|
In music, ''klang'' is a term used in English to denote the "chord of nature", particularly in mistaken references to Riemannian and Schenkerian theories.〔According to Lerdahl, Fred (1989). "Atonal Prolongational Structure", p.74, ''Music and the Cognitive Sciences''. McAdams, Stephen and Irene Deliege, eds. ISBN 3718649535, the klang in Riemannian theory is the referential consonant sonority, the tonic triad. But the passage from Riemann's original quoted below does not endorse this, if only because the ''Klang'', for Riemann, is not a chord but a "compound sound", which in addition may or may not represent the tonic. Thomas Pankhurst writes that "Schenker argued that only the first five () were really audible and that together they made up the basic unit of tonal music – the triad (C, E and G). Schenker attributed almost mystical properties to this chord calling it the 'chord of nature'" (http://www.schenkerguide.com/harmony2.html). As will appear below, Schenker on the contrary clearly implied that the chord of nature, even if it did provide a model of the major triad, could not form "the basic unit of tonal music".〕 In German, ''Klang'' means "sound", "tone", "note", or "timbre"; a chord of three notes is called a ''Dreiklang'', etc. Both Hugo Riemann and Heinrich Schenker refer to the theory of the chord of nature (which they recognize as a triad, a ''Dreiklang''), but both reject the theory as a foundation of music because it fails to explain the minor triad. The theory of the chord of nature goes back to the discovery and the description of the harmonic partials (harmonic overtones) in the 17th century. == Klang == The word "klang" (or "clang")〔Theodore Baker (ed.), ''Schirmer Pronouncing Pocket Manual of Musical Terms'', fourth edition revised by Nicolas Slonimsky, fifth edition revised by Laura Kuhn (New York, London, Paris, Sydney, Copenhagen, Madrid, Tokyo, Berlin: Schirmer Trade Books, 1995): 55. ISBN 9780857122018; Elaine Higgleton, Megan Thomson, Robert Allen, and Catherine Schwarz (eds.), ''The Chambers Dictionary'', new edition (New Delhi: Allied Chambers (India) Limited, 1998): 889. ISBN 978-81-86062-25-8; Benjamin Steege, ''Helmholtz and the Modern Listener'' (Cambridge and New York: Cambridge University Press, 2012): 201–202. ISBN 978-1-107-01517-3; John Tyndall, ''Sound, Eight Lectures'', third edition (London: Longmans, Green, and Co., 1875): 114–15; William Dwight Whitney and Benjamin E. Smith (eds.), ''The Century Dictionary and Cyclopedia, with a New Atlas of the World; a Work of General Reference in Twelve Volumes'' (New York: The Century Company, 1911): 2:1026.〕 has often been used in English as a translation of the German ''Klang'' ("sound"), e.g. in the English translation of Riemann's ''Vereinfachte Harmonielehre''.〔Riemann, Hugo (1893), ''Vereinfachte Harmonielehre, oder die Lehre von den Tonalen Funktionen der Akkorde''. English translation, London, Augener, ca 1895, 2d edition 1903.〕 Among the few usages found in scholarly literature to denote the 'chord of nature', one may quote Ruth Solie, who speaks of "the major triad or ''Naturklang'' as found in the overtone series",〔Solie, Ruth A. (1980). "The Living Work: Organicism and Musical Analysis", ''19th-Century Music'' 4/2, p. 151.〕 or Benjamin Ayotte, who refers to an article by Oswald Jonas in 1937 which apparently makes use of the term.〔Ayotte, Benjamin (2003). ''Heinrich Schenker: A Research and Information Guide'', p. 182. The reference reads as follows: "1937 Jonas, Oswald. 'Mozarts Ewige Melodie.' ''Der Dreiklang'' 3 (June): 84–92. Reprinted in ''Musikerziehung'' 30/3 and 30/4: 118–21 and 158–60. Discusses the nature of melody as the ''Auskomponierung'' of the chord of nature (''Klang''), i.e., the first five partials of the overtone series; shows the underlying coherence of many Mozart examples, focusing on hidden motivic repetitions." Jonas' German could be more literally translated as follows: "This succession (notes ), however, is nothing else than the ''Klang'', which as given by Nature is indigenous (''eingeboren'') to the ear; the Klang, as engendered (''erzeugt'') by the isolated tone (''Einzelton'') itself, in its intervals". The Klang is here a complex sound, as usual in German, not a chord.〕 The confusion by which the term has been used to denote a chord (instead of a complex sound) probably arises with Rameau's theory of ''Résonance''. Rameau had misunderstood Joseph Sauveur's experiments, intended to demonstrate the existence of overtones, and believed that the harmonic partials arose from a resonance within the fundamental note, to which he gave the name ''corps sonore'',〔André Charrak, ''Raison et perception. Fonder l'harmonie au XVIIIe siecle'', Paris, Vrin, 2002.〕 often translated as ''Klang'' in German. As Henry Klumpenhouwer writes, :Almost all tonal theorists have proposed that triadic structure arises from a fundamental, conceptually anterior, constituent pitch – such as ''radix'', ''son fondamental'', ''Grundton'', ''Hauptton'' – that exerts unity on the collection by means of an array of intervallic relationships sanctioned by Nature.〔Klumpenhouwer, Henry (2002). "Dualist Tonal Space and Transformation in Nineteenth-Century Musical Thought", in ''The Cambridge History of Western Music Theory'', edited by Thomas Christensen, Cambridge, p. 458.〕 ''Klang'', he adds, :is technically the German word for 'resonance' or 'sound,' although in this context (Hauptmann's ''Harmonik und Metrik'' ) it refers specifically to the ontological entities of major and minor triads, whether generated acoustically or logically.〔Klumpenhouwer (2002), p. 460, note 8.〕 ''Klang'', therefore, should in most cases better be understood as "the fundamental sound", possibly "the sound of nature". Riemann defines the ''Klang'' as "a compound sound": :The ear comprehends a tone with its direct relatives (third and fifth or their octaves) () as forming one compound sound, which we will call a CLANG. He adds that :a clang may be either principal clang – in which case it is called TONIC – or derived clang ().〔''Vereinfachte Harmonielehre'', English translation, p. 7.〕 And Schenker, although he recognizes that "the Klang as it exists in Nature is a triad",〔Schenker, Heinrich (1994). "The Art of Improvisation", translated by Richard Kramer, ''The Masterwork in Music: A Yearbook'', Volume 1, 1925, Cambridge Studies in Music Theory and Analysis 4, William Drabkin ed., (Cambridge and New York: Cambridge University Press), p. 3 n2, (translator's note).〕 nevertheless stresses that :Nature's help to music consisted of nothing but a hint, a counsel forever mute, whose perception and interpretation were fraught with the gravest difficulties. () This hint, then, was dropped by Nature in the form of the so-called 'overtone series.' This much-discussed phenomenon, which constitutes Nature's only source for music to draw upon, is much more familiar to the instinct of the artist than to his consciousness. () I would recommend, however, that we conceive any so called ‘major triad' much more significantly, as a conceptual abbreviation of Nature.〔Schenker, Heinrich (1954). ''Harmony'', O. Jonas ed., E. Mann Borgese transl., Chicago, London, The University of Chicago Press, p. 20-28.〕 And further: :Any attempt to derive even as much as the first foundation of this () system, i.e., the minor triad itself, from Nature, i.e., from the overtone series, would be more than futile."〔Schenker, Heinrich (1954), p. 49.〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Klang (music)」の詳細全文を読む スポンサード リンク
|