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In tonal music theory, a diatonic function (also chord area) is the specific, recognized role of each of the 7 notes and their chords in relation to the diatonic key. In this context, ''role'' means the degree of tension produced by moving toward a note, chord or scale other than the tonic, and how this musical tension would be eased (resolved) towards the stability of returning to the tonic chord, note, or scale (namely, ''function'').Three general and inseparable essential features of harmonic function in tonal music are:Wilson, Paul (1992). ''The Music of Béla Bartók'', p.33. ISBN 0-300-05111-5.*Position within a gamut (the available collection) of notes determines a note's function*Each note within the gamut is a generator and collector of other notes in the gamut; in other words both the root and its chord exercise function, and*Exercise and identification of function depends on musical behaviour or structure.A fourth feature is the ambiguity that arises from the use of the same terms to describe functions across all temporal spans of a hierarchical structure from the surface to the deepest level, and that the longer term or deeper functions act as a center for shorter higher level ones and that the functions of each tend to counteract each other. "Harmonic function essentially results from the judgment that certain chords and tonal combinations sound and behave alike, even though these individuals might not be analyzed into equivalent harmonic classes," for example V and VII.Harrison, Daniel (1994). ''Harmonic Function in Chromatic Music: A Renewed Dualist Theory and an Account of its Precedents'', p.37. ISBN 0-226-31808-7. "Harmonic function is more about...similarity than equivalence".Pandiatonic music is diatonic music without the use of diatonic functions.==Functional harmonyFunctional harmony redirects directly here.-->==The term functional harmony derives from Hugo Riemann and his textbooks on harmony in the late 19th century, with roots back to Jean-Philippe Rameau's theoretical works amongst others. His main idea was to create a comprehensive theoretical basis for understanding the principles of harmonic relationships typical for the Baroque, Classical and Romantic periods for the first time integrated in the concept of the equal temperament and the two parallel cycles of fifths. His work had huge impact, especially where German influence was strong. A good example in this regard are the textbooks by Hermann Grabner.Hermann Grabner, Die Funktionstheorie Hugo Riemanns und ihre Bedeutung für die praktische Analyse (Munich 1923)Hermann Grabner, Handbuch der funktionellen Harmonielehre (Berlin 1944) ISBN 3-7649-2112-9Riemann's basic theories have since been adopted, refined and elaborated upon by many authors of textbooks in harmony, arranging and composition. Functional harmony is being taught as a basic discipline in music theory all over the western world, though different labels are used. Other terms used in the English and American tradition include ''Common Practice Harmony'' (stemming from Walter PistonWalter Piston, ''Harmony'' (New York 1962) ISBN 0-393-95480-3), ''Tonal harmony'' (as used by Allen ForteAllen Forte: ''Tonal Harmony in Concept and Practice'' (New York 1965)), and ''Traditional harmony'' (as used by Gordon Delamont.Gordon Delamont, ''Modern Harmonic Technique'' (New York 1965) Vincent PersichettiVincent Persichetti, ''Twentieth Century Harmony'' (New York 1961) describes the 19th-century harmonic repertoire as "chords evolving around the tonic pillars" (tonic, subdominant, dominant).Nonfunctional harmony, the opposite of functional harmony, is harmony whose progression is not guided by function.
In tonal music theory, a diatonic function (also chord area) is the specific, recognized role of each of the 7 notes and their chords in relation to the diatonic key. In this context, ''role'' means the degree of tension produced by moving toward a note, chord or scale other than the tonic, and how this musical tension would be eased (resolved) towards the stability of returning to the tonic chord, note, or scale (namely, ''function'').
Three general and inseparable essential features of harmonic function in tonal music are:〔Wilson, Paul (1992). ''The Music of Béla Bartók'', p.33. ISBN 0-300-05111-5.〕
*Position within a gamut (the available collection) of notes determines a note's function
*Each note within the gamut is a generator and collector of other notes in the gamut; in other words both the root and its chord exercise function, and
*Exercise and identification of function depends on musical behaviour or structure.
A fourth feature is the ambiguity that arises from the use of the same terms to describe functions across all temporal spans of a hierarchical structure from the surface to the deepest level, and that the longer term or deeper functions act as a center for shorter higher level ones and that the functions of each tend to counteract each other.〔 "Harmonic function essentially results from the judgment that certain chords and tonal combinations sound and behave alike, even though these individuals might not be analyzed into equivalent harmonic classes," for example V and VII.〔Harrison, Daniel (1994). ''Harmonic Function in Chromatic Music: A Renewed Dualist Theory and an Account of its Precedents'', p.37. ISBN 0-226-31808-7.〕 "Harmonic function is more about...similarity than equivalence".〔
Pandiatonic music is diatonic music without the use of diatonic functions.
==Functional harmony==
The term functional harmony derives from Hugo Riemann and his textbooks on harmony in the late 19th century, with roots back to Jean-Philippe Rameau's theoretical works amongst others. His main idea was to create a comprehensive theoretical basis for understanding the principles of harmonic relationships typical for the Baroque, Classical and Romantic periods for the first time integrated in the concept of the equal temperament and the two parallel cycles of fifths. His work had huge impact, especially where German influence was strong. A good example in this regard are the textbooks by Hermann Grabner.〔Hermann Grabner, Die Funktionstheorie Hugo Riemanns und ihre Bedeutung für die praktische Analyse (Munich 1923)〕〔Hermann Grabner, Handbuch der funktionellen Harmonielehre (Berlin 1944) ISBN 3-7649-2112-9〕
Riemann's basic theories have since been adopted, refined and elaborated upon by many authors of textbooks in harmony, arranging and composition. Functional harmony is being taught as a basic discipline in music theory all over the western world, though different labels are used. Other terms used in the English and American tradition include ''Common Practice Harmony'' (stemming from Walter Piston〔Walter Piston, ''Harmony'' (New York 1962) ISBN 0-393-95480-3〕), ''Tonal harmony'' (as used by Allen Forte〔Allen Forte: ''Tonal Harmony in Concept and Practice'' (New York 1965)〕), and ''Traditional harmony'' (as used by Gordon Delamont.〔Gordon Delamont, ''Modern Harmonic Technique'' (New York 1965)〕 Vincent Persichetti〔Vincent Persichetti, ''Twentieth Century Harmony'' (New York 1961)〕 describes the 19th-century harmonic repertoire as "chords evolving around the tonic pillars" (tonic, subdominant, dominant).
Nonfunctional harmony, the opposite of functional harmony, is harmony whose progression is not guided by function.
抄文引用元・出典: フリー百科事典『 ==The term functional harmony derives from Hugo Riemann and his textbooks on harmony in the late 19th century, with roots back to Jean-Philippe Rameau's theoretical works amongst others. His main idea was to create a comprehensive theoretical basis for understanding the principles of harmonic relationships typical for the Baroque, Classical and Romantic periods for the first time integrated in the concept of the equal temperament and the two parallel cycles of fifths. His work had huge impact, especially where German influence was strong. A good example in this regard are the textbooks by Hermann Grabner.Hermann Grabner, Die Funktionstheorie Hugo Riemanns und ihre Bedeutung für die praktische Analyse (Munich 1923)Hermann Grabner, Handbuch der funktionellen Harmonielehre (Berlin 1944) ISBN 3-7649-2112-9Riemann's basic theories have since been adopted, refined and elaborated upon by many authors of textbooks in harmony, arranging and composition. Functional harmony is being taught as a basic discipline in music theory all over the western world, though different labels are used. Other terms used in the English and American tradition include ''Common Practice Harmony'' (stemming from Walter PistonWalter Piston, ''Harmony'' (New York 1962) ISBN 0-393-95480-3), ''Tonal harmony'' (as used by Allen ForteAllen Forte: ''Tonal Harmony in Concept and Practice'' (New York 1965)), and ''Traditional harmony'' (as used by Gordon Delamont.Gordon Delamont, ''Modern Harmonic Technique'' (New York 1965) Vincent PersichettiVincent Persichetti, ''Twentieth Century Harmony'' (New York 1961) describes the 19th-century harmonic repertoire as "chords evolving around the tonic pillars" (tonic, subdominant, dominant).Nonfunctional harmony, the opposite of functional harmony, is harmony whose progression is not guided by function.">ウィキペディア（Wikipedia）』
■==The term functional harmony derives from Hugo Riemann and his textbooks on harmony in the late 19th century, with roots back to Jean-Philippe Rameau's theoretical works amongst others. His main idea was to create a comprehensive theoretical basis for understanding the principles of harmonic relationships typical for the Baroque, Classical and Romantic periods for the first time integrated in the concept of the equal temperament and the two parallel cycles of fifths. His work had huge impact, especially where German influence was strong. A good example in this regard are the textbooks by Hermann Grabner.Hermann Grabner, Die Funktionstheorie Hugo Riemanns und ihre Bedeutung für die praktische Analyse (Munich 1923)Hermann Grabner, Handbuch der funktionellen Harmonielehre (Berlin 1944) ISBN 3-7649-2112-9Riemann's basic theories have since been adopted, refined and elaborated upon by many authors of textbooks in harmony, arranging and composition. Functional harmony is being taught as a basic discipline in music theory all over the western world, though different labels are used. Other terms used in the English and American tradition include ''Common Practice Harmony'' (stemming from Walter PistonWalter Piston, ''Harmony'' (New York 1962) ISBN 0-393-95480-3), ''Tonal harmony'' (as used by Allen ForteAllen Forte: ''Tonal Harmony in Concept and Practice'' (New York 1965)), and ''Traditional harmony'' (as used by Gordon Delamont.Gordon Delamont, ''Modern Harmonic Technique'' (New York 1965) Vincent PersichettiVincent Persichetti, ''Twentieth Century Harmony'' (New York 1961) describes the 19th-century harmonic repertoire as "chords evolving around the tonic pillars" (tonic, subdominant, dominant).Nonfunctional harmony, the opposite of functional harmony, is harmony whose progression is not guided by function.">ウィキペディアで「In tonal music theory, a diatonic function (also chord area) is the specific, recognized role of each of the 7 notes and their chords in relation to the diatonic key. In this context, ''role'' means the degree of tension produced by moving toward a note, chord or scale other than the tonic, and how this musical tension would be eased (resolved) towards the stability of returning to the tonic chord, note, or scale (namely, ''function'').Three general and inseparable essential features of harmonic function in tonal music are:Wilson, Paul (1992). ''The Music of Béla Bartók'', p.33. ISBN 0-300-05111-5.*Position within a gamut (the available collection) of notes determines a note's function*Each note within the gamut is a generator and collector of other notes in the gamut; in other words both the root and its chord exercise function, and*Exercise and identification of function depends on musical behaviour or structure.A fourth feature is the ambiguity that arises from the use of the same terms to describe functions across all temporal spans of a hierarchical structure from the surface to the deepest level, and that the longer term or deeper functions act as a center for shorter higher level ones and that the functions of each tend to counteract each other. "Harmonic function essentially results from the judgment that certain chords and tonal combinations sound and behave alike, even though these individuals might not be analyzed into equivalent harmonic classes," for example V and VII.Harrison, Daniel (1994). ''Harmonic Function in Chromatic Music: A Renewed Dualist Theory and an Account of its Precedents'', p.37. ISBN 0-226-31808-7. "Harmonic function is more about...similarity than equivalence".Pandiatonic music is diatonic music without the use of diatonic functions.==Functional harmonyFunctional harmony redirects directly here.-->==The term functional harmony derives from Hugo Riemann and his textbooks on harmony in the late 19th century, with roots back to Jean-Philippe Rameau's theoretical works amongst others. His main idea was to create a comprehensive theoretical basis for understanding the principles of harmonic relationships typical for the Baroque, Classical and Romantic periods for the first time integrated in the concept of the equal temperament and the two parallel cycles of fifths. His work had huge impact, especially where German influence was strong. A good example in this regard are the textbooks by Hermann Grabner.Hermann Grabner, Die Funktionstheorie Hugo Riemanns und ihre Bedeutung für die praktische Analyse (Munich 1923)Hermann Grabner, Handbuch der funktionellen Harmonielehre (Berlin 1944) ISBN 3-7649-2112-9Riemann's basic theories have since been adopted, refined and elaborated upon by many authors of textbooks in harmony, arranging and composition. Functional harmony is being taught as a basic discipline in music theory all over the western world, though different labels are used. Other terms used in the English and American tradition include ''Common Practice Harmony'' (stemming from Walter PistonWalter Piston, ''Harmony'' (New York 1962) ISBN 0-393-95480-3), ''Tonal harmony'' (as used by Allen ForteAllen Forte: ''Tonal Harmony in Concept and Practice'' (New York 1965)), and ''Traditional harmony'' (as used by Gordon Delamont.Gordon Delamont, ''Modern Harmonic Technique'' (New York 1965) Vincent PersichettiVincent Persichetti, ''Twentieth Century Harmony'' (New York 1961) describes the 19th-century harmonic repertoire as "chords evolving around the tonic pillars" (tonic, subdominant, dominant).Nonfunctional harmony, the opposite of functional harmony, is harmony whose progression is not guided by function.」の詳細全文を読む
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