Consonance |
Harshen Faransanci, daga lat. consonantia - ci gaba, sautin baƙar fata, haɗin kai, jituwa
Haɗewa cikin fahimtar sautunan sauti lokaci guda, da kuma haɗakarwa, an gane azaman haɗuwar sautunan. Manufar K. ya saba wa ra'ayin dissonance. K. ya haɗa da tsantsar prima, octave, biyar, huɗu, manya da ƙanana uku da shida (tsarki na huɗu, wanda aka ɗauka dangane da bass, ana fassara shi azaman dissonance) da waƙoƙin da suka ƙunshi waɗannan tazara ba tare da sa hannun waɗanda ba su da tushe (manfi da ƙanana). triads tare da roko). Bambanci tsakanin K. da dissonance ana la'akari da su a cikin bangarori 4: lissafi., jiki. (acoustic), m da physiological da muz.-psychological.
A lissafin, K. dangantaka ce mafi sauƙi ta lambobi fiye da dissonance (mafi tsohuwar mahangar ra'ayi na Pythagoreans). Misali, tazara ta yanayi ana siffanta ta da ma'auni masu zuwa na lambobi na girgiza ko tsayin kirtani: tsantsar prima – 1:1, tsantsar octave – 1:2, tsantsar ta biyar – 2:3, tsantsar ta huɗu – 3:4, babba na shida – 3 :5, babba na uku shine 4:5, ƙarami na uku shine 5:6, ƙaramin na shida shine 5:8. Acoustically, K. shine irin wannan sauti na sautunan, tare da Krom (a cewar G. Helmholtz) overtones ba sa haifar da bugun jini ko bugun da aka ji rauni, ya bambanta da dissonances tare da karfin su. Daga wadannan mahangar, bambamcin da ke tsakanin daidaituwa da rashin fahimtar juna yana da adadi ne kawai, kuma iyakar da ke tsakaninsu ta sabani ce. A matsayin kida-physiological sabon abu na K. sauti ne mai kwantar da hankali, mai laushi, mai jin dadi yana aiki a kan cibiyoyin jijiya na mai ganewa. A cewar G. Helmholtz, K. yana ba da "kyakkyawan nau'in tausasawa da haɓakar jijiyoyi masu ji."
Don jituwa a cikin kiɗan polyphonic, sassauci mai sauƙi daga dissonance zuwa K. kamar yadda ƙudurinsa yana da mahimmanci musamman. Fitar da tashin hankali da ke tattare da wannan sauyi yana ba da jin daɗi na musamman. Wannan yana ɗaya daga cikin mafi ƙarfin magana. nufin jituwa, kiɗa. Canje-canje na lokaci-lokaci na haɓakar dissonant da koma bayan rikice-rikice na masu jituwa. irin ƙarfin lantarki, kamar yadda yake, “harmonic. numfashi” na kida, wani sashi kama da wasu halittu. rhythms (systole da diastole a cikin contractions na zuciya, da sauransu).
A kide-kide da tunani, jituwa, idan aka kwatanta da dissonance, nuni ne na kwanciyar hankali, zaman lafiya, rashin buri, tashin hankali, da ƙuduri na gravitation; a cikin tsarin tsarin ƙananan ƙananan ƙananan ƙananan, bambanci tsakanin K. da dissonance yana da inganci, ya kai matsayi na adawa mai mahimmanci, bambanci, kuma yana da nasa ainihi. darajar kyan gani.
Matsalar K. ita ce muhimmin sashi na farko na ka'idar kiɗa, game da koyaswar tazara, halaye, muses. tsarin, kayan kida, da kuma koyaswar ɗakunan ajiya na polyphonic (a cikin ma'anar ma'ana - counterpoint), ƙwanƙwasa, jituwa, a ƙarshe har zuwa tarihin kiɗa. Lokacin tarihin juyin halitta na kiɗa (wanda ya shafi kimanin shekaru 2800), tare da dukan rikitarwa, har yanzu ana iya fahimtar shi a matsayin wani abu mai mahimmanci, a matsayin ci gaba na dabi'a na muses. sani, daya daga cikin mahimman ra'ayoyin wanda koyaushe shine ra'ayin goyon baya mara girgiza - ginshiƙan ɓangarorin muses. Tsarin. Prehistory na K. a cikin kiɗa shine muses. ƙware da rabo na prima 1: 1 a cikin hanyar komawa ga sauti (ko zuwa biyu, sautuka uku), an fahimce shi a matsayin ainihi daidai da kansa (saɓanin kyalkyali na asali, nau'in sautin sauti na gabanin magana. ). Dangantakar da K. 1:1, ƙa’idar jituwa ta tabbata. Mataki na gaba a cikin ƙwarewar k. shi ne shigar da na huɗu 4:3 da na biyar 3:2, da na huɗu, a matsayin ƙarami tazara, a tarihi ya riga na biyar, wanda ya fi sauƙi a cikin sharuddan acoustics (abin da ake kira zamanin na hudu). Quart, quint da octave da ke tasowa daga gare su sun zama masu kula da ƙirƙirar yanayi, suna sarrafa motsin waƙa. Wannan mataki na ci gaban K. yana wakiltar, alal misali, fasahar kayan gargajiya. Girka (misali misali shine Skoliya Seikila, karni na farko BC). A farkon tsakiyar zamanai (farawa a cikin karni na tara), nau'ikan polyphonic sun taso (organum, gimel, da fauburdon), inda tsohon tarwatsawa a cikin nau'ikan lokaci ya zama lokaci guda (daidaitacce organum a cikin Musica enchiriadis, c. karni na 1). A zamanin marigayi tsakiyar zamanai, ci gaban kashi uku da na shida (9: 9, 5: 4, 6: 5, 5: 3) ya fara kamar yadda K.; in Nar. kiɗa (misali, a Ingila, Scotland), wannan canjin ya faru, a fili, a baya a cikin ƙwararrun ƙwararrun majami'u, mafi haɗin gwiwa. al'ada. Cin nasara na Renaissance (ƙarni na 8-5) - amincewar duniya na uku da shida kamar K.; sannu-sannu na ciki sake tsarawa a matsayin melodic. nau'ikan, da duk rubutun polyphonic; inganta baƙar fata triad a matsayin babban abin da ya dace. nau'in consonance. Zamani na zamani (ƙarni na 14-16) - mafi girman furanni na hadaddun sautin sauti guda uku (K. ana fahimtar shi da farko azaman haɗaɗɗen baƙar fata triad, kuma ba azaman ƙungiyar baƙar fata biyu ba). Daga con. Karni na 17 a Turai dissonance yana ƙara zama mahimmanci a cikin kiɗa; da kaifi, ƙarfi, haske na sautin na ƙarshen, babban sarƙaƙƙiyar sauti mai kama da shi, ya zama kaddarorin, kyawun abin da ya canza dangantakar da ta gabata tsakanin K. da rashin fahimta.
Sanin ka'idar farko ta K. Antich ne ya gabatar da shi. masu ilimin kida. Makarantar Pythagorean (ƙarni na 6-4th BC) ya kafa tsarin rabe-rabe, wanda gaba ɗaya ya kasance har zuwa ƙarshen zamanin da kuma yana da tasiri a tsakiyar zamanai na dogon lokaci. Turai (ta hanyar Boethius). A cewar Pythagoreans, K. ita ce dangantakar lambobi mafi sauƙi. Nuna irin kidan Girkanci. Aiki, Pythagoreans sun kafa "alamomi" guda 6 (lit. – “consonances”, watau K.): kwata, na biyar, octave da maimaitawar su octave. Duk sauran tazara an rarraba su azaman “diaphonies” (dissonances), gami da. kashi uku da shida. K. an barata ta hanyar lissafi (ta rabon tsayin kirtani akan monochord). Dr. ra'ayi na K. Ya fito ne daga Aristoxenus da makarantarsa, waɗanda suka yi jayayya cewa K. hali ne mai daɗi. Dukan gargajiya. ra'ayoyi da gaske suna haɗa juna, suna aza harsashi na zahiri da lissafi. da kiɗa-psychological. rassan ka'idar. ilimin kida. Masu nazari na farko na tsakiyar zamanai sun raba ra'ayoyin mutanen da. Sai kawai a cikin karni na 13, a ƙarshen Tsakiyar Tsakiyar Tsakiyar Tsakiyar Tsakiyar Tsakiyar Tsakiyar Tsakiyar Tsakiyar Tsakiyar Tsakiyar Tsakiyar Tsakiyar Kimiyya ta farko ta rubuta consonance na uku (concordantia imperfecta na Johannes de Garlandia dattijo da Franco na Cologne). Wannan iyaka tsakanin baƙaƙe (ba da daɗewa ba an haɗa kashi shida a cikinsu) da rashin fahimta a ka'ida an kiyaye shi a ka'ida har zuwa lokacinmu. Triad a matsayin nau'in triad an ci nasara a hankali ta hanyar ka'idar kiɗa (haɗin cikakkiyar triads mara kyau da W. Odington, c. 1300; Amincewa da triads a matsayin nau'in haɗin kai na musamman ta Tsarlino, 1558). Daidaita fassarar triads kamar k. ana ba da shi kawai a cikin koyarwar jituwar sabon lokaci (inda k. na chords ya maye gurbin tsohon k. na tazara). J. F. Rameau shine farkon wanda ya ba da cikakkiyar hujja ga triad-K. a matsayin tushe na kiɗa. Bisa ga ka'idar aiki (M. Hauptmann, G. Helmholtz, X. Riemann), K. yana da sharadi ta yanayi. Dokokin haɗa sautuna da yawa cikin haɗin kai, kuma nau'i biyu kawai na consonance (Klang) mai yiwuwa ne: 1) babba. sautin, babba na biyar da babba babba na uku (manyan triad) da 2) babba. sautin, ƙananan na biyar da ƙananan babba na uku (ƙananan triad). Sautunan babban ko ƙarami triad sun zama K. kawai lokacin da ake tunanin su na ma'amala ɗaya ne - ko dai T, ko D, ko S. Acoustically consonant, amma na ga daban-daban consonances sautuna (misali, d1 – f1 a C-dur) , a cewar Riemann, ya ƙunshi kawai "hasken hasashe" (a nan, tare da cikakken tsabta, da sabawa tsakanin jiki da physiological fannoni na K. , a gefe guda kuma, da hankali, a daya, ya bayyana). Mn. masu ilimin tauhidi na karni na 20, suna nuna zamani. su musanya. yi, canjawa wuri zuwa dissonance mafi muhimmanci ayyuka na art - da hakkin na free (ba tare da shiri da izini) aikace-aikace, da ikon kammala ginin da dukan aikin. A. Schoenberg ya tabbatar da alaƙar iyaka tsakanin K. da dissonance; Irin wannan ra'ayin da P. Hindemith B. L. Yavorsky na daya daga cikin na farko da suka musanta wannan iyaka. B. V. Asafiev ya soki bambanci tsakanin K.
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Yu. N. Kholopov
