Лады этнической музыки : к проблеме происхождения

LTReikšminiai žodžiai: Anhemitonika; Dermės; Diatonika; Etninė muzika; Muzikinės dermės; Muzikos kilmė; Natūralus derinimas; Obertonai; Pentatonika; Temperuotas derinimas; Diatonic anhemitonics; Ethnic music; Music sound; Musical modes; Natural tuning; Obertones; Pentatonics; Tempered tuning; The origin of music.

ENAccording to prevailing opinion, modes of ethnic music derived artificially, as a result of division of the intervals composing octava or ñ of other version ñ coincides with the development of temper system of the academic music. In the authorís opinion based on his own acoustical calculations, modes of ethnic music, most probably, began naturally and were based on the peculiarities of the natural acoustical line of the series of the overtones. Tones of this natural acoustical line do not correspond with the sounds which are used in the contemporary temper system of professional music. Performers of ethnic music in the various cultures of the world, in the authorís opinion, are singing and playing according to the peculiarities of the natural acoustical line of the overtones. Theoretical line of the major and minor sounds, which are used in the interpretation of folk music, shows that in this line we do not notice the tones and semitones of the temper system. All the intervals more or less are close to the approximately interval of the tone ñ from 154 to 204 cents.The acoustical labiality of the most part of these sounds gives the possibility for intonation of various modes which are used in the world ethnic music. Each performer of folk music can very easy sing or play the natural major or minor, as well perform the various major and minor diatonic modes. These modes appear when the performer is making higher or ñ vice versa ñ lower the labial tones of the natural acoustical line. Thus, diatonic modes, most probably, were based on the VIIñXIV tones of the natural series, anhemitonic ñ on the VIIñX tones, and the pentathonic ñ on the VIII, IX, XII and XIII tones of this series. Modes with the increased seconds, which are very popular in the ethnic music of the Southern Europides, most probably, have derived as a result of the widening the interval between the X and XI tones of the acoustical series, because this interval is a very labial and is naturally close to the interval of increased second. [From the publication]