التونالية المطموسة في "فانتازيا ريفية" مصنف 37 لاوجين بوتسا

الملخص EN

Of the twentieth century (1900-2000) most composers became saturated with the use of traditional tunes, after exhausting all the means of using them in writing new music, which made the music composer resort to other means to help him express himself in new ways, as happened with Schonberg, who he completely rejected the use of Tunalism and preferred to use Latonalism, expressionism and Dodecafonian, or, as happened with Stravinsky, he created the modern Tunalism, which is based on the use of different scales from the large and small scale.

as for the blurred Tunalism, it occupied a distinguished position among those trends because it did not completely reject Tunalism, and it stood in a "balance state" that combines "Tunalism and Latonalism" and devised new ways to use Tunalism without completely abandoning it.

and terms they cannot understand their meaning, this is what prompted them to conduct this study with a view to .1-getting to know the style of the French author Eugene Botsa.

2-identifying the quality of tonalities and harmonics used in the rural fantasy of the father and piano, class 37 by Eugene Botsa the researcher concluded that Botsa was influenced by the features of the neoclassical school created by the Russian author Stravinsky, and Botsa's style was influenced by the features of the impressionist school created by Debussy’s citizen, especially with regard to his interest in individual instruments and chamber music instruments.

in terms of Tunalism, "Botsa" invented the "Tunaliya obliterated" method, which is based on several techniques to blur the main features of the ladder used, including not using the fifth degree before the harmony of the first degree, and replacing it with other degrees such as the seventh, the sixth and the second, and when it is used by the harmony of the degree the fifth (v) does not distract it, with the addition of dissonant tones (such as the second and fourth) to the final harmony of the Qaflah, which reduces the sense of monotony and stereotyping of the musical Qaflah, and the research concluded with recommendations and specifics in both Arabic and foreign languages.