Salon Kyauta |

Salon kyauta, rubutu kyauta

nope free motsi, jituwa counterpoint

1) Ma'anar da ta haɗu a cikin tarihin dukan polyphony, kiɗa (duba Polyphony) decomp. m kwatance, wanda ya maye gurbin m style - da polyphony na High Renaissance. A cikin ilimin kiɗa na 19-farko. Karni na 20 kalmar “S. Da." An ƙaddara polyphonic. kara 17 - ser. Karni na 18; zuwa farkon karni na 20 mafi fa'idar fassarar kalmar “S. s”, wanda a yanzu yana nuna duk abubuwan da suka faru a cikin sautin murya tun farkon karni na 17. har zuwa yanzu.

Amincewa da ƙa'idodin S. tare da. a cikin karni na 17 ya kasance yana da alaƙa da babban juyi a cikin ci gaban gabaɗayan Yammacin Turai. shari'ar da ta haifar da yawan tarihi. dalilai (duba Baroque, Renaissance). Wani sabon tsarin siffa na kiɗa yana ɗaukar tsari: mawaƙa sun gano yuwuwar sa marasa iyaka a cikin sigar ciki. duniyar mutum. Ba shi yiwuwa a ba da takamaiman tarihin lokaci. iyaka tsakanin zamanin S. s. da salo mai tsauri. S. s. an shirya shi ta hanyar nasarorin tsofaffin wok masters. polyphony, da wasu halittunsa. fasali (misali, fifikon manya da ƙanana, sha'awar kiɗan instr.) ana samun su a da yawa. samfur. m salo. A daya bangaren kuma, malaman S. s. yi amfani da gogewa da dabarun magabata (misali, dabarar kwaikwayo, rikitacciyar maƙasudi, hanyoyin canza kayan jigo). T. o., S. s. ba ya soke tsattsauran salon, amma yana ɗaukar shi, yana canza polyphony na ƙarni na 15-16. bisa ga art. ayyuka na lokaci.

S. s. ya bayyana tarihinsa. 'yancin kai da farko azaman polyphony na kayan aiki. Ko da yake na ɗan lokaci a cikin instr. samfur. dogara ga tsarin mawaƙa ya kasance (wanda aka sani, alal misali, a cikin nau'ikan ayyukan gabobin J. Sweelinka), mawaƙa sun fara amfani da kiɗan da suka gano. damar kayan aiki. Free instr kashi yana ƙayyade ƙa'idar muses. Jawabin J. Frescobaldi a fugues don cembalos, ya riga ya kayyade pathos na baka na gabobin op. D. Buxtehude, ana iya gane shi cikin sauƙi a cikin filastik na musamman na kide-kiden A. Vivaldi. Mafi girman maƙasudin haɓakawa na polyphonic. instrumentalism 17-18 ƙarni. ya kai a cikin ayyukan JS Bach - a cikin Op. don solo violin kuma tare da clavier, a cikin fugues na Clavier mai tsananin zafin rai (juzu'i na 1, 1722, juzu'i 2, 1744), waɗanda suke da ban mamaki game da bayyanar polyphony, yuwuwar kayan aikin. A cikin aikin malaman S. s. wok. an wadatar da hanyoyin magana a ƙarƙashin tasirin kayan aiki; saboda haka salon irin wannan, misali, op. kamar yadda Gloria (No 4), Sanctus (No 20) ko Agnus Dei (No 23) a cikin Bach ta taro a h-moll, inda wok. jam'iyyun, bisa ka'ida, ba su bambanta da kayan aiki ba, ana kiran su wok.-instrumental.

Siffar S. s. da farko yana ƙayyade waƙar. Zuwa ga mawakan mawaƙa na tsattsauran rubuce-rubuce, ƙarar sautin waƙoƙin ya iyakance ta kewayon ƙungiyar mawaƙa. kuri'u; waƙoƙin waƙa, waɗanda aka ba da oda kuma ba su da fa'ida, sun ƙunshi jumloli masu ɓarna. tsayi; Ma'aunin aikin su ya mamaye motsi mai santsi tare da matakan diatonic. ma'auni, lokacin da sautin ya zama kamar ya mamaye wani zuwa wani. Sabanin haka, a cikin wakokin S. s. (duka a cikin fugues da kuma a cikin nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan sautin fugue) a zahiri ba a iyakance kewayon muryoyin ba, kowane jerin tazara za a iya amfani da su cikin waƙoƙin waƙa, gami da. yayi tsalle zuwa tazara mai wuya-zuwa-faɗaɗɗe da tazara mara kyau. Kwatanta misalai daga Op. Palestine kuma daga ayyukan da suka shafi S. s. yana nuna waɗannan bambance-bambance:

Falasdina Benedictus daga Mass "O magnum misterium" (muryar babba).

C. Monteverdi. "The Coronation of Poppea", mataki na 2 (jigon mawakan gidan).

D. Buxtehude. Organ chacona a cikin manyan C (muryar bass).

A. In Stanchinsky. Canon don fp. (farkon proposta)

Don wakokin S. tare da. halin dogara ga masu jituwa. sito, wanda aka bayyana sau da yawa a cikin siffa (ciki har da tsarin tsari); waƙa, motsi ana jagorantar shi daga cikin harmonica. jerin:

JS Baci. Suite No 3 don cello solo. Takardun shaida.

JS Baci. Jigon Fugue G-dur daga juzu'i na 2 na Clavier mai tsananin zafin rai.

Irin wannan motsi yana sanar da waƙar S. s. harmonic cikakken sonority: a cikin karin waƙa abin da ake kira. boyayyun muryoyin, da jigogi na jituwa cikin sauƙi suna ficewa daga tsalle-tsalle a cikin sauti. jeri.

GF Handel. Trio Sonata g-moll op. 2 A'a 2, ƙarshe (an ci gaba da barin sassan).

JS Baci. Organ fugue a-moll, jigo.

Tsarin jituwa na ɓoyayyun murya a cikin jigon fugue a-moll na JS Bach.

Muryoyin da aka ɓoye "rubuta" a cikin waƙar na iya yin tasiri (kuma a cikin misalin da ke ƙasa), wani lokaci suna ɗaukar nau'i na layin ma'auni (na al'ada don yawancin jigogi na fugues Bach; duba b) har ma da kwaikwayo (c):

JS Baci. Partita No 1 don solo violin. Takardun shaida.

JS Baci. Jigon Fugue Cis-dur daga juzu'i na 1 na Clavier mai tsananin zafin rai.

WA Mozart. "Magic sarewa", overture (farkon Allegro).

Cikawar muryoyin da aka ɓoye sun rinjayi kafa 3- da 4-muryoyi a matsayin al'ada na S. tare da .; idan a zamanin tsauraran salon suna sau da yawa rubuta a cikin 5 ko fiye da muryoyin, to a zamanin S. tare da. Muryar 5 ba ta da yawa (misali, a cikin fugues 48 na Bach's Well-Tempered Clavier, akwai kawai 2 masu murya biyar - cis-moll da b-moll daga ƙarar 1st), kuma ƙarin muryoyin kusan kusan banda.

Ya bambanta da tsananin wasiƙar maƙiyi a farkon samfuran S. s. An yi amfani da dakatarwar da aka sanya cikin 'yanci, ana yin ado da adadi, daidaitawa iri-iri. S. s. yana ba da damar yin amfani da kowane lokaci kuma a kowane rabbai. Ƙayyadaddun aiwatar da wannan tanadi ya dogara da metrorhythm. ka'idoji na wannan kiɗan-tarihi. zamani Oda polyphony na baroque da classicism ana siffanta shi da bayyananniyar rhythmic. zane tare da ma'auni na yau da kullun (daidai). Romantic. gaggawar bayanin a cikin da'awar-ve 19 - da wuri. 20th karni An kuma bayyana a cikin 'yanci na jeri na lafazin dangi zuwa barline, halayyar polyphony na R. Schumann, F. Chopin, R. Wagner. Don polyphony na karni na 20. hankula ne da yin amfani da m mita (wani lokacin a cikin mafi hadaddun polymetric haduwa, kamar yadda, misali, a cikin polyphonic music IF Stravinsky), ƙin yarda da accentuation (misali, a wasu polyphonic ayyuka da composers na sabuwar Viennese makaranta). , yin amfani da nau'i na musamman na polyrhythm da polymetry (misali, O. Messiaen) da sauran metrorhythmic. sababbin abubuwa.

Daya daga cikin mahimman abubuwan S. s. – dangantakarsa da Nar. nau'ikan kiɗan. Nar. Hakanan ana samun yin amfani da kiɗan a cikin yawan sautin rubutu mai tsauri (misali, azaman cantus firmus), amma masters sun fi dacewa da wannan. Ku Nar. Mawaƙa da yawa na ƙarni na 17 da 18 sun yi magana da waƙoƙin waƙoƙin (ƙirƙirar, musamman, bambance-bambancen murya akan jigogi na jama'a). Musamman masu wadata da bambance-bambancen su ne tushen nau'ikan nau'ikan - Jamusanci, Italiyanci, Slavic - a cikin yawan phony na Bach. Waɗannan haɗin kai su ne tushen tushe na tabbataccen siffa na polyphonic. thematism na S. s., tsabtar waƙarsa. harshen. Concrete polyphonic. a cikin S. tare da. An kuma ƙaddara ta hanyar amfani da melodic-rhythmic, na yau da kullum don lokacinsa. Figures, intonational "formulas". A cikin kusancin dogaro da takamaiman nau'in shine wani fasalin S. s. - ci gaba a cikin tsarin sa na sabanin polyphony. A cikin tsauraran salon, yuwuwar sabanin polyphony an iyakance, a cikin S. s. yana da matuƙar mahimmanci, wanda ya bambanta shi sosai daga tsattsauran salo. Sabanin polyphony sifa ce ta kiɗa. Bach's dramaturgy: ana samun misalai a org. Shirye-shiryen chorales, a cikin aria inda aka gabatar da chorale, kuma ana iya jaddada bambancin muryoyin ta hanyar alaƙar su daban-daban (misali, a cikin No. 1 daga cantata No. 68, waƙar chorale yana tare da orc. jigo a cikin halin Siciliana na Italiyanci); cikin dram. sassan, adawar jam'iyyun sun kai iyaka (misali, a cikin No. 1, a farkon sashin No. 33 na Matiyu Passion). Daga baya, bambancin polyphony ana amfani dashi sosai a cikin abubuwan opera. (misali, a cikin ensembles na operas na W. A. Mozart). Shaida na mahimmancin bambancin polyphony a cikin S. s. shine a kwaikwayi. sifofi, ƴan adawa suna taka rawar murya mai rakiya. A zamanin tsattsauran salo, babu ra'ayi na polyphony. jigogi, an tattara su cikin murya ɗaya, kuma polyphony ya ƙunshi jere. tura in mun gwada da tsaka tsaki a cikin ination. game da kayan. Ƙarin mutum a cikin duk bayyanar waƙar S. s. ya dogara ne akan jin daɗi, jigo mai sauƙin ganewa a kowane gabatarwa. Jigon sifa ce ta cikin ƙasa, yana ɗauke da babba. Tunanin kiɗa, rubutun da za a haɓaka, yana aiki azaman tushen polyphonic. samfur. A cikin kiɗan mawaƙa na ƙarni na 17-18. (ma'ana da farko fugue) nau'ikan jigogi guda 2 sun haɓaka: kamanni, dangane da haɓaka ɗaya ko fiye da abubuwan da ba su da bambanci da alaƙa da alaƙa (misali, jigogin c-moll fugues daga kundin 1st da 2nd na Rijiyar Bach. -Tempered Clavier ), da kuma bambanta, dangane da adawa da dalilai daban-daban (misali, jigon g-moll fugue daga 1st girma na wannan sake zagayowar). A cikin batutuwa masu bambanta, zai bayyana mafi yawan. juyowa da lura da rhythmic. Figures sun fi sau da yawa located a farkon, forming melodic. jigon jigon. A sabanin jigogi masu kama da juna suna nufin.

IS Bach. Organ fugue a cikin manyan C, jigo.

Bayyana jigogi da wakokinsu. taimako tsakanin mawaƙa na ƙarni na 17-18. ya dogara da rashin kwanciyar hankali (sau da yawa ana ragewa) tazara, waɗanda suka zama ruwan dare a farkon ginin:

JS Baci. Jigon A-moll fugue daga juzu'i na 2 na Clavier mai tsananin zafin rai.

JS Baci. Jigon Fugue cis-moll daga juzu'i na 1st na Clavier mai zafin rai.

JS Baci. Mass in h small, Kyrie, No 3 (jigon fugue).

JS Baci. Matta Passion, No 54 (jigo).

Idan a cikin tsauraran salon gabatar da tsayin daka ya yi nasara, to, mawaƙa na ƙarni na 17-18. Jigon yana bayyana gaba ɗaya a cikin murya ɗaya, kuma sai bayan haka sai muryar kwaikwayo ta shiga, kuma mafari ya ci gaba zuwa gaba. Ma’anar ma’anar jigon ma’anar ta fi fitowa fili idan dalilansa sun kasance suna ƙarƙashin duk wasu abubuwa na fugue—akasin haka, tsaka-tsaki; babban matsayi na batun a cikin S. s. saita ta hanyar tsaka-tsaki, waɗanda ke mamaye matsayi na ƙasa idan aka kwatanta da yadda ake gudanar da jigon kuma galibi suna dogara da shi gabaɗaya.

Dukkan muhimman halaye na S. s. - karin waƙa, fasali masu jituwa, fasalulluka na tsarawa - bi daga tsarin tonal da ya mamaye, babba da ƙarami. Jigogi, a matsayin mai mulkin, an bambanta su da cikakkiyar tabbacin tonal; sabawa suna bayyana melodic-chromatic. jujjuyawar jituwa; Ana samun chromatisms masu wucewa a cikin polyphony na wani lokaci a ƙarƙashin rinjayar zamani. ra'ayoyin jituwa (misali, a cikin piano fugue cis-moll op. 101 No 2 Glazunov). Jagoran gyare-gyare a cikin batutuwa yana iyakance ta rinjaye; daidaitawa a cikin jigon zuwa maɓallan nesa - nasarar karni na 20. (alal misali, a cikin fugue daga ci gaban Symphony na Myaskovsky No. 21, jigon ya fara a cikin ƙananan C tare da Dorian tinge, kuma ya ƙare a gis qananan). Muhimmiyar bayyanar tsarin modal na S. s. amsa ce ta tonal, ka'idodin da aka riga aka ƙaddara a cikin ricercar da farkon misalan fugue.

JS Baci. "The Art of Fugue", Contrapunctus I.

JS Baci. Fugue Es-dur daga juzu'i na 1 na Clavier mai zafin rai.

Tsarin tsari na manya da ƙanana a cikin S. s. rinjaye, amma ba shi kadai ba. Mawaƙa ba su yi watsi da keɓantaccen bayanin diatonic na halitta ba. frets (duba, alal misali, Fugue Credo No 12 daga babban taro na Bach a h-moll, motsi na 3 "a cikin der lydischer Tonart" na L. Beethoven's quartet No 15, alama ta tasiri mai tsauri). Musamman sha'awa a gare su su ne masanan karni na 20. (misali, fugue daga ɗakin Ravel "The Tomb of Couperin", fugues da yawa na DD Shostakovich). Polyphonic samfur. an halicce su a kan tsarin tsari, halayyar decomp. nat. al'adun kiɗa (misali, shirye-shiryen kiɗan kiɗa na kiɗa don kirtani da timpani ta EM Mirzoyan sun bayyana launi na ƙasar Armenia, piano da fugues na ƙungiyar GA Muschel suna da alaƙa da fasahar kiɗan ƙasa ta Uzbek). A cikin aikin da yawa composers na 20th karni kungiyar na manya da ƙananan zama mafi rikitarwa, musamman tonal siffofin tasowa (misali, jimlar-tonal tsarin P. Hindemith), daban-daban da ake amfani. nau'ikan poly- da atonality.

Mawaƙa na ƙarni na 17-18 da aka yi amfani da su sosai, an kafa wani sashi a cikin zamanin tsayayyen rubuce-rubuce: motet, bambance-bambancen (ciki har da waɗanda ke kan ostinato), canzona, ricercar, decomp. irin kwaikwayo. siffofin choral. To hakika S. tare da. sun hada da fugue da yawa. siffofi, wanda polyphonic. gabatarwa yana hulɗa tare da homophonic. A fugues na 17th-18th ƙarni. tare da bayyanannen alaƙar su na modal-aiki, ɗaya daga cikin mahimman fasalulluka na polyphony na S. s. - kusanci tsayin dogaro da muryoyin, jituwarsu. janyo hankalin juna, da sha'awar ci a cikin wani ma'auni (irin wannan ma'auni tsakanin polyphonic 'yancin kai na muryoyin da harmonically gagarumin a tsaye characterizes, musamman, style of JS Bach). Wannan S. s. Karni na 17th-18th ya bambanta da gaske duka daga polyphony na rubuce-rubuce mai tsauri (inda ake wakilta masu raunin sauti mai rauni a tsaye ta hanyar ƙari nau'i-nau'i na muryoyin da aka hana su), kuma daga sabon polyphony na karni na 20.

Muhimmiyar al'adar siffa a cikin kiɗa na ƙarni na 17-18. - gajeriyar sassa masu bambanta. Wannan yana haifar da fitowar tsarin tsarin tarihi na prelude - fugue (wani lokaci maimakon prelude - fantasy, toccata; a wasu lokuta, ana yin zagaye na kashi uku, misali, org. toccata, Adagio da Bach's C-dur fugue. ). A gefe guda kuma, ayyuka suna tasowa inda aka haɗa sassan da suka bambanta tare (misali, a cikin org. aiki. Buxtehude, a cikin ayyukan Bach: org mai sassa uku. fantasy G-dur, sau uku 5-voice org. fugue Es-dur ainihin nau'in nau'i ne na nau'i mai ban sha'awa).

A cikin kiɗan na gargajiya na Viennese, polyphony na S. s. yana taka muhimmiyar rawa, kuma a cikin ayyukan Beethoven na baya - babban matsayi. Haydn, Mozart da Beethoven suna amfani da polyphony don bayyana ainihin da ma'anar jigon ɗan luwadi, sun ƙunshi polyphony. kudi a cikin aiwatar da symphony. ci gaba; kwaikwayo, hadaddun counterpoint ya zama mafi mahimmancin hanyoyin jigo. aiki; a cikin kiɗan Beethoven, polyphony ya zama ɗaya daga cikin mafi ƙarfi hanyoyin tilasta wasan kwaikwayo. tashin hankali (misali, fugato a cikin "Jana'izar Maris" daga 3rd symphony). Kiɗa na gargajiya na Viennese yana da alaƙa da haɓakar sautin rubutu, da kuma bambance-bambancen homophonic da polyphonic. gabatarwa. Polyphonization na iya kaiwa irin wannan babban matakin cewa an samar da wani gauraye na homophonic-polyphonic. nau'in kiɗan, wanda a cikinsa ana iya lura da taro. sassan layi na tashin hankali na polyphonic (abin da ake kira babban nau'in polyphonic). Polyphonic abubuwan da aka “rufe su” a cikin abun ciki na homophonic ana maimaita su tare da tonal, contrapuntal, da sauran canje-canje, don haka suna karɓar fasaha. ci gaba a cikin tsarin gabaɗaya a matsayin nau'i ɗaya, "ƙidaya" na homophonic (misali na al'ada shine ƙarshen Mozart's G-dur quartet, K.-V. 387). Babban nau'i na polyphonic a yawancin bambance-bambancen karatu ana amfani dashi sosai a cikin ƙarni na 19-20. (misali, overture daga Wagner's The Mastersingers of Nuremberg, Myaskovsky's Symphony No. 21). A cikin aikin Beethoven na ƙarshen zamani, an bayyana wani hadadden nau'in sonata allegro da aka yi amfani da shi, inda gabatarwar homophonic ko dai ba ta nan gaba ɗaya ko kuma ba ta da wani tasiri a kan muses. sito (sassan farko na pianoforte sonata No 32, 9th symphony). Wannan al'adar Beethovenian tana biye a cikin Op. I. Brahms; an sake haifuwa sosai ta hanyoyi da yawa. samfurori mafi mahimmanci na karni na 20: a cikin mawaƙa na ƙarshe na No. 9 daga cantata "Bayan karanta Zabura" ta Taneyev, kashi na 1 na wasan kwaikwayo na "The Artist Mathis" na Hindemith, kashi na 1 na wasan kwaikwayo na No. Shostakovich. Har ila yau, polyphonization na nau'i yana da tasiri a kan tsarin sake zagayowar; An fara ganin wasan ƙarshe a matsayin wurin haɗakar sautin murya. abubuwa na gabatarwar da ta gabata.

Bayan Beethoven, mawaƙa ba safai suke amfani da kiɗan gargajiya ba. polyphonic. fom C. s., amma an biya diyya don wannan ta hanyar sabon amfani da polyphonic. kudi. Saboda haka, dangane da general Trend na music a cikin 19th karni. zuwa sikeli na alama da kyan gani, fugue da fugato suna biyayya da ayyukan muses. alama (misali, "Yaƙin" a farkon wasan kwaikwayo na "Romeo da Juliet" na Berlioz), wani lokaci ana fassara su cikin ban mamaki. (alal misali, a cikin wasan opera The Snow Maiden na Rimsky-Korsakov, fugato yana kwatanta daji mai girma; duba shafi na XNUMX). lamba 253), waƙafi. shirin (comic. fugue a cikin "Fight Scene" daga karshe na 2nd aiki na Wagner's "Mastersingers na Nuremberg", da grotesque fugue a karshen Berlioz's "Fantastic Symphony", da dai sauransu). Akwai sabbin nau'ikan hadaddun nau'ikan halayen bene na 2. 19 a cikin. kira na siffofin: alal misali, Wagner a cikin gabatarwar opera Lohengrin ya haɗu da siffofin polyphonic. bambance-bambancen da fugues; Taneyev hada da kaddarorin fugue da sonata a cikin 1st part na cantata "John na Damascus". Daya daga cikin nasarorin polyphony a cikin karni na 19. ya kasance alamar fugue. Ka'idar fugue (a hankali, ba tare da kwatankwacin kwatancen misali ba, bayyanar da innation na alama. Abubuwan da ke cikin jigon, da nufin amincewa da shi) Tchaikovsky ya bita a kashi na 1 na suite No 1. A cikin kiɗan Rasha, wannan al'adar ta samo asali ne ta Taneyev (duba, alal misali, fugue na ƙarshe daga cantata "Yohanna na Damascus"). Mahimmanci a cikin kiɗa. art-wu karni na 19. sha'awar takamaiman, asalin hoton ya haifar da polyphony na S. tare da. zuwa tartsatsi amfani da haɗuwa da jigogi masu bambanta. Haɗin leitmotifs shine mafi mahimmancin ɓangaren kiɗa. Wagner ta wasan kwaikwayo; ana iya samun misalai da yawa na haɗakar jigogi daban-daban a Op. Rasha composers (misali, "Polovtsian Dances" daga opera "Prince Igor" Borodin, "The Battle a Kerzhents" daga opera "The Legend na Invisible City Kitezh da Maiden Fevronia" by Rimsky-Korsakov, "Waltz". "daga ballet "Petrushka" na Stravinsky, da dai sauransu. ). Rage darajar sifofin kwaikwayo a cikin kiɗan ƙarni na 19. daidaita ta hanyar ci gaban sabon polyphonic. liyafar (a kowane fanni kyauta, ba da damar canza adadin kuri'u). Daga cikin su - polyphonic. "reshe" na jigogi na yanayi mai ban sha'awa (misali, a cikin etude XI gis-moll daga Schumann's "Symphonic etudes", a cikin nocturne cis-moll op. 27 No 1 ta Chopin); a wannan ma'ana b. A. Zuckerman yayi magana akan “lyric. polyphony" na Tchaikovsky, yana nufin melodic. mai canza launi. jigogi (alal misali, a cikin ɓangaren ɓangaren ɓangaren 1st na 4th symphony ko lokacin haɓaka manyan jigogi na jinkirin motsi na 5th symphony); Taneyev ya karbi al'adar Tchaikovsky (alal misali, sassan jinkiri na wasan kwaikwayo a cikin c-moll da piano. quintet g-moll), Rachmaninoff (misali, piano. prelude Es-dur, jinkirin wani ɓangare na waƙar "The Bells"), Glazunov (babban. jigogi na kashi na 1 na concerto don violin da orchestra). Sabuwar liyafar polyphonic kuma ita ce “polyphony of layers”, inda ba a keɓancewa ba. muryoyin daɗaɗɗa, amma ƙaƙƙarfan sauti da jituwa. hadaddun (misali, a cikin etude II daga “Symphonic etudes” na Schumann). Irin wannan nau'in yadudduka na polyphonic daga baya sun sami aikace-aikace iri-iri a cikin kiɗa, bin launi da launi. ayyuka (duba, misali, fp. prelude "The Sunken Cathedral" na Debussy), kuma musamman a cikin polyphony na karni na 20. Waƙar jituwa. kuri'u ba sabon abu bane ga C. tare da. liyafar, amma a cikin 19th karni. ana amfani da shi sau da yawa kuma ta hanyoyi daban-daban. Don haka, Wagner ta wannan hanya ya sami nau'in sauti na musamman - melodic - cikakke a cikin ƙarshe. gina Ch. Sassan overture zuwa opera "Masu Mastersingers na Nuremberg" (auna 71 et seq.). Waƙar jituwa. za a iya haɗa jerin abubuwa tare da kasancewa tare da decomp. Zaɓuɓɓukan murya na rhythmic (misali, haɗuwa da kwata da takwas a cikin gabatarwar "Ocian-sea blue", haɗin orc. da mawaka. bambance-bambancen da babba murya a farkon na 4th scene na opera almara "Sadko" Rimsky-Korsakov). Wannan fasalin yana cikin hulɗa tare da "haɗin nau'ikan adadi iri ɗaya" - dabarar da ta sami ci gaba mai haske a cikin kiɗan con. 19 - ba. 20 cc (misali

Na Zamani "sabon polyphony" yana wanzuwa a cikin gwagwarmaya tsakanin ɗan adam, mai kishi, fasaha mai cike da ɗabi'a da fasaha, wanda ilimin ɗabi'a na polyphony ya lalace zuwa hankali, da hankali cikin tunani. Polyphony S. s. a cikin karni na 20 - duniya mai sabani, sau da yawa abubuwan ban mamaki. Ra'ayi gama gari shine polyphony a cikin karni na 20. ya zama mafi rinjaye da kuma daidaita tsarin muses. tunani gaskiya ne kawai. Wasu masanan na ƙarni na 20 gabaɗaya ba sa jin buƙatar amfani da sautin murya. yana nufin (alal misali, K. Orff), yayin da wasu, mallakar duk hadaddun su, sun kasance mawaƙan “homophonic” (misali, SS Prokofiev); ga yawan masters (misali, P. Hindemith), polyphony shine jagora, amma ba shine kaɗai ba. hanyar magana. Duk da haka, da yawa m da m al'amura na 20th karni. tashi da haɓaka cikin layi tare da polyphony. Don haka, alal misali, wasan kwaikwayo wanda ba a taɓa yin irinsa ba. Magana a cikin wasan kwaikwayo na Shostakovich, "saki" na makamashi na mita a Stravinsky sun dogara ne akan polyphonic. yanayin wakokinsu. Wasu suna nufin. polyphonic prod. Karni na 20 yana hade da ɗayan mahimman wuraren bene na 1st. karni - neoclassicism tare da mayar da hankali kan haƙiƙanin yanayin muses. abun ciki, aron ka'idojin siffatawa da fasaha daga polyphonists na tsauraran salon da farkon baroque ("Ludus tonalis" na Hindemith, yawan ayyukan Stravinsky, gami da "Symphony of Psalms"). Ana amfani da wasu fasahohin da suka ci gaba a fagen polyphony ta wata sabuwar hanya a cikin dodecaphony; pl. halayyar kiɗa. harshe na karni na 20 yana nufin, kamar polytonality, hadaddun siffofin polymetry, abin da ake kira. Muryar kaset sune abubuwan da babu shakka na polyphony.

Mafi mahimmancin fasalin polyphony na karni na 20. – sabon fassarar dissonance, kuma na zamani. counterpoint yawanci sabani ne. Tsananin salo ya dogara ne akan baƙaƙe: rashin jin daɗi da ke faruwa kawai ta hanyar wucewa, ƙara ko jinkirin sauti tabbas yana kewaye da baƙar fata daga bangarorin biyu. Babban bambanci tsakanin S. tare da. ya ta'allaka ne da cewa ana amfani da dissonances kyauta a nan; ba sa buƙatar shiri, ko da yake sun sami izini ɗaya ko wani, watau dissonance yana nuna yarda a gefe ɗaya kawai - bayan kanta. Kuma, a ƙarshe, a cikin kiɗa pl. Ana amfani da mawaƙa na dissonance na karni na 20 daidai da hanyar da aka ba da izini: ba a ɗaure shi da yanayin ba kawai shiri ba, har ma da izini, watau. ya wanzu azaman al'amari mai zaman kansa ba tare da yarda ba. Rarraba zuwa babba ko žasa yana raunana haɗin gwiwar aiki na jituwa kuma yana hana "taro" na polyphonic. muryoyin a cikin maƙarƙashiya, cikin sautin murya a tsaye azaman haɗin kai. Magajin aiki na Chord-aikin ya daina jagorantar motsin jigon. Wannan yana bayyana ƙarfafawa na melodic-rhythmic (kuma tonal, idan kiɗan tonal) 'yancin kai na polyphonic. muryoyin, yanayin layi na polyphony a cikin ayyukan wasu da yawa. mawaƙa na zamani (wanda yana da sauƙin ganin kwatanci tare da madaidaicin lokacin rubutaccen rubutu). Misali, mawaƙin (a kwance, madaidaiciya) ya fara mamaye da yawa a cikin ƙaƙƙarfan canon biyu daga haɓakar motsi na 1st na 5th symphony (lamba 32) na Shostakovich cewa kunne baya lura da jituwa, watau. dangantaka ta tsaye tsakanin muryoyin. Mawaƙa na ƙarni na 20 na amfani da na gargajiya. yana nufin polyphonic. harshe, duk da haka, wannan ba za a iya daukarsa a matsayin sauki haifuwa na sanannun dabaru: a maimakon haka, muna magana ne game da zamani. haɓaka hanyoyin gargajiya, sakamakon haka sun sami sabon inganci. Misali, a cikin kade-kade na Shostakovich da aka ambata, fugato a farkon ci gaba (lambobi 17 da 18), saboda shigar da amsa a cikin karin octave, sauti mai tsauri. Ɗaya daga cikin hanyoyin da aka fi sani a karni na 20. ya zama "polyphony of layers", kuma tsarin tafki zai iya zama marar iyaka. Don haka, wani lokacin Layer yana samuwa daga layi ɗaya ko akasin motsi na muryoyin da yawa (har zuwa samuwar gungu), ana amfani da dabarun aleatoric (misali, haɓaka sautin da aka bayar na jerin) da sonoristics (rhythm). canon, misali, don kirtani da ke wasa a tsaye), da sauransu. An san shi daga waƙar polyphonic na gargajiya. Orc adawa. ƙungiyoyi ko kayan kida a yawancin mawaƙa na karni na 20 an canza su zuwa takamaiman "polyphony of rhythmic timbres" (misali, a gabatarwar Stravinsky's The Rite of Spring) kuma an kawo su ga ma'ana. karshen, zama "polyphony of sonorous effects" (misali, a cikin wasan kwaikwayo na K. Pendeecki). Hakazalika, da amfani a cikin dodecaphonic music na kai tsaye da kuma a gefe motsi tare da inversions zo daga dabaru na wani m style, amma na tsarin amfani, kazalika da daidai lissafi a cikin kungiyar na dukan (ba ko da yaushe a cikin ni'imar da. bayyanawa) ba su wani inganci daban. A cikin polyphonic. kiɗan na ƙarni na 20 an gyare-gyaren siffofin gargajiya kuma an haifar da sabbin nau'o'i, waɗanda fasalinsu ke da alaƙa da yanayin jigogi da ƙungiyar sauti ta gama gari (misali, jigon ƙarshen wasan kwaikwayo na op.

Polyphony karni na 20 ya samar da sabon salo na asali. jinsin da ya wuce ra'ayin da kalmar "S. Da." Ƙayyadaddun ƙayyadaddun ƙayyadaddun ƙayyadaddun yanayin wannan salon "marasa kyauta" na bene na 2. Ƙarni na 20 ba shi da shi, kuma babu wani lokaci da aka yarda da shi don ma'anarsa tukuna (wani lokaci ana amfani da ma'anar "sabon polyphony na karni na 20").

S. yana karatu tare. na dogon lokaci bi kawai m. ku uch. raga (F. Marpurg, I. Kirnberger, da dai sauransu). Kwararre. nazarin tarihi da ka'idar sun bayyana a cikin karni na 19. (X. Riemann). An ƙirƙiri ayyukan gama-gari a cikin ƙarni na 20. (misali, "Tsarin Madaidaicin Madaidaicin layi" na E. Kurt), da na musamman. kayan ado yana aiki akan polyphony na zamani. Akwai ɗimbin adabi cikin Rashanci. lang., sadaukar da S. ta bincike tare da. BV Asafiev ya maimaita wannan batu; Daga ayyukan da aka saba da shi, "Ka'idodin Salon Artistic" na SS Skrebkov da "Tarihin Polyphony" na VV Protopov ya fito fili. Gaba ɗaya al'amurra na ka'idar polyphony kuma an rufe su a cikin wasu da yawa. labarai akan mawakan polyphony.

2) Na biyu, na ƙarshe (bayan tsattsauran salo (2)) ɓangaren kwas ɗin sautin ringi. A cikin kiɗan A cikin jami'o'in Tarayyar Soviet, ana nazarin polyphony a matakin ƙididdiga na ka'idar kuma wasu za su yi. f-max; a makarantun sakandare. cibiyoyi - kawai a kan tarihi-ka'idar. sashen (a sassan wasan kwaikwayo, sanin nau'ikan nau'ikan nau'ikan nau'ikan sauti ana haɗa su a cikin karatun gabaɗaya don nazarin ayyukan kiɗa). An ƙayyade abun ciki na kwas ɗin ta asusun. shirye-shiryen da Ma'aikatar Al'adu ta USSR da Jamhuriyar ta amince da su. min-ku. S.'s course with. ya ƙunshi aiwatar da rubuce-rubucen darasi ch. arr. a cikin nau'i na fugue (canons, ƙirƙira, passacaglia, bambance-bambance, nau'ikan gabatarwa iri-iri, wasan kwaikwayo na fugues, da sauransu) kuma an haɗa su. Manufofin kwas ɗin sun haɗa da nazarin polyphonic. ayyuka na mawaƙa na zamani da salo daban-daban. Akan sassan mawakan wasu uch. Cibiyoyin sun yi aiki da haɓaka ƙwarewar sautin murya. ingantawa (duba "Matsaloli a cikin Polyphony" na GI Litinsky); a kan tarihi da ka'idar f-max kiɗa. jami'o'i na USSR sun kafa tsarin kula da nazarin abubuwan da suka faru na polyphony a cikin tarihi. al'amari. Don hanyar koyarwa a cikin mujiya. ku uch. cibiyoyin suna da alaƙa da haɗin gwiwar polyphony tare da nau'o'in da suka danganci - solfeggio (duba, alal misali, "Tarin misalai daga wallafe-wallafen polyphonic. Domin 2, 3 da 4 solfeggio solfeggio" na VV Sokolova, M.-L., 1933, "Solfeggio Misalai daga wallafe-wallafen polyphonic" na A. Agazhanov da D. Blum, Moscow, 1972), tarihin kiɗa, da dai sauransu.

Koyarwar polyphony tana da tsayin daka na koyarwa. hadisai. A cikin 17-18 ƙarni. kusan kowane mawaki malami ne; ya kasance al'ada ne a ba da gogewa ga matasa mawaƙa waɗanda ke ƙoƙarin yin waƙa. S. ta koyarwa tare da. sunyi la'akari da wani muhimmin al'amari ta manyan mawaƙa. Uch. jagoranci ya bar JP Sweelinck, JF Rameau. JS Bach ya kirkiro da yawa daga cikin fitattun ayyukansa. - ƙirƙira, "Clavier Mai Haushi Mai Kyau", "The Art of Fugue" - a matsayin mai amfani. umarnin a cikin hadawa da yin polyphonic. samfur. Daga cikin wadanda suka karantar da S. s. – J. Haydn, S. Frank, J. Bizet, A. Bruckner. Ana ba da hankali ga al'amuran polyphony a cikin asusun. jagora P. Hindemith, A. Schoenberg. Ci gaban al'adun polyphonic a cikin Rashanci da owls. An inganta kiɗa ta hanyar ayyukan mawaƙa NA Rimsky-Korsakov, AK Lyadov, SI Taneev, RM Glier, AV Aleksandrov, N. Ya. Myaskovski. An ƙirƙiri litattafai da yawa waɗanda ke taƙaita ƙwarewar koyarwar S. s. a cikin USSR.

References: Tanev S. I., Gabatarwa, a cikin littafinsa: Movable counterpoint of tsauraran rubuce-rubuce, Leipzig, 1909, M., 1959; (Taneev S. I.), Haruffa da yawa zuwa ga S. DA. Taneyev a kan m da kuma m al'amurran da suka shafi, a cikin littafin: S. DA. Taneev, Kayayyaki da takardu, vol. 1, M., 1952; Tanev S. I., Daga ilimin kimiyya da ilimin koyarwa, M., 1967; Asafiev B. AT. (Igor Glebov), Game da fasahar polyphonic, game da al'adun gabobin jiki da na zamani na kiɗa. L., 1926; nasa, Siffar Kiɗa a matsayin tsari, (littafi. 1-2), M.-L., 1930-47, L., 1971; Skrebkov C. S., Binciken Polyphonic, M.-L., 1940; nasa, Littafin Rubutu na polyphony, M.-L., 1951, M., 1965; nasa, Ƙa'idodin fasaha na salon kiɗa, M., 1973; Pavlyuchenko S. A., Jagora ga Binciken Aiki na Tushen Ƙirƙirar Polyphony, M., 1953; Protopov V. V., Tarihin polyphony a cikin mafi mahimmancin abubuwan mamaki. (Kundi. 1) - Rasha gargajiya da kuma Soviet music, M., 1962; nasa, Tarihin polyphony a cikin mafi mahimmancin al'amuransa. (Kundi. 2) - Yammacin Turai na karni na XVIII-XIX, M., 1965; Daga Renaissance zuwa Karni na Ashirin. (Sb.), M., 1963; Tyulin Yu. N., Art of counterpoint, M., 1964; Renaissance. Baroque. Classicism. Matsalar styles a Yammacin Turai art na XV-XVII ƙarni. (Sb.), M., 1966; Hermit I. Ya., Maɓalli mai motsi da rubutu kyauta, L., 1967; Kushnarev X. S., O polyphony, M., 1971; Stepanov A., Chugaev A., Polyphony, M., 1972; Polyphony. Asabar Art., comp. kuma ed. TO. Yuzhak, M., 1975; Rameau J.-Ph., Traitй de l'harmonie…, P., 1722; Marpurg Fr. W., bita akan fugue, juzu'i. 1-2, В., 1753-54, Lpz., 1806; Kirnberger J. Ph., Fasahar tsantsar abun ciki a cikin kiɗa, vols. 1-2, B.-Kцnigsberg, 1771-79; Albrechtsberger J. G., Cikakken umarnin don abun da ke ciki, Lpz.., 1790, 1818; Dehn S., Theory of counterpoint, canon and the fugue, В., 1859, 1883; Alkali E F. E., Littafin rubutu na sauƙi da sau biyu, Lpz., 1872 (рус. da. - Richter E. F., Littafin Rubutun mai sauƙi da sau biyu, M.-Leipzig, 1903); Bussler L., Kontrapunkt und Fuge im freien zamani Tonsatz, V., 1878, 1912 (rus. da. - Bussler L., Salon kyauta. Littafin rubutu na counterpoint da fugue, M., 1885); Jadasson S., Lehrbuch des einfachen, doppelten, drei- und vierfachen Contrapunkts, Lpz., 1884, ƙarƙashin taken: Musikalische Kompositionslehre, Tl 1, Bd 2, 1926; Hanyar E., Counterpoint, L., 1890; nasa, Biyu counterpoint da canon, L., 1891, 1893; shi, Fugue, L., 1891 (rus. da. – Addu’a E., Fuga, M., 1900); nasa, Fugal analysis, L., 1892 (rus. da. - Prout E., Nazarin fugues, M., 1915); Riemann H. Geschichte der Musiktheorie im IX. - XIX. Karni, Lpz., 1898, Hildesheim, 1961; Kurth E., Basics of the linear counterpoint…, Bern, 1917 (рус. da. – Kurt E., Mahimman abubuwan da ke kan layi, M., 1931); Hindemith P., Unterweisung im Tonsatz, Bd 1-3, Mainz, 1937-70; Krenek E., Nazarin a counterpoint, N.

VP Frayonov