Hoto |

lat. siffa - hoto, tsari, gabatarwar alama, daga siffa - tsari, tsari, yi ado, canza launi

Ɗaya daga cikin hanyoyin sarrafa kayan kiɗa, godiya ga abin da aka kunna ci gaban rubutu a cikin wani aiki (duba Texture), F. hanya ce ta gama gari kuma mai tasiri don inganta masana'antar kiɗa.

Akwai manyan nau'ikan guda uku F. Melodich. F. a cikin kai daya. da kuma polyphonic. gine-gine na kiɗa. samfur. ya ƙunshi bambance-bambancen canji na melodic. layi ta hanyar rufe babban. sauti. A cikin ɗakin ajiyar homophonic, irin wannan nau'in F. yana bayyana a cikin kunna muryoyin. A wannan yanayin, sauti na alama an ƙaddara ta hanyar dangantaka da babba kuma ana kiran su wucewa, taimako, tsarewa, tashi, cambiates. Harmonic F. motsi ne na jeri ta hanyar sautunan da ke yin maɗaukaki (sautunan da ke kusa da maƙallan maɗaukaki ana amfani da su sosai). Rhythm. F. shi ne rhythmic. dabarar da ke maimaita sauti ko rukuni na sautuna kuma baya canza muses. dabaru na wannan ginin. Waɗannan nau'ikan F. a cikin kiɗa. Yawancin lokaci ana haɗa al'ada, suna ƙirƙirar nau'ikan F., misali. rhythmic-harmonic, melodic-harmonic.

F. an dade ana amfani dashi a cikin kiɗa. yi. A farkon matakai na ci gaban kiɗa. an yi amfani da kararraki daban-daban. iri f. - daga siffa na primitive rhythmic. tsare-tsare da mafi sauƙin kwatancen tushe na modal zuwa ƙima mai rikitarwa. gine-gine - waƙoƙi. A cikin Tsakiyar Tsakiyar Tsakiyar Tsakiyar, an yi amfani da F. a cikin waƙar Gregorian (anniversaries) da kuma a cikin samarwa. troubadours, trouvers da minnesingers. Masanan polyphony sun yi amfani da abubuwa na F. (tsari, ɗagawa, da cambiates), da kuma ƙarin siffofi. gine-gine a cikin sassan ci gaba na polyphonic. siffofin (misali, a cikin ci gaba da kuma interludes na fugues). F. an yi amfani da shi sosai a cikin nau'ikan prelude, chaconne, fantasy, da sarabande. Samfurori na fasahar F. suna ƙunshe a cikin cocin Byzantine. kiɗa da cikin Rashanci. choral ayyuka. Karni na 15-18 A zamanin bass na gama-gari, F. ya zama ruwan dare a cikin aikin gabobin jiki da haɓakar clavier, duk da cewa masana ilimin bass na gama gari a cikin littattafansu ba su mai da hankali kan batutuwan F. kuma sun ba da shawarar cewa F. ana amfani da su a cikin ɗayan muryoyin kawai lokacin da ɗayan ya kasance melodic. motsi ya tsaya. A cikin aikin mawaƙa na Faransanci da Ingilishi. budurwowi F. ya zama daya daga cikin manyan. hanyoyin bunkasa kiɗa. abu a cikin instr. siffofin, inda sukan wakilci tsawo na melismatich. kungiyoyi. A zamanin classicism, F. an yi amfani da su cikin tsari a cikin instr. samfur. (musamman a cikin bambance-bambance - a matsayin hanya mafi mahimmanci na bambancin kayan ado), kuma a cikin wok. (a cikin opera aria da ensembles) duka a cikin kiɗa na duniya da kuma a cikin kiɗan coci (a cikin sassa daban-daban na talakawa, a cikin Rasha - a cikin ayyukan ibada na DS Bortnyansky, MS Berezovsky, da sauransu). A cikin aikin mawaƙa na soyayya, dangane da juyin halittar tunani na modal, ana yawan yin jimlar jumla tare da chromaticism. A cikin da'awar kiɗa ve karni na 20. F. ana amfani dashi a cikin decomp. siffofin, ya danganta da salon mutum ɗaya na mawaki, akan takamaiman fasaha. ayyuka.

References: Catuar G., Tsarin jituwa na ka'idar, sashi na 2, M., 1925; Tyulin Yu., Jagora mai amfani don gabatarwar bincike mai jituwa bisa ga waƙar Bach's chorales, L., 1927; nasa, Daidaituwa cikin ka'idar kiɗa da aiki, L., 1938; nasa, The rukunan na m rubutu da kuma melodic siffa, littafi. 1 - Rubutun kiɗa, M., 1976, littafi. 2 - Alamar Melodic, M., 1977; Rudolf L., Harmony, Baku, 1938; Mazel L., Ya waƙa, M., 1952; Karastoyanov A., Polyphonic jituwa, M., 1964; Uspensky H., Tsohuwar fasahar waƙa ta Rasha, M., 1965, 1971; Kurth E., Grundlagen des linearen Kontrapunkts..., Bern, 1917, B., 1922 Tosh E., Melodielehre, V., 1931 (Fassarar Rashanci - Toh E., Koyarwa game da waƙa, M., 1923); Schmitz H.-P., Die Kunst der Verzierung im 1928 Jahrhundert Instrumentale und vokale Musizierpraxis a Beispielen, Kassel, 18; Ferand E., Die Improvisation in Beispielen aus neuen Jahrhunderten abendlandischer Musik Mit einer geschichtlichen Einführung, Köln, 1955; Szabolcsi B., A meludia türténete Vazlatok a zenei stilus m'ltjbbul 1956 kiadbs, Bdpst, 2 (Fassarar Turanci - Tarihin waƙa, NY, 1957); Apel W., Gregorian Chant, Bloomington, (Indianapolis), 1965; Ghominski J., Tarihi harmonii i kontrapunktu, t. 1958, Kr., 1, Paccagnella E., La formazione del languaggio musicale, pt. 1958. Il canto gregoriano, Roma, 1; Wellesz E., Gina Melody a cikin waƙar Byzantine, Belgrade-Ochride, 1961; Mendelsohn A., Melodia si arta onvesmontarn ei, Buc., 1961; Arnold R., Fasahar haɗin gwiwa daga babban bass, kamar yadda aka yi a cikin 1963th da 1th ƙarni, v. 2-1965, NY, XNUMX.

EV Gertzman