On Properties of Harmonic Intervals: Sonance, Acousticity, Phonism

Miroslav Kirilov Nedyalkov

doi:doi:10.11648/j.ijla.s.2014020501.24

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On Properties of Harmonic Intervals: Sonance, Acousticity, Phonism

Miroslav Kirilov Nedyalkov

Published in International Journal of Literature and Arts (Volume 2, Issue 5-1)

Received: 18 September 2014 Accepted: 22 September 2014 Published: 17 October 2014

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Abstract

This research synthesizes concepts derived from previous studies of the author regarding sonance [1], acousticity and phonism [2] that affect the properties of harmonic intervals and vertical sound complexes. The classification of texture “with and without an expressed bass” [3], which had its place in the textbook that was published later, is important in the context as well [4]. The dual nature of the fourth and tritone, and the significant differences in the perception of other intervals, depending on their placement in musical space, inevitably raise the question - can all these phenomena be explained with the approved terms consonance and dissonance. The physical basis of all vertical sound complexes is the harmonic series, but the plays of the author,’ indicate how this order forms the concept of sonance and acousticity. The definition of these terms is only the beginning of future research on phonetic properties of harmonic intervals and harmonies to achieve a qualitatively new classification of acoustic characteristics.

Published in	International Journal of Literature and Arts (Volume 2, Issue 5-1) This article belongs to the Special Issue Musical Theory, Psychology and Pedagogy
DOI	10.11648/j.ijla.s.2014020501.24
Page(s)	84-87
Creative Commons	This is an Open Access article, distributed under the terms of the Creative Commons Attribution 4.0 International License (http://creativecommons.org/licenses/by/4.0/), which permits unrestricted use, distribution and reproduction in any medium or format, provided the original work is properly cited.
Copyright	Copyright © The Author(s), 2014. Published by Science Publishing Group

Keywords

Harmonic Interval, Sonance, Consonance, Dissonance, Acousticity, Phonism

References

[1]	M. Nedyalkov, “Minor Tonalitas”, University ed. “Bishop Konstantin Preslavsky”, 2009. М. Недялков, „Минорната тоникалност”, Университетско издателство „Епископ Константин Преславски”, 2009.
[2]	M. Nedyalkov, “To the question of the properties of harmonic intervals”, in Innovation in Education, Shumen, 2013, pp. 182-186. М. Недялков, „Към въпроса за свойствата на хармоничните интервали”, Иновации в образованието, Шумен, 2013, с. 182-186.
[3]	M. Nedyalkov, “Modal harmony in the arrangement of Bulgarian folk music, in Musical horizonts vol. 8-9, Sofia,1996, pp. 1-36. М. Недялков, „Модалната хармония в обработката на българската народна музика”, Музикални хоризонти, бр. 8-9. София, 1996, с. 1-36.
[4]	M. Nedyalkov, “Foundation of modal harmony”, University ed. “Bishop Konstantin Preslavsky”, 2013. М. Недялков, „Основи на модалната хармония”, Университетско издателство „Епископ Константин Преславски”, 2013.
[5]	U. Holopov, “Tasks in Harmony”, Moskow, 1983, pp. 137. Ю. Холопов, „Задания по гармонии”, Москва, 1983, с. 137.
[6]	M. Nedyalkov, “Minor Tonalitas”, University ed. “Bishop Konstantin Preslavsky”, 2009, pp. 98. М. Недялков, „Минорната тоникалност”, Университетско издателство „Епископ Константин Преславски”, 2009, с. 98.
[7]	Das Grosse Lexikon der Musik, Bd 4, Herder, Frieburg, Basel, Wien, 1982, pp. 407-408.
[8]	A. K. v. Dryer, “Elementary music theory. Experience a systematic exposition”, St. Petersburg, 1888, pp. 25-27. А. К. ф. Дрейерь, „Элементарная теория музыки. Опыт систематического изложения”, С.-Петербургь, 1888, с. 25-27.
[9]	I. Sposobin, “Elementary music theory”, Sofia, 1956, pp. 65-66. И. Способин, „Елементарна теория на музиката”. София, 1956, с. 65-66.
[10]	V. Vahromeev, “Elementary music theory”, Sofia, 1963, pp. 77. В. Вахромеев, „Елементарна теория на музиката”, София, 1963, с. 77.
[11]	L. Krasinskaya, V. Utkin, “Elementary music theory”, Moskow, 1965, pp. 102. Л. Красинская, В. Уткин, „Элементарная теория музыки”, Москва, 1965, с. 102.
[12]	V. Gyulyanu, V. Yuskyanu, “Tratat de teorie a muzicii”, I si ІІ part., Bucuresti, 1962, 171-174.
[13]	P. Hadzhiev, “Elementary music theory”, Sofia, 1974, pp. 105. П. Хаджиев, „Елементарна теория на музиката”, София, 1974, с. 105.
[14]	A. Karastoyanov, “Elementary music theory”, Sofia, 1946, pp. 52. А. Карастоянов, „Елементарна теория на музиката”, София, 1946, с. 52.
[15]	E. Тоch, “The chaping forces in music”. New York, 1948.
[16]	M. Nedyalkov, “Minor Tonalitas”, University ed. “Bishop Konstantin Preslavsky”, 2009, pp. 96. М. Недялков, „Минорната тоникалност”, Университетско издателство „Епископ Константин Преславски”, 2009, с. 96.
[17]	M. Nedyalkov, “Modal harmony in the arrangement of Bulgarian folk music, in Musical horizonts vol. 8-9, Sofia, 1996, pp. 10. М. Недялков, „Модалната хармония в обработката на българската народна музика”, Музикални хоризонти, бр. 8-9. София, 1996, с. 10.
[18]	M. Nedyalkov, “Minor Tonalitas”, University ed. “Bishop Konstantin Preslavsky”, 2009, pp. 90. М. Недялков, „Минорната тоникалност”, Университетско издателство „Епископ Константин Преславски”, 2009, с. 90.
[19]	U. Holopov, “Tasks in Harmony”, Moskow, 1983, pp. 84-85.Ю. Холопов, „Задания по гармонии”, Москва, 1983, с. 84-85.

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Miroslav Kirilov Nedyalkov. (2014). On Properties of Harmonic Intervals: Sonance, Acousticity, Phonism. International Journal of Literature and Arts, 2(5-1), 84-87. https://doi.org/10.11648/j.ijla.s.2014020501.24

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ACS Style

Miroslav Kirilov Nedyalkov. On Properties of Harmonic Intervals: Sonance, Acousticity, Phonism. Int. J. Lit. Arts 2014, 2(5-1), 84-87. doi: 10.11648/j.ijla.s.2014020501.24

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AMA Style

Miroslav Kirilov Nedyalkov. On Properties of Harmonic Intervals: Sonance, Acousticity, Phonism. Int J Lit Arts. 2014;2(5-1):84-87. doi: 10.11648/j.ijla.s.2014020501.24

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@article{10.11648/j.ijla.s.2014020501.24,
  author = {Miroslav Kirilov Nedyalkov},
  title = {On Properties of Harmonic Intervals: Sonance, Acousticity, Phonism},
  journal = {International Journal of Literature and Arts},
  volume = {2},
  number = {5-1},
  pages = {84-87},
  doi = {10.11648/j.ijla.s.2014020501.24},
  url = {https://doi.org/10.11648/j.ijla.s.2014020501.24},
  eprint = {https://article.sciencepublishinggroup.com/pdf/10.11648.j.ijla.s.2014020501.24},
  abstract = {This research synthesizes concepts derived from previous studies of the author regarding sonance [1], acousticity and phonism [2] that affect the properties of harmonic intervals and vertical sound complexes. The classification of texture “with and without an expressed bass” [3], which had its place in the textbook that was published later, is important in the context as well [4]. The dual nature of the fourth and tritone, and the significant differences in the perception of other intervals, depending on their placement in musical space, inevitably raise the question - can all these phenomena be explained with the approved terms consonance and dissonance. The physical basis of all vertical sound complexes is the harmonic series, but the plays of the author,’ indicate how this order forms the concept of sonance and acousticity. The definition of these terms is only the beginning of future research on phonetic properties of harmonic intervals and harmonies to achieve a qualitatively new classification of acoustic characteristics.},
 year = {2014}
}

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TY  - JOUR
T1  - On Properties of Harmonic Intervals: Sonance, Acousticity, Phonism
AU  - Miroslav Kirilov Nedyalkov
Y1  - 2014/10/17
PY  - 2014
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DO  - 10.11648/j.ijla.s.2014020501.24
T2  - International Journal of Literature and Arts
JF  - International Journal of Literature and Arts
JO  - International Journal of Literature and Arts
SP  - 84
EP  - 87
PB  - Science Publishing Group
SN  - 2331-057X
UR  - https://doi.org/10.11648/j.ijla.s.2014020501.24
AB  - This research synthesizes concepts derived from previous studies of the author regarding sonance [1], acousticity and phonism [2] that affect the properties of harmonic intervals and vertical sound complexes. The classification of texture “with and without an expressed bass” [3], which had its place in the textbook that was published later, is important in the context as well [4]. The dual nature of the fourth and tritone, and the significant differences in the perception of other intervals, depending on their placement in musical space, inevitably raise the question - can all these phenomena be explained with the approved terms consonance and dissonance. The physical basis of all vertical sound complexes is the harmonic series, but the plays of the author,’ indicate how this order forms the concept of sonance and acousticity. The definition of these terms is only the beginning of future research on phonetic properties of harmonic intervals and harmonies to achieve a qualitatively new classification of acoustic characteristics.
VL  - 2
IS  - 5-1
ER  -

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Author Information

Miroslav Kirilov Nedyalkov

Pedagogical Faculty, Konstantin Preslavsky University, Shumen, Bulgaria

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APA Style

Miroslav Kirilov Nedyalkov. (2014). On Properties of Harmonic Intervals: Sonance, Acousticity, Phonism. International Journal of Literature and Arts, 2(5-1), 84-87. https://doi.org/10.11648/j.ijla.s.2014020501.24

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ACS Style

Miroslav Kirilov Nedyalkov. On Properties of Harmonic Intervals: Sonance, Acousticity, Phonism. Int. J. Lit. Arts 2014, 2(5-1), 84-87. doi: 10.11648/j.ijla.s.2014020501.24

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AMA Style

Miroslav Kirilov Nedyalkov. On Properties of Harmonic Intervals: Sonance, Acousticity, Phonism. Int J Lit Arts. 2014;2(5-1):84-87. doi: 10.11648/j.ijla.s.2014020501.24

Copy | Download

@article{10.11648/j.ijla.s.2014020501.24,
  author = {Miroslav Kirilov Nedyalkov},
  title = {On Properties of Harmonic Intervals: Sonance, Acousticity, Phonism},
  journal = {International Journal of Literature and Arts},
  volume = {2},
  number = {5-1},
  pages = {84-87},
  doi = {10.11648/j.ijla.s.2014020501.24},
  url = {https://doi.org/10.11648/j.ijla.s.2014020501.24},
  eprint = {https://article.sciencepublishinggroup.com/pdf/10.11648.j.ijla.s.2014020501.24},
  abstract = {This research synthesizes concepts derived from previous studies of the author regarding sonance [1], acousticity and phonism [2] that affect the properties of harmonic intervals and vertical sound complexes. The classification of texture “with and without an expressed bass” [3], which had its place in the textbook that was published later, is important in the context as well [4]. The dual nature of the fourth and tritone, and the significant differences in the perception of other intervals, depending on their placement in musical space, inevitably raise the question - can all these phenomena be explained with the approved terms consonance and dissonance. The physical basis of all vertical sound complexes is the harmonic series, but the plays of the author,’ indicate how this order forms the concept of sonance and acousticity. The definition of these terms is only the beginning of future research on phonetic properties of harmonic intervals and harmonies to achieve a qualitatively new classification of acoustic characteristics.},
 year = {2014}
}

Copy | Download

TY  - JOUR
T1  - On Properties of Harmonic Intervals: Sonance, Acousticity, Phonism
AU  - Miroslav Kirilov Nedyalkov
Y1  - 2014/10/17
PY  - 2014
N1  - https://doi.org/10.11648/j.ijla.s.2014020501.24
DO  - 10.11648/j.ijla.s.2014020501.24
T2  - International Journal of Literature and Arts
JF  - International Journal of Literature and Arts
JO  - International Journal of Literature and Arts
SP  - 84
EP  - 87
PB  - Science Publishing Group
SN  - 2331-057X
UR  - https://doi.org/10.11648/j.ijla.s.2014020501.24
AB  - This research synthesizes concepts derived from previous studies of the author regarding sonance [1], acousticity and phonism [2] that affect the properties of harmonic intervals and vertical sound complexes. The classification of texture “with and without an expressed bass” [3], which had its place in the textbook that was published later, is important in the context as well [4]. The dual nature of the fourth and tritone, and the significant differences in the perception of other intervals, depending on their placement in musical space, inevitably raise the question - can all these phenomena be explained with the approved terms consonance and dissonance. The physical basis of all vertical sound complexes is the harmonic series, but the plays of the author,’ indicate how this order forms the concept of sonance and acousticity. The definition of these terms is only the beginning of future research on phonetic properties of harmonic intervals and harmonies to achieve a qualitatively new classification of acoustic characteristics.
VL  - 2
IS  - 5-1
ER  -

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