Karshe |

ital. karshe, daga lat. finis - karshen, ƙarshe

1) Instr. kiɗa - ɓangaren ƙarshe na cyclic. samfur. – sonata-symphony, suite, wani lokacin ma sashe na ƙarshe na zagayowar bambancin. Tare da kowane iri-iri na takamaiman abun ciki da kiɗa. nau'ikan sassa na ƙarshe, yawancin su ma suna da wasu siffofi na gama gari, misali, saurin gudu (sau da yawa mafi sauri a cikin zagayowar), saurin motsi, halayen jama'a, sauƙaƙa da haɓakar waƙoƙi da kari (idan aka kwatanta da na baya). sassa), rondality na tsarin (aƙalla a cikin nau'i na tsari na biyu ko a cikin nau'i na "ƙauna" zuwa rondo, a cikin kalmomin VV Protopopov), wato, abin da ke cikin muses masu tasowa na tarihi. dabarun da ke haifar da jin ƙarshen babban cyclic. aiki.

A cikin sonata-symphony. sake zagayowar, wanda sassansa matakai ne na fasahar akida guda daya. ra'ayi, F., kasancewar matakin da ya haifar, an ba shi da na musamman, yana aiki a cikin tsarin tsarin duka, aikin ma'anar kammalawa, wanda ke ƙayyade ƙudurin wasan kwaikwayo a matsayin babban aiki mai ma'ana na F.. karo, da takamaiman aiki. . ka'idojin kiɗansa. ƙungiyoyin da ke da nufin haɓaka kiɗan. thematics da kiɗa. ci gaban dukan sake zagayowar. Wannan aikin marubucin wasan kwaikwayo na musamman yana sanya sonata-symphony. F. hanyar haɗi mai mahimmanci a cikin zagayowar. samfur. - hanyar haɗi wanda ke nuna zurfin da yanayin halitta na dukan sonata-symphony. ra'ayoyi.

Matsalar sonata-symphony. F. kullum yana jan hankalin mawaƙa. An Serov ya jaddada buƙatun kwayoyin F. ga dukkan zagayowar, wanda ya ɗauki nauyin wasan ƙarshe na Beethoven. BV Asafiev ya danganta matsalar F. zuwa adadin mafi mahimmanci a cikin wasan kwaikwayo. art-ve, musamman nuna ban mamaki da kuma m al'amurran da ke ciki ("na farko ... yadda za a mayar da hankali a karshen, a karshe mataki na symphony, da kwayoyin sakamakon abin da aka ce, da kuma, na biyu, yadda za a kammala da kuma rufe gudanar da tunani da kuma dakatar da motsi a cikin karuwar saurinsa).

Sonata-symphony. F. a cikin babban marubucin wasan kwaikwayo. An kafa ayyuka a cikin ayyukan gargajiya na Viennese. Duk da haka, wasu daga cikin sifofin sa na ɗaiɗaikun sun yi kristal a cikin kiɗan zamanin da ya gabata. Saboda haka, riga a cikin sonata cycles na JS Bach, wani hali irin na alama, thematic. da kuma tonal alakar F. tare da sassan da suka gabata, musamman tare da sashin farko na zagayowar: bin jinkirin waƙoƙi. sashi, F. yana mayar da tasiri na ɓangaren farko ("cibiyar nauyi" na sake zagayowar). Idan aka kwatanta da kashi na farko, Bach's motor F. yana bambanta ta hanyar jigogi masu sauƙi; a cikin F. an dawo da tonality na kashi na 1 (bayan ya rabu da shi a tsakiyar zagayowar); F. na iya ƙunsar haɗin kai na ƙasa da kashi na 1. A lokacin Bach (kuma daga baya, har zuwa farkon Viennese classicism), sonata-cyclic. F. sau da yawa ya fuskanci tasirin zagaye na F. suite - gigi.

A cikin kade-kade na mawakan makarantar Mannheim, wadanda tarihi ke da alaka da wasan kwaikwayo na wasan kwaikwayo da suka gudanar da ayyukan overture, F. a karon farko ya sami ma'ana ta musamman na sashe na musamman na zagayowar, wanda ke da nasa dabi'a ta alama. abun ciki (hotunan bustle, da dai sauransu) da kiɗa na yau da kullun. thematicism kusa da thematicism na wok. F. opera buffa da gigi. Mannheim F., kamar wasan kwaikwayo na wancan lokacin, gabaɗaya suna kusa da nau'ikan yau da kullun, waɗanda suka shafi sauƙin abun ciki da muses. siffofin. Manufar Mannheim symphony. sake zagayowar, ainihin abin da yake shi ne don ƙaddamar da manyan muses. siffofi na jihohi da aka samu a cikin fasahar wancan lokacin, sun ƙaddara duka nau'in nau'in F. da yanayin haɗin ma'anarsa tare da sassan da suka gabata, kusa da suite.

F. Litattafan gargajiya na Viennese sun nuna cikakken canje-canjen da suka faru a cikin muses. art-ve, - sha'awar individualization na sonata-symphony. ra'ayoyi, zuwa giciye-yanke ci gaba da dramaturgy. haɗin kai na sake zagayowar, zuwa ga m ci gaba da fadada arsenal na muses. kudi. A wasan karshe J. Haydn yana ƙara zama tabbatacce a cikin halayensa, yana da alaƙa da yanayin gabaɗaya, motsi na jama'a (har zuwa wani ɗan lokaci da ya rigaya ya zama halayen Mannheim F.), tushen wanda yake cikin fage na ƙarshe na wasan opera na buffa. A yunƙurin ƙaddamar da kiɗan. hotuna, Haydn ya koma ga shirye-shirye (misali, "The Tempest" a cikin F. Symphony No 8), yayi amfani da gidan wasan kwaikwayo. musika (F. Symphony No 77, wanda a baya hoton farauta ne a mataki na 3. Wasan opera nasa mai suna “Fidelity Rewarded”), ya ci gaba da Nar. jigogi - Croatian, Serbian (F. Karimci NoNo 103, 104, 97), wani lokacin yana haifar da masu sauraro a zahiri. ƙungiyoyin hoto (misali, a cikin F. Symphony No. 82 - "Bear, wanda aka jagoranci da kuma nunawa a kusa da ƙauyuka", wanda shine dalilin da ya sa duk wasan kwaikwayo ya karbi sunan "Bear"). Wasan ƙarshe na Haydn yana ƙara ɗaukar haƙiƙanin duniya tare da fifikon ƙa'idar jama'a. Mafi yawan nau'in Haydnian F. ya zama rondo (kuma rondo-sonata), yana hawa zuwa Nar. raye-rayen zagaye da bayyana ra'ayin motsin madauwari. Note. Siffar rondo sonata da ta fara yin crystallized daidai a wasan karshe na Haydn ita ce innation. gamayya na sassan da ke tattare da shi (wani lokaci abin da ake kira. Mr. monothematic ko guda-aljani rondo sonata; duba, alal misali, wasan kwaikwayo No99, 103). Siffar Rondo kuma tana cikin bambance-bambancen da Haydn ke amfani da shi a cikin F. (fp. sonata in E small, Hob. XVI, No 34). Roko zuwa nau'i na bambance-bambancen abu ne mai mahimmanci daga ra'ayi na tarihin sonata-symphony. F., t. saboda wannan nau'i, bisa ga Asafiev, ba ƙasa da nasara fiye da rondo, yana bayyana ƙarshen a matsayin canjin "tunanin" ra'ayi ɗaya ko ji (a cikin nau'ikan bambance-bambancen kiɗa na preclassical a cikin F. cycles sun kasance halayen G. F. Handel; cm. Concerto grosso op. 6 Na 5). Yin amfani da Hayd a cikin F. fugue (quartet ko. 20 No 2, 5, 6, op. 50 No 4), yana ƙunshe da abubuwa na rondality (misali mai ban mamaki shine fugue daga quartet op. 20 No 5) da bambancin, yana farfado da al'adar F. old sonatas da chiesa. Tabbaci Asalin sifofin ƙarshe na Haydn an bayar da su ta hanyar ci gaba na buɗe muses. abu, asali abun da ke ciki. samu (misali 3 reprises a cikin fugue na quartet op. 20 No 5, "bankwana" Adagio a Symphony No 45, inda kayan kida na makada suka yi shiru bi da bi), za su bayyana. amfani da polyphony, ch. arr., A matsayin hanyar ƙirƙirar “banza na ƙarshe” na yau da kullun, farkawa mai daɗi (Symphony No. 103), wani lokacin yana haifar da ra'ayi na al'amuran yau da kullun (wani abu kamar "squabble titi" ko "mummunan jayayya" a cikin ci gaban F. Symphony No99). T. o., a cikin aikin Haydn F. tare da takamaiman hanyoyin haɓaka jigogi. abu ya tashi zuwa matakin sonata allegro na motsi na 1st, ƙirƙirar sonata-symphony. ma'aunin abun da ke ciki. Matsalar hoto-jigo. Hadin kan zagayowar yana yanke hukunci ne ta hanyar Haydn galibi a al'adar magabata. Sabuwar kalma a wannan yanki na V. A. Mozart. Mozart F. gano haɗin kai na sonatas da abubuwan ban dariya, ba kasafai ba don lokacinsu. ra'ayoyi, abun ciki na alama na sake zagayowar - jin daɗin rairayi, alal misali. a cikin g-moll symphony (No 41), baƙin ciki a cikin d-moll quartet (K.-V. 421), jarumi a cikin wasan kwaikwayo "Jupiter". Jigogi na wasan ƙarshe na Mozart sun haɗa da haɗa abubuwan ƙungiyoyin da suka gabata. Mahimmancin fasahar Mozart na innation. gama gari shine cewa a cikin F. Ana tattara guntun waƙoƙi daban-daban waɗanda aka warwatse akan sassan da suka gabata. rera waƙa, waƙoƙi, ƙara ƙara wasu matakai na yanayin, rhythmic. kuma masu jituwa. juya, wanda ba kawai a cikin farko ba, sassauƙan sassa na jigogi masu sauƙin ganewa, amma har ma a ci gaba da ci gaba, ba kawai a cikin babban waƙa ba. muryoyin, amma kuma a cikin masu rakiyar - a cikin kalma, wannan hadadden jigo ne. abubuwa, zuwa-ry, wucewa daga sashe zuwa sashi, yana ƙayyadaddun kalmomin shiga. bayyanar wannan aikin, haɗin kai na "yanayin sauti" (kamar yadda aka bayyana ta V.

A cikin marigayi sonata-symphony. Zagaye na Mozart F. sun kasance na musamman kamar yadda fassarori na gabaɗayan ra'ayoyin hawan keke, waɗanda suke cikin su (dangane da wasan kwaikwayo a cikin g-moll da C-dur, alal misali, TN Livanova ya lura cewa sun fi kowa a cikin su. tsare-tsare fiye da duk sauran wasannin kwaikwayo na karni na 18). Tunanin ci gaba na alama, wanda ya ƙaddara sabon sabon ra'ayi na Mozartian na sake zagayowar, ya bayyana a fili a cikin tsarin F. Za a lura da su. Siffar ita ce jan hankali ga sonata, wanda ke nunawa duka a cikin amfani da ainihin sonata form (symphony in g-moll), rondo-sonata (fp. concerto A-dur, K.-V. 488), da kuma a cikin yanayin “sonata” na musamman a cikin nau'ikan nau'ikan da ba sonata ba, misali. a cikin rondo (flute quartet, K.-V. 285). A cikin samar da F., dangane da ƙarshen zamani na kerawa, babban wuri yana shagaltar da sassan ci gaba, kuma mafi mahimmancin hanyoyin kiɗa-jigo. ci gaba ya zama polyphony, wanda Mozart yayi amfani da shi tare da kyawawan dabi'u (string quintet a g-moll, K.-V. 516, symphony a g-moll, quartet No. 21). Ko da yake fugue mai zaman kansa ne. fom ɗin ba na al'ada ba ne don wasan ƙarshe na Mozart (quartet F-dur, K.-V. 168), takamaiman su. Siffar ita ce hada da fugue (a matsayin mai mulkin, a cikin nau'i mai tarwatsawa) a cikin nau'i na nau'i na homophonic - sonata, rondo sonata (string quintets D-dur, K.-V. 593, Es-dur, K.- V. 164) har zuwa samuwar waƙar wani nau'i ne wanda ke haɗa fasalin fugue da sonata (string quartet G-dur No1, K.-V. 387), nau'in da a tarihi ya juya ya zama mai ban sha'awa sosai (F. fp). Schumann quartet Es-dur op. 47, Reger's string quartet G-dur op.54 No 1). Wani muhimmin fasalin irin wannan nau'in roba a cikin Op. Mozart - ƙungiyar tarwatsa polyphonic. sassan ta hanyar layi ɗaya na ci gaba, ƙoƙari don ƙaddamarwa ("manyan nau'i na polyphonic", kalmar VV Protopopov). Misalin koli na irin wannan shine F. symphony "Jupiter", wanda tsarin sonata (samar da tsarinsa na hulɗar tsakanin sassan) ya haɗa da tsarin hadaddun tsarin haɗin kai tsakanin tarwatsawar polyphonic. abubuwan da suka taso a matsayin ci gaban DOS. sonata tsari jigogi. Kowane layi na jigogi (jigogi na 1st da 2nd na babban ɓangaren, haɗawa da sakandare) yana samun polyphonic ɗin sa. ci gaba-wanda aka gudanar ta hanyar kwaikwayo-canonical. polyphony. Tsarin tsari na thematism ta hanyar sabanin polyphony ya ƙare a cikin coda, inda aka haɗa duka babban jigo a cikin fugato mai duhu biyar. kayan abu da kuma hanyoyin da aka haɗa polyphonic. haɓakawa (haɗin kwaikwayon kwaikwayo da bambancin-jigon polyphony).

A cikin aikin Beethoven, marubucin wasan kwaikwayo. rawar F. ya karu sosai; Tare da waƙarsa ne a cikin ilimin kiɗan sanin mahimmancin F. don sonata-symphony. zagayowar a matsayin "kambi", manufa, sakamako (A. N. Serov), rawar da F. a cikin tsarin ƙirƙira na ƙirƙirar zagayowar (N. L. Fishman, a sakamakon nazarin zane-zane na wasan kwaikwayo na 3, ya zo ga ƙarshe cewa "yawanci a cikin sassan farko na Eroica yana da asalinsa zuwa ƙarshensa"), da kuma buƙatar ƙididdiga. ci gaban ka'idodin cikakken wasan kwaikwayo. abubuwan da aka tsara. A cikin balagagge Op. Beethoven F. sannu a hankali ya zama "cibiyar nauyi" na sake zagayowar, kololuwar sa, wanda duk wani ci gaban da ya gabata ya jagoranci, a wasu lokuta an haɗa shi da ɓangaren da ya gabata (bisa ga ka'idar attacca), tare da shi a cikin rabi na biyu. na sake zagayowar wani nau'i-nau'i mai ban sha'awa. Halin haɓaka bambanci yana haifar da sake fasalin abin da aka yi amfani da shi a cikin F. sifofi, to-rye ya zama jigo kuma a tsarin tsari ya fi monolithic. Don haka, alal misali, nau'in sonata na wasan ƙarshe na Beethoven ya zama halayen ruwa, gogewar iyakoki tsakanin manyan da sassan gefe tare da shigar su. kusanci (feat. sonata No. 23 “Appassionata”), a cikin rondo na ƙarshe an sake farfado da ƙa'idodin tsohon tsari mai duhu ɗaya tare da haɓaka tsakani (fp. Sonata No. 22). , da hali zuwa ga Fusion na sassa ( 3th symphony). A cikin ƙarshen ayyukan Beethoven, ɗayan halayen halayen F. ya zama fugue (cello sonata op. 102 Na 2). Intonac. shirya F. A cikin samarwa ana yin Beethoven duka tare da taimakon melodic-harmonic. haɗi, da abubuwan tunawa da jigogi (fp. sonata No 13), Tauhidi (5th Symphony). Babban mahimmanci shine haɗin tonal-phonic (ka'idar "resonance tonal", kalmar V. AT. Protopov). Organic F. a cikin sake zagayowar, siffarsa a cikin ma'ana. aƙalla saboda tarawa a cikin sassan da suka gabata na abubuwan bambance-bambancen, kamannin rondo, amfani mai amfani da polyphonic. dabarun da ke tantance keɓancewar wani tsari na falsafa, wato e. kasancewar a cikinsa na wasu nau'i na shirin na 2, daya ko wani haɗin kai na ka'idodin gine-gine daban-daban, kuma a wasu lokuta - da zabi na babba. siffofin (sambance-bambance a cikin wasan kwaikwayo na 3rd da 9th). Abin lura ne cewa sikelin sikelin ci gaba yana bayyana a cikin Beethoven ba kawai a cikin F. symphonies, amma kuma a cikin F. Zagayen “chamber” – quartets, sonatas (misali, F. fp. sonatas No 21 - babban rondo tare da haɓakawa da coda, F. fp. sonata No. 29 - Fugue biyu tare da mafi tsananin jigo. ci gaba - "Sarauniyar fugues", a cikin kalmomin F. Buzoni). Ɗaya daga cikin manyan nasarorin Beethoven - F. Siphony na 9. Siffofin da hanyoyin muses da aka gabatar a nan a cikin tsari mai mahimmanci. embodiments na manyan zane-zane. jubilation - undulation na ƙarfin hali na samuwar, haifar da karuwa a cikin ji guda ɗaya, hawansa zuwa apotheosis - fugato biyu, yana bayyana ch. tunani a hade (tare da canji na nau'i) 2 manyan jigogi - "jigogi na farin ciki" da "Hug, miliyoyin"; bambance-bambance, hawa zuwa ma'aurata da alaƙa da aiwatar da waƙar waƙar waƙa, buɗewa sosai cikin yardar kaina, wadatar da ka'idodin fugue, rondo-like, sigar sassa uku mai rikitarwa; gabatarwar kungiyar mawaka, wacce ta wadatar da wasan kwaikwayo. tsari ta hanyar dokokin oratorio abun da ke ciki; wasan kwaikwayo na musamman. manufar F., wanda ya ƙunshi ba kawai bayanin nasarar jarumi ba. halaye (kamar yadda aka saba), amma har ma mataki na bincike mai ban mamaki da ke gabansa da kuma samun "ƙafa" - manyan muses. Batutuwa; cikar tsarin abubuwan da aka tsara. generalizations na F., wanda tam alaka intonational, jituwa, bambance-bambancen, polyphonic, mikewa zuwa gare shi ta cikin dukan symphony. zaren - duk wannan ya ƙayyade mahimmancin tasirin F. 9th symphony to daga baya music kuma an tsara ta da composers na gaba tsara. Mafi kai tsaye. tasirin P. 9th Symphony - a cikin kade-kade na G. Berlioz, F. List, A. Bruckner, G.

A cikin fasahar bayan-Bethoven, akwai hali ga haɗakar kiɗa tare da wallafe-wallafe, wasan kwaikwayo, falsafar, zuwa halayyar halayen muses. hotuna, zuwa individualization na Concepts ƙaddara mai girma iri-iri na musamman abun ciki da tsarin na F. A hada F. tare da baya sassa, tare da jigogi. Tunawa, ka'idodin tauhidi na Liszt da leitmotivity na aiki sun fara taka rawar gani. A cikin kiɗan shirin na mawaƙa Romantic, kayan kida na yanayin wasan kwaikwayo sun bayyana, kama da matakin wasan opera, wanda kuma ya ba da izinin wasan kwaikwayo. cikin jiki ("Romeo da Julia" na Berlioz), wani nau'in "aljani" F.-grotesque ɓullo da ("Faust" shi ne symphony ta Liszt). Ci gaban tunanin tunani farkon ya kawo rayuwa ta musamman F. - "bayan kalma" a cikin FP. sonata b-moll Chopin, mai ban tausayi. F. Adagio lamentoso a cikin wasan kwaikwayo na 6 na Tchaikovsky. Siffofin irin waɗannan ƙayyadaddun jimloli, a matsayin mai mulkin, ba su da al'ada sosai (a cikin wasan kwaikwayo na 6th na Tchaikovsky, alal misali, motsi uku mai sauƙi tare da coda wanda ke gabatar da wani sashi na sonata); tsarin software F. wani lokaci yana ƙarƙashin ikon haske. mãkirci, samar da siffofin kyauta akan babban sikelin (Manfred ta Tchaikovsky). Tafsirin F. a matsayin ma'ana da ma'ana. tsakiyar zagayowar, wanda duka biyun gamammiyar kololuwa da ƙudurin wasan kwaikwayo aka zana. rikici, halayyar wasan kwaikwayo na G. Mahler, wanda ake kira "alamomi na wasan karshe" (P. Becker). Tsarin Mahler's F., yana nuna "manyan ma'auni na samuwar" (a cikin kalmomin Mahler da kansa) na dukan zagayowar, an ƙaddara shi ta hanyar "makirci" na cikin gida da aka tsara na kida wanda ke kunshe da wasan kwaikwayo. tunanin Mahler, kuma sau da yawa yana tasowa zuwa babban bambance-bambancen-strophic. siffofin.

Ma'anar maɓallin ɓangaren zagayowar shine F. a cikin op. DD Shostakovich. Daban-daban a cikin abun ciki (misali, tabbatar da nufin yin yaƙi a cikin wasan kwaikwayo na F. 1st, tattakin jana'izar a cikin F. 4th, tabbatar da kyakkyawan ra'ayi na duniya a cikin F. 5th), dangane da sassan da suka gabata. (a wasu lokuta F., shiga ba tare da katsewa ba, kamar yadda yake a cikin wasan kwaikwayo na 11, da alama ya biyo baya daga dukkanin abubuwan da suka faru a baya, a wasu kuma yana bayyana bangaranci, kamar yadda yake a cikin wasan kwaikwayo na 6th), yana nuna girman girman da'irar. amfani da muses. yana nufin (tauhidi - duka na Beethoven's (5th symphony) da nau'in Liszt (1st symphony), hanyar tunawa da jigogi - ciki har da "Rasha iri-iri", kamar yadda aka yi amfani da shi a cikin PI Tchaikovsky, SI Taneyev, AN Scriabin (coda-apotheosis). a kan canza babban jigo na 1st motsi a cikin F. 7th symphony), a halayyar intonation sprouting, synthesizing ka'idodin JS Bach da Mahler, a cikin siffofin, hanyoyin da duka na gargajiya abun da ke ciki (F. na 6th symphony) da shirin mãkirci (F. F., alal misali, na 4th symphony, "marasa shirye-shirye"), Shostakovich's karshe furci ne na Ch. muqala ra'ayoyin.

2) A cikin kiɗan opera, babban matakin taro wanda ya haɗa da duka opera da ayyukanta na ɗaiɗaikun. Opera F. a matsayin kida mai tasowa cikin sauri. wani gungu wanda ke nuna duk ma'aunin wasan kwaikwayo. ayyuka, ci gaba a cikin 18th karni. a Italiya. opera buffa; F. nata ana yiwa lakabi da "kwallaye", saboda sun tattara babban abun ciki na ban dariya. A cikin irin wannan F., tashin hankali ya ci gaba da ƙaruwa saboda bayyanar sannu a hankali a kan mataki na sababbin haruffa, yana daɗaɗɗa da makirci, kuma ya zo ko dai ga babban fushi da fushi (a cikin F. 1st act - ƙarshen dukan opera, al'ada. biyu-aiki), ko don ƙin yarda (a cikin F. na ƙarshe). Saboda haka, wasan kwaikwayo. kowane sabon lokaci na shirin F. an sadu da sabon lokaci, tonality, da wani ɓangaren jigo. abu; Daga cikin hanyoyin haɗewar F. akwai rufewar tonal da tsarin rondo. Misalin farko na gungu mai ƙarfi F. - a cikin opera "Gwamnan" na N. Logroshino (1747); ƙarin ci gaba na operatic phrasing yana faruwa tare da N. Piccinni (The Good Daughter, 1760), Paisiello (The Miller's Woman, 1788), da D. Cimarosa (Asirin Aure, 1792). Kamiltaccen Classic F. ya samu a cikin operas na Mozart, muses. ci gaba zuwa-rykh, a hankali bin wasan kwaikwayo. mataki, a lokaci guda yana ɗaukar siffar cikakken muses daidai. Tsarin. Mafi hadaddun da "symphonic" a cikin nasu muses. ci gaban ya ƙare. F. operas na Mozart - 2nd d. "Auren Figaro" da 1st d. "Don Giovanni".

Wani sabon nau'in jumlolin wasan kwaikwayo MI Glinka ya ƙirƙira a cikin tafsirin Ivan Susanin; wuri ne mai ban mamaki na jama'a, wanda a cikin abubuwan da ke tattare da bambancin ka'idar ya fi girma; hanyoyin ci gaban symphonic an haɗa su a cikinta tare da halayen halayen gabatarwa da sifofin cikin ƙasa na Rasha. nar. waƙoƙi.

References: Serov AN, Sharhi a kan labarin "Labaran da sanannen mai tunani na zamani (daga wadanda ba mawaka ba) ya yi a kan Beethoven ta tara symphony", "Era", 1864, No 7, sake bugawa. a cikin kari ga art. TN Livanova "Beethoven da Rasha m zargi na XIX karni", a cikin littafin: Beethoven, Sat. st., batu. 2, M., 1972; nasa, Beethoven's Tara Symphony, tsarinsa da ma'anarsa, "Modern Chronicle", 1868, Mayu 12, No 16, iri ɗaya, a cikin littafin: AN Serov, Zaɓaɓɓun Labarai, vol. 1, M.-L. , 1950; Asafiev BV, Tsarin kiɗa azaman tsari, littafi. 1, M., 1930, (littattafai na 1-2), L., 1971; nasa, Symphony, a cikin littafin: Essays on Soviet musical creativeness, vol. 1, M.-L., 1947; Livanova T., Tarihin kiɗa na Yammacin Turai har zuwa 1789, M.-L., 1940; nata, kiɗan Yammacin Turai na ƙarni na XVII-XVIII a yawancin fasaha, M., 1977; Littafin zane-zane na Beethoven na 1802-1803, bincike da fassarar NL Fishman, M., 1962; Protopov Vl., Alkawari na Beethoven, "SM", 1963, No 7; nasa, Tarihin polyphony a cikin mafi mahimmancin al'amuransa, (fitila na 2), M., 1965; nasa, Ka'idodin Beethoven na Form Musical, M., 1970; nasa, A kan nau'in sonata-cyclic a cikin ayyukan Chopin, a cikin Sat: Tambayoyin sigar kiɗa, vol. 2, M., 1972; nasa, Rondo Form a Mozart's Instrumental Works, M., 1978; nasa, Zane-zane daga tarihin nau'ikan kayan aiki na 1979th - farkon ƙarni na 1975, M., 130; Barsova I., Symphonies na Gustav Mahler, M., 3; Tsakher I., Matsalar ƙarshe a cikin B-dur quartet op. 1975 Beethoven, a cikin Sat: Matsalolin Kimiyyar Kiɗa, juzu'i. 1976, M., XNUMX; Sabinina M., Shostakovich-symphonist, M., XNUMX.

TN Dubrovskaya