Escalas no octavantes como forma de organización tonal
DOI:
https://doi.org/10.35699/2317-6377.2025.57172Palabras clave:
Escalas sin repetición de octava, Teoría de la música, Análisis musical, Teoría de las escalas, Composición, ImprovisaciónResumen
Aunque la mayoría de las escalas del mundo repiten a la octava, lo cierto es que también se han empleado escalas no octavantes para organizar el contenido tonal en diferentes culturas musicales desde la Edad Media hasta nuestros días. Sin embargo, son escasos los estudios académicos que abordan el tema en profundidad, más allá de la aplicación de determinadas escalas no octavantes en contextos musicales concretos. Por lo tanto, no ha existido hasta la fecha un estudio de referencia, al que puedan recurrir investigadores y músicos potencialmente interesados en la cuestión, que recoja la medida en la cual estas estructuras han servido para determinar el contenido tonal de la música. El presente trabajo se basa en una variedad de fuentes diferentes para presentar una visión detallada y estructurada del uso de escalas no octavantes en una amplia gama de contextos musicales, confirmando así la hipótesis de que estas estructuras han demostrado ser una forma útil y consolidad de organizar el contenido tonal en la música.
Referencias
Ayari, Mondher, and Stephen McAdams. 2003. “Aural Analysis of Arabic Improvised Instrumental Music (Taqsīm).” Music Perception 21 (2). doi:10.1525/mp.2003.21.2.159.
Baker, D. 1990. Modern Concepts in Jazz Improvisation. Van Nuys, California: Alfred Music Publishing Co., Inc.
Belianski, Eugene. 2015. “Russian Folk Tradition in Contemporary Musical Literature for Winds.” Toronto, Ontario: York University.
Brown, Douglas Wayne. 2019. Hyperscales: Analysis, Historical Uses, and Possible Applications in Contemporary Music Composition. West Virginia University.
Brown, Steven, and Joseph Jordania. 2013. “Universals in the World’s Musics.” Psychology of Music 41 (2). doi:10.1177/0305735611425896.
Buelow, G J. 2016. The Late Baroque Era: Vol 4. From The 1680s To 1740. Man & Music. Hampshire, United Kingdom: Palgrave Macmillan UK. https://books.google.es/books?id=1uuuCwAAQBAJ.
Burns, Edward M. 1999. “Intervals, Scales, and Tuning.” In The Psychology of Music. doi:10.1016/b978-012213564-4/50008-1.
Carey, Norman. 1998. “Distribution modulo 1 and Musical Scales.” Eastman (University of Rochester).
Cohen, David E. 2008. “Notes, Scales, and Modes in the Earlier Middle Ages.” In The Cambridge History of Western Music Theory. doi:10.1017/chol9780521623711.013.
Corcelli, John. 2016. Frank Zappa FAQ: All That’s Left to Know About the Father of Invention. Lanham, Maryland: Rowman & Littlefield.
Crowley, Emmet, and Francisco Gómez-Mart’in. 2023. “Structural Properties of Multi-Octave Scales.” Journal of Mathematics and Music 17 (2). Taylor & Francis: 291–318.
Demsy, David. 1991. “Chromatic Third Relations in the Music of John Coltrane.” Annual Review of Jazz Studies 5 (5): 145–180.
Derby, Richard. 1981. “Carter’s ‘Duo for Violin and Piano.’” Perspectives of New Music 20 (1/2). doi:10.2307/942410.
Dixon, Gavin Thomas. 2007. “Polystylism as Dialogue: A Bakhtinian Interpretation of Schnittke’s Symphonies 3, 4, and His Concerto Grosso No.4/Symphony No.5.” Goldsmiths College.
Dubinets, Elena. 2015. “Non-Conformism or Nationalism? Yuriy Butsko and His Russian Dodecaphony” Studia Musicologica 56 (4). Akadémiai Kiadó: 317–325.
Erickson, Raymond. 2001. “Musica Enchiriadis, Scolica Enchiriadis.” Oxford University Press. doi:10.1093/gmo/9781561592630.article.19405.
Exarchos, Dimitris, and Daniel Jones. 2011. “Sieve Analysis and Construction: Theory and Implementation.” In Xenakis International Symposium.
Farraj, J, and S A Shumays. 2019. Inside Arabic Music: Arabic Maqam Performance and Theory in the 20th Century. New York, New York: Oxford University Press. https://books.google.es/books?id=etShDwAAQBAJ.
Gogotishvili, Vladimer. 2010. “On Authentic and Plagal Types of Monotonic (Non-Octave) Scales in Georgian Traditional Vocal Polyphony.” Echoes from Georgia: Seventeen Arguments on Georgian Polyphony (Focus on Civilizations and Cultures), Eds R. Tsurtsumia and J. Jordania (New York, NY: Nova Science Publishers). Citeseer, 147–156.
Grønseth, Anders Lønne. 2015. “The Bitonal Scale System - a Draft for a Modal-Harmonic System.”
Hoffman, Joel. 2005. “String Quartet 3 - Program Note.”
Hoffman, Joel. 2008. “Piano Concerto 2008 - Program Note.”
Ismael-Simental, Emilia. 2016. “Alfred Schnittke and the Znamennyi Rospev.” In Schnittke Studies, edited by Gavin Dixon, 30–58. Philadelphia: Routledge.
Kirkman, A, and A Ivashkin. 2016. Contemplating Shostakovich: Life, Music and Film. Philadelphia: Routledge.
Kostenko, A. 1985. Nardodnie Pesni Nechernozemia. Edited by N Savintseva. Moscow, Russia: Sovetsky Compozitor.
Lehmann, Zhanna A. 2018. “Alfred Schnittke’s Quest for a Universal Musical Language in the Penitential Psalms (1987–88).” University of Illinois at Urbana-Champaign.
Liebman, D. 1991. A Chromatic Approach to Jazz Harmony and Melody. Van Nuys, California: Advance Music.
Maloy, Rebecca. 2009. “Scolica Enchiriadis and the `Non-Diatonic’ Plainsong Tradition.” Early Music History 28. Cambridge University Press: 61–96. http://www.jstor.org/stable/40800897.
McGill, Thomas Scott. 2013. “Dennis Sandole’s Unique Jazz Pedagogy.” Current Research in Jazz 5 (5): 1–45.
Messiaen, O. 1944. Technique de Mon Langage Musical. Bibliothèque-Leduc. Paris, France: Alphonse Leduc. https://books.google.es/books?id=pWAJAQAAMAAJ.
Nettl, Bruno. 2007. Maqam. Encyclopedia Britannica. https://www.britannica.com/art/maqam-music.
Nikolsky, Aleksey. 2016. “Evolution of Tonal Organization in Music Optimizes Neural Mechanisms in Symbolic Encoding of Perceptual Reality. Part-2: Ancient to Seventeenth Century.” Frontiers in Psychology 7: 1–32. doi:10.3389/fpsyg.2016.00211.
Pace, Ian. 2001. “The Harpsichord Works of Iannis Xenakis.” Contemporary Music Review 20 (1). Routledge: 125–140. doi:10.1080/07494460100640121.
Pahlevanian, Alina, Aram Kerovpyan, and Svetlana Sarkisyan. 2001. “Armenia, Republic Of.” Oxford University Press. doi:10.1093/gmo/9781561592630.article.42078.
Persichetti, Vincent. 1961. Twentieth Century Harmony: Creative Aspects and Practice. New York, New York: W. W. Norton & Company, Inc.
Schillinger, Joseph. 1946. The Schillinger System of Musical Composition. New York, New York: Carl Fisher, Inc.
Schnittke, Alfred. 2002. A Schnittke Reader. Bloomington, Indiana, USA: Indiana University Press.
Seroussi, Edwin, Joachim Braun, Eliyahu Schleifer, Uri Sharvit, Sara Manasseh, Theodore Levin, Tang Yating, et al. 2001. “Jewish Music.” Oxford University Press. doi:10.1093/gmo/9781561592630.article.41322.
Sethares, William. 2005. Tuning, Timbre, Spectrum, Scale. Berlin, Germany: Springer.
Slonimsky, Nicolas. 1947. Thesaurus of Scales and Melodic Patterns. New York, New York: Shirmer Books.
Squibbs, Ronald. 1996. “An Analytical Approach to the Music of Iannis Xenakis: Studies of Recent Works.” Connecticut: Yale University.
Squibbs, Ronald. 2002. “Some Observations on Pitch, Texture, and from in Xenakis’ Mists.” Contemporary Music Review 21 (December): 91–108. doi:10.1080/07494460216653.
Swan, Alfred J. 1940a. “The Znamenny Chant of the Russian Church–Part II.” The Musical Quarterly 26 (3). Oxford University Press: 365–380. http://www.jstor.org/stable/738771.
Swan, Alfred J. 1940b. “The Znamenny Chant of the Russian Church–Part I.” The Musical Quarterly 26 (2). Oxford University Press: 232–243. http://www.jstor.org/stable/738849.
Taruskin, R. 2008. On Russian Music. Berkeley, California, USA: University of California Press.
Trehub, Sandra, Judith Becker, and Iain Morley. 2015. “Cross-Cultural Perspectives on Music and Musicality.” Philisophical Transactions of the Royal Society B 370 (December). doi:10.1098/rstb.2014.0096.
Tymoczko, Dmitri. 2004. “Scale Networks and Debussy.” Journal of Music Theory 48 (2). Duke University Press: 219–294. doi:10.1215/00222909-48-2-219.
Velimirovic, Milos, Irene� Lozovaya, Gregory Myers, and Leonora DeCarlo. 2001. “Russian and Slavonic Church Music.” Oxford University Press. doi:10.1093/gmo/9781561592630.article.43458.
Wall, Jeffery B. 2009. “The Influence of Znamenny Liturgical Chant on the Nineteenth-Century Russian Choral School: A Guide for Performance.” The Choral Journal 50 (3). American Choral Directors Association: 20–32. http://www.jstor.org/stable/23559804.
Weitzman, Ronald. 1996. “Schnittke: Symphony No. 4 / Three Sacred Hymns.” Chandos. https://www.chandos.net/chanimages/Booklets/CH9463.pdf.
Weston, Craig. 2020. “Some Properties of Non-Octave-Repeating Scales, and Why Composers Might Care.” In Proceedings of SCI Region VI Conference. Washington DC.
Wilcox, A Gordon. 1967. “Perfect Fourths as a Scalar Option.” Perspectives of New Music 5 (2). Perspectives of New Music: 141–145. http://www.jstor.org/stable/832164.
Wilkox, Derek. 2001. “Kakhuri Nanina.” Chela: Cambridge Georgian Choir. https://www.scoreexchange.com/scores/63606.html.
Xenakis, Iannis. 1992. Formalized Music: Thought and Mathematics in Composition. Stuyvesant, New York: Pendragon Press.
Yöre, Seyit. 2012. “Maqam in Music as a Concept, Scale and Phenomenon.” Zeitschrift Für Die Welt Der Türken/Journal of World of Turks 4 (3): 267–286.
Zheng, Yan. 2017. “Analysing the Semiotic Contribution of Traditional Aesthetics to Contemporary Chinese Music.” In Proceedings of the 9th European Music Analysis Conference. Strasbourg, France.
Descargas
Publicado
Número
Sección
Licencia
Derechos de autor 2025 Per Musi
Esta obra está bajo una licencia internacional Creative Commons Atribución 4.0.
Excepto cuando se indique lo contrario, el contenido de este sitio está sujeto a una Licencia Creative Commons - Atribuição 4.0 Internacional.
