Canon |

daga Girkanci kanon - al'ada, mulki

1) A Dr. Girka, na'urar nazari da nuna rabon sautunan da aka kafa ta Dec. sassan igiyar girgiza; daga karni na 2 ya karbi sunan monochord. K. kuma ana kiransa tsarin lambobi sosai na ma'aunin tazarar da aka kafa tare da taimakon monochord, a lokuta masu zuwa - wasu muses. kayan aiki, ch. arr. masu alaƙa da monochord dangane da na'urar (misali, psalterium), sassan kayan aiki.

2) A cikin Byzantium. hymnography polystrophic samfurin. hadaddun haske. kayayyaki. K. ya bayyana a bene na 1. 8 c . Daga cikin marubutan farkon k. su ne Andrei na Karita, Yohanna na Dimashƙu, da Cosmas na Urushalima (Mayum), Suriyawa ta asali. Akwai rashin kammala K., wanda ake kira. wakoki biyu, wakoki uku da wakoki hudu. Complete K. ya ƙunshi waƙoƙi 9, amma na 2 ba da daɗewa ba ya fadi. Cosmas na Urushalima (Mayumsky) ya daina amfani da shi, ko da yake ya ci gaba da yin la'akari da sunayen tara.

A cikin wannan sigar, K. yana wanzuwa har yau. Kashi na 1 na kowace waƙar K. irmos ce, ana kiran waɗannan (yawanci 4-6). troparia. Haruffa na farko na stanzas sun kafa acrostic, suna nuna sunan marubucin da ra'ayin aikin. Majami'u sun tashi a cikin yanayin gwagwarmayar daular tare da nuna girmamawa kuma suna wakiltar "waƙoƙi masu ƙarfi da ƙwazo" (J. Pitra) na bukukuwa. hali, wanda aka yi wa zaluncin sarakunan gumaka. K. jama'a ne suka yi niyya don yin waƙa, kuma wannan ya ƙayyade ƙirar rubutunsa da yanayin kiɗan. Jigo Abin da ake nufi da irmos shine waƙoƙin Ibrananci. wakoki da kuma kasa da yawa a zahiri Kirista, wanda a cikinsa aka daukaka ikon Allah ga mutane a cikin gwagwarmaya da azzalumai. Kasashen troparia sun yaba da jajircewa da wahalar da mayaƙan suka yi da azzalumai.

Mawaƙin (wanda kuma shi ne mawallafin rubutun) dole ne ya jure ma'anar irmos a cikin kowane nau'i na waƙar, don haka mawaƙa. lafazin ko'ina sun yi daidai da fa'idar ayar. Ita kanta waƙar dole ne ta kasance marar rikitarwa da bayyana ra'ayi. Akwai ka'ida don rubuta K.: "Idan kowa yana so ya rubuta K., to dole ne ya fara muryar irmos, sa'an nan kuma ya rubuta troparia tare da wannan syllabic kuma mai ba da izini tare da irmos, yana kiyaye ra'ayin" (karni na 8). Daga karni na 9 mafi yawan masu rubuta wakoki sun hada da K., suna amfani da irmoses na Yahaya na Damascus da Cosmas na Mayum a matsayin abin koyi. Wakokin K. sun kasance ƙarƙashin tsarin osmosis.

A cikin cocin Rasha, an kiyaye alaƙar wasali na K., amma saboda cin zarafi cikin ɗaukaka. fassarar kalmomin Girkanci. irmoses ne kawai ke iya rera ainihin, yayin da troparia dole ne a karanta. Banda shi ne Paschal K. - a cikin littattafan waƙa akwai samfurori na shi, an lura daga farkon zuwa ƙarshe.

A cikin bene na 2. 15 c. wani sabo ya bayyana, rus. style K. Wanda ya kafa shi wani zufi ne daga Athos Pachomius Logofet (ko Pachomius Serb), wanda ya rubuta kimanin. 20 K., sadaukarwa ga Rashanci. bukukuwa da waliyyai. Harshen canons na Pachomius an bambanta shi ta hanyar kyan gani, salo mai kyan gani. Salon rubutun Pachomius Markell Beardless, Hermogenes, magatakarda daga baya, da sauran mawallafin waƙoƙi na ƙarni na 16 ne suka kwaikwayi salon rubutun Pachomius.

3) Tun daga tsakiyar zamanai, wani nau'i na kiɗa na polyphonic bisa tsayayyen kwaikwayo, yana riƙe da duk sassan proposta a cikin rispost ko risposts. Har zuwa ƙarni na 17 da 18 ya haifar da sunan fugue. Siffofin K. sune adadin kuri'un, nisa da tazara tsakanin gabatarwar su, rabon proposta da risposta. Mafi na kowa shine 2- da 3-murya K., duk da haka, akwai kuma K. don muryoyin 4-5. K. sananne daga tarihin kiɗa tare da ɗimbin muryoyi suna wakiltar haɗuwa da yawa masu sauƙi K.

Mafi yawan tazarar shigarwa shine farkon ko octave (ana amfani da wannan tazara a farkon misalan K.). Wannan sai na biyar da na hudu; Ana amfani da sauran tazara ƙasa akai-akai, saboda yayin da ake kiyaye sautin, suna haifar da canje-canje na tazara a cikin jigon (canza manyan daƙiƙai zuwa ƙananan daƙiƙa a ciki da kuma akasin haka). A cikin K. don sautuna 3 ko fiye, tazarar shigar muryoyin na iya bambanta.

Mafi sauƙaƙan rabon ƙuri'u a cikin K. shine ainihin riƙe proposta a cikin rispost ko risposts. Daya daga cikin nau'in K. an kafa shi "a cikin motsi kai tsaye" (Latin canon per motum rectum). K. kuma ana iya danganta shi da wannan nau'in a cikin karuwa (canon per augmentationem), a cikin raguwa (canon per diminutionem), tare da decomp. ma'aunin rajistar kuri'u ("mensural", ko "daidaitacce", K.). A cikin biyun farko na waɗannan nau'ikan, K. risposta ko risposta sun yi daidai da proposta a cikin kalmomin farin ciki. tsari da rabo na tsawon lokaci, duk da haka, cikakken tsawon kowane sautunan da ke cikin su yana ƙaruwa ko ragewa da yawa. sau (biyu, haɓaka sau uku, da sauransu). "Mensural", ko "daidaitacce", K. yana da alaƙa da asali tare da bayanin haila, wanda kashi biyu (marasa cikakke) da kashi uku (cikakke) an ba da izinin murkushe lokaci iri ɗaya.

A baya, musamman a zamanin da rinjaye na polyphony, K. tare da ƙarin hadaddun rabo na muryoyin aka kuma yi amfani - a wurare dabam dabam (canon per motum contrarium, duk 'inverse), a countermovement (canon cancrisans), kuma madubi- kaguwa. K. a cikin wurare dabam dabam yana da alaƙa da gaskiyar cewa ana aiwatar da proposta a cikin risposta ko rispostas a cikin wani nau'i mai jujjuya, wato, kowane tazara mai hawa na proposta yayi daidai da tazarar saukowa iri ɗaya a cikin adadin matakai a cikin risposta da mataimakinsa. versa (duba Juyar da Jigon). A cikin K. na gargajiya, jigon a cikin rispost yana wucewa a cikin "motsi na baya" idan aka kwatanta da proposta, daga sauti na ƙarshe zuwa na farko. Mirror-crustaceous K. ya haɗa alamun K. a wurare dabam dabam da crustacean.

Bisa ga tsarin, akwai asali guda biyu. nau'in K. - K., yana ƙarewa lokaci guda a cikin duk muryoyin, da kuma K. tare da rashin kammala sautin sautunan lokaci guda. A cikin akwati na farko, zai ƙare. cadence, ma'ajiyar kwaikwayi ta karye, a cikin na biyu ana adana shi har zuwa ƙarshe, kuma muryoyin sun yi shiru a cikin jerin abubuwan da suka shiga. Harka yana yiwuwa idan, a cikin aikin tura shi, an kawo muryoyin K. zuwa farkonsa, ta yadda za a iya maimaita shi sau da yawa, yana samar da abin da ake kira. canon mara iyaka.

Hakanan akwai nau'ikan canons na musamman. K. tare da sautunan kyauta, ko mara cika, gauraye K., shine haɗin K. a cikin 2, 3, da sauransu. muryoyin tare da kyauta, ci gaba mara kwaikwaya a wasu muryoyin. K. akan batutuwa biyu, uku ko fiye (biyu, sau uku, da sauransu) yana farawa tare da shigarwar lokaci guda biyu, uku ko fiye, sannan shigar da adadin adadin risposts. Akwai kuma K., masu motsi tare da jeri (jerin canonical), madauwari, ko karkace, K. (canon per tonos), wanda jigon ke daidaitawa, ta yadda a hankali ya ratsa duk maɓallan da'irar ta biyar.

A baya, kawai proposta an rubuta shi a cikin K., a farkon wanda, tare da haruffa na musamman ko na musamman. Bayanin ya nuna lokacin, a cikin wane jerin kuri'u, a wace tazara da kuma wane nau'i ne ya kamata a shiga. Alal misali, a cikin Dufay's Mass "Se la ay pole" an rubuta: "Cresut in triplo et in duplo et pu jacet", wanda ke nufin: "Ya girma sau uku da ninki biyu kuma kamar yadda yake kwance." Kalmar "K." kuma yana nuna irin wannan nuni; kawai a cikin lokaci ya zama sunan form ɗin kanta. A cikin sassan sassan proposta an fitar da su ba tare da c.-l. alamun yanayin shigar da rispost - dole ne a ƙayyade su, "wanda aka zato" ta mai yin. A irin waɗannan lokuta, abin da ake kira. Enigmatic canon, wanda ya ba da damar da dama daban-daban. bambance-bambancen shigarwar risposta, naz. polymorphic.

An kuma yi amfani da wasu ƙarin hadaddun da takamaiman. nau'in K. - K., wanda kawai Dec. sassa na proposta, K. tare da gina risposta daga sauti na proposta, wanda aka tsara a cikin tsarin saukowa na tsawon lokaci, da dai sauransu.

Misalai na farko na chimes mai murya 2 sun samo asali ne tun karni na 12, kuma masu sauti 3 sun koma karni na 13. The "Summer Canon" daga Reading Abbey a Ingila ya samo asali ne daga kimanin 1300, yana nuna babban al'ada na polyphony. A shekara ta 1400 (a ƙarshen zamanin ars nova) K. ya shiga cikin kiɗan al'ada. A farkon karni na 15 akwai K. na farko tare da muryoyin kyauta, K. a cikin karuwa.

Yaren mutanen Holland J. Ciconia da G. Dufay suna amfani da canons a cikin motets, canzones, da kuma wani lokacin a cikin talakawa. A cikin aikin J. Okegem, J. Obrecht, Josquin Despres da mutanen zamaninsu, canonical. fasaha ta kai matsayi mai girma.

X. de Latin. Waƙar karni na 15

Canonical dabara ya kasance muhimmin abu na muses. kerawa 2nd bene. 15 c. kuma ya ba da gudummawa sosai ga ci gaban contrapuntal. gwaninta. Ƙirƙira. fahimtar kiɗa. yiwuwa bambanta. siffofin canons sun jagoranci, musamman, don ƙirƙirar saitin canons. taro dec. marubuta (tare da take Missa ad fugam). A wannan lokacin, ana amfani da nau'in abin da ake kira kusan bace daga baya. daidaitattun canon, inda jigon da ke cikin risposta ya canza idan aka kwatanta da risposta.

Amfanin k. a cikin manyan siffofi a cikin karni na 15. shaida ga cikakken sani game da yiwuwarsa - tare da taimakon K., an sami haɗin kai na bayyana duk muryoyin. Daga baya, canonical dabara na Dutch bai sami ƙarin ci gaba ba. Zuwa ba kasafai ake amfani da shi azaman mai zaman kansa ba. nau'i, dan kadan sau da yawa - a matsayin wani ɓangare na sigar kwaikwayo (Palestrina, O. Lasso, TL de Victoria). Duk da haka, K. ya ba da gudummawa ga haɗin gwiwar ladotonal, yana ƙarfafa mahimmancin mahimmanci na quint na huɗu na gaske da kuma tonal martani a cikin kwaikwayo kyauta. Sanannen ma'anar K. na farko yana nufin con. 15 c. (R. de Pareja, "Musica practica", 1482).

Josquin Despres. Agnus Dei secundum daga taron "L'Homme arme super voces".

A cikin karni na 16th canonical dabara fara rufe a cikin litattafai (G. Zarlino). Duk da haka, k. Hakanan ana bayyana shi da kalmar fuga kuma yana adawa da ra'ayin kwaikwayo, wanda ke nuna rashin daidaiton amfani da kwaikwayi, wato, kwaikwayo na kyauta. Bambance-bambancen ra'ayoyin fugue da canon ya fara ne kawai a cikin rabi na 2. Karni na 17 A zamanin Baroque, sha'awa ga K. yana ɗan ƙaruwa; K. yana shiga ciki. kiɗa, ya zama (musamman a Jamus) mai nuna fasaha na mawaƙa, tun da ya kai ga mafi girma a cikin aikin JS Bach (aiki na canonical na cantus firmus, sassan sonatas da talakawa, bambance-bambancen Goldberg, "Bayyana Kiɗa"). A cikin manyan nau'ikan, kamar yadda a cikin mafi yawan fugues na zamanin Bach da lokuta masu zuwa, canonical. Ana amfani da fasaha sau da yawa a cikin shimfidawa; K. yana aiki a nan azaman nuni mai tattara bayanai na jigon-hoton, ba tare da wasu maƙasudai gabaɗaya ba.

A. Кальдара. "Mu je caocia." 18 ku.

Idan aka kwatanta da JS Bach, ƙwararrun 'yan Viennese suna amfani da K. da ƙasa akai-akai. Mawaƙa na ƙarni na 19 R. Schumann da I. Brahms sun yi ta juye-juye zuwa nau'in k. Wani sha'awa a cikin K. shine halayyar karni na 20 zuwa ma fi girma. (M. Reger, G. Mahler). P. Hindemith da B. Bartok suna amfani da siffofin canonical dangane da sha'awar rinjaye na ka'idar ma'ana, sau da yawa dangane da ra'ayoyin masu ginawa.

Rasha mawaƙan gargajiya ba su nuna sha'awar k. a matsayin tsari mai zaman kansa. yana aiki, amma galibi ana amfani da nau'ikan canonical. kwaikwayo a cikin shimfidar fugues ko polyphonic. bambancin (MI Glinka - fugue daga gabatarwar zuwa "Ivan Susanin"; PI Tchaikovsky - kashi na 3 na quartet na 2). K., ciki har da. m, sau da yawa amfani da ko dai a matsayin hanyar birki, jaddada matakin tashin hankali kai (Glinka - da quartet "Abin da ban mamaki lokacin" daga 1st hoto na 1st mataki na "Ruslan da Lyudmila" Tchaikovsky - duet "Maƙiyi" daga 2nd hoto 2-th mataki na "Eugene Onegin"; Mussorgsky - mawaƙa "Jagora" daga "Boris Godunov"), ko don kwatanta zaman lafiya da kuma "jami'ar" yanayi (AP Borodin - Nocturne daga 2nd quartet; AK Glazunov). - 1 -I da 2nd sassa na 5th symphony; SV Rachmaninov - jinkirin sashi na 1st symphony), ko a cikin nau'i na canonical. jeri, da kuma a cikin K. tare da canza nau'in K. zuwa wani, a matsayin hanyar daɗaɗɗa. karuwa (AK Glazunov - kashi na 3 na wasan kwaikwayo na 4; SI Taneev - kashi na 3 na cantata "Yohanna na Damascus"). Misalai daga 2nd quartet na Borodin da 1st symphony na Rachmaninov suma sun nuna k. waɗanda waɗannan mawaƙa ke amfani da su tare da canza yanayin kwaikwayo. Al'adun Rasha. classics ci gaba a cikin ayyukan owls. mawaƙa.

N. Ya. Myaskovsky da DD Shostakovich suna da canon. siffofin sun samu quite fadi aikace-aikace (Myaskovsky - 1st part na 24th da kuma karshe na 27th symphonies, 2nd part na quartet No. 3; Shostakovich - da stretches na fugues a cikin piano sake zagayowar "24 preludes da fugues" op. 87, 1- I part na 5th symphony, da dai sauransu).

N. Ya. Myaskovsky 3rd quartet, part 2, 3rd bambancin.

Siffofin Canonical ba wai kawai suna nuna babban sassauci ba, suna ba da damar yin amfani da su a cikin kiɗan salo daban-daban, amma kuma suna da wadata sosai a cikin nau'ikan. Rasha da mujiya. Masu bincike (SI Taneev, SS Bogatyrev) sun ba da gudummawar manyan ayyuka akan ka'idar k.

References: 1) Yablonsky V., Pachomius the Serb da hagiographic rubuce-rubucensa, SPB, 1908, M. Skaballanovich, Tolkovy typikon, vol. 2, K., 1913; Ritra JV, Analecta sacra spicilegio Solesmensi, parata, t. 1, Paris, 1876; Wellesz E., Tarihin kiɗan Byzantine da tarihin waƙoƙi, Oxf., 1949, 1961.

2) Taneev S., Rukunan Canon, M., 1929; Bogatyrev S., Canon Biyu, M. - L., 1947; Skrebkov S., Littafin Rubutu na polyphony, M., 1951, 1965, Protopov V., Tarihin polyphony. Rasha gargajiya da kuma Soviet music, M., 1962; nasa, Tarihin polyphony a cikin mafi mahimmancin al'amuransa. Alamar Yammacin Turai, M., 1965; Klauwell, OA, Die historische Entwicklung des musikalischen Kanons, Lpz., 1875 (Diss); Jöde Fr., Der Kanon, Bd 1-3, Wolfenbüttel, 1926; nasa, Vom Geist und Gesicht des Kanons a der Kunst Bachs?, Wolfenbüttel, 1926; Mies R., Der Kanon im mehrstzigen klassischen Werk, “ZfMw”, Jahrg. VIII, 1925/26; Feininger LK, Die Frühgeschichte des Kanons bis Josquin des Prez (um 1500), Emsdetten a W., 1937; Robbins RH, Beiträge zur Geschichte des Kontrapunkts von Zarlino bis Schütz, B., 1938 (Diss); Blankenburg W., Die Bedeutung des Kanons a cikin Bachs Werk, “Bericht über die wissenschaftliche Bachtagung Leipzig, 1950”, Lpz., 1951; Walt JJ van der, Die Kanongestaltung im Werk Palestrinas, Köln, 1956 (Diss.).

HD Uspensky, TP Muller