciled, JAMS 11(1958), p.97. ) Richard L. Crocker, Aristoxenus and Greek Mathematics, p.102. ) (Aurelianus Reomensis) (Musica disciplina), (Hucbald, ) (De harmonica institutione). Ruth Halle Rowen, Music Through Sources and Documents, pp

6 (III-4 ) < ( )>(Basso continuo) -,. 1 (Giulio Caccini, ) (Le nuove musiche, 1601/2). <1 >(Prima prattica)<2 >(Seconda ) Stanley, Sadie, ed., Theory, Theorists, p.746. ) (John Cotton Johannes Afflighemensis) (Musica, 1100), (Berno von Reichenau, 1048 ) (Tonarium), (Hermanus Contractus, ) (Musica). Stanley Sadie, ed., Theory, Theorists, p.747. ) (Johnnes de Muris, ) (Ars nova musice, ), (Johannes de Grocheo, 1300 ) (1300 ), (Marchetto da Padova, ) (Pomerium in arte musicae mensurate, 1325), (Philippe de Vitry, ) (Ars nova, 1320).. (Jacques de Lieg, ) (Speculum musicae, 1330, 7). Stanley Sadie, ed., Theory, Theorists, p.749. ) (Liber de arte contrapuncti, 1477, 3, III-5 ); (Practica musicae, 1496, III-6 ); (Ramos de Pareja, ) (Musica practica, 1482); (Henricus Glareanus, ) 12 (Dodecachordon, 1547, III-1 ); (Nicola Vicentino, ) (L'antica musica ridotta alla moderna prattica, 1555, III-4 );, (Vincenzo Galilei, ) (Dialogo della musica antica e della moderna, 1581, III-5 ). John A. Kimmy, Jr., A Critique of Musicology, pp.83-90;,, 309, 349; Clement A. Miller, Gaffurius's Practica musicae: Origin and Contents, Musica Disciplina 22(1968), pp ) Stanley Sadie, ed., Theory, Theorists, p.756.

7 7 prattica), 1 (III-1 ). 1 ( ) (Johann J. Fux, ) (Gradus ad Parnassum, 1725). - (III-5 ), (III-6 ), (Heinrich C. Koch, ) (Versuch einer Anleitung zur Composition, 1793). 1 20,. 1..,,, ) Claude V. Palisca, Music in the Baroque Era(NJ: Prentice-Hall, 1981), pp ) Joel Lester, Compositional Theory in the Eighteenth Century(MA: Harvard University Press, 1992), pp ) (Arnold Schoenberg, )<12 > - - ( Harmonielehre, 1922). (Henry Cowell, ) ( New Musical Resources, 1930). (Paul Hindemith, ) - < > ( Unterweisung im Tonsatz, ). Stanley Sadie, ed., Theory, Theorists, p ,, 7(1994), 190.

8 15-1. < >(4 : 4 II-1 ), ( 4 ) ( ). 2 < > ( 2 : A-a'). < > (Ptolemaios, 2 ) ( ). 1 (< > ) , ( 7 ). 1 < >(Tenor) ( ). 1, 5, 3 ( ). < >(Hexachord) 11 ) : (e'-e), (d'-d), (c'-c), (b'-b), (a'-a), (g-g), (f-f). 7., ( ) Donald J. Grout, and Claude V. Palisca, A History of Western Music, pp ),, (Dialogus de musica, 11 ). ) (Finalis) 2, (Ambitus) ( 4 ): (d-d'), (a-a'), (e-e'), (b-b'), (f-f'), (c-c'), (g-g'), (d-d'). ) 8 (Oktoechos: ).Donald J. Grout, and Claude V. Palisca, A History of Western Music, pp

9 9 6 (ut-re-mifa-sol-la) ( ). 1 : c, f, g (f b b ).,.. - < >(Musica ficta: ). 1 < > ( 12 ) ( ). 1 < >.. (, 1482),. 1 ) Richard Hoppin, Medieval Music(NY: W. W. Norton, 1978), pp ). ( )... (f - b f - b)., F b. Karol Berger, Musica ficta: Theories of Accidental Inflections in Vocal Polyphony from Marchetto da Padova to Gioseffo Zarlino(NY: Cambridge University Press), ) (a'-a''), (e-e'), (c'-c''), (g-g'). ) 7. Oliver Strunk, Heinrich Glarean, in Source Readings in Music History(NY: W. W. Norton, 1950), pp ) Walter Atcherson, Key and Mode in Seventeenth-century Music Theory Books, JMT 17(1973), p.210. ) Mary Mackey, The Evolution of Leading Tone in Western European Music to circa 1600 A.D., Ph.D

10 15., (Thomas Morley, ), (Church tones), (Key) (ayre),. 1, 12, 17 < >, : 1 ( ) ( ) 3 3 (, 1558). 3 3, () () : 1, (Tonic)., 24 : (Johann diss.(catholic University of America, 1962), p.120. ) (A Plaine and Easie Introduction to Practicall Musicke, 1597). Robert Wienpahl, English Theorists and Evolving Tonality, Music and Letters 36(1955), p.379. ) 17, (, b D ) (A )., (, C b G, ). Almonte Howell, Jr., French Baroque Organ Music and the Eight Church Tones, JAMS 99(1958), pp ),, 12 < >, 24, 11(1997), 137, 142, 146; Benito V. Rivera, The seventeenth-century Theory of Triadic Generation and Invertibility and Its Application in Comtemporaneous Rules of Composition, Music Theory Spectrum 6(1984), pp ) Walter Atcherson, Key and Mode in Seventeenth-century Music Theory Books, JMT 17(1973), p ,, 12 < >, 24, 145, ; Joel Lester, Between Keys and Modes: German Music theory (NY: Pendragon Press, 1989), p.88.

11 11 D. Heinichen, ) (Johann Matheson, ). 19,, 20 : 12 (, 12 ), (Synthetic scale) ( ) (rhythmos),. ( ).. (, :,, )., 3,. 1. ( Rhythmic Elements):. (arsis: ) (thesis: ). ( ) 4. 1 (2 : 1) 6< ) Olivier Messiaen, The Technique of My Musical Language(Paris: A. Leduc), ) Carl Johann Perl, Augustine and Music, MQ 51(1965), pp.505, 509, 510. ) (Aurelius Augustinus, ) (De musica). Stanley Sadie, ed., Augustine, Aurelian, vol. 1, s.v. William G. Waite, p.696.

12 15 >(Rhythmic Modes)., 1, 3,., 2. 12,, ( ).. 1 ( ). 2 3, (III-4 )., 2 3. (14), ( ), : 2 3,,. 15. (III-4 ),., (, < >Fauxbourdon). 1 < >(Tactus:, ) ( ). 1 ) Donald J. Grout, and Claude V. Palisca, A History of Western Music, p.82. ),, 13(1996), 137. ), (MM.=60-70 ). Dale Bonge, Gaffurius on Pulse and Tempo, Musica Disciplina 36(1982), pp

13 13,. ( ). 1 ( Der Vollkommene Capellmeister, 1739),,.., 19. : < > ( System der musikalischen Rhythmik und Metrik, 1903)., : ( ), ( ), ( :, III-4 ) ( ),, (2 3 : ), ( )., ) Olivier Strunk, Source Reading in Muisc History, ) Stanley Sadie, ed., Rhythm, vol. 16, s.v. Jonathan Harvey, p.806, 818. ) William Caplin, Tonal Function and Metrical Accent: A Historical Perspective, Music Theory Spectrum 5(1983), pp ) Leonard B. Meyer, and G. Cooper, The Structure of Music(Chicago: University of Chicago Press, 1960),

14 15-3..,,,. 2:1... 5( 5, 3/2 5). 1, C 12 5 B# (7 ) C1/4. < >(Comma).. 1, ( ) ( 18 ). (Just Intonation) p.96. ), C, D C 5 (3/2 3/2 = 9/4) (9/4 1/2 = 9/8: )., 2 1/2. William Duckworth, The Foundation of Music(CA: Wadsworth Publishing Company, 1978), p.17. ) Richard L. Crocker, Aristoxenus and Greek Mathematics, in Aspects of Medieval and Renaissance Music: A Birthday Offering for Gustave Reese, ed. Jan LaRue(NY: W. W. Norton, 1966), p.103. ) William Duckworth, The Foundation of Music(CA: Wadsworth Publishing Company, 1978), p.18.

15 /64(3 2, 9/8 ) 80/64,, 5/4.. 1, ( 16 ): 1 3. C 5 e 3 e (< >, Syntonic comma). (Mean-tone: ) 15 19, , 2. 5., 5,. ( )., ,. 1 ) (Didymus, 1 ) 3 5/4 ( -, Syntonic-ditonic). Stanley Sadie, ed., Didymus, vol. 5, s.v. Lucas Richter, p.463. ) Gustave Reese, Music in the Renaissance, pp , 586. ) Gustave Reese, Music in the Renaissance, pp ),, 7(1994), pp

16 15.,. 1-4.,.. 3 (, Introduction to Music).,.,. 1 9,,, < >(Daseian Notation) ( II-2 ). 1 < >(Neuma: )., (), (Heightened Neumatic Notation: < >), (Staff Notation: < >: ). ( ) ( 4 ). < >(Modal Notation: 12 ) ) ( Die musikalische Temperatur, 1691),,.,, ) Stanley Sadie, Alipius, vol. 1, s.v. Warren Anderson, pp ) (Carl Parrish ), ( : ), John A. Kimmy, Jr., A Critique of Musicology, pp.70-71, 82.

17 17. : (Ligatura: ) (, ). 13 < >(Mersural Notation), ( ): () - ( ) - ( ). 1 1:2 1:3 ( ), 3 ( ).. 14 < > (II-2 ). 4-5, 2 3 ( ).. 14,, ( ) < >(Mannered Notation: III-2 ). 1. : 1 (, ), (= ). (< ) (Franco von Kln, 1260 ) (Ars cantus mensurabilis). ) < >, 12. < >. ) Willi Apel, The Notation of Polyphonic Music (MA: The Medieval Academy of America, 1961), pp

18 15 >, Tablatura). 1 < > 16 <4 >. 4,. 4 (, 1555).. 1,. 18, 1 : (Jean-Jacques Rousseau, ) ,, (. Contrapunctus,. Counterpoint) (Punctus contra puntum: ). 13 (. discantus,. Discant), ( ),,,.. ) Gustave Reese, Music in the Renaissance, pp ) John A. Kimmy, Jr., A Critique of Musicology, pp.170, 211. ) John A. Kimmy, Jr., A Critique of Musicology, p.135. ) Howard Risatti, New Music Vocabulary: A Guide to Notational Signs for Contemporary Music(IL: University of Illinois Press), ) Richard Crocker, Discant, Counterpoint, and Harmony, JAMS 15(1962), pp.1-5.

19 19 ). - (9-10 )-, (2 ), 13, 14. 1, 4, 5, 8, (15 2 ). 1, ( ) : 6-8 6, (, ). 1, ( ). : (Res facta: ) (Mente: ; ) (Johannes de Garlandia) (De musica mensurabili),, 4 (1275). Hugo Riemann, History of Music Theory: Polyphonic Theory to the 16th Century(NY: Da Capo, 1974), pp.95, 112. ) Johannes Tinctoris, Liber de arte contrapuncti, ed. & trans. Albert Seay(Rome: American Institute of Musicology, 1961), p.37 ) Franchinus Gaffirius, Practica Musica, ed. and trans. Clement Miller(Rome: American Institute of Musicology, 1968), p.125. ) Gustave Reese, Music in the Renaissance, pp.144, 179; Hugo Riemann, History of Music Theory, pp ) Stanley Sadie, Counterpoint, vol. 4, s.v. Claus Jrgen Sachs, p.834.

20 15 supra librum cantare: ) (, pp ).., < >(1 : 1) < >(1 : 1),. 1 < >(Senario: 6 )., ,. 1 < > ( ), < >, 18 < >. 1,., (: 7),,.. (stile ecclesiastico),. 5 ( : ). 1 ) Johannes Tinctoris, Liber de arte contrapuncti, pp.101, 113, 121. ) 3 6 : 5/4, 5/4, 5/3, 8/ ( 43). Robert Wienpahl, Zarlino, the Senario, and Tonality, JAMS 12(1959), pp ) Gustave Reese, Music in the Renaissance, pp ) Ruth Halle Rowen, Music Through Sources and Documents, pp ) (1:1). 2 (2:1),. 4 (4:1) 1, 3 2, 4 2 ( 2, 4 3

21 (Johann Philipp Kirnberger, ) (Die Kunst des reinen Satzes in der Musick, 1776), ). 2 4, ( ) ( ) : 12,,. (Ernst Kurth, ) (Grundlagen des linearen Kontrapunkts, 1917) : (15 )V-I. 1 : 1 (Res facta: ): (2 ). 3 : 15 3 ( ).. ).,.,. Alfred Mann, ed. & trans. The Study of Counterpoint from Johann Joseph Fux's Gradus ad Parnassum(NY: W. W. Norton), ) Ruth Halle Rowen, Music Through Sources and Documents, pp ) Stanley Sadie, Kurth, Ernst, vol. 10, s.v. Kurt von Fischer, p.321. ),. (Cantus firmus) ),, 7(1993), 1-19.

22 15. ( ).. 18 ( ) ( ) (, 1722). 1. : ( ). 6 ( ) 1, 3, 5, 3 ( ). 1 (Fundamental Bass). 3 7, 9, 11. 5,, ( ). ( ). 3,, ) Joel Lester, Compositional Theory in the Eighteenth Century, pp ) Joan Ferris, The Evolution of Rameau's Harmonic Theories, JMT 3(1959), pp ) , 6 3 1, 3, 5 : 1 : 1/3( +5=5) : 1/5(2 +3=3).

23 23 (3 7 ).,.. (Jean le Rond d'alembert, ) ( Elments de musique, th orique et pratique suivant les principes de M. Rameau, 1752). 1., (7 ) ( ) (III-5 ). 19, ( ),., 3.,,. 1 (Heinrich Schenker, ),,. 1. ) Joel Lester, Compositional Theory in the Eighteenth Century, pp ) William Caplin, "Tonal Function and Metrical Accent: A Historical Perspective, pp ) 40 ( Neue musikalische Theorien und Phantasien, ). (: ), (Foreground) (background level).,,. Stanley Sadie, Theory, Theorists, pp.759.

24 ,, (III), (II)..,..,.., 200 (Common-practice Notation).,,... 7(1994), (1993), (1996), (1994), :. 2(1997), (Carl Parrish ).. :, (1994), , (Hans Tischler ).??., No. 4. :, 1997, ,,. :, Antokoletz, Eliot. The Music of Bela Bartok: A Study of Tonality and Progression in 20th-Century Music. Berkeley: University of California Press, 1984.

25 25 Apel, Willi. The Notation of Polyphonic Music MA: The Medieval Academy of America, Atcherson, Walter. Key and Mode in Seventeenth-century Music Theory Books. JMT 17(1973), pp Babbitt, Milton. Twele-Tone Invariants as Compositional Determinant. MQ 46(1960), pp Berger, Karol. Musica ficta: Theories of Accidental Inflections in Vocal Polyphony from Marchetto da Padova to Gioseffo Zarlino. NY: Cambridge University, Blackburn, Bonnie. Compositional Process in the Fifthteenth Century. JAMS 40(1987), pp Bonge, Dale. Gaffurius on Pulse and Tempo. Musica Disciplina 36(1982), pp Caplin, William. Tonal Function and Metrical Accent: A Historical Perspective. Music Theory Spectrum 5(1983), pp Carden, Norman. Pythagoras and Aristoxenus Reconciled. JAMS 11(1958), Crocker, Richard L. Discant, Counterpoint, and Harmony. JAMS 15(1962), pp Aristoxenus and Greek Mathematics. In Aspects of Medieval and Renaissance Music: A Birthday Offering for Gustave Reese. Ed. Jan LaRue. NY: W. W. Norton, 1966, pp Duckworth, William. The Foundation of Music. CA: Wadsworth Publishing Company, Edmiston, Jean. Boethius on Pythagorean Music. Music Review 35(1974), pp Ferris, Joan. The Evolution of Rameau's Harmonic Theories. JMT 3(1959), pp Forte, Allen. The Structure of Atonal Music. New Haven: Yale University, Gaffirius, Franchinus. Practica Musica, ed. and trans. Clement Miller(Rome: American Institute of Musicology, 1968), p.125. Grout, Donald J., and Claude V. Palisca. A History of Western Music. 4th ed. NY: W. W. Norton, Hiller, Lejaren, and Ramon Fuller. Structure and Information in Webern's Symphonie, Op.21. JMT 11(1967), pp Hoppin, Richard. Medieval Music. NY: W. W. Norton, Howell, Almonte Jr. French Baroque Organ Music and the Eight Church Tones. JAMS 99(1958), pp Kimmy, Jr., John. A Critique of Musicology: Clarifying the Scope, Limits, and Purpuses of Musicology. Lewinston: The Edwin Mellon Press, Lester, Joel. Between Keys and Modes: German Music theory NY: Pendragon Press, Compositional Theory in the Eighteenth Century. MA: Harvard University, Mackey, Mary. The Evolution of Leading Tone in Western European Music to circa 1600 A.D. Ph.D diss. Catholic University of America, Mann, Alfred, ed. & trans. The Study of Counterpoint from Johann Joseph Fux's Gradus ad Parnassum. NY: W. W. Norton, Messiaen, Olivier. The Technique of My Musical Language. Paris: A. Leduc, Meyer, Leonard B., and G. Cooper. The Structure of Music. Chicago: University of Chicago Press, Palisca, Claude V. Music in the Baroque Era. NJ: Prentice-Hall, Perl, Carl J. Augustine and Music. MQ 51(1965), pp Rameau, Jean Philippe. Treatise on Harmony. Trans. Philip Gossett. NY: Dover, Riemann, Hugo. History of Music Theory: Polyphonic Theory to the 16th Century. NY: Da Capo, Risatti, Howard. New Music Vocabulary: A Guide to Notational Signs for Contemporary Music. IL: University of Illinois Press, Rivera, Benito V. The seventeenth-century Theory of Triadic Generation and Invertibility and Its Application in Comtemporaneous Rules of Composition. Music Theory Spectrum 6(1984), pp Rowell, Lewis. Aristoxenus on Rhythm. JMT 23(1979), pp Rowen, Ruth Halle. Music Through Sources and Document. NJ: Prentice-Hall, Shirlaw, Matthew. The Theory of Harmony. NY: Da Capo Press, Strunk, Oliver. Heinrich Glarean. In Source Readings in Music History. NY: W. W. Norton, 1950, pp

26 15 Tinctoris, Johannes. Liber de arte contrapuncti. Ed. & Trans. Albert Seay. Rome: American Institute of Musicology, Wienpahl, Robert. English Theorists and Evolving Tonality. Music and Letters 36(1955), pp Zarlino, the Senario, and Tonality. JAMS 12(1959), pp

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