Dance music |

Kida na rawa - a cikin ma'anar kiɗan gabaɗaya. wani kashi na fasaha na choreography, kiɗa don rakiyar raye-raye (ɗakin wasan ƙwallon ƙafa, al'ada, mataki, da dai sauransu), da kuma nau'in muses da aka samo daga gare ta. samfuran da ba a yi niyya don rawa da samun fasaha masu zaman kansu ba. darajar; a cikin kunkuntar, ƙarin za su yi amfani. hankali - kiɗa mai haske wanda ke tare da shahararrun raye-rayen gida. Ayyukan tsarawa na T. m. ƙayyade mafi na kowa ext. Alamun: rinjaye matsayi metrorhythmic. farkon, da amfani da halayyar rhythmic. samfura, tsabtar ƙa'idodin cadence; Babban aikin metrorhythmics yana ƙayyade fifiko a cikin T. m. ciki nau'o'i (ko da yake ba ya ware waƙa). Daga dukkan rassan kiɗa. fasahar T. m. kuma waƙar tana da alaƙa kai tsaye tare da rayuwar yau da kullun kuma salon yana rinjayar su. Sabili da haka, a cikin abun ciki na alama na T. m., an karya ka'idodin dandano da kayan ado. ka'idojin kowane zamani; a cikin maganganun T. m., bayyanar mutanen da aka ba da lokaci da kuma yanayin halayen su suna nunawa: mai kamewa da girman kai, polonaise mai girman kai, karkatarwa maras kyau, da dai sauransu.

Yawancin masu bincike sun yi imanin cewa waƙar, rawa da sautin su (a kan abin da aka kafa TM kanta) da farko kuma na dogon lokaci ya kasance a cikin syncretic. form a matsayin da'awa guda. Babban fasali na wannan pra-music tare da alaƙa. sahihancin sake gina istorich. ilimin harshe da ke hulɗa da "ilimin ilimin kimiya na kayan tarihi" na harsuna (misali, bayyanannen sauti na wancan zamanin mai nisa - ma'anar rawa da kiɗa da kalma ɗaya a cikin harshen kabilar Indiya ta Botokuds; "waƙa" da "wasa da" hannaye” kalmomi ne masu kama da juna a zamanin d Misira. Lang.), da ethnography, wanda ke nazarin al’ummai, al’adun da suka kasance a matakin farko. Ɗaya daga cikin manyan abubuwan rawa da T. m. shi ne kari. Ma'anar kari shine na halitta, ilimin halitta. asali (numfashi, bugun zuciya), yana ƙaruwa a cikin ayyukan aiki (misali, motsi mai maimaitawa yayin sutura, da sauransu). Hayaniyar ruɗani da ƙungiyoyin ɗaiɗaikun mutane ke samarwa (misali, tattake) shine ainihin ƙa'idar T. m. An taimaka daidaita ƙungiyoyin haɗin gwiwa ta hanyar rhythmic. lafazi - kururuwa, kirari, daɗaɗaɗɗen motsin rai ayyuka guda ɗaya kuma a hankali sun haɓaka cikin waƙa. Saboda haka, asalin T. m. shi ne vocal, kuma na farko kuma mafi mahimmanci muses. Instruments - mafi sauki percussion. Misali, nazarin rayuwar ’yan asalin Ostiraliya ya nuna cewa T.m., dangane da tsayin daka, kusan ya zama hargitsi, an ayyana shi da rhythmically, wasu fasalulluka na rhythmic sun fito fili a cikinsa. dabarun da ke aiki azaman samfuri don haɓakawa, kuma su kansu suna rhythmic. zane-zane suna da samfurori na waje, tun da yake suna da alaƙa da alamar (misali, kwaikwayon tsalle-tsalle na kangaroo).

Duk tushen da ake samu - tatsuniyoyi, almara, hotuna da bayanan archaeological suna ba da shaida ga ɗimbin rarraba raye-raye da raye-rayen gargajiya a kowane lokaci, gami da a cikin ƙasashen Duniya na Tsohuwar. Babu bayanan tsohuwar kiɗan. Duk da haka, hade da bautar T. m. na kasashen Gabas, Afirka, Amurka, kuma har yanzu suna ciyar da al'adun rayuwa na shekaru dubu da suka wuce (alal misali, makarantar gargajiya ta Indiya ta Bharat Natyam, wacce ta kai ga kololuwar riga a cikin karni na 2 BC, an kiyaye ta lafiya. godiya ga Cibiyar Rawar Haikali) kuma yana ba da ra'ayi game da raye-rayen zamanin da. A sauran gabas. raye-rayen wayewa da kiɗa sun kasance na babbar al'umma. da akida. rawar. Akwai nassoshi da yawa game da raye-raye a cikin Littafi Mai Tsarki (misali, a cikin tatsuniyoyi game da Sarki Dauda, ​​wanda shi ne “mai tsalle da rawa”). Kamar kiɗa, rawa sau da yawa ana samun cosmogonic. fassarar (misali, bisa ga tsoffin almara na Indiyawa, allahn Shiva ne ya halicci duniya a lokacin raye-raye na sararin samaniya), fahimtar falsafa mai zurfi (a tsohuwar Indiya, an dauki rawa a matsayin mai bayyana ainihin abubuwa). A daya bangaren kuma, raye-raye da kade-kade na gargajiya a kowane lokaci su ne abin da ya fi mayar da hankali kan sha’awa da batsa; soyayya daya ce daga cikin jigogin raye-rayen dukkan al'umma. Duk da haka, a cikin ƙasashe masu wayewa (misali, a Indiya) wannan bai ci karo da babban ɗabi'ar rawa ba. art-va, tun da ka'idar sha'awa, bisa ga ra'ayoyin falsafar da suka mamaye, wani nau'i ne na bayyana ainihin ruhaniya. Babban ɗabi'a yana da rawa a Dr. Girka, inda aka ga manufar rawa a cikin haɓakawa, haɓakar mutum. Tuni daga zamanin d ¯ a (alal misali, a tsakanin Aztec da Incas), jama'a da ƙwararrun tm sun bambanta - fadar (biki, wasan kwaikwayo) da haikali. Domin wasan kwaikwayo na T. m., mawaƙa na babban prof. an bukata. matakin (yawanci sun tashi tun suna yara, suna samun sana'a ta gado). Misali, ind. makarantar gargajiya. rawa kathak, mawaƙin a zahiri yana jagorantar motsin raye-rayen, yana canza yanayin lokacinsa da kari; Ƙwararriyar ɗan rawa yana ƙaddara ta ikonta na bin kiɗan daidai.

A tsakiyar zamanai. A Turai, da kuma a Rasha, halin kirki na Kirista ba su gane rawa da T. m .; Kiristanci ya ga a cikin su wani nau'i na furci na tushen yanayin ’yan Adam, “shafuwar aljanu.” Duk da haka, ba a lalata raye-rayen ba: duk da haramcin, ya ci gaba da rayuwa a tsakanin mutane da kuma a cikin masu mulki. da'ira. Lokacin farin ciki na zamaninsa shine Renaissance; 'yan adam an bayyana yanayin Renaissance, musamman, a cikin faɗuwar fahimtar rawa.

Bayanan farko da suka tsira na T.m. ya kasance na ƙarshen Tsakiyar Tsakiya (ƙarni na 13). A matsayinka na mai mulki, su ne monophonic, ko da yake a cikin masana tarihi na kiɗa (X. Riemann da sauransu) akwai ra'ayi cewa a cikin wasan kwaikwayo na gaske da karin waƙa da suka zo mana sun kasance kawai a matsayin nau'i na cantus firmus, wanda a kan tushensa. rakiyar muryoyin da aka inganta. Rikodi na farko na burin biyu. T. m. zuwa karni na 15-16. Waɗannan sun haɗa da raye-rayen da aka karɓa a wancan lokacin, ana kiran su choreae (Latin, daga Girkanci xoreiai - raye-rayen zagaye), conviviales saltationes (Latin - feast, raye-rayen tebur), Gesellschaftstänze (Jamus - raye-rayen zamantakewa), raye-raye-raye-raye, ballo , baile (Turanci , Italiyanci, Mutanen Espanya - rawa rawa), danses du salon (Faransa - salon rawa). Fitowar da yaduwa (har zuwa tsakiyar karni na 20) daga cikin shahararrun su a Turai ana iya wakilta ta da wadannan. tebur:

Tarihin tm yana da alaƙa da haɓaka kayan aiki. Yana tare da rawa cewa fitowar otd. kayan aiki da instr. taro. Ba haɗari ba ne, misali. wani bangare na repertoire lute da ya zo mana rawa. yin wasa. Don aikin T.m. halitta na musamman. ensembles, wani lokacin yana da ban sha'awa sosai. masu girma dabam: sauran-masar. wani makada wanda ya raka wasu raye-raye. bikin, wanda aka ƙidaya har zuwa 150 masu yin wasan kwaikwayo (wannan ya yi daidai da babban abin tunawa na fasahar Masar), a cikin rawar Dr. Rome. pantomime kuma ya kasance tare da ƙungiyar makaɗa mai girman girman girma (don cimma maƙasudi na musamman da ke cikin fasahar Romawa). A cikin kayan kaɗe-kaɗe na dā, an yi amfani da kowane irin kayan kida—iska, zare, da kaɗa. Ƙaunar gefen katako, halayyar Gabas. kiɗa, ya haifar da nau'ikan kayan kida da yawa, musamman a rukunin kaɗa. Anyi daga kayan kaɗa daban-daban galibi ana haɗa su zuwa masu zaman kansu. ƙungiyar makaɗa ba tare da sa hannun wasu kayan kida ba (misali, gamelan Indonesiya). Domin busa makada. kayan kida, musamman na Afirka, in babu tsayayyen farar sauti, polyrhythm yana da halaye. T. m. daban-daban rhythmic. ƙirƙira da haske - timbre da damuwa. Bambance-bambancen gaske dangane da yanayi (pentatonic a cikin kiɗan Sinanci, yanayi na musamman a cikin kiɗan Indiya, da sauransu) Afr. da gabas. T. m. rayayye cultivates melodic, sau da yawa microtone ado, wanda shi ma sau da yawa improvised, kazalika da rhythmic. alamu. A cikin monophony da ingantawa bisa hadisai. samfura (sabili da haka in babu marubucin mutum ɗaya) yana da muhimmiyar bambanci tsakanin gabas. T. m. daga wanda ya ci gaba da yawa daga baya a Yamma - polyphonic kuma, bisa manufa, gyarawa. Har yanzu, T. m. da sauri yana amfani da sabbin nasarorin da aka samu a fagen kera kayan aiki (misali, kayan aikin wuta), ƙara ƙarfin lantarki. fasaha. A lokaci guda, an ƙayyade ƙayyadaddun da kanta. ciki sauti yana fassara kai tsaye. tasiri a kan kiɗa. bayyanar da dance da kuma wani lokacin indissolubly merges tare da expressiveness (yana da wuya a yi tunanin Viennese waltz ba tare da kirtani na kirtani, da foxtrot na 20s ba tare da sauti na clarinet da saxophone, da kuma latest raye-raye ne bayan da tsauri. matakin ya kai ga bakin zafi).

Polygonal T. m. homophonic na asali. masu jituwa. hulɗar muryoyin, ƙarfafan awo. lokaci-lokaci, yana taimakawa wajen daidaita motsi a cikin rawa. Polyphony, tare da ruwan sa, blurring na cadences, awo. fuzziness, bisa ka'ida, bai dace da manufar shirya T. m. Yana da dabi'a cewa an kafa homophony na Turai, a tsakanin sauran abubuwa, a cikin raye-raye (riga a cikin 15-16 ƙarni. kuma tun a baya a cikin T. m. hadu da yawa. tsarin homophonic). Waƙar da aka gabatar a cikin T. m. a gaba, mu'amala da wasu. abubuwa na kiɗa. harshe, ya rinjayi samuwar abubuwan da ta tsara. fasali. Don haka, maimaitawar rhythmic. Figures yana ƙayyade rabon kiɗa zuwa motifs na tsayi iri ɗaya. Tsabtace tsarin dalili yana ƙarfafa daidaitattun daidaito (canjin sa na yau da kullun). Ƙarfafawa da jituwa. uniformity yana nuna tsabtar kiɗan. siffofin, bisa ga taro, a matsayin mai mulkin, squareness. (Maganganun fahimtar lokaci-lokaci - cikin kari, waƙa, jituwa, tsari - Bature ne ke gina shi. Sanin kankara zuwa matsayi na ainihin dokar T. m.) Domin a cikin sassan nau'i na muses. kayan yawanci suna kama da juna (kowane sashe yana kama da manufar da ta gabata, yana tsara batun, amma baya haɓaka shi ko haɓaka shi ta hanya mai iyaka). ma'auni), bambanci - bisa ga haɗin kai - an bayyana shi a cikin rabo na dukan sassan: kowannensu yana kawo wani abu wanda ba ya nan ko kuma an bayyana shi da rauni a cikin baya. Tsarin sassan (bayyanannu, rarrabawa, an jadada su ta hanyar madaidaitan madaidaicin) yawanci yayi daidai da ƙananan nau'ikan (lokaci, sauƙi 2-, 3-ɓangare) ko, a cikin misalai na baya, T. m., gabatowa gare su. (An lura akai-akai cewa a cikin raye-raye ne cewa ƙananan nau'ikan Europ. kiɗan gargajiya; na in T. m. An gabatar da batutuwa na ƙarni na 15-16 sau da yawa a cikin wani nau'i mai kama da wani lokaci.) Yawan sassan da ke cikin sifofin T. m. ƙaddara ta hanyar buƙatu na aiki, watau e. tsawon lokacin rawa. Saboda haka, sau da yawa rawa. Siffofin su ne “sarƙoƙi” da suka ƙunshi ƙa’idar da ba ta da iyaka. adadin hanyoyin haɗin gwiwa. Buƙatar guda ɗaya don tsayin tsayi yana tilasta maimaita jigogi. Ma'anar ainihin wannan ƙa'idar ɗaya ce daga cikin ƙayyadaddun ƙayyadaddun tsarin Turai. T. m. - estampi, ko ƙaddamarwa, wanda ya ƙunshi batutuwa da yawa, bayanai tare da ɗan ƙaramin maimaitawa: aa1, bb1, cc1, da sauransu. da dai sauransu. Tare da wasu digressions (misali, tare da maimaita jigo ba nan da nan ba, amma a nesa), ra'ayin "stringing" jigogi kuma ana jin a cikin sauran rawa. siffofin ƙarni na 13-16, alal misali. a cikin irin wannan raye-rayen. guba. waƙoƙi kamar ronda (music. makirci: abaaabab), virele ko ita. ballata (abbba), ballad (aabc), da sauransu. Daga baya, ana yin kwatancen batutuwa bisa ga ka'idar rondo (inda aka saba don T. m. maimaitawa yana samun halayen dawowar DOS akai-akai. jigo) ko tsari mai ban sha'awa mai ban sha'awa 3 (jagora, a fili, daga T. m.), da sauransu. hadaddun nau'ikan hadaddiyar giyar. Har ila yau, al'adar duhu mai yawa tana goyon bayan al'adar hada kananan raye-raye. yana wasa a zagayawa, sau da yawa tare da gabatarwa da codas. Yawan maimaitawa ya ba da gudummawa ga ci gaba a cikin T. m. bambance-bambance, wanda yake daidai da mahimmanci a cikin ƙwararrun kiɗan (misali, passacaglia, chaconne) da jama'a (inda waƙoƙin rawa gajeru ne waƙoƙin waƙa da aka maimaita sau da yawa tare da bambanta, misali. "Kamarinskaya" by Glinka). Siffofin da aka lissafa suna riƙe ƙimar su a cikin T. m. har wa yau. faruwa a cikin T. m. canje-canje suna rinjayar da farko rhythm (a tsawon lokaci, da kuma kaifi da kuma juyayi), jera jituwa (da sauri zama mafi hadaddun) da kuma karin waƙa, yayin da nau'i (tsari, tsarin) yana da m inertia: minuet da cake tafiya tare da cikakken salo. iri-iri iri-iri sun dace a cikin tsarin hadadden tsari mai kashi 3. Wani misali T. m., da gaske ya taso daga manufar da aka yi amfani da shi, Ch. ar. a cikin siffar. Na 20 in. daidaitawa yana ƙaruwa a ƙarƙashin rinjayar abin da ake kira. Mr. al'adun jama'a, babban yanki wanda shine T. m. Yana nufin kashi na ingantawa, wanda aka sake shigar da shi cikin T. m. daga jazz kuma an tsara shi don ba shi sabo da spontaneity, sau da yawa yana haifar da akasin sakamako. Ingantawa, wanda aka yi a mafi yawan lokuta bisa ingantattun ingantattun hanyoyin, ingantattun hanyoyin (kuma a cikin mafi munin misalan, samfuri), a aikace, ya zama na zaɓi, bazuwar cikar tsare-tsaren da aka yarda da su, watau. e. matakin kiɗa. abun ciki. A cikin karni na 20, tare da zuwan kafofin watsa labarai, T. m. ya zama nau'in kiɗan da ya fi yaɗu kuma ya shahara. isk-wa. Mafi kyawun misalai na zamani. T. m., sau da yawa hade da tatsuniyoyi, suna da shakka bayyani kuma suna iya yin tasiri ga muses "high". nau'ikan nau'ikan, wanda aka tabbatar, alal misali, ta hanyar sha'awar mutane da yawa. mawaƙa na ƙarni na 20 don rawa jazz (K. Debussy, M. Ravel, I. F. Stravinsky da sauransu). A cikin T. m. nuna tunanin mutane, ciki har da. h tare da ma'anar zamantakewa ta musamman. Don haka, cin zarafi kai tsaye. Ƙaunar raye-rayen tana buɗe damar da za a dasa a cikin T. m. mashahuri a def. da'ira zarub. matasa na ra'ayin "tawaye ga al'adu".

T. m., yana yin tasiri mai girma akan Dec. nau'o'in raye-rayen da ba na rawa ba, a lokaci guda kuma sun kasance masu rikitarwa saboda nasarorin da suka samu. Manufar "rawa" shine don ba da nau'ikan nau'ikan T. m. tsaya shi kadai. fasaha. ma'ana, da kuma a cikin gabatarwar motsin zuciyarmu. rawa bayyanawa. motsi zuwa kiɗan da ba na rawa ba ta kunna melodic-rhythmic. abubuwa ko metrhythm. kungiyoyi T. m. (sau da yawa a waje da takamaiman nau'in alaƙa, misali. code na wasan karshe na Beethoven's 5th symphony). Iyakokin ra'ayoyin danceability da T. m. dangi; t. Mr. raye-rayen da suka dace (misali, waltzes, mazurkas ta F. Chopin) yana wakiltar yanki inda aka haɗa waɗannan ra'ayoyin, suna wucewa zuwa wani. Solo. Kankara babban ɗakin ƙarni na 16 ya riga ya mallaki ƙima, inda aka zana yanke hukunci ga duk Turai masu zuwa. Prof. kiɗa, ka'idar haɗin kai tare da bambanci (lokaci da rhythmic. bambancin wasan kwaikwayo da aka gina akan jigo ɗaya: pavane - galliard). Matsaloli na siffa da harshe, bambance-bambancen abun da ke ciki na gabaɗayan halayen suite 17 - farkon. 18 cc Daga nan rawar rawa tana shiga cikin sabbin nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau`ikan nau'ikan nau`ikan nau`ikan nau`ikan nau`ikan nau`ikan nau`ikan nau`ikan nau`ikan nau`ikan nau`ikan nau`ikan nau`ikan nau`ikan nau`ikan nau`ikan nau`ikan nau`ikan nau`ikan nau`ikan nau`ikan". Ina G. P. Handel da kuma I. C. Dancer na Bach shine mahimmancin jijiyoyin mutane da yawa, har ma da yawancin al'adun da siffofinsu (alal misali, f-moll suna taro daga crober na gari mai tsananin ƙarfi don solo violin , wasan karshe na Brandenburg Concertos, Gloria No 2 a cikin taro na Bach a h-moll). Rawa, asalin ƙasa da ƙasa, ana iya kiransa kashi na kiɗan mawakan Viennese; Jigogin rawa suna da kyau (sicilian ta V. A. Mozart) ko na gama gari (ta J. Haydn; L. Beethoven, alal misali, a cikin kashi na farko na rondo na ƙarshe na sonata No. 21 "Aurora") - zai iya zama tushen kowane bangare na sake zagayowar (misali, "apotheosis na rawa" - Beethoven's 7th symphony). Cibiyar rawa a cikin wasan kwaikwayo - minuet - shine ma'anar aikace-aikacen fasaha na mawaki a cikin duk abin da ya shafi polyphony (Mozart's c-moll quintet, K.-V. 406, - Canon sau biyu a wurare dabam dabam), nau'i mai rikitarwa (quartet Es-dur Mozart, K.-V. 428, - lokacin farko tare da siffofi na bayyanar sonata; Haydn's sonata A-dur, wanda aka rubuta a 1773, shine sashe na farko, inda kashi na biyu shine rake na 2st), awo. kungiyoyi (quartet op. 54 No 1 na Haydn - tushen rabon mashaya biyar). Minuet na wasan kwaikwayo (symphony g-moll Mozart, K.-V. 550) yana tsammanin son soyayya. waka; Barka da ranar haihuwa. A gefe guda, ta hanyar minuet, raye-raye yana buɗe sabon yanki mai ban sha'awa don kansa - scherzo. Na 19 in. raye-raye na tasowa a ƙarƙashin babban alamar romanticism. wakoki duka a cikin nau'in kankana da kuma a cikin samarwa. manyan siffofin. Wata irin alamar waƙa. dabi'un romanticism shine waltz (fiye da yawa - waltz: 5-buga kashi na biyu na wasan kwaikwayo na 2th na Tchaikovsky). Yaduwa tun daga F. Schubert a matsayin instr. miniature, ya zama dukiya na romance ("A cikin Noisy Ball" na Tchaikovsky) da kuma wasan opera ("La Traviata" na Verdi), ya shiga cikin wasan kwaikwayo.

Sha'awar launi na gida ya haifar da yaɗuwar nat. rawa (mazurka, polonaise - na Chopin, halling - na E. Grieg, furant, polka - a B. Kirim mai tsami). T. m. yana daga cikin halittu. yanayi na bullowa da ci gaban nat. symphonism ("Kamarinskaya" na Glinka, "Slavic Dances" na Dvorak, kuma daga baya - samarwa. owls mawaƙa, misali. "Symphonic Dances" na Rivilis). Na 19 in. Siffar kiɗan da ke da alaƙa da raye-raye tana faɗaɗawa, wanda ya zama mai isa ga soyayya. m ("The violin enchants tare da waƙa" daga Schumann's The Poet's Love cycle), grotesque (ƙarshen Berlioz's Fantastic Symphony), fantasy (Mendelssohn's A Midsummer Night's Dream overture), da dai sauransu. da dai sauransu. Barka da ranar haihuwa. gefe, kai tsaye amfani da Nar. rawa rhythms suna sa kiɗan ya zama nau'i daban-daban, da harshe - dimokuradiyya da samun dama ko da tare da babban jituwa. da kuma polyphonic. hadaddun ("Carmen" da kuma music for wasan kwaikwayo "Arlesian" by Bizet, "Polovtsian Dances" daga opera "Prince Igor" Borodin, "Night on Bald Mountain" na Mussorgsky). halayyar karni na 19. symphonic haduwa. kiɗa da raye-raye sun tafi ta hanyoyi daban-daban. Al'adun gargajiya na Viennese ana jin su sosai a Op. M. DA. Glinka (misali, rashin square na "Waltz-Fantasy", virtuoso contrapuntal. hade a cikin "Polonaise" da "Krakowiak" daga opera "Ivan Susanin"), wanda ya yi na kowa ga Rasha. mawaƙa suna amfani da siphony. dabaru don kiɗan ballet (P. DA. Tchaikovsky A. TO. Glazunov). Na 20 in. T. m. kuma raye-raye suna karɓar rarraba na ban mamaki da aikace-aikacen duniya. In music A. N. Scriabin ya fito ne don tsattsauran ra'ayi mai kyau, wanda mawallafin ya ji kamar flightiness - hoton da ke kasancewa a cikin ayyukan tsakiyar da marigayi lokaci (babban sassa na 4th da 5th sonatas, wasan karshe na 3rd symphony, Kusa valse op. 47 da sauransu); matakin sophistication ya kai ta wurin raye-raye mai ban sha'awa na K. Debussy ("Rawa" don garaya da kirtani. makada). Tare da keɓancewa da yawa (A. Webern) mashawartan karni na 20. sun ga rawa a matsayin hanyar bayyana nau'o'in jihohi da ra'ayoyi daban-daban: babban bala'i na ɗan adam (motsi na 2 na Rachmaninov's Symphonic Dances), caricature mai ban tsoro (motsi na 2 da 3 na Shostakovich's 8th Symphony, polka daga 3rd aiki na opera "Wozzeck" Berg), idyllic. duniyar yara (bangare na 2 na Mahler's 3rd symphony), da sauransu. Na 20 in. Ballet ya zama ɗaya daga cikin manyan nau'ikan kiɗan. art-va, yawancin binciken zamani. an yi kida a cikin tsarin sa (I. F. Stravinsky, S. C. Prokofiev). Jama'a da kuma gida T. m. sun kasance tushen sabuntawar kiɗa koyaushe. harshe; karuwa mai kaifi a cikin metrorhythm. farkon a cikin 20th karni music. ya sanya wannan dogaro a bayyane musamman “lokacin ragi” da Stravinsky's “Black Concerto”, kyakkyawan foxtrot na Teapot da Kofin daga wasan opera “Yara da sihiri” na Ravel. Aikace-aikacen don raye-rayen jama'a zai bayyana. na nufin sabon kiɗa yana ba da fasaha iri-iri kuma yawanci babban fasaha. Sakamako ("Spanish Rhapsody" na Ravel, "Carmma burana" na Orff, pl. op B. Bartoka, "Gayane" ballet, da dai sauransu. samfur. A. DA. Khachaturian; duk da kamanceceniya, hadewar Nar rhythms yana da gamsarwa. raye-raye tare da fasahar dodecaphony a cikin wasan kwaikwayo na 3 na K. Karaev, a cikin "Hotuna shida" don piano. Babajanyana). Na kowa a cikin karni na 20 roko ga tsohon raye-raye (gavotte, rigaudon, minuet by Prokofiev, pavane by Ravel) ya zama mai salo. al'adar neoclassicism (Branle, Sarabande, Galliard a cikin Stravinsky's Agon, Sicilian a Op.

Duba kuma labarin Ballet, Rawa.

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TS Kyuregyan