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1.. :.... : 1 (, ). (, ).,, ( ),,,,,,.. (,,,,, ). 18-20, 1. ) Stanley Sadie, ed., New Grove Dictionary of Music, Theory, Theorists, vol. 19, s.v. Claude V. Palisca, p.741;, :, 2(1997), 4-9. 2 ), (Hans Tischler ),??(, 1997), 20-22.

15,..,,.. :. ( ),., : 1 (5-14 ) (15-16 ),. (17-18 ),,. 18-19,. 20, 20. 20,. 3 ) 2-12-2.

3-1. ( 6 ).., : 1 1 1, 1/28, 2/35, 3/44. 4 (,,, ) ( )., ( 4-3 ). 1 (A. M. S. Boethius, 480-524). 1,. 15 (Ugolino di Urbevetano Ugolino of Orvieto, 1380-1457), ( Declaratio musice descipline, 1430 )., (Johannes Tinctoris, 1435-1511) 4 ) Ruth Halle Rowen, Music Through Sources and Documents(NJ: Prentice-Hall, 1979), pp.13-14. 5 ) Ruth Halle Rowen, Music Through Sources and Documents, pp.11-14. 6 ) Jean Edmiston, Boethius on Pythagorean Music, Music Review 35(1974), pp.179-84. (De institutione musica, 500, 5), (musica mundana), (musica humana), ( ) (musica instrumentalis)

15 (Franchinus Gaffurius, 14511522). 1, 16. 1 (Johann Kepler, 1571-1631) (Harmonices mundi, 1619) : 5. 1 (Joseph Sauveur, 1653-1716) ( : Systme gnral des intervalles des sons, 1701), (Jean Philippe Rameau, 1683-1764) (, Traitde l'harmonie, 1722). 1 (, Affentenlehre). 1 18-19 (Moritz Hauptmann, 1792-1894), - (Franois-Joseph Ftis, 1784-1871), (Hermann von helmholtz, 1821-1894) (III-6 ). 1 7 ) 15 ( )12 (1472-84),.. 148020,,. Stanley Sadie, ed., Theory, Theorists, p.752. 8 ) (Gioseffo Zarlino, 1517-1590) (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.122-24, 131-34. ) (RenDescartes, 1596-1650) (Traitdes passions de l' me, 1649) (Marin Mersenne, 1588-1648) (Harmonie universelle, 1636).,, 305. ) (Die Natur de Harmonik und Metrik, 1853)

5 20,,. 1 20. 1 20 (Thomas Clifton). 1-2. 4., ( Harmonic Elements). 1,,. 1 ( ) (9 ). 1 11 (Guido d'arezzo, 992-1050) (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.157-160, 162-165, 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.335-351. ), :, 17-18. ) 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, 840-930) (De harmonica institutione). Ruth Halle Rowen, Music Through Sources and Documents, pp. 52-53.

15. 1.. 1 13 14 - - (III-4 ). 1.. 1 -< ( )>(Basso continuo) -,. 1 (Giulio Caccini, 1550-1618) (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, 1013-54) (Musica). Stanley Sadie, ed., Theory, Theorists, p.747. ) (Johnnes de Muris, 1300-1350) (Ars nova musice, 1319 1321), (Johannes de Grocheo, 1300 ) (1300 ), (Marchetto da Padova, 1274-1326) (Pomerium in arte musicae mensurate, 1325), (Philippe de Vitry, 1290-1361) (Ars nova, 1320).. (Jacques de Lieg, 1260-1330) (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, 1440-1491) (Musica practica, 1482); (Henricus Glareanus, 1488-1563) 12 (Dodecachordon, 1547, III-1 ); (Nicola Vicentino, 1511-1576) (L'antica musica ridotta alla moderna prattica, 1555, III-4 );, (Vincenzo Galilei, 1520-1591) (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.121-22. ) Stanley Sadie, ed., Theory, Theorists, p.756.

7 prattica), 1 (III-1 ). 1 ( ) (Johann J. Fux, 1660-1741) (Gradus ad Parnassum, 1725). - (III-5 ), (III-6 ), (Heinrich C. Koch, 1849-1916) (Versuch einer Anleitung zur Composition, 1793). 1 20,. 1..,,,. 10.. ) Claude V. Palisca, Music in the Baroque Era(NJ: Prentice-Hall, 1981), pp.59-60. ) Joel Lester, Compositional Theory in the Eighteenth Century(MA: Harvard University Press, 1992), pp.187-89. ) (Arnold Schoenberg, 1874-1951)<12 > - - ( Harmonielehre, 1922). (Henry Cowell, 1897-1965) ( New Musical Resources, 1930). (Paul Hindemith, 1895-1963) - < > ( Unterweisung im Tonsatz, 1937-39). Stanley Sadie, ed., Theory, Theorists, p.759. 2 3.,, 7(1994), 190.

15-1. < >(4 : 4 II-1 ), ( 4 ) ( ). 2 < > ( 2 : A-a'). < > (Ptolemaios, 2 ). 13-15 7 ( ). 1 (< > ) 9 11. 1 8, ( 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.14-16. ),, (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.27-28.

9 6 (ut-re-mifa-sol-la) ( ). 1 : c, f, g (f b b ).,.. - < >(Musica ficta: ). 1 < >8 4. 1 12 ( 12 ). 1 12 ( ). 1 < >.. (, 1482),. 1 ) Richard Hoppin, Medieval Music(NY: W. W. Norton, 1978), pp.63-64. ). ( )... (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), 1987. ) (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.219-227. ) 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

15., 12. 16 (Thomas Morley, 1557-1602), (Church tones), (Key) (ayre),. 1, 12, 17 < >,. 1 16-17 12 2 : 1 ( ) ( ) 3 3 (, 1558). 3 3, () (). 17-18 : 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.106-7. ),, 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.63-64. ) Walter Atcherson, Key and Mode in Seventeenth-century Music Theory Books, JMT 17(1973), p.225-26.,, 12 < >, 24, 145, 150-52; Joel Lester, Between Keys and Modes: German Music theory 1592-1802(NY: Pendragon Press, 1989), p.88.

11 D. Heinichen, 1683-1729) (Johann Matheson, 1681-1764). 19,, 20 : 12 (, 12 ), (Synthetic scale) ( ). 1-2. (rhythmos),. ( ).. (, :,, )., 3,. 1. ( Rhythmic Elements):. (arsis: ) (thesis: ). ( ) 4. 1 (2 : 1) 6< ) Olivier Messiaen, The Technique of My Musical Language(Paris: A. Leduc), 1956. ) Carl Johann Perl, Augustine and Music, MQ 51(1965), pp.505, 509, 510. ) (Aurelius Augustinus, 354-430) (De musica). Stanley Sadie, ed., Augustine, Aurelian, vol. 1, s.v. William G. Waite, p.696.

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.167-74.

13,. ( ). 1 ( Der Vollkommene Capellmeister, 1739),,.., 19. :... 1 19 < > ( System der musikalischen Rhythmik und Metrik, 1903)., 19. 1 20 : ( ), ( ), ( :, III-4 ) ( ),, (2 3 : ), ( )., 20. 1 ) Olivier Strunk, Source Reading in Muisc History, 302-22. ) 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.11-12. ) Leonard B. Meyer, and G. Cooper, The Structure of Music(Chicago: University of Chicago Press, 1960),

15-3..,,,. 2:1... 5( 5, 3/2 5). 1, C 12 5 B# (7 ) C1/4. < >(Comma).. 1, ( ) ( 18 ). (Just Intonation) 3 6. 1 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 5 3. 3 3 81/64(3 2, 9/8 ) 80/64,, 5/4.. 1, ( 16 ): 1 3. C 5 e 3 e (< >, Syntonic comma). (Mean-tone: ) 15 19,. 1 3. 3, 2. 5., 5,. ( )., 3 2. 2,. 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.377-79, 586. ) Gustave Reese, Music in the Renaissance, pp.531-32. ),, 7(1994), pp.286-88.

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),,.,, 295-98. ) Stanley Sadie, Alipius, vol. 1, s.v. Warren Anderson, pp.302-303. ) (Carl Parrish ), ( : ), 1991. John A. Kimmy, Jr., A Critique of Musicology, pp.70-71, 82.

17. : (Ligatura: ) (, 3-2 - 2 1 ). 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 900-1600(MA: The Medieval Academy of America, 1961), pp.3-188.

15 >, Tablatura). 1 < > 16 <4 >. 4,. 4 (, 1555).. 1,. 18, 1 : (Jean-Jacques Rousseau, 1712-1778). 1 20.,,. 1-5. (. Contrapunctus,. Counterpoint) (Punctus contra puntum: ). 13 (. discantus,. Discant), 14. 1 16 ( ),,,.. ) Gustave Reese, Music in the Renaissance, pp.328-29. ) 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), 1975. ) Richard Crocker, Discant, Counterpoint, and Harmony, JAMS 15(1962), pp.1-5.

19 ). - (9-10 )-, 11-12. (2 ), 13, 14. 1, 4, 5, 8, 13 3 6 13-15 (15 2 ). 1, 4 14 2. 1. ( ). 1 14 : 6-8 6, 6-5 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.168-69. ) Stanley Sadie, Counterpoint, vol. 4, s.v. Claus Jrgen Sachs, p.834.

15 supra librum cantare: ) (, pp.102-105).., < >(1 : 1) < >(1 : 1),. 1 < >(Senario: 6 )., 46. 1.,. 1 < > ( ), < >, 18 < >. 1,., (: 7),,.. (stile ecclesiastico),. 5 ( : 19-20 ). 1 ) Johannes Tinctoris, Liber de arte contrapuncti, pp.101, 113, 121. ) 3 6 : 5/4, 5/4, 5/3, 8/5. 6 6. 6 ( 43). Robert Wienpahl, Zarlino, the Senario, and Tonality, JAMS 12(1959), pp.27-41. ) Gustave Reese, Music in the Renaissance, pp.378-79. ) Ruth Halle Rowen, Music Through Sources and Documents, pp.213-14. ) (1:1). 2 (2:1),. 4 (4:1) 1, 3 2, 4 2 ( 2, 4 3

21 18-19. (Johann Philipp Kirnberger, 1721-1783) (Die Kunst des reinen Satzes in der Musick, 1776), 1771-9). 2 4, ( ) ( ). 1 20. : 12,,. (Ernst Kurth, 1886-1946) (Grundlagen des linearen Kontrapunkts, 1917)20. 1-6. : (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), 1971. ) Ruth Halle Rowen, Music Through Sources and Documents, pp.213-14. ) Stanley Sadie, Kurth, Ernst, vol. 10, s.v. Kurt von Fischer, p.321. ),. (Cantus firmus). - - - 4. ),, 7(1993), 1-19.

15. ( ).. 18 ( ) ( ). 1 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.87-89. ) Joan Ferris, The Evolution of Rameau's Harmonic Theories, JMT 3(1959), pp.231-55. ) 3 5 1., 6 3 1, 3, 5 : 1 : 1/3( +5=5) : 1/5(2 +3=3).

23 (3 7 ).,.. (Jean le Rond d'alembert, 1717-1783) ( Elments de musique, th orique et pratique suivant les principes de M. Rameau, 1752). 1., (7 ) ( ) (III-5 ). 19, ( ),., 3.,,. 1 (Heinrich Schenker, 1868-1935),,. 1. ) Joel Lester, Compositional Theory in the Eighteenth Century, pp.231-57. ) William Caplin, "Tonal Function and Metrical Accent: A Historical Perspective, pp.12-14. ) 40 ( Neue musikalische Theorien und Phantasien, 1906-35). (: ), (Foreground) (background level).,,. Stanley Sadie, Theory, Theorists, pp.759.

15 20..,, (III), (II)..,..,.., 200 (Common-practice Notation).,,... 7(1994), 186-207... 7(1993), 1-19... 13(1996), 131-143... 6(1994), 183-213.. :. 2(1997), 1-32. (Carl Parrish ).. :, 1991... 7(1994), 282-303., (Hans Tischler ).??., No. 4. :, 1997, 11-22.,,. :, 1991. Antokoletz, Eliot. The Music of Bela Bartok: A Study of Tonality and Progression in 20th-Century Music. Berkeley: University of California Press, 1984.

25 Apel, Willi. The Notation of Polyphonic Music 900-1600. MA: The Medieval Academy of America, 1961. Atcherson, Walter. Key and Mode in Seventeenth-century Music Theory Books. JMT 17(1973), pp.204-33. Babbitt, Milton. Twele-Tone Invariants as Compositional Determinant. MQ 46(1960), pp.246-59. Berger, Karol. Musica ficta: Theories of Accidental Inflections in Vocal Polyphony from Marchetto da Padova to Gioseffo Zarlino. NY: Cambridge University, 1987. Blackburn, Bonnie. Compositional Process in the Fifthteenth Century. JAMS 40(1987), pp.210-84. Bonge, Dale. Gaffurius on Pulse and Tempo. Musica Disciplina 36(1982), pp.167-74. Caplin, William. Tonal Function and Metrical Accent: A Historical Perspective. Music Theory Spectrum 5(1983), pp.1-14. Carden, Norman. Pythagoras and Aristoxenus Reconciled. JAMS 11(1958), 97-105. Crocker, Richard L. Discant, Counterpoint, and Harmony. JAMS 15(1962), pp.1-21.. 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.96-110. Duckworth, William. The Foundation of Music. CA: Wadsworth Publishing Company, 1978. Edmiston, Jean. Boethius on Pythagorean Music. Music Review 35(1974), pp.179-84. Ferris, Joan. The Evolution of Rameau's Harmonic Theories. JMT 3(1959), pp.231-55. Forte, Allen. The Structure of Atonal Music. New Haven: Yale University, 1973. 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, 1988. Hiller, Lejaren, and Ramon Fuller. Structure and Information in Webern's Symphonie, Op.21. JMT 11(1967), pp.60-115. Hoppin, Richard. Medieval Music. NY: W. W. Norton, 1978. Howell, Almonte Jr. French Baroque Organ Music and the Eight Church Tones. JAMS 99(1958), pp.106-18. Kimmy, Jr., John. A Critique of Musicology: Clarifying the Scope, Limits, and Purpuses of Musicology. Lewinston: The Edwin Mellon Press, 1988. Lester, Joel. Between Keys and Modes: German Music theory 1592-1802. NY: Pendragon Press, 1989.. Compositional Theory in the Eighteenth Century. MA: Harvard University, 1992. Mackey, Mary. The Evolution of Leading Tone in Western European Music to circa 1600 A.D. Ph.D diss. Catholic University of America, 1962. Mann, Alfred, ed. & trans. The Study of Counterpoint from Johann Joseph Fux's Gradus ad Parnassum. NY: W. W. Norton, 1971. Messiaen, Olivier. The Technique of My Musical Language. Paris: A. Leduc, 1956. Meyer, Leonard B., and G. Cooper. The Structure of Music. Chicago: University of Chicago Press, 1960. Palisca, Claude V. Music in the Baroque Era. NJ: Prentice-Hall, 1981. Perl, Carl J. Augustine and Music. MQ 51(1965), pp.496-510. Rameau, Jean Philippe. Treatise on Harmony. Trans. Philip Gossett. NY: Dover, 1971. Riemann, Hugo. History of Music Theory: Polyphonic Theory to the 16th Century. NY: Da Capo, 1974. Risatti, Howard. New Music Vocabulary: A Guide to Notational Signs for Contemporary Music. IL: University of Illinois Press, 1975. 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.63-78. Rowell, Lewis. Aristoxenus on Rhythm. JMT 23(1979), pp.63-79. Rowen, Ruth Halle. Music Through Sources and Document. NJ: Prentice-Hall, 1979. Shirlaw, Matthew. The Theory of Harmony. NY: Da Capo Press, 1969. Strunk, Oliver. Heinrich Glarean. In Source Readings in Music History. NY: W. W. Norton, 1950, pp.219-227.

15 Tinctoris, Johannes. Liber de arte contrapuncti. Ed. & Trans. Albert Seay. Rome: American Institute of Musicology, 1961. Wienpahl, Robert. English Theorists and Evolving Tonality. Music and Letters 36(1955), pp.377-393.. Zarlino, the Senario, and Tonality. JAMS 12(1959), pp.27-41.