Andrej Diamandiev: “Theoretical Aspects of Functional Harmony” Cover Image
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Андрей Диамандиев: „Теоретични аспекти на функционалната хармония“
Andrej Diamandiev: “Theoretical Aspects of Functional Harmony”

Author(s): Kristina Yapova
Subject(s): Music
Published by: Институт за изследване на изкуствата, Българска академия на науките

Summary/Abstract: In the centre of Diamandiev’s work is a strict concept of music theory: the concept “functional harmony”. Its strictness is a theoretical one as far as it is connected with definite musical system, and as such it is also a historical one as far as the concept in question is introduced by Hugo Riemann and is adequate in relation to a certain historical epoch in music. The author, however, does not confine himself to the branch of the music theory. On the contrary, he examines the concept “functional harmony” in a philosophical manner, placing it in ontological horizon. Exactly in this horizon the concept raises problems: “In ontological aspect functional harmony lies in the nature of a compromise in the artificially created system of temperation, while ontogenesis of music is in singing and word”. Diamandiev undertakes a too courageous attempt: to investigate what is rational in functional harmony and reaching the limits of what is possible, to take a look at the other side – of what is impossible. He examines functional harmony not only as a way in which the tones and the intervals get sett led, but as a relation between the phenomenon of what sounds actually and what is liable to rational objectifying, between what is musically infinite and its inevitable reduction to the finite. Diamandiev points out a tendency in music theory. Taking upon itself too much rationality functional harmony deprives musicians of what the author calls “tone substance” ( the concept “tone substance” is introduced by the author in his dissertation: Functional Phenomena on the Border of Dur-Moll System. Sofia, NMA “Prof. Pancho Vladigerov”, 2002). It is exactly the tone substance that turns out to be an irrevocable condition, a basic reference point and a prime concept in the book. And perspecharmony unfolds itself in the relation between tone substance of the chord and its function. Besides the fundamental pair of substance and function there is another differentiation of musicological importance in the work. This is the differentiation between what is ontogenetic and what is ontological, between tone genesis and tone being. The Second Chapter of the book places the research on the level of a general conclusion – the level defined as “harmony and functionality”. Keeping on asserting the substantial reasons of the chords, the author specifies the concept of harmony through differentiation between perception of a tone, a chord, and a tonality and their interpretation. The Third Chapter is devoted to the methodological and pedagogical aspects of functional harmony. Its center of attention is the structural layer of harmony. The structuring of substantial chords is furnished with a table in which these chords are presented together with their functional equivalents. The supplements, the dictionary of terminology and the index deserve a high appraisal. They reflex attentively every novelty introduced in the basic text.

  • Issue Year: 2014
  • Issue No: 2
  • Page Range: 105-110
  • Page Count: 6
  • Language: Bulgarian