К проблеме взаимодействия мелодического начала и гармонии в произведениях Сергея Рахманинова

Abstract

The article shows the results of research of the mutual influence of the melodic element and the harmonic side in Sergei Rachmaninoff”s musical compositions. The object of the study is presented by the linear functions of harmony, the elements of the harmonic vertical in the melodic line, and the processes of the melodic enrichment of the chords and the harmonic progressions. In a whole set of cases the chord or chord progression become the objects of melodic development through the saturation by means of non-chordal pitches and entire intervallic-chordal strata, through melodic development in separate textural lines. Simultaneously there occurs the saturation of the melody with all the richness of harmonic colors, which becomes possible because of the tight interaction between all the textural strata. Especially important for the issue of the correlation between melodicism and the harmonic processes in the musical texture in general is the problem of phonism. The conclusion is arrived at that all the levels of harmony demonstrate the activity of general tendencies: modal transformations of the harmonic interpretation of melodic units (the reharmonization of the tone, motive, syntagm and theme); the avoidance of traditional progressions; the overcoming of insularity and univocity of harmonic interpretation of the melodic unit; the prevalence of tension and procedurality; attention to the phonic side. The melodic and harmonic motion interacts with each other in the tightest way, and this not only does not impoverish the melody, but endows it with additional colorfulness and capaciousness, at the same time endowing the harmony with special intonational satiety. Keywords: Sergei Rachmaninoff, Rachmaninoff’s melodicism, Rachmaninoff’s harmony, the interaction between the melodic element and harmony.