In: Musicologica Slovaca , vol. 10, no. 2
Marián Štúň 
Detaily:
Rok, strany: 2019, 261 - 271
Jazyk: slo
Kľúčové slová:
Eugen Suchoň, Akordika, Kaleidoscope, synthetic twelve-tone harmony,chromatic total, diatonic total, twelve-tone music, 20th century music
Typ článku: Materiály / Materials
O článku:
During the 1960s Eugen Suchoň (1908–1993) wrote a textbook entitled Akordika. Od
trojzvuku po dvanásťzvuk [Chords. From Triad to Twelve-tone] (published in 1979),
where he defines his system of organization of twelve-tone space. His theory derives
from a harmonic overtone series, from which, after necessary adjustments to achieve
a tempered tuning, he constructs a chromatic total. The chromatic total, i.e. the synthetic
twelve tone harmony, involves all the tones in the chromatic area in a strict, stable
structure of thirds. It is possible subsequently to deduce almost all of the traditional
chord complexes from this. Based on preceding analyses of impressionist and 20th century
music, in Suchoň’s theory synthetic twelve-tone harmony serves mainly for derivation,
naming and characterization of every modern chord from triad to higher tone constructs,
since its modifications make it possible to reach aggregates not only of thirds but of
other intervals also. Genetically lower, but in Suchoň’s music a key derivative of the
chromatic total, is the diatonic total. This is the acoustic scale verticalized to the formof a seven-tone thirteenth chord. The text presented here studies the system of Suchoň’sAkordika, with its basic concepts and methods, and demonstrates its application in ananalysis of Three Romantic Pieces from the Kaleidoscope cycle (1966 – 1969).
During the 1960s Eugen Suchoň (1908–1993) wrote a textbook entitled Akordika. Od
trojzvuku po dvanásťzvuk [Chords. From Triad to Twelve-tone] (published in 1979),
where he defines his system of organization of twelve-tone space. His theory derives
from a harmonic overtone series, from which, after necessary adjustments to achieve
a tempered tuning, he constructs a chromatic total. The chromatic total, i.e. the synthetic
twelve tone harmony, involves all the tones in the chromatic area in a strict, stable
structure of thirds. It is possible subsequently to deduce almost all of the traditional
chord complexes from this. Based on preceding analyses of impressionist and 20th century
music, in Suchoň’s theory synthetic twelve-tone harmony serves mainly for derivation,
naming and characterization of every modern chord from triad to higher tone constructs,
since its modifications make it possible to reach aggregates not only of thirds but of
other intervals also. Genetically lower, but in Suchoň’s music a key derivative of the
chromatic total, is the diatonic total. This is the acoustic scale verticalized to the formof a seven-tone thirteenth chord. The text presented here studies the system of Suchoň’sAkordika, with its basic concepts and methods, and demonstrates its application in ananalysis of Three Romantic Pieces from the Kaleidoscope cycle (1966 – 1969).
Ako citovať:
ISO 690:
Štúň, M. 2019. Teória dvanásťtónového priestoru a jej kompozičné využitie u Eugena Suchoňa. In Musicologica Slovaca , vol. 10, no.2, pp. 261-271. 1338-2594.
APA:
Štúň, M. (2019). Teória dvanásťtónového priestoru a jej kompozičné využitie u Eugena Suchoňa. Musicologica Slovaca , 10(2), 261-271. 1338-2594.
O vydaní:
Vydavateľ: Ústav hudobnej vedy SAV
Publikované: 18. 12. 2019