Dissonance |

Dissonance (dissonance na Faransanci, daga Latin dissono - Ina sauti daga sauti) - sautin sautunan da "ba su haɗawa" da juna ba (kada a gane su tare da dissonance a matsayin sauti mai kyau wanda ba a yarda da shi ba, wato, tare da cacophony). Ma'anar "D." amfani da adawa da baƙon baki. D. sun hada da manya da kanana da dakiku da na bakwai, tritone, da sauran ma'ana. da rage tazara, haka kuma duk maƙallan da suka haɗa da aƙalla ɗaya daga cikin waɗannan tazarar. Tsantsar ta huɗu - cikakkiyar cikakkiyar magana - ana fassara shi azaman rashin daidaituwa idan an sanya ƙananan sautinsa a cikin bass.

Bambanci tsakanin consonance da D. ana la'akari da shi a cikin bangarori 4: lissafi, jiki (acoustic), physiological, da musical-psychological. Daga mahangar ilimin lissafi D. shine mafi hadaddun rabon lambobi (vibration, tsayin sautin sauti) fiye da karɓuwa. Misali, daga cikin dukkan ma'anar, ƙaramin na uku yana da mafi hadaddun rabon lambobi na girgiza (5:6), amma kowane ɗayan D. ya fi rikitarwa (ƙaramin na bakwai shine 5:9 ko 9:16, babba. na biyu shine 8:9 ko 9:10, da sauransu). Acoustically, dissonance aka bayyana a cikin wani karuwa a cikin lokuta na akai-akai maimaita kungiyoyin na vibrations (misali, tare da tsarki na biyar na 3: 2, maimaita faruwa bayan 2 vibrations, kuma tare da karamin bakwai - 16: 9 - bayan 9). haka kuma a cikin mawuyacin hali na ciki. dangantaka a cikin rukuni. Daga wadannan mahangar, bambamcin da ke tsakanin furuci da dissonance adadi ne kawai (kazalika tsakanin tsaka-tsaki daban-daban), kuma iyakar da ke tsakaninsu tana da sharadi ne. Daga ra'ayi na kiɗa D. ilimin halin dan Adam idan aka kwatanta da consonance - sautin ya fi tsanani, rashin kwanciyar hankali, bayyana fata, motsi. A cikin tsarin tsarin Turai na Tsakiyar Tsakiya da Renaissance, musamman a cikin funkts na baya. tsarin manyan da ƙananan, halaye. Bambance-bambancen da ke tsakanin yarda da kuzari ya kai matakin adawa, da bambanci, kuma ya zama ɗaya daga cikin ginshiƙan muses. tunani. Yanayin ƙaramar sautin D. dangane da haɗin kai an bayyana shi a cikin canjin yanayi na D. (ƙudurinsa) zuwa cikin madaidaicin magana.

Musanya. A koyaushe yin la'akari da bambanci a cikin kaddarorin consonance da D. Har zuwa karni na 17. D. aka yi amfani da, a matsayin mai mulkin, a karkashin yanayin da cikakken biyayya ga consonance - daidai shirye-shirye da ƙuduri (wannan ya shafi musamman ga abin da ake kira polyphony na "tsattsauran rubutu" na 15th-16th ƙarni). A cikin 17-19 ƙarni. mulkin dai izini ne kawai D. Daga ƙarshen karni na 19. kuma musamman a karni na 20. D. yana ƙara amfani da kansa-ba tare da shiri ba kuma ba tare da izini ba ("yanto" na D.). Ana iya fahimtar haramcin octave ninki biyu a cikin dodecaphony azaman haramcin sautukan dissonant sau biyu a cikin yanayin ci gaba da dissonance.

Проблема Д. ya kasance koyaushe ɗaya daga cikin tsakiya a cikin muses. ka'ida. Masu ilimin tunanin farko na tsakiyar zamanai sun ari tsoffin tunani game da D. (sun haɗa ba kawai daƙiƙa da bakwai ba, amma har na uku da shida). Ko da Franco na Cologne (ƙarni na 13) ya shiga cikin rukunin D. manya da ƙanana shida (" ajizai D."). A cikin kiɗa. Ka'idojin ƙarshen Tsakiyar Tsakiya (ƙarni na 12-13) na uku da na shida sun daina ɗaukar D. и перешли в разряд консонансов («несовершенных»). A cikin rukunan counterpoint "rubutu mai tsauri" 15-16 ƙarni. D. ana la'akari da shi azaman canji daga wannan baƙon zuwa wani, haka kuma, mai gefe guda. ana kula da baƙar fata azaman haɗuwa na tsaka-tsakin tsaka-tsaki (punctus contra punctum); kwata kwata dangane da ƙaramar murya ana ɗaukar D. A gefen nauyi na D. ana fassara shi azaman tsarewar da aka shirya, akan huhu - azaman wucewa ko mataimaki. sauti (kamar cambiata). Tun daga karshen 16 in. ka'idar ta tabbatar da sabon fahimtar D. yadda na musamman don bayyanawa. yana nufin (kuma ba wai kawai hanyar inuwa da “zaƙi” na consonance ba). AT. Galili ("Il primo libro della prattica del contrapunto", 1588-1591) yana ba da damar gabatarwar da ba a shirya ba ta D. A zamanin chord-harmonics. tunani (ƙarni na 17-19), sabon ra'ayi na D. Banbanci D. chordal (diatonic, wadanda ba diatonic) kuma an samo su daga haɗuwa da sautunan da ba su da sauti tare da sautunan murya. A cewar func. ka'idar jituwa (M. Gauptman, G. Helmholtz, X. Риман), Д. akwai "ketare haddi" (Riemann). Ana la'akari da kowane haɗin sauti daga ra'ayi na ɗaya daga cikin "haɗin kai" na halitta guda biyu - babba ko ƙarami mai ma'ana da shi; a cikin tonality - daga ra'ayi na asali guda uku. triads - T, D da S. Misali, maƙarƙashiyar d1-f1-a1-c2 a cikin C-dur ta ƙunshi sautuna guda uku na triad mai ƙasa (f1-a1-c2) da ƙarar sautin d1. Всякий не входящий в состав данного осн. sautin triad shine D. Daga wannan ra'ayi, ana iya samun sautunan da ba su da ƙarfi kuma a cikin baƙaƙen baƙar magana ("maganin ra'ayi" bisa ga Riemann, misali: d1-f1-a1 a cikin C-dur). A cikin kowane sauti mai ninki biyu, ba duka tazara ba ta rabu, amma kawai sautin da ba a haɗa shi cikin ɗaya daga cikin tushe ba. triads (misali, a cikin d1-c2 na bakwai a cikin S C-dur yana dissonates d1, kuma a cikin D – c2; na biyar e1 – h1 zai zama hatsabibin hasashe a cikin C-dur, tunda ko dai h1 ko e1 zasu zama D. - a cikin T ko D a cikin C-dur). Yawancin masana ilimin tunani na karni na 20 sun amince da cikakken 'yancin kai na D. B. L. Yavorsky yarda da wanzuwar dissonant tonic, D. как устоя лада (по Яворскому, обычай завершать произведение консонирующим созвучием — «схоластичическескес ). A. Schoenberg ya ƙaryata game da bambanci tsakanin D. da consonance kuma aka kira D. m consonances; daga wannan ya zare yiwuwar yin amfani da ƙwararrun maɗaukakiyar tertsiya a matsayin masu zaman kansu. Free amfani da kowane D. iya a cikin P. Hindemith, ko da yake ya ƙulla sharuɗɗa da dama; Bambanci tsakanin consonance da D., a cewar Hindemith, shi ma yana da ƙima, a hankali baƙon ya juya zuwa D. Dangantakar D. da consonance, mai mahimmanci sake tunani a cikin zamani. music, Soviet musicologists B. AT. Asafiev, Yu.

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Yu. H. Kholopov