Contrast and diffuse form of multidimensional the Tajik and Uzbek monody

The article highlights the problem of multidimensionality Tajik and Uzbek monody in the context of the universals of perception and thought. One of the universal forms of multidimensional thinking is considered the binary, which forms the basis of the interaction of two functionally opposition plans. This interaction represents a special type of multi-dimensional structuring of the musical process, which in the Tajik and Uzbek monody has contrasting and diffuse form of implementation. These two forms reflect the specifics of the multidimensional configurations at different levels of the formation of the Eastern monody system structured in its vertical and horizontal parameters. To form a contrast characteristic functional-opposition ratio of the elements and structures that have their own separate location in the audio space. We consider three types of contrast ratios in the vertical (homogeneous, heterogeneous and mixed), as well as notes such a contrast to the horizontal-procedural aspect as an alternation of stable and mobile melodic constructions. Diffuse form is defined as ambivalent - overlapping - the ratio of the invariant and variants; considered as an example of simultaneous interactions unison melodic lines in the structure of the solo singing with instrumental accompaniment ("voice-instrument"), in the context of horizontal scanning modal status of a high-rise element melodic constructions and transfer from one structure to another.

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