Abstract
This aspect of the musical problem invariably arises in connection with the development of a professional musical language — the fundamental task of all monodic national cultures that have embarked on the path of professional development. The specificity of this task is determined by the pentatonic structure of Bashkir folk music, being an integral part of the Ural-Volga “pentatonic zone”, which required composers to find adequate, nationally acceptable ways to build a harmonic vertical. First, the author examines the prerequisites developed in folklore performance, then the work of composers who were looking for ways to combine modal harmony with the European tonal system. The features of chords, methods of melodic modulation, which differ from classical techniques of European music and affirm the selfsufficiency of their own monodic culture, are noted. As a result, the harmonic language of Bashkir operas appears as an original and integral musical phenomenon.
Sign-in/Register to access full text options 
Free) 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a call
