Melody and Intonation
Article Sidebar
Main Article Content
Abstract
The musicological concept of melody, notwithstanding all its capacity and self-sufficiency, is closely connected
with another key concept – that of “intonation.” This is testified by the constantly perceptible agility of substituting one
of these terms with the other by musicians. Equating intonation with melody is especially characteristic for musicians
who think in a linear fashion – vocalists and performers on string and wind instruments. Musical scholarship also
tends to connect and even occasionally mutually substitute these two concepts. From hence arises the necessity of
pondering over the differentiation between the concepts of melody and intonation, the specificity of each of them
and the justification of their rapprochement and mutual substitution. For this end the author of the article juxtaposes
of these two concepts according to several parameters and examines them within the structure of musical content.
Thereby we discover their proximity to each other as bearers of semantic meanings and, on the other hand, their
considerable distance from each other according to other parameters. Considering the fact that even in the meaninggenerating
sense melody and intonation do not coincide with each other, mutual substitution of these concepts becomes
impossible. Only in cases of expressive one-voice motives or phrases (for instance, in certain rhetorical figures) they
become almost totally equated with each other.
Keywords: melody, intonation, musical content, Boris Asafiev.
Article Details
Copyright
The rights on the results of intellectual activity and equated means of individualization are protected in accordance with Part IV of the Civil Code of the Russian Federation. The authorship, author's name, executor’s name, inviolability of the work and result of execution are protected by the rules of Part IV of the Civil Code of the Russian Federation of the author or executor, regardless of providing legal protection of such results of intellectual activity at the time of their forming.
Copyright laws regulate the civil legal relations for using works of science, literature and art. Such relationships are formed as the result of the author’s writing his or her texts. In this case the author can rightfully claim copyright of the work.
The author has certain rights to reuse the work (see: “Ethical Aspects in Terms of Multifold Publications).
Licenses
All copyrights on the articles belong to their authors. The author transfers the rights on using the article the publisher.
PDF versions of scholarly articles of the journal PMN are published by using the license Attribution Non-Commercial No Derivatives cc by-nc-nd, allowing loading and distributing works on the assumption of indicating the authorship. The works may not be changed in any way or used for commercial interests.
Criteria for Authorship, Co-authorship
The term “author” refers to all persons (co-authors) who have made a substantial contribution to conducting the research and creation of the manuscript and responsible for its content. The person (author) who has submitted the manuscript to the editorial board shall bear responsibility for the complete list of the group of authors and the changes made to the manuscript in accordance with the results of the peer reviewing and editing.
1. Authorship is based on the following criteria:
1) The author made a substantial contribution to the research activity and development of concept, collected the data, made analysis and interpretation of the data.
2) The author carried out the writing of the text of draft articles and edited it attentively and substantially.
3) The author approved the final version of the article prior to its submission.
4) The author bears responsibility for the integrity of all parts of the manuscript.
2. The authors shall guarantee that the submitted manuscript is the original work.
3. Scholarly reviews for some issue or other should be objective, present material in a wide range and at the same time take into account the views of the author of the review.
4. The authorship of scholarly publications is obligated to reflect accurately the contribution of individuals to the research activity, with specific information about the authors.
5. The authors may not mislead the readers by publishing acknowledgements of gratitude to people who were not actually involved in writing the work. Other persons who made contribution to the work, but are nevertheless not the authors, may be listed in the rubric of “Acknowledgements,” with indications of the type and extent of their activities.
6. Authors are obligated to provide a description of their contribution to the publication.
7. The order of authorship must be a joint resolution of co-authors. The authors should be ready to explain the order of their enumeration and listing.
8. The authors shall be entirely responsible for the correct definition of authorship acting in accordance with the rules adopted in their institution.
9. Investigators must ensure that only those persons who meet the criteria for authorship (that made a significant contribution to the work), shall be considered the authors, and the researchers who do not merit authorship will be excluded from the list of authors.
References
2. Aranovsky М. G. Melodika S. Prokof'eva [Sergei Prokofiev’s Melodic Writing]. Leningrad: Мuzyka Press, 1969. 231p.
3. Asaf'ev В. V. Muzykal'naya forma kak protsess [Musical Form as a Process]. Leningrad: Мuzyka Press, 1971. 376 p.
4. Garbuzov N. А. Zonnaya priroda zvukovysotnogo slukha [The Zonal Nature of Pitch Auditory Perception]. Мoscow; Leningrad: Izd-vо АN SSSR, 1948. 86 p.
5. Zemtsovsky I. I. Chelovek muzitsiruyushchiy – chelovek intoniruyushchiy – chelovek artikuliruyushchiy [The Musical Human Being – The Intonating Human Being – The Articulating Human Being]. Мuzykal’naya kommunikatsiya: sb. nauch. tr. Ser. «Problemy muzykоznaniya» [Musical Communication: Compilation of Musical Articles of the Series “Issues of Musicology”]. Issue 8. St. Petersburg, 1996, pp. 97–103.
6. Intonatsia [Intonation]. Muzykal'nyy slovar' Grouva [Grove's Dictionary of Music]. Translated from English by L. O. Akopyan. Мoscow: Praktika, 2001. P. 355.
7. Kazantseva L. P. Osnovy muzykal'nogo soderzhaniya [Foundations of the Theory of Musical Content]. Аstrakhan: Volga, 2009. 367 p.
8. Кremlev Yu. А. Intonatsiya i obraz v muzyke [Intonation and Image in Music]. Кremlev Yu. А. Izbr. st. [Selected Articles]. Leningrad, 1976, pp. 58–70.
9. Меdushevsky V. V. Dvoystvennost’ muzykal’noy formy i vospriyatiye muzyki [The Dual Nature of Musical Form and The Perception of Music]. Vospriyatiye muzyki [The Perception of Music]. Мoscow, 1980, pp. 178–194.
10. Меdushevsky V. V. Intonatsionnaya teoriya v istoricheskoy perspective [The Theory of Intonation in a Historical Perspective]. Sovetskaya muzyka [Soviet Music]. 1985, No. 7, pp. 66–70.
11. Riman H. Intonatsia [Intonation]. Riman H. Muzykal'nyy slovar' [Riemann H. A Musical Dictionary] Translation from the 5th German Edition by B. Jurgenson. Мoscow, 2004, р. 355.
12. Sokhor А. N. Intonatsia [Intonation]. Мuzykal’naya entsiklopediya [Musical Encyclopedia]. Editor-in-Chief Yu. Keldysh. Мoscow, 1974. Volume 2, pp. 550–557.
13. Тyulin Yu. N. Ucheniye o garmonii [Teaching on Harmony]. Мoscow; Leningrad: Мuzgiz, 1939. 190 p.
14. Kholopovа V. N. Fenomen muzyki [The Phenomenon of Music]. Мoscow; Berlin: Direkt-Меdia, 2014. 384 p.
15. Kholopov Yu. N. Melodiya [Melody]. Мuzykal’naya entsiklopediya [Musical Encyclopedia]. Editor-in-Chief Yu. Keldysh. Мoscow, 1976. Volume 3, pp. 511–530.
16. Shaymukhametova L. N. Migriruyushchaya intonatsionnaya formula i semanticheskiy kontekst muzykal’noy temy [The Migrating Formula of Intonation and the Semantic Context of the Musical Theme]. Мoscow: State Institute for Art Studies, 1999. 318 p.
17. Yavorsky B. L. Konstruktsiya melodicheskogo protsessa [The Construction of the Melodic Process]. Belyaeva-Ekzemplyarskaya S., Yavorskiy B. Struktura mеlodii: tr. [The Structure of the Melody: Articles]. State Academy of the Arts. Мoscow, 1929, pp. 7–36.
18. Yavorsky B. L. Stroyenie muzykal’noy rechi: materialy i zametki [The Structure of Musical Speech. Materials and Notes]. Мoscow, 1908. 40 p.
19. Intonation. Harvard Dictionary of Music. Ed. W. Apel. 2 ed. Cambridge, Massachusets: The Belknap Press of Harvard University Press, 1969. Р. 421.
20. Intonation. The International Cyclopedia of Music and Musicians. O. Thompson, ed. by Bruce. 10th ed. London; NY: Dodd, Mead, Bohle, 1975. Р. 1080.
21. Intonation. The New Grove Dictionary of Music and Musicians. S. Sadie, ed. In 29 vol. 2 ed. L.: Grove, 2001. Vol. 12, pp. 502– 505.
22. Intonation. The Oxford Dictionary of Music. M. Kennedy, J. Kennedy, T. Rutherford-Johnson, ed. 6 ed. L.: Oxford university Press, 2013. Р. 420.