Gudanarwa |

Gudanarwa (daga dirigieren na Jamus, diriger na Faransa - don jagoranci, gudanarwa, gudanarwa; Turanci) yana ɗaya daga cikin mafi hadaddun nau'ikan fasahar wasan kwaikwayo na kiɗa; gudanar da gungun mawaka (Orchestra, mawaka, gungu, opera ko ballet troupe, da sauransu) a cikin tsarin koyo da kuma nuna wa jama'a na kida da su. aiki. Direktan gudanarwa. Mai gudanarwa yana ba da haɗin kai da fasaha. kamalar aiki, sannan kuma ya yi kokarin isar da fasaharsa ga mawakan da ke karkashinsa. niyya, don bayyana a cikin aiwatar da aiwatar da fassarar su na kerawa. niyyar mawaƙin, fahimtar abin da ke ciki da salo. fasali na wannan samfurin. Tsare-tsaren aikin mai gudanarwa ya dogara ne akan cikakken nazari da kuma mafi inganci, a tsanake na sake fasalin rubutun maki marubucin.

Kodayake fasahar madugu a zamani. fahimtarsa ​​kan yadda suke zaman kansu. nau'in wasan kwaikwayo na kiɗa, wanda aka haɓaka kwanan nan (kwata na biyu na karni na 2), ana iya samo asalinsa daga zamanin da. Ko da a kan bas-reliefs na Masar da Assuriya akwai hotuna na haɗin gwiwar wasan kwaikwayon kiɗa, musamman. akan waka guda. kayan kida, mawaka da dama a karkashin jagorancin wani mutum mai sanda a hannunsa. A farkon matakai na ci gaban al'adun gargajiya na jama'a, wani mawaƙa ya yi rawa - jagora. Ya kafa tsari da jituwa na dalili ("cire sautin"), ya nuna lokaci da kuzari. inuwa. Wani lokaci yakan kirga bugun ta hanyar tafa hannuwa ko buga kafarsa. Makamantan hanyoyin ƙungiyoyin awo tare. wasan kwaikwayo (ƙafafun tafawa, tafa hannuwa, kidan kaɗa) sun tsira zuwa ƙarni na 19. a wasu rukunonin kabilanci. A zamanin da (a Masar, Girka), sannan a cf. karni, gudanar da ƙungiyar mawaƙa (coci) tare da taimakon cheironomy (daga Girkanci xeir - hannu, nomos - doka, mulki) ya yadu. Wannan nau'in raye-rayen ya dogara ne akan tsarin yanayin yanayin (alama) motsi na hannaye da yatsunsu, waɗanda aka goyan bayan daidaitattun. kai da motsin jiki. Yin amfani da su, madugu yana nuna ɗan lokaci, mita, rhythm ga mawaƙa, a gani ya sake fasalin juzu'in waƙar da aka bayar (motsinsa sama ko ƙasa). Har ila yau, motsin da madubin ya yi ya nuna alamar magana kuma, tare da filastik, dole ne ya dace da yanayin kiɗan da ake yi. Rikicin polyphony, bayyanar tsarin haila da haɓakar ork. wasanni sun kara zama dole a bayyana kari. ƙungiya ƙungiya. Tare da cheironomy, sabon hanyar D. yana ɗaukar siffar tare da taimakon "battuta" (sanda; daga Italiyanci battere - don doke, buga, duba Battuta 20), wanda a zahiri ya ƙunshi "buga bugun", sau da yawa sosai. m ("Gudanar da hayaniya") . Ɗaya daga cikin alamun farko masu dogara na amfani da trampoline shine, a fili, fasaha. hoton coci. gungu, dangane da 2. "An yi amfani da surutu" kafin. A Dr. A Girka, shugaban ƙungiyar mawaƙa, lokacin da yake yin bala'i, ya yi alama da sautin ƙafar ƙafarsa, ta yin amfani da takalma da ƙafar ƙarfe don wannan.

A cikin ƙarni na 17 da 18, da zuwan tsarin bass na gama gari, wani mawaƙi ne ya yi ganga wanda ya taka rawar bass na gabaɗaya a cikin garaya ko gaɓa. Mai gudanarwa ya ƙaddara ɗan lokaci ta jerin waƙoƙi, yana mai da hankali kan kari tare da lafazin ko sifofi. Wasu masu gudanar da irin wannan nau'in (misali, JS Bach), ban da kunna gayya ko garaya, suna yin umarni da idanu, kai, yatsa, wani lokaci suna rera waƙa ko buga waƙar da ƙafafu. Tare da wannan hanyar D., hanyar D. tare da taimakon battuta ya ci gaba da wanzuwa. Har zuwa shekara ta 1687, JB Lully ya yi amfani da wani katon katon rake, wanda ya buga kasa da shi, kuma WA Weber ya koma yin "haɗaɗɗen hayaniya" tun farkon ƙarni na 19, inda ya bugi maki da bututun fata cushe. da ulu. Tun da aikin bass general yana iyakance yiwuwar kai tsaye. tasirin jagoran a kan tawagar, daga karni na 18. violin na farko (mai raka) yana ƙara zama mahimmanci. Ya taimaka wa madubin gudanarwar taron da wasan violin, kuma a wasu lokuta yakan daina wasa kuma ya yi amfani da baka a matsayin sanda (battutu). Wannan al'ada ta haifar da bayyanar abin da ake kira. gudanarwa sau biyu: a cikin opera, mawaƙan kaɗe-kaɗe ne ke jagorantar mawaƙa, kuma mai rakiya ne ke sarrafa ƙungiyar makaɗa. Ga waɗannan shugabannin biyu, an ƙara na uku a wani lokaci - ɗan wasan kwaikwayo na farko, wanda ya zauna kusa da madubin garaya kuma ya buga muryar bass a cikin wasan kwaikwayo kamar yadda bayaninsa ya fada, ko kuma mawaƙa wanda ke kula da mawaƙa. Lokacin yin babban wok.-instr. abubuwan da aka tsara, adadin masu gudanarwa a wasu lokuta sun kai biyar.

Daga hawa na 2. A cikin karni na 18, yayin da tsarin bass na gabaɗaya ya bushe, mai gudanar da wasan violin a hankali ya zama shugaban ƙungiyar violin (misali, K. Dittersdorf, J. Haydn, F. Habenek ya gudanar da wannan hanya). An kiyaye wannan hanyar D. na dogon lokaci kuma a cikin karni na 19. a cikin gidan rawa da kuma kade-kade na lambu, cikin kananan raye-raye. halin mawaƙa na jama'a. Mawaƙin ya shahara sosai a duk faɗin duniya, ƙarƙashin jagorancin madugu-violin, marubucin shahararrun waltzes da operettas I. Strauss (ɗan). Wani lokaci ana amfani da irin wannan hanyar D. a cikin wasan kwaikwayon kiɗa na ƙarni na 17 da 18.

Ƙarin ci gaba na symphony. kiɗa, haɓakar ƙarfinsa. bambance-bambancen, fadadawa da rikitarwa na abun da ke ciki na ƙungiyar makaɗa, sha'awar ƙarin furci da haske. Wasan sun dage da neman a saki madugun daga shiga taron jama’a domin ya maida hankalinsa gaba daya wajen jagorantar sauran mawakan. Mai wasan violin-mai rakiya ya rage da rage wuraren shakatawa don kunna kayan aikin sa. Don haka, bayyanar D. a zamaninsa. an shirya fahimta - kawai ya rage don maye gurbin baka mai kula da kide kide da sandar madugu.

Daga cikin masu gudanarwa na farko da suka gabatar da sandar madubin a aikace akwai I. Mosel (1812, Vienna), KM Weber (1817, Dresden), L. Spohr (1817, Frankfurt am Main, 1819, London), da kuma G. Spontini. (1820, Berlin), wanda ya riƙe ta ba a ƙarshe ba, amma a tsakiya, kamar wasu masu gudanarwa waɗanda suka yi amfani da nadi na kiɗa don D..

Manyan madugu na farko da suka yi a garuruwa daban-daban tare da mawakan "kasashen waje" sune G. Berlioz da F. Mendelssohn. Ɗaya daga cikin waɗanda suka kafa D. na zamani (tare da L. Beethoven da G. Berlioz) ya kamata a yi la'akari da R. Wagner. A bin misalin Wagner, madugu, wanda a baya ya tsaya a wurin na’urar wasan bidiyo yana fuskantar ’yan kallo, ya juya mata baya, wanda hakan ya tabbatar da samun cikakkiyar dangantaka ta kirkire-kirkire tsakanin madugu da mawakan makada. Wani fitaccen wuri a cikin masu gudanar da wannan lokacin na F. Liszt. Zuwa 40s na karni na 19. sabuwar hanyar D. an amince da ita a ƙarshe. Bayan ɗan lokaci, na zamani nau'in madugu-masu aikatawa wanda ba ya yin ayyukan tsarawa. Mai gudanarwa na farko, wanda ya lashe wasan kwaikwayo na duniya tare da wasan kwaikwayo na yawon shakatawa. H. von Bülow, wanda aka sani. Matsayin jagora a ƙarshen 19 - farkon. Karni na 20 ya mamaye shi. gudanar da makaranta, wanda wasu fitattun madugu 'yan kasar Hungary ma sun kasance. da kuma ɗan ƙasar Austriya. Waɗannan su ne madugu waɗanda suka kasance ɓangare na abin da ake kira. bayan Wagner biyar - X. Richter, F. Motl, G. Mahler, A. Nikish, F. Weingartner, da kuma K. Muck, R. Strauss. A Faransa, yana nufin mafi. E. Colonne da C. Lamoureux sune wakilai na D. na wannan lokacin. Daga cikin manyan masu gudanarwa na farkon rabin karni na 20th. da shekaru masu zuwa - B. Walter, W. Furtwangler, O. Klemperer, O. Fried, L. Blech (Jamus), A. Toscanini, V. Ferrero (Italiya), P. Monteux, S. Munsch, A. Kluytens (Faransa), A. Zemlinsky, F. Shtidri, E. Kleiber, G. Karajan (Austria), T. Beecham, A. Boult, G. Wood, A. Coates (Ingila), V. Berdyaev, G. Fitelberg ( Poland ), V. Mengelberg (Netherland), L. Bernstein, J. Sell, L. Stokowski, Y. Ormandy, L. Mazel (Amurka), E. Ansermet (Switzerland), D. Mitropoulos (Girka), V, Talich (Czekoslovakia), J. Ferenchik (Hungary), J. Georgescu, J. Enescu (Romania), L. Matachich (Yugoslavia).

a Rasha har zuwa karni na 18. D. yana da alaƙa preim. tare da mawaƙa. kisa. Rubutun gabaɗayan bayanin kula zuwa motsi biyu na hannu, rabin bayanin kula zuwa motsi ɗaya, da sauransu, watau wasu hanyoyin gudanarwa, an riga an faɗi su a cikin NP Diletsky's Musician Grammar (rabin na biyu na karni na 2). Orc na farko na Rasha. Direbobin sun kasance mawaƙa daga mawaƙa. Daga cikinsu ya kamata a mai suna SA Degtyarev, wanda ya jagoranci kungiyar kade-kade na Sheremetev. Shahararrun masu gudanarwa na karni na 17. - 'yan wasan violin da mawaƙa IE Khandoshkin da VA Pashkevich. A farkon matakin ci gaba, Rasha Ayyukan KA Kavos, KF Albrecht (Petersburg), da II Iogannis (Moscow) sun taka muhimmiyar rawa a wasan kwaikwayo. Ya jagoranci ƙungiyar makaɗa kuma a cikin 18-1837 ya jagoranci ƙungiyar Choir na MI Glinka. Mafi yawan masu jagorancin Rasha a fahimtar zamani na fasahar D. (rabin 39 na karni na 2), ya kamata a yi la'akari da MA Balakirev, AG Rubinshtein da NG Rubinshtein - na farko na Rasha. madugu-yi, wanda ba a lokaci guda ya kasance mawaki. Mawaƙa NA Rimsky-Korsakov, PI Tchaikovsky, kuma daga baya AK Glazunov sun yi aiki sosai a matsayin masu gudanarwa. Yana nufin wuri a cikin tarihin Rasha. Da'awar jagoran na EF Napravnik ne. Fitattun masu gudanarwa na ƙarni na gaba na Rasha. Daga cikin mawaƙa akwai VI Safonov, SV Rakhmaninov, da SA Koussevitzky (farkon karni na 19). A cikin farkon shekarun juyin juya hali, furanni na ayyukan NS Golovanov, AM Pazovsky, IV Pribik, SA Samosud, VI Suk. A cikin shekarun kafin juyin juya hali a Petersburg. ɗakin ajiyar ya shahara ga ajin gudanarwa (ga ɗalibai na abun ciki), wanda NN Cherepnin ya jagoranta. Shugabannin farko na masu zaman kansu, ba su da alaƙa da sashen mawaƙa, gudanar da azuzuwan, waɗanda aka kirkira bayan Babban Oktoba. gurguzu. juyin juya hali a Moscow da Leningrad conservatories su ne KS Saradzhev (Moscow), EA Cooper, NA Malko da AV Gauk (Leningrad). A cikin 20, an gudanar da gasa ta farko a Moscow, wanda ya bayyana wasu masu jagoranci masu basira - wakilan matasa na owls. Makarantun D. Wadanda suka lashe gasar sune EA Mravinsky, NG Rakhlin, A. Sh. Melik-Pashaev, KK Ivanov, MI Paverman. Tare da ƙara tashi a cikin kiɗa. al'adu a cikin Jamhuriyar Tarayyar Soviet a cikin manyan mujiya. shugabannin sun hada da wakilan Dec. 'yan ƙasa; conductors NP Anosov, M. Ashrafi, LE Wigner, LM Ginzburg, EM Grikurov, OA Dimitriadi, VA Dranishnikov, VB Dudarova, KP Kondrashin, RV Matsov, ES Mikeladze, IA Musin, VV Nebolsin, NZ Niyazi, AI Orlov, NS Rabinovich, GN Rozhdestvensky, EP Svetlanov, KA Simeonov, MA Tavrizian, VS Tolba, EO Tons, Yu. F. Fayer, BE Khaykin, LP Steinberg, AK Jansons.

Gasar gudanar da gasa ta 2 da ta 3 ta daukacin kungiyar ta zabi gungun masu jagoranci masu hazaka na matasa. Wadanda suka lashe kyautar sune: Yu. Kh. Temirkanov, D. Yu. Tyulin, F. Sh. Mansurov, AS Dmitriev, MD Shostakovich, Yu. I. Simonov (1966), AN Lazarev, VG Nelson (1971).

A fagen choral D., al'adun fitattun malamai wadanda suka fito daga zamanin kafin juyin juya hali. ƙungiyar mawaƙa. makarantu, AD Kastalsky, PG Chesnokov, AV Nikolsky, MG Klimov, NM Danilin, AV Aleksandrov, AV Sveshnikov sun samu nasarar ci gaba da karatun mujiya. Conservatory GA Dmitrievsky, KB Ptitsa, VG Sokolov, AA Yurlov da sauransu. A cikin D., kamar kowane nau'i na kiɗa. yi, nuna matakin ci gaban muses. art-va da aesthetical. ka'idojin wannan zamanin, al'ummomi. muhalli, makarantu, da kuma daidaikun mutane. Halayen hazakar mai gudanarwa, al'adunsa, dandanonsa, son rai, hazakarsa, dabi'unsa, da sauransu. Na zamani. D. yana buƙatar ilimi mai zurfi daga mai gudanarwa a fagen kiɗa. adabi, kafa. kiɗa-ka'idar. horo, high music. baiwa - kunne mai hankali, horo na musamman, kiɗa mai kyau. ƙwaƙwalwar ajiya, ma'anar tsari, rhythm, da kuma mayar da hankali. Sharadin da ake buƙata shine mai gudanarwa yana da manufa mai manufa. Dole ne mai gudanarwa ya zama masanin ilimin halayyar dan adam, yana da baiwar malami-ilimi da wasu basirar kungiya; waɗannan halayen suna da mahimmanci musamman ga masu gudanarwa waɗanda ke dindindin (na dogon lokaci) shugabannin Ph.D. ƙungiyar kiɗa.

Lokacin yin samarwa mai gudanarwa yawanci yana amfani da maki. Koyaya, yawancin masu gudanar da kide-kide na zamani suna gudanar da su ta zuciya, ba tare da maki ko na'ura ba. Wasu kuma, sun yarda cewa madugu ya karanta makin da zuciya ɗaya, sun yi imanin cewa ƙin yarda da daraktan ya ƙi na'urar wasan bidiyo da makin yana cikin yanayin sha'awar da ba dole ba kuma yana karkatar da hankalin masu sauraro daga gunkin da ake yi. Dole ne mai gudanar da wasan opera ya kasance mai ilimi game da al'amuran wok. fasaha, da kuma mallaki wasan kwaikwayo. flair, da ikon jagorantar ci gaban dukan muses a cikin aiwatar da D. na wasan kwaikwayo mataki a matsayin dukan, ba tare da abin da ya gaskiya co-halitta tare da darektan ba zai yiwu ba. Wani nau'i na musamman na D. shine rakiyar mawaƙin soloist (misali, ɗan wasan pian, violinist ko ɗan wasan ƙwallo a lokacin wasan kide-kide tare da makaɗa). A wannan yanayin, mai gudanarwa yana daidaita fasaharsa. niyya tare da yi. niyyar wannan mawaki.

Fasahar D. ta dogara ne akan tsarin motsi na hannu na musamman, na musamman. Fuskar madugu, kallonsa, da yanayin fuskarsa suma suna taka rawa sosai wajen aiwatar da simintin gyare-gyare. Mafi mahimmancin batu a cikin suit-ve D. shine na farko. kalaman (Jamus Auftakt) - wani nau'i na "numfashi", a zahiri da kuma haifar da, a matsayin amsa, sautin mawaƙa, mawaƙa. Yana nufin Wani wuri a cikin fasahar D. an ba da lokaci ga lokaci, watau, zayyana tare da taimakon hannaye da aka ɗagawa metrorhythmic. tsarin kiɗa. Lokaci shine tushen (canvas) na fasaha. D.

Ƙarin tsare-tsare masu rikitarwa na lokaci sun dogara ne akan gyare-gyare da haɗuwa da ƙungiyoyi waɗanda ke yin mafi sauƙi makirci. Hotunan suna nuna motsin hannun dama na madugu. Ƙaƙwalwar ma'auni a cikin dukkanin tsare-tsaren ana nuna su ta hanyar motsi daga sama zuwa kasa. Ƙarshe na ƙarshe - zuwa tsakiya da sama. An nuna bugun na biyu a cikin tsarin 3-buga ta hanyar motsi zuwa dama (daga mai gudanarwa), a cikin tsarin 4-buga - zuwa hagu. An gina motsi na hannun hagu azaman hoton madubi na motsin hannun dama. A cikin aikin D. yana dawwama. yin amfani da irin wannan motsi mai ma'ana na hannaye biyu ba a so. Akasin haka, ikon yin amfani da hannaye biyu ba tare da juna ba yana da matuƙar mahimmanci, tunda al'ada ce a cikin fasahar D. don raba ayyukan hannu. Hannun dama yana nufin preim. don lokaci, hannun hagu yana ba da umarni a fagen haɓakawa, bayyanawa, jimla. A aikace, duk da haka, ayyukan hannaye ba a taɓa iyakancewa sosai ba. Mafi girman ƙwarewar mai gudanarwa, sau da yawa kuma mafi wahala shine haɗin kai na kyauta da saƙa na ayyukan hannu biyu a cikin motsinsa. Ƙungiyoyin manyan masu gudanarwa ba su taɓa zayyana kai tsaye ba: suna da alama suna "yantar da kansu daga makircin", amma a lokaci guda suna ɗaukar abubuwan da suka fi dacewa da shi don fahimta.

Dole ne mai gudanarwa ya sami damar haɗa nau'ikan mawaƙa guda ɗaya yayin aiwatar da ayyukansu, yana jagorantar duk ƙoƙarinsu don cimma shirinsu na aiwatarwa. Dangane da yanayin tasirin tasirin ƙungiyar masu yin wasan kwaikwayo, ana iya raba masu gudanarwa zuwa nau'ikan biyu. Na farko daga cikin su shine "shugaban mulkin kama karya"; ba tare da wani sharadi ba ya karkata mawakan ga nufinsa, nasa. ɗaiɗaikun mutane, wani lokaci suna danne yunƙurinsu ba bisa ka'ida ba. Mai gudanar da wani nau'in sabanin haka baya neman tabbatar da cewa mawakan kungiyar makada sun yi masa biyayya a makance, amma yana kokarin kawo wa mai wasansa gaba. tsara hankalin kowane mai yin wasan kwaikwayo, don burge shi da karatunsa na manufar marubucin. Yawancin masu gudanarwa a cikin Dec. digiri ya haɗu da fasali na nau'ikan biyu.

Hanyar D. ba tare da sanda ba kuma ya zama tartsatsi (wanda Safonov ya fara gabatar da shi a farkon karni na 20). Yana ba da mafi girman 'yanci da bayyana motsin hannun dama, amma, a gefe guda, yana hana su haske da kari. tsabta.

A cikin shekarun 1920 a wasu ƙasashe, an yi ƙoƙarin ƙirƙirar ƙungiyar makaɗa ba tare da madugu ba. Ƙungiya ta dindindin ba tare da madugu ba ta wanzu a Moscow a 1922-32 (duba Persimfans).

Daga farkon shekarun 1950 a cikin ƙasashe da yawa an fara gudanar da su a duniya. gasar madugu. Daga cikin wadanda suka lashe kyautar: K. Abbado, Z. Meta, S. Ozawa, S. Skrovachevsky. Tun 1968 a cikin kasa da kasa gasa hannu mujiya. madugu. Kambun wadanda suka lashe kyautar: Yu.I. Simonov, AM, 1968).

References: Glinsky M., Rubuce-rubuce kan tarihin gudanar da fasaha, "Musical Contemporary", 1916, littafi. 3; Timofeev Yu., Jagora don jagorar mafari , M., 1933, 1935, Bagrinovsky M., Gudanar da fasaha na hannu, M., 1947, Bird K., Maƙasudai kan fasaha na gudanar da mawaƙa, M.-L., 1948; Ayyukan Fasaha na Ƙasashen Waje, vol. 1 (Bruno Walter), M., 1962, no. 2 (W. Furtwangler), 1966, no. 3 (Otto Klemperer), 1967, no. 4 (Bruno Walter), 1969, no. 5 (I. Markevich), 1970, fitowa. 6 (A. Toscanini), 1971; Kanerstein M., Tambayoyin gudanarwa, M., 1965; Pazovsky A., Bayanan kula da jagora, M., 1966; Mysin I., Fasahar Gudanarwa, L., 1967; Kondrashin K., A kan fasahar gudanarwa, L.-M., 1970; Ivanov-Radkevich A., A kan ilimin jagoranci, M., 1973; Berlioz H., Le chef d'Orchestre, théorie de son art, R., 1856 (Fassarar Rasha – Jagoran ƙungiyar makaɗa, M., 1912); Wagner R., Lber das Dirigieren, Lpz., 1870 (Fassarar Rashanci - Kan Gudanarwa, St. Petersburg, 1900); Weingartner F., Lber das Dirigieren, V., 1896 (Fassarar Rashanci - Game da gudanarwa, L., 1927); Schünemann G, Geschichte des Dirigierens, Lpz., 1913, Wiesbaden, 1965; Krebs C., Meister des Taktstocks, B., 1919; Scherchen H., Lehrbuch des Dirigierens, Mainz, 1929; Wood H., Game da gudanarwa, L., 1945 (Fassarar Rashanci - Game da gudanarwa, M., 1958); Ma1ko N., Mai gudanarwa da sandarsa, Kbh., 1950 (Fassarar Rasha - Tushen fasaha na gudanarwa, M.-L., 1965); Herzfeld Fr., Magie des Taktstocks, B., 1953; Münch Ch., Je suis chef d'orchestre, R., 1954 (Fassarar Rasha – Ni shugaba ne, M., 1960), Szendrei A., Dirigierkunde, Lpz., 1956; Bobchevsky V., Izkustvoto a kan jagoran, S., 1958; Jeremias O., Praktické pokyny k dingováni, Praha, 1959 (Fassarar Rashanci - Nasiha mai amfani akan gudanarwa, M., 1964); Вult A., Tunani kan gudanarwa, L., 1963.

E. Ya. Ratser