Key Implications of Ascending Fourth and Descending Fifth Openings
Key Implications of Ascending Fourth and Descending Fifth Openings
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上升第四位和下降第五位空位的主要含义
DOI：
10.1177/0305735699271002
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发表时间：
1999
影响因子：
1.7
通讯作者：
P. G. Vos
中科院分区：
文献类型：
--
作者：
P. G. Vos
有大量证据支持这一规则，即如果一首西方音调乐曲以上升的第四音或下降的第五音(“4/5开头”)旋律开头，那么第二个音调是作曲的主音，第一个音调占主导地位。证据来自巴赫、莫扎特、勃拉姆斯作品的无伴奏旋律开场，以及国歌、赞美诗和民歌。在计算密钥查找模型(Vos和Van Geenen，1996)中实施迄今未被承认的规则似乎改进了该模型的有效性。另外还探讨了4/5的开口与其伴生结构的关系。在99%的受访德国民歌中，五分之四的开场对应着乐观/悲观的进展，但只有23%的赞美诗。这些发现的讨论强调了对音乐开场进行更多的历史、音乐理论和感性研究的必要性。
Substantial evidence is reported in support of the rule that, if a Western tonal composition opens melodically with an ascending fourth or a descending fifth ("4/5 opening"), then the second tone is the tonic of the composition's key, and the first tone its dominant. The evidence is taken from unaccompanied melodic openings of compositions by Bach, Mozart, Brahms, and of national anthems, hymns, and folksongs. The implementation of the hitherto unrecognised rule in a computational key-finding model (Vos and Van Geenen, 1996) appeared to improve the validity of the model. 4/5 openings were additionally explored in relation to their concomitant metrical structures. 4/5 openings corresponded to upbeat/downbeat progressions in 99% of surveyed German folksongs, but only 23% of hymns. The findings are discussed with an emphasis on the need for more historical, music-theoretical, and perceptual research of musical openings.