Dur

Dur u muzici označava klasu muzičkih lestvica čija su oba tetrakorda velika tj. jedini polustepeni im se nalaze izmeću trećeg i četvrtog, i između sedmog i osmog (prvog) tona.^[1] Kvintakord durske lestvice čine jedna velika terca i čista kvinta, u odnosu na prvi stepen lestvice.

Struktura

Obrazac celih i polustepena karakterističan za dursku skalu

Intervali od tonikske ključne note u pravcu nagore do drugog, do trećeg, do šestog i do sedmog stepena skale durske lestvice nazivaju se dur.^[2]

Dur lestvica je dijatonska lestvica. Redosled intervala između nota durske lestvice je:

celo, celo, pola, celo, celo, celo, pola

gde „celo“ označava ceo ton (crvena kriva u obliku slova „U” na slici), a „pola“ označava poluton (crvena ugaona linija na slici).^[3]

Odnos prema glavnim ključevima

Brojevi unutar kruga pokazuju broj oštrica ili ravnina u potpisu ključa, pri čemu oštre note idu u smeru kazaljke na satu, a ravne note u suprotnom smeru od kazaljke na satu od C-dura (koji nema oštrina ili ravnina.) Kružni raspored zavisi od enharmonskih odnosa u krugu, koji se obično računa na šest oštrica ili ravnina za durske tonove F♯ = G♭ i D♯ = E♭ za molske tonove.^[4] Sedam oštrih tonova ili ravnina čine durske tonove (C♯-dur ili C♭-dur) koji se mogu pogodnije pisati sa pet ravnina ili oštrica (kao D♭-dur ili B-dur).

Širi smisao

Termin „dur lestvica“ se koristi i u nazivima nekih drugih lestvica čiji prvi, treći i peti stepen čine durski trozvuk.

Harmonijska durska lestvica^[5]^[6] ima molsku šestinu. Od harmonijske molske lestvice se razlikuje samo po podizanju trećeg stepena.

${ \override Score.TimeSignature #'stencil = ##f \relative c' { \clef treble \time 7/4 c4^\markup { Harmonic major scale } d e f g aes b c } }$

Melodična durska lestvica je kombinovana lestvica koja ide kao jonska uzlazna i kao eolska dominantna silazna. Razlikuje se od melodijske molske lestvice samo po podizanju trećeg stepena do durske terce.^[7]

${ \override Score.TimeSignature #'stencil = ##f \relative c' { \clef treble \time 7/4 c4^\markup { Melodic major (ascending and descending) } d e f g a b c bes aes g f e d c } }$

Dvostruka harmonijska durska lestvica^[8] ima molsku sekundu i molsku šestinu. To je peti mod mađarske molske lestvice.

${ \override Score.TimeSignature #'stencil = ##f \relative c' { \clef treble \time 7/4 c4^\markup { Double harmonic major scale } des e f g aes b c } }$

Primer

Ce-Dur lestvica

Reference

^ Yamaguchi, Masaya (2006). The Complete Thesaurus of Musical Scales (Revised izd.). New York: Masaya Music Services. ISBN 0-9676353-0-6.
^ Benward, Bruce & Saker, Marilyn (2003). Music: In Theory and Practice, Vol. I, p. 52. Seventh Edition. ISBN 978-0-07-294262-0.
^ „Major scale | music”.
^ Drabkin, William (2001). „Circle of Fifths”. Ur.: Sadie, Stanley; Tyrrell, John. The New Grove Dictionary of Music and Musicians (2nd izd.). London: Macmillan Publishers.
^ Rimsky-Korsakov, Nikolai (2005). Practical Manual of Harmony. Carl Fischer, LLC. ISBN 978-0-8258-5699-0.
^ Tymoczko, Dmitri (2011). „Chapter 4”. A Geometry of Music. New York: Oxford.
^ „Musicstudents.com - Free Sheet Music and Play-Along Soundfiles”. Arhivirano iz originala 2014-03-11. g. Pristupljeno 2014-03-13.
^ Stetina, Troy (1999). The Ultimate Scale Book. str. 59. ISBN 0-7935-9788-9.

Literatura

Bower, Michael (2007). „All about Key Signatures”. Modesto, CA: Capistrano School (K–12) website. Arhivirano iz originala 11. 3. 2010. g. Pristupljeno 17. 3. 2010. CS1 održavanje: Format datuma (veza)
Jones, George Thaddeus (1974). Music Theory: The Fundamental Concepts of Tonal Music Including Notation, Terminology, and Harmony. Barnes & Noble Outline Series 137. New York: Barnes & Noble. ISBN 9780064601375.
Kennedy, Michael (1994). „Key-Signature”. Ur.: Bourne, Joyce. Oxford Dictionary of Music (2nd izd.). Oxford: Oxford University Press. ISBN 0-19-869162-9.
Avison, Charles (1752). An Essay on Musical Expression. London: C. Davis.
Bent, Ian (1987). Analysis, The New Grove Handbooks in Music ISBN 0-333-41732-1.
Boethius, Anicius Manlius Severinus (1989). Claude V. Palisca, ur. Fundamentals of Music (PDF) (Translation of De institutione musica). Prevod: Calvin M. Bower. New Haven and London: Yale University Press. ISBN 978-0-300-03943-6 — preko classicalliberalarts.com.
Brandt, Anthony (2007). "Musical Form". Connexions (11 January; accessed 11 September 2011).
Castan, Gerd (2009). "Musical Notation Codes". Music-Notation.info (Accessed 1 May 2010).
Christiani, Adolph Friedrich (1885). The Principles of Expression in Pianoforte Playing. New York: Harper & Brothers.
Dahlhaus, Carl (2009). "Harmony". Grove Music Online, edited by Deane Root (reviewed 11 December; accessed 30 July 2015).
Darwin, Charles (1913). The Expression of the Emotions in Man and Animals. New York: D. Appleton and Company.
Davies, Stephen (1994). Musical Meaning and Expression. Ithaca: Cornell University Press. ISBN 978-0-8014-8151-2.
d'Erlanger, Rodolphe (ed. and trans.) (1930–56). La Musique arabe, six volumes. Paris: P. Geuthner.
Dunsby, Jonathan; Stopford, John (1981). „The Case for a Schenkerian Semiotic”. Music Theory Spectrum. 3: 49—53. JSTOR 746133. doi:10.2307/746133.
Ekwueme, Laz E. N. (1974). "Concepts of African Musical Theory". Journal of Black Studies 5, no. 1 (September): 35–64
Forsyth, Cecil (1935). Orchestration, second edition. New York: Dover Publications. ISBN 0-486-24383-4.
Garland, Trudi Hammel, and Charity Vaughan Kahn (1995). Math and Music: Harmonious Connections. Palo Alto: Dale Seymour Publications. ISBN 978-0-86651-829-1.
Gerstner, Karl. 1964. Designing Programmes: Four Essays and an Introduction, with an introduction to the introduction by Paul Gredinger. English version by D. Q. Stephenson. Teufen, Switzerland: Arthur Niggli. Enlarged, new edition 1968.
Ghrab, Anas (2009). "Commentaire anonyme du Kitāb al-Adwār. Édition critique, traduction et présentation des lectures arabes de l'œuvre de Ṣafī al-Dīn al-Urmawī". PhD thesis. Paris: University Paris-Sorbonne.
Grant, M[orag] J[osephine] (2001). Serial Music, Serial Aesthetics: Compositional Theory in Post-War Europe. Music in the Twentieth Century, Arnold Whittall, general editor. Cambridge and New York: Cambridge University Press. ISBN 0-521-80458-2.
Green, Douglass M. (1979). Form in Tonal Music. Fort Worth: Harcourt Brace Jovanovich College Publishers; New York and London: Holt, Rinehart and Winston. ISBN 0-03-020286-8.
Hartmann, William M. (2005). Signals, Sound, and Sensation, corrected, fifth printing. Modern Acoustics and Signal Processing. Woodbury, New York: American Institute of Physics; New York: Springer. ISBN 1563962837.
Jamini, Deborah (2005). Harmony and Composition: Basics to Intermediate, with DVD video. Victoria, BC: Trafford. 978-1-4120-3333-6.
{{wikicite|ref=CITEREFKárolyi1965|reference=Károlyi, Otto (1965). Introducing Music.
Kilmer, Anne D. (1971). "The Discovery of an Ancient Mesopotamian Theory of Music". Proceedings of the American Philosophical Society 115, no. 2:131–149.
Kilmer, Anne, and Sam Mirelman. n.d. "Mesopotamia. 8. Theory and Practice". Grove Music Online. Oxford Music Online. Accessed 13 November 2015.
Kivy, Peter (1993). The Fine Art of Repetition: Essays in the Philosophy of Music. Cambridge and New York: Cambridge University Press.ISBN 978-0-521-43462-1 (cloth & pbk).
Kliewer, Vernon (1975). "Melody: Linear Aspects of Twentieth-Century Music". In Aspects of Twentieth-Century Music, edited by Gary Wittlich, 270–321. Englewood Cliffs, New Jersey: Prentice-Hall. ISBN 0-13-049346-5.
Kramer, Jonathan D. (1988). The Time of Music: New Meanings, New Temporalities, New Listening Strategies. New York: Schirmer Books.
Kubik, Gerhard (2010). Theory of African Music, 2 vols. Chicago: University of Chicago Press. ISBN 0-226-45691-9.
Kümmel, H. M. (1970). "Zur Stimmung der babylonischen Harfe". Orientalia 39:252–263.
Lam, Joseph S. C. „China, §II, History and Theory”. Grove Music Online. Oxford University Press.
Latham, Alison (ed.) (2002). The Oxford Companion to Music. Oxford and New York: Oxford University Press. ISBN 0-19-866212-2.
Laurie, Timothy (2014). "Music Genre as Method". Cultural Studies Review 20, no. 2:283–292.
Lerdahl, Fred, and Ray Jackendoff (1985). A Generative Theory of Tonal Music. Cambridge, Massachusetts: MIT Press.ISBN 0262260913
Lewin, David (1987). Generalized Musical Intervals and Transformations. New Haven: Yale University Press.
Linkels, Ad. n.d. "The Real Music of Paradise". In World Music, Vol. 2: Latin & North America, Caribbean, India, Asia and Pacific, edited by Simon Broughton and Mark Ellingham, with James McConnachie and Orla Duane, 218–229.: Rough Guides, Penguin Books. ISBN 1-85828-636-0.
London, Justin (2004). Hearing in Time: Psychological Aspects of Musical Meter. Oxford and New York: Oxford University Press. Šablon:ISBN needed
London, Justin (n.d.), "Musical Expression and Musical Meaning in Context. ICMPC2000 Proceedings Papers.
Lussy, Mathis (1892). Musical Expression: Accents, Nuances, and Tempo, in Vocal and Instrumental Music, translated by Miss M. E. von Glehn. Novello, Ewer, and Co.'s Music Primers 25. London: Novello, Ewer and Co.; New York: H. W. Gray
McAdams, Stephen, and Albert Bregman (1979). "Hearing Musical Streams". Computer Music Journal 3, no. 4 (December): 26–43, 60. . JSTOR 4617866. Nedostaje ili je prazan parametar |title= (pomoć)
McCreless, Patrick. n.d. "Society for Music Theory", Grove Music Online. Oxford University Press.
Malm, William P. (1996). Music Cultures of the Pacific, the Near East, and Asia, third edition. ISBN 0-13-182387-6.
Manik, Liberty (1969). Das Arabische Tonsystem im Mittelalter. Leiden: E. J. Brill.
Mannell, Robert (n.d). „Spectral Analysis of Sounds”. Macquarie University.
Meeùs, Nicolas (2015). "Épistémologie d’une musicologie analytique". Musurgia 22, nos. 3–4:97–114.
Meeùs, Nicolas (2017). "Schenker's Inhalt, Schenkerian Semiotics. A Preliminary Study". The Dawn of Music Semiology. Essays in Honor of Jean-Jacques Nattiez, J. Dunsby and J. Goldman ed. Rochester: Rochester University Press:81–96.
Middleton, Richard (1990). Studying Popular Music. Milton Keynes and Philadelphia: Open University Press. ISBN 978-0335152766 (cloth & pbk).
Middleton, Richard (1999). "Form". In Key Terms in Popular Music and Culture, edited by Bruce Horner and Thomas Swiss. Malden, Massachusetts: Blackwell Publishing. ISBN 0-631-21263-9.
Mirelman, Sam (2010). "A New Fragment of Music Theory from Ancient Iraq". Archiv für Musikwissenschaft 67, no. 1:45–51.
Mirelman, Sam (2013). "Tuning Procedures in Ancient Iraq". Analytical Approaches to World Music 2, no. 2:43–56.
Mitchell, Barry (2008). "An Explanation for the Emergence of Jazz (1956)", Theory of Music (16 January):.
Moore, Allan F. (2001). "Categorical Conventions in Music Discourse: Style and Genre". Music & Letters 82, no. 3 (August): 432–442.
Nattiez, Jean-Jacques (1976). Fondements d'une sémiologie de la musique. Collection Esthétique. Paris: Union générale d'éditions. ISBN 978-2264000033.
Nattiez, Jean-Jacques(1989). Proust as Musician, translated by Derrick Puffett. Cambridge and New York: Cambridge University Press. ISBN 978-0-521-36349-5.
Nattiez, Jean-Jacques (1990). Music and Discourse: Toward a Semiology of Music, translated by Carolyn Abbate of Musicologie generale et semiologie. Princeton: Princeton University Press. ISBN 978-0-691-09136-5 (cloth); ISBN 978-0-691-02714-2 (pbk).
„theory, n.¹”. Oxford English Dictionary (3rd izd.). Oxford University Press. septembar 2005. CS1 održavanje: Format datuma (veza) (Potrebna je pretplata ili članska kartica javne biblioteke UK.)
Palisca, Claude V., and Ian D. Bent. n.d. "Theory, Theorists". Grove Music Online, edited by Deane Root. Oxford University Press (accessed 17 December 2014).
Purwins, Hendrik (2005). "Profiles of Pitch Classes Circularity of Relative Pitch and Key: Experiments, Models, Computational Music Analysis, and Perspectives". Doktor der Naturwissenschaften diss. Berlin: Technischen Universität Berlin.
Read, Gardner (1969). Music Notation: A Manual of Modern Practice, second edition. Boston, Allyn and Bacon. Reprinted, London: Gollancz, 1974. ISBN 9780575017580. Reprinted, London: Gollancz, 1978. ISBN 978-0575025547. Reprinted, New York: Taplinger Publishing, 1979. ISBN 978-0800854591.
Samson, Jim. "Genre". In Grove Music Online, edited by Deane Root. Oxford Music Online. Accessed 4 March 2012
Schenker, Heinrich (1979). Free Composition. Translated and edited by Ernst Oster. New York and London, Longman.
Schoenberg, Arnold (1983). Structural Functions of Harmony, revised edition with corrections, edited by Leonard Stein. London and Boston: Faber and Faber. ISBN 978-0-571-13000-9.
Scholes, Percy A. (1977). "Form". The Oxford Companion to Music, tenth edition. Oxford and New York: Oxford University Press.
Service, Jonathan (2013). "Chinese Music Theory". Transmission/Transformation: Sounding China in Enlightenment Europe. Cambridge: Harvard University Department of Music (web, accessed 17 December 2015).
Shiloah, Amnon (1964). La perfection des connaissances musicales: Traduction annotée du traité de musique arabe d'al-Ḥasan ibn Aḥmad ibn 'Ali al-Kātib École pratique des hautes études. 4e section, Sciences historiques et philologiques, Annuaire 1964–1965 97, no. 1: 451–456.
Smith Brindle, Reginald (1987). The New Music: The Avant-Garde Since 1945, second edition. Oxford and New York: Oxford University Press. ISBN 978-0-19-315471-1 (cloth & pbk).
Snarrenberg, Robert (1997). Schenker's Interpretive Practice. Cambridge Studies in Music Theory and Analysis 11. Cambridge University Press. ISBN 0521497264.
Sorantin, Erich (1932). The Problem of Musical Expression: A Philosophical and Psychological Study. Nashville: Marshall and Bruce
Stefani, Gino (1973). "Sémiotique en musicologie". Versus 5:20–42.
Stefani, Gino (1976). Introduzione alla semiotica della musica. Palermo: Sellerio editore.
Stein, Leon (1979). Structure and Style: The Study and Analysis of Musical Forms. Princeton, New Jersey: Summy-Birchard Music. ISBN 978-0-87487-164-7.
Stone, Kurt (1980). Music Notation in the Twentieth Century. New York: W. W. Norton. ISBN 978-0-393-95053-3.
Tan, Siu-Lan, Pfordresher Peter, and Harré Rom (2010). Psychology of Music: From Sound to Significance. New York: Psychology Press. ISBN 978-1-84169-868-7.
Thompson, William Forde (n.d.). Music, Thought, and Feeling: Understanding the Psychology of Music, second edition. New York: Oxford University Press. ISBN 0-19-537707-9.
Touma, Habib Hassan (1996). The Music of the Arabs, new expanded edition, translated by Laurie Schwartz. Portland, Oregon: Amadeus Press. ISBN 0-931340-88-8.
van der Merwe, Peter (1989). Origins of the Popular Style: The Antecedents of Twentieth-Century Popular Music. Oxford: Clarendon Press. ISBN 978-0-19-316121-4.
Whittall, Arnold (2008). The Cambridge Introduction to Serialism. Cambridge Introductions to Music. New York: Cambridge University Press. ISBN 978-0-521-86341-4 (cloth & pbk).
Wohl, Gennady. (2005). "Algebra of Tonal Functions", translated by Mykhaylo Khramov. Sonantometry Blogspot (16 June; accessed 31 July 2015).
Wong, Janice (2011). "Visualising Music: The Problems with Genre Classification". Masters of Media blog site (accessed 11 August 2015).
Wright, Owen (2001a). "Munajjim, al- [Yaḥyā ibn]". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan. Reprinted in Grove Music Online, Oxford Music Online.
Wright, Owen (2001b). "Arab Music, §1: Art Music, 2. The Early Period (to 900 CE), (iv) Early Theory". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan. Reprinted in Grove Music Online, Oxford Music Online.
Wulstan, David (1968). "The Tuning of the Babylonian Harp". Iraq 30: 215–28.
Yeston, Maury (1976). The Stratification of Musical Rhythm. New Haven: Yale University Press.