Transposition and the Transposed Modes in Late-Baroque France
Transposition and the Transposed Modes in Late-Baroque France
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法国晚期巴洛克时期的移调和移调调式
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发表时间：
1988
期刊：
影响因子：
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通讯作者：
Mark Parker
中科院分区：
文献类型：
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作者：
Mark Parker
本研究的目的是调查主要由十七世纪最后二十年和十八世纪前三十年选定的法国作家讨论的移调主题以及移调大调和小调调式。来源相对多样，包括歌手和乐器演奏家的手册、词典、独立论文以及学术期刊上发表的小册子；特别强调对不规则记号和小调记号的观察和尝试解释。本文涉及以下领域：定义和相关概念、歌手和乐器演奏家的方法以及作者确定的音调签名。这些主题是相互依赖的，因为签名既影响了换位又指示了写出的换位。晚期巴洛克风格的特点是自然调式和移调调式的定义多种多样。十七世纪末，两个同时存在但又不同的概念显而易见：最广泛的与游戏中的包容性相关的“自然”；也就是说，自然度的标准是总的全音阶音高含量，如签名所指定的那样。当音阶从两列减少到单列时，其总音高内容减少，因此游戏中发现的自然模式的数量减少。一种显然不太受欢迎的观点将“自然音”的焦点缩小到单一的全音阶音高，即音调或调式的韵尾。许多因素导致了自然音和移调音之间长期存在的区别的消失：“移调”概念与音律的联系，小调音调的两种类型特征的建立（分别用于升号和降号的音调），从两列音阶到单列音阶的过渡，以及对大调和小调统一系统的认可。
The purpose of the study is the investigation of the topics of transposition and the transposed major and minor modes as discussed principally by selected French authors of the final twenty years of the seventeenth century and the first three decades of the eighteenth. The sources are relatively varied and include manuals for singers and instrumentalists, dictionaries, independent essays, and tracts which were published in scholarly journals; special emphasis is placed on the observation and attempted explanation of both irregular signatures and the signatures of the minor modes. The paper concerns the following areas: definitions and related concepts, methods for singers and Instrumentalists, and signatures for the tones which were identified by the authors. The topics are interdependent, for the signatures both effected transposition and indicated written-out transpositions. The late Baroque was characterized by much diversity with regard to definitions of the natural and transposed modes. At the close of the seventeenth century, two concurrent and yet diverse notions were in evidence: the most widespread associated "natural" with inclusion within the gamme; that is, the criterion for naturalness was total diatonic pitch content, as specified by the signature. When the scale was reduced from two columns to a single one, its total pitch content was diminished, and consequently the number of the natural modes found within the gamme was reduced. An apparently less popular view narrowed the focus of "natural tone" to a single diatonic pitch, the final of the tone or mode. A number of factors contributed to the disappearance of the long-held distinction between natural and transposed tones: the linking of the notion of "transposed" with the temperament, the establishment of two types of signatures for the minor tones (for tones with sharps and flats, respectively), the transition from a two-column scale to a single-column one, and the recognition of a unified system of major and minor keys.