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Girkanci armonia - haɗi, jituwa, daidaituwa

Mahimman hanyoyin kiɗan da ya dogara akan haɗa sautuna zuwa baƙaƙe da jerin baƙaƙe. Ana nuna maƙasudi cikin sharuddan yanayi da tonality. G. yana bayyana kanta ba kawai a cikin polyphony ba, har ma a cikin monophony - waƙa. Mahimman ra'ayoyi na kari sune maɗaukaki, tsari, aiki (duba Modal Ayyuka), jagoran murya. Ƙa'idar ƙira ta tertian tana mamaye shekaru masu yawa. karni a prof. da Nar. daban-daban music. mutane. Ayyukan fret suna tasowa cikin jituwa. motsi (ci gaba da canji na maɗaukaki) sakamakon maye gurbin muses. kwanciyar hankali da rashin kwanciyar hankali; ayyuka a cikin G. ana siffanta su da matsayin da ke cikin jituwa. Tsarin tsakiya na yanayin yana ba da ra'ayi na kwanciyar hankali (tonic), ragowar maɗaukaki ba su da kwanciyar hankali (ƙungiyoyi masu rinjaye da masu rinjaye). Hakanan ana iya la'akari da jagorancin murya a matsayin sakamakon jituwa. motsi. Sautunan da suka haɗa da abin da aka ba da su suna wucewa zuwa sautunan na gaba, da sauransu; ana yin motsin muryoyin murya, in ba haka ba muryar tana jagorantar, ƙarƙashin wasu ƙa'idodin da aka haɓaka cikin tsarin ƙirƙira kiɗan kuma an sabunta su da wani bangare.

Akwai ma'anoni guda uku na kalmar "G.": G. a matsayin hanyar fasaha na fasaha na kiɗa (I), a matsayin abin nazari (II), da kuma matsayin ilimi (III).

I. Don fahimtar fasaha. Halayen G., wato rawar da take takawa a harkar waka. aiki, yana da mahimmanci a yi la'akari da yiwuwar bayyanawa (1), jituwa. launi (2), G. ta sa hannu a cikin halittar muses. siffofin (3), dangantakar G. da sauran sassan kiɗa. harshe (4), halin G. ga kiɗa. salon (5), mafi mahimmancin matakai na ci gaban tarihi na G. (6).

1) G. ya kamata a yi la'akari da furcinsu ta hanyar lamuni na gaba ɗaya. damar kiɗa. Maganar jituwa tana da takamaiman, kodayake ya dogara da sharuɗɗan muses. harshe, musamman daga waƙar. Wata ƙayyadaddun furci na iya kasancewa a cikin baƙaƙe ɗaya. A farkon wasan opera na R. Wagner “Tristan da Isolde” sautin waƙa, wanda galibi ke ƙayyade yanayin kiɗan aikin gabaɗayan:

Wannan mawaƙin, wanda ake kira "Tristan", ya mamaye dukkan abun da ke ciki, yana bayyana a cikin yanayi na yanayi kuma ya zama leitharmony. Yanayin kiɗan wasan ƙarshe na wasan kwaikwayo na 6th na Tchaikovsky an ƙaddara shi a cikin maɗaukakin buɗewa:

Bayyanar ƙwaƙƙwaran ƙididdiga masu yawa tabbatacciya ce kuma ta tabbata a tarihi. Misali, an yi amfani da rangwame na bakwai don isarwa mai ban mamaki. gogewa (gabatarwa ga sonatas na Beethoven No. 8 da No. 32 don piano). Har ila yau, furci shine sifa ta mafi sauƙaƙan waƙoƙi. Misali, a ƙarshen gabatarwar Rachmaninoff, op. 23 No 1 (fis-moll) maimaita yawan ƙarami na tonic. triads yana zurfafa halayen da ke cikin wannan aikin.

2) A cikin ma'anar G., modal-aikin da halaye masu launi na sautuna suna haɗuwa. Harmonic launin yana bayyana a cikin sauti kamar haka kuma a cikin rabon sautuna (misali, manyan triads biyu a nesa na babba na uku). Launi na G. yakan zama mafita ga nunin shirin. ayyuka. A cikin ci gaban kashi na 1 na wasan kwaikwayo na Beethoven na 6 ("Pastoral"), akwai maj. triads; canjin su na yau da kullun, zai yanke shawara. rinjayen maɓalli, tonics to-rykh na iya kasancewa akan duk sautin diatonic. kewayon sauti na babban sautin wasan kwaikwayo (F-dur) launuka ne da ba a saba gani ba don lokacin Beethoven. dabarun da ake amfani da su don shigar da hotunan yanayi. Hoton wayewar gari a cikin yanayi na biyu na wasan opera na Tchaikovsky "Eugene Onegin" an yi masa kambi tare da tonic mai haske. triad C-dur. A farkon wasan Grieg na "Morning" (daga Peer Gynt suite), ra'ayin wayewar yana samuwa ta hanyar motsawar manyan maɓalli na sama, tonics wanda aka rabu da juna na farko da babban na uku, sa'an nan kuma ta dan kadan. daya (E-dur, Gis-dur, H- dur). Tare da ma'anar jituwa. launi wani lokacin haɗe wakilcin launi na kiɗa (duba jin Launi).

3) G. yana shiga cikin ƙirƙirar muses. siffofin. Siffofin G. na nufin sun haɗa da: a) maɗaukaki, leitharmony, jituwa. canza launi, gabar gabobin; b) masu jituwa. bugun jini (rhythm na canjin jituwa), jituwa. bambancin; c) cadences, jerin, modulations, sabawa, tonal tsare-tsaren; d) jituwa, aiki (kwanciyar hankali da rashin kwanciyar hankali). Ana amfani da waɗannan hanyoyin a cikin kiɗan homophonic da polyphonic. sito.

Mahimmanci a cikin modal harmonics. ayyuka kwanciyar hankali da rashin zaman lafiya suna da hannu a cikin ƙirƙirar dukkan muses. Tsarin - daga lokaci zuwa nau'in sonata, daga ƙaramin ƙirƙira zuwa babban fugue, daga soyayya zuwa opera da oratori. A cikin siffofi uku da aka samo a cikin ayyuka da yawa, rashin zaman lafiya yawanci halayen tsakiyar ɓangaren halayen haɓakawa ne, amma yana da alaƙa. kwanciyar hankali - zuwa matsanancin sassa. Ana bambanta ci gaban siffofin sonata ta hanyar rashin zaman lafiya. Canje-canje na kwanciyar hankali da rashin kwanciyar hankali shine tushen ba kawai motsi ba, ci gaba, amma har ma da ma'auni mai mahimmanci na muses. siffofin. Ƙidances suna da hannu musamman a fili a cikin gina nau'in lokaci. hali na harmonica. alaƙar ƙarewar jimla, misali dangantakar da ke tsakanin rinjaye da tonic ya zama tabbataccen kaddarorin lokacin - tushen yawancin muses. siffofin. Cadenzas mayar da hankali aiki, jituwa. haɗin kiɗa.

Tsarin tonal, wato, tsari mai ma'ana mai aiki da launi mai ma'ana na tonalities, wani yanayi ne da ya wajaba don wanzuwar muses. siffofin. Akwai haɗin tonal da aka zaɓa ta hanyar aiki, waɗanda suka karɓi ƙimar al'ada a cikin fugue, rondo, sigar sassa uku masu rikitarwa, da sauransu. Tsarin tsare-tsaren tonal, musamman manyan nau'ikan, ya dogara ne akan ikon mawaƙi don ƙirƙirar amfani da tonal. haɗi tsakanin "nisa" daga juna muses. gine-gine. Don yin tsarin tonal na kiɗa. gaskiya, mai yin wasan kwaikwayo da mai sauraro dole ne su iya kwatanta kiɗa a manyan "nisa". Da ke ƙasa akwai zane na tsarin tonal na kashi na 1 na wasan kwaikwayo na 6 na Tchaikovsky. Don ji, don gane ma'anar tonal a cikin irin wannan aiki mai tsawo (matakan 354) yana ba da damar, da farko, maimaitawar muses. batutuwa. Chap ya fito. key (h-moll), wasu maɓalli masu mahimmanci (misali D-dur), func. ma'amala da maɓalli a matsayin ayyuka na babban tsari (ta hanyar kwatanci tare da ayyuka a cikin jerin waƙoƙi). Tonal motsi akan otd. An shirya sassan ta hanyar ƙananan haɗin gwiwa; haɗe-haɗe ko rufaffiyar hawan keke suna bayyana min. tonality, maimaitu wanda ke ba da gudummawa ga fahimtar gaba ɗaya.

Tonal shirin na farko motsi na Tchaikovsky ta 6th symphony

Hakanan ana taimakawa ɗaukar hoto gabaɗayan tsarin tonal bisa tsari. amfani da jeri, sabani na yau da kullun na sautunan-barga, marasa daidaitawa da sautin-rashin ƙarfi, sassan daidaitawa, wasu fasalulluka iri ɗaya na climaxes. Tsarin tonal na sashe na 1 na wasan kwaikwayo na 6th na Tchaikovsky yana nuna "haɗin kai a cikin bambancin" kuma, tare da duk siffofinsa, ya bambanta shi. fasali, ya hadu da classic. ka'idoji. Dangane da ɗaya daga cikin waɗannan ƙa'idodi, jerin ayyuka masu ƙarfi marasa ƙarfi sun saba da na yau da kullun, cadence (S - D). Aiki. dabarar motsin tonal na nau'ikan sassa uku (sauki) da nau'in sonata yana ɗaukar nau'in T - D - S - T, ya bambanta da dabarar cadence na yau da kullun T - S - D - T (irin su, alal misali, su ne tonal. tsare-tsaren sassan farko na farko biyu symphonies na Beethoven). Motsi na tonal wani lokaci ana matsawa cikin maɗaukakiyar maɗaukaki ko jerin waƙoƙi - masu jituwa. juyawa. Ɗaya daga cikin ƙarshen kashi na 1 na wasan kwaikwayo na Tchaikovsky na shida (duba sanduna 6-263) an gina shi akan dogon tsayin daka mai tsayi na bakwai, wanda ke haɓaka hawan ƙananan ƙananan tertz.

Lokacin da ɗaya ko wani maɗaukaki ya zama sananne musamman a cikin yanki, misali. saboda haɗin kai tare da ƙaddamarwa ko kuma saboda muhimmiyar rawa a cikin kiɗa. Taken, shi ne fiye ko žasa rayayye hannu a cikin ci gaba da gina muses. siffofin. Shigarwa, ko “ta”, aikin ƙwaƙƙwaran a duk tsawon aikin wani al'amari ne wanda a tarihi yana tare da ma ya rigaye tauhidi; ana iya bayyana shi a matsayin "monoharmonism" wanda ke haifar da leitharmony. Monoharmonic rawar yana taka rawa, alal misali, ta hanyar maƙallan ƙananan digiri na biyu a cikin sonatas NoNo 14 na Beethoven ("Hasken Wata"), 17 da 23 ("Appassionata"). Tantance rabon G. da muses. nau'i, ya kamata a yi la'akari da wurin da wani takamaiman hanyar siffanta yanayin ƙasa (bayani, ko mayar da martani, da dai sauransu), da kuma shiga cikin aiwatar da muhimman ka'idodin siffa kamar maimaitawa, bambancin, ci gaba, turawa, da dai sauransu. bambanci.

4) G. yana cikin da'irar sauran sassan kiɗan. harshe da mu'amala da su. An kafa wasu stereotypes na irin wannan hulɗar. Misali, canje-canje a cikin ƙwaƙƙwaran ƙididdiga, lafazin sau da yawa suna yin daidai da canje-canjen ƙira; a cikin ɗan gajeren lokaci, jituwa yana canzawa ƙasa da yawa fiye da a hankali; timbre na kayan kida a cikin ƙananan rajista (farkon wasan kwaikwayo na 6th na Tchaikovsky) yana jaddada duhu, kuma a cikin babban rijistar haske mai jituwa. canza launi (farkon gabatarwar ƙungiyar makaɗa zuwa opera Lohengrin ta Wagner). Mafi mahimmanci shine hulɗar kiɗa da waƙa, wanda ke taka muhimmiyar rawa a cikin kiɗa. samfur. G. ya zama “mai fassara” mafi fahimi na wadatattun abubuwan da ke cikin waƙar. Bisa ga zurfin bayanin MI Glinka, G. yana gama waƙar. tunani yana tabbatar da abin da ake ganin ya kwanta a cikin waƙar da kuma abin da ba zai iya bayyana a cikin "cikakkar muryarsa". G. boye a cikin waƙar yana bayyana ta hanyar daidaitawa - alal misali, lokacin da mawaƙa ke sarrafa nar. waƙoƙi. Godiya ga waƙoƙi daban-daban, jituwa iri ɗaya. juyawa yana haifar da wani ra'ayi na daban. Dukiya masu jituwa. zaɓuɓɓukan da ke ƙunshe a cikin waƙar suna nuna jituwa. bambancin, yanke yana faruwa tare da maimaita melodic. gutsuttsura mafi girma ko žasa, suna "kusa da" ko "a nesa" (a cikin nau'i na bambancin ko a cikin kowane nau'i na kiɗa). Babban fasaha. darajar jituwa. bambance-bambance (kazalika da bambance-bambancen gaba ɗaya) an ƙaddara ta gaskiyar cewa ya zama wani abu a cikin sabuntawar kiɗa. A lokaci guda, bambancin jituwa yana ɗaya daga cikin mahimman ƙayyadaddun bayanai. hanyoyin da kai-harmonic. ci gaba. A cikin "Turkiyya" daga opera "Ruslan da Lyudmila" na Glinka, da sauransu, ana samun zaɓuɓɓuka masu zuwa don daidaita waƙar:

Irin wannan bambance-bambancen jituwa ya ƙunshi muhimmin bayyanar bambancin nau'in Glinka. diatonic mara canzawa. Ana iya daidaita waƙar ta hanyoyi daban-daban: kawai ta hanyar diatonic (duba Diatonic) ko kawai chromatic (duba Chromatism), ko haɗin duka biyun; daidaita sautin guda ɗaya ko tare da canjin maɓalli, daidaitawa, tare da adanawa ko canza yanayin (babba ko ƙarami) yana yiwuwa; mai yiwuwa bambanci. funkt. haɗuwa da kwanciyar hankali da rashin daidaituwa (tonics, rinjaye da masu rinjaye); zaɓuɓɓukan daidaitawa sun haɗa da canje-canje a cikin roko, karin waƙa. matsayi da shirye-shirye na ƙwanƙwasa, zaɓi na preim. triads, mawaƙa na bakwai ko waɗanda ba maɗaukaki ba, yin amfani da sautunan ƙira da sautunan da ba a haɗa su ba, da ƙari mai yawa. A cikin tsari na jituwa. bambance-bambancen da aka bayyana arziki zai bayyana. yuwuwar G., tasirinsa akan waƙar, da sauran abubuwan kiɗan. duka.

5) G. tare da sauran muses. abubuwan da ke da hannu a cikin samuwar kiɗa. salo. Hakanan zaka iya tantance alamun jituwa daidai. salo. Stylistically musamman harmonica. juya, ƙwanƙwasa, hanyoyin haɓaka tonal an san su ne kawai a cikin mahallin samfurin, dangane da niyyarsa. Yin la'akari da salon tarihin gabaɗaya na zamanin, zaku iya, alal misali, zana hoton soyayya. G. gaba daya; yana yiwuwa a haskaka G. daga wannan hoton. romantics, to, misali, R. Wagner, sa'an nan - G. na daban-daban lokuta na Wagner ta aiki, har zuwa jituwa. salon daya daga cikin ayyukansa, misali. "Tristan da Isolde". Komai haske, asali sun kasance nat. bayyanar G. (alal misali, a cikin litattafan Rasha, a cikin kiɗan Norwegian - a Grieg), a kowane hali, duk duniya, kaddarorin da ka'idodinta kuma suna nan (a cikin yanayin yanayi, ayyuka, tsarin tsarawa, da dai sauransu). in ba tare da ita G. kanta ba zata yi tunani. Salon mawallafi (mawaƙin). G. ta ƙayyadaddun ya bayyana a cikin wasu kalmomi: "Tristan chord", "Prometheus chord" (leitharmony na waƙar Scriabin "Prometheus"), "Mafi rinjaye na Prokofiev", da dai sauransu Tarihin kiɗa yana nuna ba kawai canji ba. amma kuma wanzuwar decomp a lokaci guda. masu jituwa styles.

6) Bukatar na musamman. nazarin juyin halitta na kiɗa, tun da ya dade ya kasance yanki na musamman na kiɗa da kiɗa. Bambance-bambance. Bangarorin G. suna tasowa a farashi daban-daban, suna da alaƙa. kwanciyar hankali ya bambanta. Misali, juyin halitta a cikin ƙwanƙwasa yana da hankali fiye da a cikin yanayin aiki-mai aiki da tonal spheres. G. a hankali ana wadatar da shi, amma ba koyaushe ake bayyana ci gabansa cikin wahala ba. A wasu lokuta (wani bangare kuma a cikin karni na 20), ci gaban hydrogeography yana buƙatar, da farko, sabon ci gaba na hanyoyi masu sauƙi. Don G. (kazalika ga kowane fasaha a gaba ɗaya) haɗaɗɗen hayayyafa a cikin aikin mawaƙa na gargajiya. al'ada da bidi'a na gaskiya.

Asalin G. yana cikin Nar. kiɗa. Wannan kuma ya shafi mutanen da ba su san polyphony ba: duk wani waƙa, duk wani nau'in monophony a cikin ƙarfin yana ɗauke da G.; a cikin ma'anar a ƙarƙashin yanayi masu kyau, waɗannan yiwuwar ɓoyayyun ana fassara su zuwa gaskiya. Nar. Asalin G. ya fi bayyana a fili a cikin waƙar polyphonic, misali. a cikin mutanen Rasha. A cikin irin waɗannan mutane Waƙoƙin sun ƙunshi mafi mahimmancin sassa na ƙira - ƙira, canjin wanda ya bayyana ayyukan modal, muryar murya. In Russian nar. waƙar ta ƙunshi manya, ƙanana da sauran yanayin yanayi kusa da su.

Ci gaban G. ba zai iya rabuwa da jituwa na luwadi. sito na kiɗa (duba Homophony), a cikin sanarwar zuwa-rogo a Turai. da'awar kiɗa-ve matsayi na musamman ya kasance na zamani daga bene na 2. 16 zuwa 1st bene. Karni na 17 An shirya haɓaka wannan ɗakin ajiyar a lokacin Renaissance, lokacin da aka ba da ƙarin wuri ga muses na duniya. nau'o'i da kuma buɗe damammaki masu yawa don bayyana duniyar ruhaniya ta mutum. G. ya sami sabbin abubuwan ƙarfafawa don haɓakawa a cikin instr. music, hade instr. da wok. gabatarwa. A cikin sharuddan homophonic harmonic. sito da ake bukata yana nufin. daidaita cin gashin kai. rakiyar da mu’amalarsa da manyan waƙa. Sabbin nau'ikan haɗin kai sun taso. laushi, sababbin hanyoyin jituwa. da karin waƙa. siffofi. Haɓaka G. ya kasance sakamakon sha'awar mawaƙa a cikin bambance-bambancen kiɗa. Bayanai na Acoustic, rarraba muryoyin a cikin ƙungiyar mawaƙa, da sauran abubuwan da ake buƙata sun haifar da amincewa da muryoyin murya huɗu a matsayin al'adar mawaƙa. Ayyukan bass na gaba ɗaya (basso continuo) ya taka rawa mai amfani wajen zurfafa fahimtar juna. Ƙungiyoyin mawaƙa da aka samo a cikin wannan aikin da ka'idarsa. tsari shine ainihin ainihin G.; koyarwar bass na gabaɗaya ita ce koyarwar bass. A tsawon lokaci, fitattun masu tunani da malaman kiɗa sun fara ɗaukar matsayi dangane da bass wanda ya fi zaman kanta daga koyarwar bass general (JF Rameau da mabiyansa a wannan yanki).

Nasarar Turai. kiɗan bene na biyu. Karni na 16-17 a yankin G. (ba a ma maganar keɓancewa waɗanda ba su riga sun shiga cikin ayyuka masu faɗi ba) an taƙaita su a cikin babba. zuwa na gaba: babba na halitta da jituwa. ƙananan samu a wannan lokacin rinjaye. matsayi; melodic ya taka muhimmiyar rawa. ƙananan, ƙarami, amma mai nauyi sosai - jituwa. manyan. Prežnie diatonic. frets (Dorian, Mixolydian, da dai sauransu) suna da ma'ana guda ɗaya. Bambance-bambancen tonal ya ɓullo a cikin iyakoki na kusanci, kuma lokaci-lokaci, dangi mai nisa. An zayyana alaƙar tonal na dindindin a cikin nau'i-nau'i da nau'o'i da dama, misali. motsi a cikin shugabanci mai mahimmanci a farkon abubuwan samarwa, yana ba da gudummawa ga ƙarfafa tonic; tashi na wucin gadi zuwa ga mai mulki a cikin sassan ƙarshe. An haifi gyare-gyare. Mahimmanci sun bayyana kansu a cikin haɗin maɓalli, mahimmancin tsari wanda gabaɗaya yana da mahimmanci ga ci gaban G. Babban matsayi ya kasance na diatonic. Ayyukanta, e. rabo daga tonic, rinjaye da kuma rinjaye, an ji ba kawai a kan kunkuntar ba, har ma a kan sikelin mai fadi. An lura da alamun bambancin aiki (duba siffa. masu canza aiki). An kafa ayyuka. kungiyoyi, musamman a fagen masu rinjaye. An kafa alamun harmonics na dindindin kuma an gyara su. juyin juya hali da cadences: na kwarai, plagal, katsewa. Daga cikin mawaƙan, triads (manyan da ƙanana) sun mamaye, kuma akwai maɗaukaki na shida. Ƙwayoyin quartz-jima'i, musamman maɗaukakin maɗaukaki, sun fara aiki. A cikin da'irar maɗaukaki na bakwai, maɗaukakin maɗaukaki na bakwai na digiri na biyar (mafi rinjaye na bakwai) ya tsaya a waje, maƙallan bakwai na digiri na biyu da na bakwai ba su da yawa. Gabaɗaya, abubuwan da ke aiki akai-akai a cikin samuwar sabbin ra'ayoyi - melodic. aiki na muryoyin polyphonic, sautunan da ba a haɗa su ba, polyphony. Chromatics sun shiga diatonic, wanda aka yi da bangon sa. Chromatic sautuna yawanci sun kasance maɗaukaki; Harmonic Ch. yayi aiki azaman ƙarfafawa don bayyanar chromaticity. ar. gyare-gyare. matakai, sabawa a cikin tonality na digiri na XNUMX, digiri na XNUMX, a layi daya (babba ko ƙarami - duba. sautin layi daya). Babban chromatic chords 2nd bene. Karni na 16-17 - samfurori na masu rinjaye biyu, nau'in nau'in Neapolitan na shida (wanda, sabanin sunan da aka yarda da shi, ya bayyana tun kafin bayyanar makarantar Neapolitan) kuma an kafa su dangane da modulations. Chromatic jerin waƙoƙi wani lokaci suna tashi saboda "zazzagewar" muryoyin, misali. canza babban triad ta ƙaramin suna ɗaya. Ƙarshen ƙananan ƙira ko sassansu a ɗaya. Manyan sun riga sun saba a wancan zamanin. T. o., abubuwa na babban-kananan yanayin (duba. Manyan-kanana) an kafa su a hankali. Ji daɗin kwanciyar hankali. launi, bukatu na polyphony, rashin ƙarfi na sequencing, yanayin murya yana bayyana bayyanar da ba kasafai ba, amma duk mafi ƙaranci ƙananan terts da bol-terts haɗuwa na triads marasa alaƙa. A cikin kiɗa, bene na 2. Karni na 16-17 tuni an fara jin furcin kundila irin wannan. Wasu alaƙa suna daidaitawa kuma sun zama dindindin. da siffofi: an ƙirƙiri mahimman abubuwan da aka ambata mafi mahimmanci don tsare-tsaren tonal (daidaitawa a cikin maɓalli na rinjaye, manyan layi ɗaya), wurin da aka saba da su yana mamaye babban. nau'ikan cadences, alamun bayyanuwa, haɓakawa, gabatarwar ƙarshe na G. Harmonica mai ban mamaki. ana maimaita jerin abubuwa, ta haka ne aka gina sifa, kuma G. yana karɓar zuwa wani takamaiman jigo. darajar. A cikin kiɗa. Jigon, wanda aka kafa a wannan lokacin, G. ya mamaye wani muhimmin wuri. Harmonics ana yin su kuma ana yin su. hanyoyi da dabarun da ke rufe manyan sassan aiki ko samarwa. gaba daya. Baya ga jeri (cikin. h “jerin zinare”), amfanin wanda har yanzu yana da iyaka, sun haɗa da org. maki na tonic da rinjaye, ostinato a cikin bass (duba. Bass ostinato) da др. muryoyin, bambancin jituwa. Wadannan sakamakon tarihi ci gaba g. a lokacin da samuwar da kuma yarda da homophonic harmonic. sito duk mafi ban mamaki cewa ga da yawa. karni kafin haka a prof. kiɗa, polyphony shine kawai a cikin ƙuruciyarsa, kuma baƙon abu ya iyakance ga kwata da kashi biyar. Daga baya, an sami tazara ta uku kuma triad ɗin ya bayyana, wanda shine ainihin tushen maɗaukaki kuma, saboda haka, G. A sakamakon ci gaban G. a cikin doka. ana iya yin hukunci akan lokaci, alal misali, ta ayyukan Ya. AP Sweelinka, K. Monteverdi, J.

Ya. P. Sweelinck. "Chromatic Fantasy". nuni

Dama can, code.

Wani muhimmin mataki a cikin ci gaban juyin halitta na kiɗa shine aikin JS Bach da sauran mawaƙa na lokacinsa. Ci gaban G., wanda ke da alaƙa da haɗin gwiwar homophonic. ma'ajiya na kiɗa, kuma ya fi yawa saboda polyphonic. sito (duba Polyphony) da saƙar sa tare da luwadi. Kiɗa na gargajiya na Viennese ya kawo haɓaka mai ƙarfi. An ga wani sabon, har ma da haɓakar gypsum a cikin karni na 19. a cikin kiɗan mawaƙan soyayya. A wannan karon kuma an yi nuni da nasarorin da aka samu. Makarantun kiɗa, misali. Alamar Rasha. Ɗayan babi mafi haske a tarihin G. shine kiɗan. impressionism (karshen 19th da farkon karni na 20). Mawaƙa na wannan lokacin sun riga sun yi nauyi zuwa na zamani. matakin jituwa. juyin halitta. Sabon lokaci (daga kusan 10-20s na karni na 20) yana da alaƙa da nasarorin da ya samu, musamman a cikin Sov. kiɗa.

Ya. P. Sweelinck. Bambance-bambance akan "Mein Junges Leben hat ein End". Bambance-bambancen na 6.

Haɓaka jituwa tare da ser. Karni na 17 zuwa ser. Karni na 20 ya kasance mai tsanani sosai.

A fagen yanayin gabaɗaya, wani gagarumin juyin halitta na diatonic babba da ƙanana ya faru: an fara amfani da duk maɗaukakin maɗaukaki na bakwai, an fara amfani da ƙwararrun ƙira da ƙira na manyan sifofi, ayyuka masu canzawa sun zama mafi aiki. Abubuwan kimiyyar diatonic ba su ƙare ba har yau. Modal wadatar kida, musamman a tsakanin masu son soyayya, ya karu saboda hadewar manya da kanana zuwa ga manya-manyan manya da kanana; yuwuwar ƙananan-manyan ba a ɗan yi amfani da su ba ya zuwa yanzu. A cikin karni na 19 a kan sabon tushe, an sake farfado da tsoffin haruffan diatonic. tashin hankali. Sabbin abubuwa da yawa sun kawo wa prof. kiɗa, ya faɗaɗa damar manya da ƙanana. Ci gaban su ya sami sauƙi ta hanyar tasirin modal da ke fitowa daga nat. nar. al'adu (misali, Rashanci, Ukrainian da sauran mutanen Rasha; Yaren mutanen Poland, Norwegian, da dai sauransu). Daga hawa na 2. Ƙarni na 19 hadaddun da haske a cikin nau'ikan nau'ikan nau'ikan nau'ikan chromatic launi sun fara amfani da su ko'ina, ainihin su shine layuka na tertian na manyan ko ƙananan triads da kuma jerin sautin gaba ɗaya.

An bunƙasa yanayin rashin kwanciyar hankali na tonality. An fara la'akari da mafi yawan nisa a matsayin abubuwa na tsarin tonal, ƙarƙashin tonic. Tonic ya sami rinjaye akan ƙetare ba kawai cikin alaƙa da ke kusa ba, har ma a cikin maɓallan nesa.

Hakanan an sami manyan canje-canje a cikin dangantakar tonal. Ana iya ganin wannan a cikin misali na shirye-shiryen tonal na mafi mahimmancin siffofin. Tare da quarto-quint da terts, na biyu da tritone tonal rabo suma sun zo kan gaba. A cikin motsi na tonal akwai canji na goyon bayan tonal da rashin goyon baya, tabbataccen matakan da ba su da iyaka. Tarihin G., har zuwa yau, ya tabbatar da cewa mafi kyau, sababbin abubuwa da kuma misalan kerawa ba su karya tare da jituwa da tonality, wanda ya buɗe damar da ba ta da iyaka don yin aiki.

An sami babban ci gaba a fagen daidaitawa, a cikin fasaha, haɗa sautin kusa da nesa - a hankali da sauri (kwatsam). Modulations sun haɗa sassan tsari, muses. Batutuwa; a lokaci guda, gyare-gyare da gyare-gyare sun fara shiga zurfi da zurfi a cikin rarrabuwa, a cikin samuwar da kuma tura muses. Batutuwa. Dep. dabarun daidaitawa sun sami ingantaccen juyin halitta. Daga inharmonic modulations (duba Anharmonism), wanda ya zama mai yiwuwa bayan kafa wani uniform hali, da farko an yi amfani da hankali bisa anharmonism. na bakwai (Bach). Sa'an nan gyare-gyare ya bazu ta hanyar fassarar ma'anar maɗaukakiyar maɗaukaki ta bakwai, watau, ƙarin hadaddun enharmonics sun shiga aiki. daidaiton maƙallan ƙira, sannan enharmonic ya bayyana. daidaitawa ta hanyar ƙarancin SW. triads, da kuma tare da taimakon wasu mawaƙa. Kowane nau'in mai suna yana da ƙarfi. daidaitawa yana da layi na musamman na juyin halitta. Haskaka, bayyanawa, launi, bambanci-mahimmancin rawar irin waɗannan gyare-gyare a samarwa. nuna, alal misali, Bach's Organ Fantasy a g-moll (sashe kafin fugue), Confutatis daga Mozart's Requiem, Beethoven's Pathetique Sonata (sashe na 1, maimaita kabari a farkon ci gaba), gabatarwa ga Wagner's Tristan da Isolde (kafin coda), Glinka's Song of Margarita (kafin reprise), Tchaikovsky's Romeo da Juliet Overture (kafin gefen gefe). Akwai ƙa'idodin da aka cika da su tare da enharmonics. abubuwan daidaitawa:

R. Schuman. "Dare", op. 12, ba 5.

Ibid.

Canje-canje a hankali ya faɗaɗa zuwa duk maɗaukakin maɗaukaki, masu rinjaye da masu rinjaye biyu, da kuma maƙallan sauran mawaƙa na sakandare. Daga karshen karni na 19 an fara amfani da mataki na hudu da aka rage na kananan yara. An fara amfani da shi a lokaci guda. canza sauti guda ɗaya ta hanyoyi daban-daban (canza sautin sau biyu), haka kuma a lokaci guda. canza sautuka daban-daban guda biyu (canza sauti sau biyu):

AN Scriabin. Siphony na 3.

Na Rimsky-Korsakov. "Snow Maiden". Aiki 3.

N. Ya. Myaskovski. Siphony na 5. Kashi na II.

A cikin decomp. maɗaukaki, ƙimar sautunan gefe (a wasu kalmomi, haɗaɗɗen sauti ko sauyawa) a hankali yana ƙaruwa. A cikin triads da jujjuyawar su, na shida ya maye gurbin na biyar ko a haɗa shi da shi. Sa'an nan, a cikin maɗaukaki na bakwai, quarts suna maye gurbin kashi uku. Kamar yadda yake a da, tushen samuwar ƙwaƙƙwaran sauti ne marasa sauti, musamman jinkiri. Misali, ana ci gaba da yin amfani da babbar hanyar da ba ta dace ba dangane da tsare mutane, amma ta fara daga Beethoven, musamman a rabi na biyu. Karni na 2 kuma daga baya, an kuma yi amfani da wannan ma'anar a matsayin mai zaman kanta. Ƙirƙirar ƙira ta ci gaba da yin tasiri ta org. maki - saboda funkts. rashin daidaituwa na bass da sauran muryoyin. Ƙaƙwalwar ƙira suna da rikitarwa, cike da tashin hankali, wanda aka haɗa sauye-sauye da sautunan maye gurbin, alal misali, "Prometheus chord" a (consonance na tsari na hudu).

AN Scriabin. "Prometheus".

Juyin Halitta na harmonica. hanyoyin da dabarun da aka nuna dangane da enharmonic. daidaitawa, kuma ana samun su a cikin amfani da babban tonic mai sauƙi. triad, da kuma kowane nau'i. Abin lura shine juyin halittar gyare-gyare, org. abu, da dai sauransu.

A Rasha classics na modal ayyuka. An canza damar G. zuwa Ch. arr. a cikin ruhun waƙoƙin jama'a (yanayin sauye-sauye, rarrabuwa, duba yanayin zamanin da). Rasha makarantar ta gabatar da sababbin siffofi a cikin amfani da maƙallan gefen diatonic, a cikin haɗin su na biyu. Nasarar Rasha tana da girma. mawaƙa da kuma a fagen chromatics; alal misali, shirye-shirye sun motsa fitowar hadaddun nau'ikan nau'ikan tsari. Tasirin asalin G. rus. litattafan gargajiya suna da yawa: ya bazu zuwa ayyukan kirkire-kirkire na duniya, yana nunawa a fili a cikin kiɗan Soviet.

Wasu halaye na zamani. G. suna bayyana a cikin sauye-sauyen da aka ambata na wani nau'i na tonal ta hanyar da ba ta da iyaka, a cikin "lalacewa" na ƙididdiga tare da sautunan da ba su da kyau, a cikin karuwa a cikin rawar ostinato, da kuma amfani da daidaitattun. jagorar murya, da sauransu. Duk da haka, ƙididdige fasalulluka bai isa ba don kammala kammalawa. Hoto G. zamani. kida na gaskiya ba za a iya yin kidayar injina na abubuwan lura game da wanzuwar lokaci ba amma ainihin gaskiya. A zamanin yau Babu irin waɗannan fasalulluka na G. da ba a shirya su a tarihi ba. A cikin mafi fitattun ayyukan ƙirƙira, alal misali. SS Prokofiev da DD Shostakovich, kiyaye da kuma ci gaba da modal-aiki. tushen G., alakar sa da Nar. waƙa; G. ya kasance mai bayyanawa, kuma babban aikin har yanzu yana cikin waƙar. Irin wannan shi ne tsarin ci gaba na modal a cikin kiɗa na Shostakovich da sauran mawaƙa, ko tsarin fadada iyakokin tonality da nisa, babban ƙetare a cikin kiɗa na Prokofiev. Tonality na sabawa, musamman ma manyan. tonality, a cikin jam'i lokuta an gabatar da Prokofiev a fili, tonically barata duka a cikin jigo da kuma a cikin ci gaban. Shahararren tarihi. sabunta samfurin. Fassarar tonality aka halitta da Prokofiev a cikin Gavotte na Classical Symphony.

SS Prokofiev. "Classical Symphony". Gavotte.

A cikin G. owls. Mawaƙa suna nuna halayen mujiya. al'ada giciye-hadi music Dec. kasashe. Rasha ta ci gaba da taka muhimmiyar rawa. mujiya. kiɗa tare da mafi kyawun al'adun gargajiya.

II. La'akarin G. a matsayin wani abu na kimiyya ya shafi zamani. koyaswar G. (1), ka'idar aiki-modal (2), juyin halitta na koyaswar G. (3).

1) Na zamani. koyarwar G. ta ƙunshi tsari da tarihi. sassa. An gina ɓangaren tsari akan tushen tarihi kuma ya haɗa da bayanai akan ci gaban otd. harmonic kudi. Zuwa gabaɗayan ra'ayoyi na G., ban da waɗanda aka bayyana a sama (consonance-chord, modal function, voice leading), kuma suna cikin ra'ayoyi game da sikelin halitta, game da kiɗa. tsarin (duba Tsarin) da yanayin da ke da alaƙa da jiki da sauti. preconditions ga masu jituwa abubuwan mamaki. A cikin mahimmancin ra'ayi na dissonance consonances, akwai bangarori biyu - acoustic da modal. Hanyar hanyar da za a bi don jigon ji da fahimtar yarda da rashin fahimta yana canzawa, yana tasowa tare da kiɗan kanta. Gabaɗaya, akwai ɗabi'a don tausasa ra'ayi na dissonance na consonances tare da karuwa a cikin tashin hankali da bambance-bambancen su. Hankalin dissonances koyaushe yana dogara ne akan mahallin aikin: bayan tsananin rashin fahimta, waɗanda ba su da ƙarfi na iya rasa wasu kuzarinsu ga mai sauraro. Akwai ka'ida tsakanin consonance da kwanciyar hankali, dissonance da rashin zaman lafiya. haɗi. Sabili da haka, ba tare da la'akari da canje-canje a cikin ƙididdiga na ƙayyadaddun ƙididdiga da ƙididdiga ba, dole ne a kiyaye waɗannan abubuwan, saboda in ba haka ba za a daina hulɗar kwanciyar hankali da rashin kwanciyar hankali - yanayin da ya dace don wanzuwar jituwa da aiki. A ƙarshe, gravitation da ƙuduri suna cikin mahimman ra'ayoyin nauyi. Mawaƙa a fili suna jin nauyin ƙarar sautin waƙar da ba su da ƙarfi, da muryoyin ƙira, gabaɗayan rukunin mawaƙa da ƙudurin nauyi a cikin tsayayyen sautuna. Ko da yake ba a riga an ba da cikakken bayani na kimiyya na waɗannan matakai na hakika ba, fassarorin da aka tsara da fassarorin da aka gabatar (misali, nauyi da ƙudurin babban sautin) suna da gamsarwa. A cikin koyaswar game da G. diatonic an bincika. frets (manyan halitta da ƙanana, da dai sauransu), diatonic. ƙwanƙwasa da mahadinsu, sifofin modal na chromatic da chromatic. chords a matsayin abubuwan da suka samo asali na diatonic. Ana yin nazari na musamman da sauye-sauye da canje-canje. An ba da babban wuri a cikin koyaswar G. ga gyare-gyare, to-rye ana rarraba su bisa ga Dec. fasalulluka: rabon maɓalli, hanyoyin daidaitawa (hanyoyi a hankali da kuma kwatsam), dabarun daidaitawa. A cikin tsarin tsarin koyarwar G., an yi nazarin alaƙa iri-iri da aka ambata a sama tsakanin G. da muses. siffofin. A lokaci guda, ana bambanta ma'anar jituwa tare da ayyuka masu yawa, har zuwa ɗaukar nauyin aikin gaba ɗaya, alal misali, ma'anar gabobin jiki da bambancin jituwa. Batutuwan da aka taso a baya suna nunawa a cikin tsari da sassan tarihi na koyaswar G.

2) Na zamani. lado-func. ka'idar, wanda ke da dogon lokaci da al'ada mai zurfi, ya ci gaba da bunkasa tare da kiɗa. art. An bayyana karko na wannan ka'idar ta hanyar dogara, madaidaicin bayanin mafi mahimmancin kaddarorin na gargajiya. da kiɗan zamani. Aiki. ka'idar, tasowa daga dangantakar modal kwanciyar hankali da rashin zaman lafiya, yana nuna jituwa, tsari na bambancin jituwa. yana nufin, dabaru na harmonics. motsi. masu jituwa. bayyanuwar kwanciyar hankali na modal da rashin zaman lafiya dangane da manya da ƙananan sun fi mayar da hankali a kusa da tonic, rinjaye da rinjaye. Canje-canje a cikin kwanciyar hankali da rashin kwanciyar hankali kuma ana samun su a cikin canji na rashin daidaituwa (tsawon zama mai tsawo a cikin maɓallin da aka ba tare da c.-l. sabawa daga gare ta) da daidaitawa; a cikin maye gurbin sautin-tabbace-tabbace da sautin-marasa iyaka. Irin wannan fadada fassarar ayyuka a cikin kiɗa shine halayyar kiɗan zamani. koyarwar G. Wannan kuma ya haɗa da cikakkun bayanai game da funkts. ƙungiyoyin ƙididdiga da yiwuwar func. maye gurbin, game da ayyuka masu girma, game da ayyuka na asali da masu canji. Aiki. Ƙungiyoyi suna samuwa ne kawai a cikin ayyuka guda biyu marasa ƙarfi. Wannan ya biyo baya daga ainihin yanayin kuma an tabbatar da shi ta hanyar lura da yawa: a cikin jerin decomp. maballin wannan aikin. ƙungiyoyi (misali, matakan VI-IV-II), ana kiyaye jin daɗin ɗayan (a cikin wannan yanayin, mai mulki) aiki; lokacin, bayan tonic, watau e. Mataki na I, kowane yana bayyana. kord, incl. h VI ko III matakai, akwai canjin ayyuka; canjin matakin V zuwa VI a cikin katsewar katsewa yana nufin jinkirta izinin, kuma ba maye gurbinsa ba; sauti al'umma a kanta ba ta samar da funkt. ƙungiyoyi: sautuna guda biyu na kowa kowannensu yana da I da VI, I da III matakai, amma kuma VII da II matakai - "matsananciyar" wakilan Dec. m ayyuka. kungiyoyi. Ya kamata a fahimci ayyuka masu girma a matsayin funkt. dangantaka tsakanin sautunan. Akwai subdominant, rinjaye da tonic. tonality. Ana maye gurbin su a sakamakon gyare-gyare kuma an tsara su a cikin wani tsari a cikin tsare-tsaren tonal. Ayyukan modal na kullun, matsayi a cikin jituwa - tonicity ko rashin tonicity an samo su daga muses. “Muhalli”, a cikin sauye-sauyen ƙwaƙƙwaran da suka samar da jituwa. juyowa, mafi girman rarrabuwa wanda dangane da tonic da rinjaye shine kamar haka: kwanciyar hankali - rashin zaman lafiya (T - D); rashin zaman lafiya - kwanciyar hankali (D - T); kwanciyar hankali - kwanciyar hankali (T - D - T); rashin zaman lafiya - rashin zaman lafiya (D - T - D). Hankalin tushen jerin ayyuka T – S – D – T, wanda ke tabbatar da tonality, X ne ya tabbatar da shi sosai. Riemann: alal misali, a cikin jerin manyan triads na C da F, ayyukansu na modal da tonality ba su bayyana ba tukuna, amma bayyanar ta uku, G manyan triad nan da nan ya fayyace ma'anar tonal na kowane ma'anar; rashin zaman lafiya da aka tara yana haifar da kwanciyar hankali - babban triad C, wanda aka gane a matsayin tonic. Wani lokaci a cikin aikin yana nazarin G. ba a kula da hankali ga canza launi na modal, asalin sautin, tsarin tsarin sautin, wurare dabam dabam, wuri, da dai sauransu. da dai sauransu, da kuma waƙa. Hanyoyin da ke tasowa a cikin motsi na G. Waɗannan gazawar, duk da haka, an ƙaddara su ta kunkuntar, aikace-aikacen da ba na kimiyya ba na ayyukan modal. ka'idar, ba jigon sa ba. A cikin motsi na ayyuka na modal, kwanciyar hankali da rashin kwanciyar hankali suna kunna juna. Tare da matsananciyar ƙaura na kwanciyar hankali, rashin kwanciyar hankali kuma yana raunana. Hypertrophy nata akan matsananci, rikitarwa mara iyaka G. yana haifar da asarar aiki kuma, a lokaci guda, jituwa da tonality. Bayyanar rashin damuwa - atonalism (atonality) yana nufin samuwar rashin jituwa (antiharmony). Rimsky-Korsakov ya rubuta: "Harmony da counterpoint, wakiltar wani babban iri-iri na haduwa da babban bambance-bambancen da kuma hadaddun, babu shakka suna da iyaka, haye wanda muka samu kanmu a yankin na disharmony da cacophony, a cikin yankin na hatsari. duka a lokaci guda kuma masu zuwa” (N. A. Rimsky-Korsakov, A kan ruɗi na sauraro, Poln. Sobr. op., vol.

3) Fitowar koyarwar G. ya riga ya kasance da tsawo. lokacin juyin halittar ka'idar kiɗa, wanda aka kirkira a duniyar duniyar. Koyarwar G. a zahiri ta fara ɗaukar tsari lokaci guda tare da fahimtar matsayin G. a cikin kerawa na kiɗa. Daya daga cikin wadanda suka kafa wannan koyaswar shine J. Tsarlino. A cikin aikinsa na asali "Foundations of Harmony" ("Istituzioni harmoniche", 1558), ya yi magana game da ma'anar manya da ƙananan triads, sautunan tertian su. Duk waƙoƙin guda biyu suna karɓar hujjar kimiyyar halitta. Babban ra'ayi da ra'ayoyin Tsarlino ya yi yana nuna ta hanyar gardama da ta faru a kusa da su (V. Galilei) da kuma sha'awar mutanen zamani don bunkasa su da kuma yada su.

Don ka'idar G. a zamani. fahimtar mahimmancin mahimmanci ya sami ayyukan Rameau, musamman kyaftin dinsa. "Maganin Harmony" (1722). Tuni a cikin taken littafin an nuna cewa wannan koyarwar ta dogara ne akan ka'idodin halitta. Mafarin koyarwar Rameau shine jiki mai sauti. A cikin ma'auni na dabi'a, wanda aka ba ta yanayin kanta kuma yana dauke da mazh. triad, Rameau yana ganin yanayi. tushe G. Maj. triad yana aiki azaman samfuri na tsarin tertian na chords. A cikin canjin ƙididdiga, Rameau ya fara fahimtar ayyukan su, yana nuna jituwa. cibiyar da ƙaƙƙarfan ra'ayoyinta (tonic, rinjaye, mai rinjaye). Rameau ya tabbatar da ra'ayin manya da ƙananan maɓalli. Da yake nuni ga mafi mahimman bayanai (D - T, VI matakai, da dai sauransu), ya yi la'akari da yiwuwar gina su ta hanyar kwatanci kuma daga sauran diatonic. matakai. Wannan da haƙiƙa ya riga ya haɗa da faɗaɗa kuma mafi sassauƙa tsarin kula da aiki, har zuwa tunanin ayyuka masu canzawa. Ya biyo bayan ra'ayin Rameau cewa tonic ne ke haifar da rinjaye kuma a cikin cadenza VI mai rinjaye ya koma tushensa. Tunanin tushe wanda Ramo ya haɓaka. bass yana da alaƙa da sanin jituwa. ayyuka kuma, bi da bi, ya rinjayi zurfafa tunani game da shi. Foundation. basses sune, da farko, basses na tonics, rinjaye da masu rinjaye; a yanayin jujjuyawar mawaƙa (wani ra'ayi kuma Rameau ya fara gabatar da shi), tushe. an haɗa bass. Tunanin jujjuyawar maɗaukaki na iya bayyana godiya ga matsayin da Rameau ya kafa akan asalin sautunan suna ɗaya Dec. octaves Daga cikin mawaƙan, Rameau ya bambanta tsakanin baƙar magana da ɓatanci kuma ya yi nuni ga fifikon tsohon. Ya ba da gudummawa ga fayyace ra'ayoyi game da canje-canje a cikin maɓalli, game da daidaitawa a cikin fassarar aiki (canza darajar tonic), haɓaka yanayin ɗabi'a, haɓaka haɓakawa. iyawa. Gabaɗaya, Rameau ya kafa preim. hangen nesa masu jituwa akan polyphony. Ka'idar Classic Rameau, wacce ta ba da cikakken tarihin nasarorin waƙa na ƙarni, ta nuna kai tsaye. kerawa 1st bene. karni na 18 - misali na ka'idar. ra'ayi, wanda hakan ya haifar da tasiri ga muses. yi.

Ci gaba da sauri a cikin adadin ayyuka akan gypsum a cikin karni na 19. an fi haifar da buƙatun horo: yana nufin. karuwa a yawan muses. cibiyoyin ilimi, ci gaban prof. ilimin kiɗa da faɗaɗa ayyukansa. Magance SS Katel (1802), wanda Cibiyar Conservatory ta Paris ta karbe a matsayin babba. jagoranci, shekaru masu yawa sun ƙayyade yanayin ka'idar gabaɗaya. ra'ayoyi da hanyoyin koyarwa G. Daya daga cikin asali. Sabbin abubuwan da Katel ta yi sune ra'ayin manya da ƙanana waɗanda ba maɗaukaki ba a matsayin baƙon da ke ƙunshe da wasu lamurra masu yawa (manyan da ƙananan triads, triad mind, rinjaye na bakwai, da sauransu). Wannan gama-garin ya kasance mafi ban mamaki saboda har yanzu ƙwararrun ƙwararru ba su da yawa a wancan lokacin kuma, a kowane hali, ana ɗaukar su azaman maɗaukaki na bakwai tare da jinkiri. Muhimmanci na musamman na rubutun Katel ga Rashanci. kiɗa BV Asafiev yana ganin rayuwarsa a cikin gaskiyar cewa ta hanyar Z. Den ya rinjayi Glinka. A cikin kasashen waje A cikin wallafe-wallafen kan kiɗa na rhythmic, ya zama dole don ƙara haskaka aikin FJ Fetis (1844), wanda ya zurfafa fahimtar yanayin da tonality; An fara gabatar da kalmar "tonality" a ciki. Fetis shi ne malamin FO Gevart. Tsarin ra'ayi na ƙarshen kan G. ya sami karbuwa sosai kuma ya haɓaka ta GL Catoire. Littafin koyarwa na FE Richter (1853) ya sami babban shahara. Sake buga shi kuma ya bayyana a cikin karni na 20; An fassara shi zuwa harsuna da yawa, ciki har da Rashanci (1868). Tchaikovsky ya ba da babban kima na littafin koyarwa na Richter kuma ya yi amfani da shi a cikin shirye-shiryen jagoransa na gramophone. Wannan littafin karatun ya ƙunshi nau'ikan nau'ikan diatonic da chromatic hanyoyin gramophone, dabarun jagorar murya, da tsara tsarin rubutu na jituwa.

Mafi girman mataki a cikin ci gaban koyaswar G. shi ne ya yi shi ta wurin masanin ka'idar duniya mafi girma na ƙarshen 19th - farkon karni na 20. Karni na 19 X. Riemann. Nasa ne babban cancanta a cikin ci gaban funkts. ka'idar G. Ya gabatar da kalmar "aiki" cikin ilimin kida. A cikin nasarorin funkt na zamani. ra'ayi, wanda ya karbi sabon kiɗa da m. abubuwan ƙarfafawa, sun sami haɓaka mafi kyawun tanadi na Riemann. Daga cikinsu akwai: ra'ayin funkt. Ƙungiyoyin maɗaukaki da maye gurbinsu a cikin ƙungiyoyi; ka'idar aiki. zumunta na maɓalli da fahimtar gyare-gyare daga ra'ayi na ayyuka na tonic, rinjaye da rinjaye; kallon rhythm gabaɗaya kuma a daidaitawa musamman a matsayin abubuwan ƙira mai zurfi; Harmonic dabaru bincike. ci gaba a cadence. Riemann ya yi abubuwa da yawa a fagen sauti da ingantaccen ilimin kiɗa na manyan (ya kasa cimma irin wannan nasarar wajen tabbatar da ƙarami). Ya ba da gudummawa mai mahimmanci ga nazarin matsalar rashin jin daɗi da rashin fahimta, yana ba da hanya mafi fa'ida kuma mafi sauƙi ga nazarinsa. A zahiri, binciken da Riemann ya yi a fannin ilmin ƙasa ya mayar da hankali da haɓaka zurfafan ra'ayoyin Rameau, kuma ya nuna nasarorin da dama daga cikin masana masana na karni na 90. Jan hankalin mai karatu na Rasha zuwa ayyukan Riemann ya ba da gudummawa ga bayyanar a ƙarshen 19s. Fassarorin karni na 1889 (sa'an nan kuma aka sake buga su), musamman littattafansa akan daidaitawa a matsayin tushen tsarin kiɗan da aiki akan jituwa (akan ayyukan tonal na mawaƙa). Shahararriyar littafin E. Prout (XNUMX) da jerin wasu litattafai na ilimi na wannan marubucin ya nuna wani sabon mataki a cikin ka'idar kiɗa, wanda aka nuna ta hanyar ci gaba da tsarin tsarin aiki na gaba ɗaya game da G. Wannan ya sa Prout ya danganta da Riemann.

Daga cikin ka'idodin ka'idoji na farkon karni na 20 rukunan jituwa na R. Louis da L. Thuil (1907) ya fito fili - littafi kusa da aikin kimiyya da ilimin zamani: marubutan sun gabatar da ra'ayi mai zurfi game da tonality, delve. cikin irin wannan hadaddun matsalolin jituwa, irin su anharmonism, da kuma tada tambayoyi game da frets na musamman na diatonic, da sauransu, suna wuce iyakokin ayyukan gargajiya kan batutuwan G.. Louis da Tuile sun zana kan misalan misalan waƙar Wagner, R. Strauss, da sauran mawaƙa na zamani don kwatantawa.

Wani muhimmin wuri a cikin juyin halitta na ilimi game da G. yana shagaltar da binciken E. Kurt na jituwa na Romantics (1920). Kurt ya mai da hankali kan jituwar R. Wagner, wato "Tristan da Isolde", wanda aka ɗauka a matsayin mai mahimmanci. maki a tsawon ci gaban yanayin da tonality. Ra'ayoyin Kurt, da aka tabbatar dalla-dalla, suna kusa da zamani. G.'s theories: misali, tunani game da karin waƙa. G.'s stimuli, muhimmancin gabatarwar sautin, dangantakar dake tsakanin aiki da launi, daɗaɗɗen fassarar tonality, da sauye-sauye, jeri, da dai sauransu. Duk da dabarar kallon kida na Kurt, littafinsa ya nuna falsafanci da manufa. kurakurai da saɓanin ra'ayoyin kiɗa da tarihi .

A cikin 20s. Ayyukan G. Sh. Köklen ya bayyana, wanda ya haɗa da tarihi. sketch of geology daga farkonsa a farkon zamanai na tsakiya har zuwa yau. Koeklen ya ba da cikakkiyar amsa ga buƙatar tarihin. ilimin G. Wannan hali, wanda ya shafi Kurt, an kuma bayyana shi a cikin wasu ƙarin karatun sirri, misali. a cikin ayyuka a kan samuwar da juyin halitta na chords - a cikin littattafan G. Haydon a kan cadence quarter-sextakcord (1933) da P. Hamburger a kan otd. Ƙarƙashin rinjaye da rinjaye biyu (1955), da kuma a cikin sharhin mai karatu A. Casella, yana nuna tarihi. ci gaban cadence (1919). Musamman hankali ya kamata a biya ga latest babban birnin kasar nazarin littafin Y. Khominsky a kan tarihin H. da counterpoint (1958-62).

A. Schoenberg, wanda ya tsaya a nasa aikin a kan matsayi na atonality, a cikin kimiyya da kuma pedagogical. yana aiki, saboda dalilai da yawa (misali, kamun kai na ilimi) sun bi ƙa'idar tonal. Koyarwarsa a kan ilimin kasa (1911) kuma daga baya ya yi aiki a wannan yanki (40-50s) yana haɓaka matsaloli masu yawa na ilimin ƙasa a cikin ruhin sabunta amma al'adu masu tsayi. Littattafan kimiyya da ilimi na P. Hindemith, sadaukar da kai ga G. (30-40s), kuma ya ci gaba daga ra'ayin sautin. ginshiƙan kiɗan, kodayake an fassara ma'anar tonality a cikin su sosai kuma ta hanya ta musamman. Ayyukan ka'idar zamani waɗanda suka ƙi yanayi da tonality ba za su iya, a zahiri ba, su bauta wa ilimin G., don G., a matsayin yanayin yanayin yanayin tarihi, ba ya rabuwa da yanayin sautin. Irin waɗannan, alal misali, ayyuka ne akan dodecaphony, seriality, da dai sauransu.

Ci gaban kiɗa-ka'idar. tunani a Rasha yana da alaƙa da alaƙa da kerawa. da aikin koyarwa. Marubuta na farko nufi. Ayyukan Rasha akan gypsum sune PI Tchaikovsky da NA Rimsky-Korsakov. A cikin owls AN Alexandrov, MR Gnesin, da sauransu sun mai da hankali sosai ga ilimin geology.

Domin samuwar kimiyya da ka'idar. Bayanan mawaƙa sun ƙunshi, alal misali, a cikin tarihin rayuwata na kiɗa na Rimsky-Korsakov, da kuma a cikin tarihin rayuwa da labaran N. Ya. Myaskovsky, SS Prokofiev, da DD Shostakovich, suna da 'ya'ya. Suna magana game da haɗin G. da kiɗa. tsari, game da tunani a cikin G. na fasaha. da ra'ayin na abũbuwan amfãni, game da vitality na art. na gaskiya. ka'idoji, game da jama'a, nat. Tushen harshen kiɗa, da dai sauransu. G. an tabo tambayoyin a cikin al'adun gargajiya na Rashanci. mawaƙa (misali, a cikin wasiƙar PI Tchaikovsky da HA Rimsky-Korsakov game da littafin G. na ƙarshe). Daga ayyukan masu juyin juya hali. Labaran Rasha masu daraja ta GA Laroche (60-70s na karni na 19) masu suka suka keɓe su bisa ga batun. Ya kare bukatar yin nazarin kiɗan farko na lokacin pre-Bach, ya tabbatar da tarihi. kusanci zuwa G. A cikin ayyukan Laroche naci (ko da yake da ɗan gefe ɗaya) ra'ayin melodic. Asalin G. Wannan ya kawo Laroche kusa da Tchaikovsky da kuma wasu marubutan zamani. G.'s Concepts kimiyya, misali. Kurt da Asafiev. AN Serov yana da ayyuka kai tsaye masu alaƙa da jituwa, alal misali. labari mai ba da labari kan batun ma'auni. VV Stasov (1858) ya nuna rawar da aka taka a cikin kiɗa na karni na 19. hanyoyin diatonic na musamman (coci.) da ke ba da gudummawa ga arzikin fasaha. Mahimmanci ga koyaswar G. shi ne ya bayyana shi (a cikin tarihin MI Glinka) ra'ayin da ke da ban mamaki. makirci suna ba da gudummawa ga tarihi. Ci gaba G. A cikin Rashanci na kayan gargajiya. masu sukar kiɗa - Serov, Stasov da Laroche nazarin muses. yana aiki, musamman L. Beethoven, F. Chopin, MI Glinka da PI Tchaikovsky, akwai abubuwan lura da yawa masu mahimmanci akan G.

Zaman Prof. koyon G. da Rashanci. cibiyoyin ilimi a cikin Rashanci. An buɗe littattafai tare da litattafai na Tchaikovsky (1872) da Rimsky-Korsakov. Littafin sanannen littafin Rimsky-Korsakov ("Practical Course of Harmony", 1886) an riga an riga shi sigarsa ta farko ("Littafin Harmony", wanda aka buga ta hanyar lithographic a 1884-85 kuma an sake buga shi a cikin ayyukan tattarawa). A cikin Rasha, waɗannan littattafan koyarwa sun nuna farkon koyaswar G. a cikin ma'anar kalmar da ta dace. Dukansu littattafan sun amsa buƙatun daga Rus. ma'auni.

Littafin koyarwa na Tchaikovsky yana mai da hankali kan jagorancin murya. Kyakkyawar G., a cewar Tchaikovsky, ya dogara da melodic. kyawawan muryoyin motsin rai. A ƙarƙashin wannan yanayin, ana iya samun sakamako mai mahimmanci na fasaha tare da jituwa mai sauƙi. yana nufin. Yana da mahimmanci cewa a cikin nazarin daidaitawa, Tchaikovsky ya ba da muhimmiyar rawa ga jagorancin murya. A lokaci guda Tchaikovsky fito fili daga modal-aiki Concepts, ko da yake shi (da Rimsky-Korsakov) ba ya amfani da kalmar "aiki". Tchaikovsky, a gaskiya, ya kusanci ra'ayin manyan ayyuka: ya yanke wani aiki. ƙwaƙƙwaran dogara na tonic, rinjaye da rinjaye daga haɗin haɗin da ya dace. maɓallan da ke cikin rabon kwata-biyar.

Littafin jituwa na Rimsky-Korsakov ya sami rarraba sosai a cikin Rasha kuma ya shahara a ƙasashen waje. Ana ci gaba da amfani da su a cikin cibiyoyin USSR. A cikin littafin Rimsky-Korsakov, kimiyya nasarori da aka hade tare da wani misali jerin gabatar, da m amfani, zabi tsakanin masu jituwa. na nufin mafi yawan al'ada, dole. Umurnin da Rimsky-Korsakov ya kafa don sanin mahimmancin ilimin nahawu, wanda ya fi dacewa da yanayin ra'ayoyin kimiyya akan duniyar jituwa. kudade, sun sami karɓuwa sosai kuma galibi suna riƙe da mahimmancinsa. Babbar nasarar kimiyya na littafin karatun ita ce ka'idar dangi (dangantaka) na maɓalli: "Close tunings, ko kasancewa a cikin digiri na 1 na dangantaka da abin da aka ba, ana la'akari da 6 tuning, wanda triads tonic ke cikin wannan tuning" (HA). Rimsky-Korsakov, Littafin Harmony Mai Aiki, Cikakken tarin ayyuka, juzu'i IV, M., 1960, shafi na 309). Wannan gama gari, da gaske yana aiki, ya yi tasiri akan kiɗan duniya. kimiyya.

Kamar-hankali mutane da mabiya Tchaikovsky da Rimsky-Korsakov a cikin m-ka'idar. yankin, a cikin horo na G. sun kasance irin wannan mawaƙa kamar AS Arensky, J. Vitol, RM Glier, NA Hubert, VA Zolotarev, AA Ilyinsky, MM Ippolitov-Ivanov, PP Keneman, PD Krylov, NM Ladukhin, AK Lyadov, NS Morozov , AI Puzyrevsky, LM Rudolf, NF Solovyov, NA Sokolov, HH Sokolovsky, MO Steinberg, PF Yuon da sauransu.

Har ila yau SI Taneev ya isa ga bayanai masu mahimmanci game da haruffa waɗanda ke riƙe da cikakkiyar ma'anarsu a cikin gabatarwar bincikensa na ƙaƙƙarfan rubutu (1909). Ya nuna cewa mazh.-min. tsarin tonal "... ƙungiyoyin layuka na maɗaukaki a kusa da ɗayan maɓalli na tsakiya guda ɗaya, yana ba da damar maɓallin tsakiya na ɗaya ya canza yayin yanki (saɓawa da daidaitawa) da kuma ƙungiyoyi duk ƙananan maɓallai a kusa da babban ɗaya, kuma maɓallin sashen ɗaya yana rinjayar maɓalli. na wani, farkon guntun yana shafar ƙarshensa” (S. Taneev, Ƙididdigar ƙaƙƙarfan rubutu ta wayar hannu, M., 1959, shafi na 8). Alamar tana nuni ga juyin halittar yanayi, aiki. Matsayin S. Taneyev: "Tsarin tonal a hankali ya faɗaɗa kuma ya zurfafa ta hanyar yada da'irar tonal jituwa, gami da ƙarin sabbin haɗuwa a ciki da kuma kafa haɗin tonal tsakanin jituwa na tsarin nesa" (ibid., shafi na 9). Wadannan kalmomi sun ƙunshi tunani game da ci gaban G. wanda ya rigaya Taneyev da zamaninsa, kuma an tsara hanyoyin ci gabanta. Amma Taneyev kuma ya jawo hankali ga matakai masu lalacewa, yana nuna cewa "... lalata tonality yana haifar da bazuwar nau'in kiɗa" (ibid.).

Yana nufin mataki a cikin tarihin kimiyyar G., gabaɗaya mallakar Sov. zamanin, su ne ayyukan GL Catoire (1924-25). Catuar ya kirkiro na farko a cikin Sov. Union of theoretical course G., Rashanci taƙaita. da ƙwarewar kimiyya ta duniya. Haɗe da koyarwar Gevaart, kwas ɗin Catoire sanannen abu ne don ban sha'awa da haɓakar manyan matsaloli. Samun kiɗa. sautuna ta biyar, Catoire, dangane da adadin matakai na biyar, yana karɓar tsarin uku: diatonic, babba-kanana, chromatic. Kowane tsarin ya ƙunshi kewayon ƙididdiga masu mahimmanci a cikinsa, a cikin samuwar abin da aka jaddada ka'idar melodic. haɗi. Catoire yana ɗaukar ra'ayi na ci gaba game da tonality, kamar yadda aka tabbatar, alal misali, ta hanyar maganin saɓani ("tsakiyar tonal"). A cikin wata sabuwar hanya, da zurfin haɓaka koyaswar daidaitawa, wanda Catoire ke rarraba galibi zuwa daidaitawa ta hanyar maɗaukaki na gama gari kuma tare da taimakon anharmonism. A ƙoƙarin fahimtar ƙarin hadaddun jituwa. yana nufin, Catoire ya nuna, musamman, rawar da sautin na biyu ke fitowa a cikin bayyanar wasu kalmomi. Batun jeri, alakar su da org. sakin layi.

Practical Harmonity course a sassa biyu na tawagar malamai Mosk. Conservatory II Dubovsky, SV Evseev, VV Sokolov da IV Sposobina (1934-1935) sun mamaye wani babban wuri a cikin Tarayyar Soviet. kiɗa-ka'idar. kimiyya da tarbiyya; a cikin sigar da mawallafa suka yi bita, an san shi da "Littafin Harmony", wanda aka sake bugawa sau da yawa. Duk mukamai suna goyon bayan fasaha. misali, ch. arr. daga classic music. Haɗin kai tare da aikin ƙirƙira akan irin wannan sikelin ba a taɓa fuskantar ko dai a cikin adabin ilimi na cikin gida ko na waje. Tambayoyi game da sautunan da ba a haɗa su ba, sauye-sauye, hulɗar manya da ƙanana, diatonic an rufe su dalla-dalla kuma ta hanyoyi da yawa ta sabuwar hanya. frets a cikin kiɗan Rasha. A karo na farko, an tsara tambayoyin masu jituwa. gabatarwa (texture). A cikin ayyukan biyu, brigade na Moscow. ci gaban kimiyyar ra'ayin mazan jiya tare da al'adun tsoffin litattafan Rasha da mafi kyawun ayyukan ƙasashen waje a bayyane yake. Ɗaya daga cikin mawallafa na aikin "Brigade" - IV Sposobin ya kirkiro na musamman. karatun jami'a na G. (1933-54), wanda aka nuna a cikin mujiya ta farko da ya tattara kuma ya buga shi. shirin (1946); Mahimmanci kuma sabo shine gabatarwar wani sashe akan tarihin Jojiya-daga asalinsa zuwa yau. Daga cikin nasarorin da Sposobin na sashen ya samu a fagen nahawu an ƙara bambanta: sabon ka'idar dangi na makullin, wanda aka gina akan aikin damuwa. ka'idoji, haɓaka ra'ayin ayyuka na tsari mafi girma, sabon tsarin tsarin aiki a fagen anharmonism, gaskatawar rukunin yanayi na musamman ("manyan halaye"), cikakken ci gaba na batun diatonic na musamman. . (tsohuwar) damuwa.

Yu.N. Tyulin (1937) ya zama marubucin sabon ra'ayi mai jituwa na gypsum. An inganta shi kuma an fadada shi, musamman, a cikin aikin a kan ka'idar. kayan yau da kullun na G., wanda shi ya yi tare da NG Privano (1956). Tunanin Tyulin, bisa mafi kyawun nasarorin da aka samu na ƙasashen uban. da kuma kimiyyar duniya, suna bayyana cikakken ɗaukar hoto na masu jituwa. matsaloli, wadatar ka'idar G. tare da sabbin ra'ayoyi da sharuɗɗa (misali, ra'ayoyin ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwaƙƙun ƙaƙƙarfan ƙaƙƙarfan ƙa'idodi (misali, ra'ayoyin phonism, melodic-harmonic modulation, da dai sauransu), na tarihi mai fadi. tushe. Manyan jigon kimiyya na Tyulin sun haɗa da ka'idar ayyuka masu canzawa; kusa da na gargajiya hadisai na musicology, wannan ka'idar za a iya amfani da music. tsari gaba daya. Bisa ga wannan ka'idar, ana samun ayyukan ƙwanƙwasa kai tsaye. dangantakar su da tonic. tsinkaya. A cikin samuwar ayyuka masu canzawa, c.-l. triad maras tabbas na ladotonality (babba ko ƙarami) yana karɓar keɓaɓɓen tonic na gida. ma'ana, kafa sabuwar fret cibiyar nauyi. Misali na masu canji (bisa ga sauran kalmomi - ayyuka na gida) na iya zama sake tunani akan dangantakar matakan VI-II-III na manyan abubuwan halitta:

Ka'idar ayyuka masu canzawa tana bayanin samuwar samfurin. sassa a cikin frets na diatonic na musamman da rarrabuwa na diatonic, yana daidaita hankali akan rashin daidaituwar ƙira. Wannan ka'idar tana nuna hulɗar abubuwan da ke cikin muses. harshe - mita, rhythm da G.: jadada maras tonic. (daga ra'ayi na manyan ayyuka) na ƙwanƙwasa tare da ƙaƙƙarfan bugun ma'auni, tsawon lokaci mafi girma yana jin daɗin fahimtarsa ​​a matsayin tonic na gida. Sposobin da Tyulin na daga cikin fitattun mutane da suka jagoranci makarantun mujiya. masu ilimin tauhidi.

Daya daga cikin mafi mashahuri Soviet muses. masana kimiyya BL Yavorsky, ƙoƙarin fahimtar ayyukan AN Skryabin, NA Rimsky-Korsakov, F. Liszt, K. Debussy, waɗanda suke da hadaddun cikin sharuddan G., sun yi nazarin dukan hadaddun harmonics a cikin wani musamman asali hanya. matsaloli. Tsarin Yavorsky na Theoretical ya rufe, a cikin ma'ana mai zurfi, ba kawai tambayoyin G. ba, har ma da matsalolin kiɗa. tsari, kari, mita. An gabatar da ra'ayoyin Yavorsky a cikin ayyukansa, wanda ya bayyana a cikin 10-40s, sun kuma bayyana a cikin ayyukan ɗalibansa, alal misali. SV Protopopova (1930). A cikin sararin G. Yavorsky hankali ya ja hankalin Ch. arr. damuwa; sanannen sunan don ra'ayinsa shine ka'idar modal rhythm. Yavorsky ya gabatar da ka'idar ra'ayi na nau'i-nau'i da dama (mafi daidai, tsarin tsarin) wanda aka yi amfani da shi a cikin ayyukan mawallafin da aka ambata, alal misali. Yanayin da aka rage, ƙara yawan yanayi, yanayin sarkar, da dai sauransu Hadin kai na ka'idar Yavorsky ya biyo baya daga tsarin farko na modal wanda ya karɓa - tritone. Godiya ga ayyukan Yavorsky, wasu muhimman ayyukan kiɗa-ka'idar sun zama tartsatsi. Concepts da sharuɗɗa (ko da yake Yavorsky sau da yawa ya fassara su ba a cikin ma'anar da aka yarda da su ba), alal misali, ra'ayin kwanciyar hankali da rashin kwanciyar hankali a cikin kiɗa. Ra'ayoyin Yavorsky akai-akai ya haifar da rikice-rikice na ra'ayi, mafi muni a cikin 20s. Duk da bambance-bambancen, koyarwar Yavorsky ya yi tasiri sosai a kan kimiyyar kiɗa na Soviet da na waje.

BV Asafiev, babban masanin kimiyyar kiɗan Soviet, ya wadatar da kimiyyar kiɗan rhythmic da farko tare da ka'idarsa ta shiga. Tunanin Asafiev game da G. yana mai da hankali ne a cikin mafi mahimmancin nazarin ka'idarsa na kiɗa. form, kashi na 2 wanda aka sadaukar don preim. Tambayoyi na intonation (1930-47). Ƙirƙirar G., da sauran abubuwan da ke cikin muses. harshe, bisa ga Asafiev, yana buƙatar kerawa daga mawaƙa. hankali ga innabi. yanayi, rinjaye intonations. Asafiev ya yi nazarin asalin da juyin halitta na kiɗan rhythmic a cikin nasa masu jituwa ( tsaye, duba a tsaye) da kuma melodic (a kwance, duba kwance). A gare shi, G. shine tsarin "resonators - amplifiers na sautunan yanayin" da "lava mai sanyaya na Gothic polyphony" (B. Asafiev, Form Musical a matsayin Tsari, littafin 2, Intonation, M.-L., 1947, shafi na 147 da 16). Asafiev musamman jaddada melodic. Tushen da fasali na G., musamman a cikin m G. Rus. na gargajiya. A cikin maganganun Asafiev game da ka'idar aiki, zargi game da tsarinta, aikace-aikacen gefe ɗaya ya fito waje. Asafiev da kansa ya bar misalai da yawa na kyakkyawan aikin bincike ta G.

Wakilin Acoustic. kwatance a cikin binciken G. ya NA Garbuzov. A cikin kyaftin dinsa. aiki (1928-1932) ya haɓaka ra'ayin acoustic. samu na modal consonances daga dama. filaye; overtones generated ba ta daya, amma da yawa. sautunan asali, suna samar da karin magana. Ka'idar Garbuzov ta dawo kan ra'ayin da aka bayyana baya a zamanin Rameau, kuma a cikin hanyar asali ta ci gaba da ɗayan al'adun kiɗan kiɗa. A cikin 40-50s. An buga adadin ayyukan Garbuzov game da yanayin yanki na muses. ji, watau, hasashe na sauti, ɗan lokaci da kari, ƙara, timbre da sautin murya. rabo a cikin wasu adadi. zango; Ana kiyaye wannan ingancin sauti don fahimta a duk yankin da ya dace. Waɗannan tanade-tanade, waɗanda ke da babban fahimi da kuma amfani. Sha'awa, an tabbatar da gwaji ta hanyar Garbuzov.

Binciken Acoustic ya ƙarfafa bincike a fagen ma'aunin kiɗa, yanayi, sannan kuma ya haifar da bincike a fagen ƙirar kayan aiki. Wannan ya bayyana a cikin ayyukan AS Ogolevets. Manyan ayyukansa na kade-kade da na ka'idar sun haifar da cikakkiyar tattaunawa ta kimiyya (1947); da dama daga cikin tanade-tanaden marubucin an fuskanci suka mai yawa.

Zuwa fitattun mujiya. masana kimiyya da tsararraki masu ilimi - kwararru a fannin ilimin mata suma na Sh. S. Aslanishvili, FI Aerova, SS Grigoriev, II Dubovsky, SV Evseev, VN Zelinsky, Yu. G. Kon, SE Maksimov, AF Mutli, TF Muller, NG Privano, VN Rukavishnikov, PB Ryazanov, VV Sokolov, AA Stepanov, VA Taranushchenko, MD Tits, IA Tyutmanov, Yu. N. Kholopov, VM Tsendrovsky, NS Chumakov, MA Etinger da sauransu. mai suna da sauran alkaluma suna ci gaba da samun nasarar haɓaka mafi kyawu, al'adun ci gaba na binciken G.

Lokacin nazarin G. na zamani bisa ga ka'idar tarihi, wajibi ne a yi la'akari da tarihinsa. ci gaba a cikin kiɗa da tarihin koyarwar game da G. Wajibi ne a bambance daban-daban na zamani tare. salon kiɗa. Ana buƙatar yin nazarin ba kawai bambance-bambancen prof. nau'ikan kiɗan, amma kuma Nar. kerawa. Musamman wajibi ne lambobin sadarwa tare da duk sassan ka'idar. da ilimin kida na tarihi da hadewar mafi kyawun nasarori a kasashen waje. ilimin kida. A kan nasarar nazarin harshen zamani a cikin USSR. Ana tabbatar da kida ta hanyar ayyukan da aka keɓe ga abubuwan da ake buƙata na tarihi na zamani G. (misali, labarin da Tyulin, 1963), yanayin yanayinsa da fasalin tonal (misali, labarai da yawa ta AN Dolzhansky akan kiɗan Shostakovich, 40-50s. ), nazarin monoographic. nau'in (littafin Yu. N. Kholopov game da SS Prokofiev, 1967). Nau'in nau'in nau'in nau'in nau'in nau'in nau'in nau'in nau'in nau'in nau'in nau'in nau'in nau'in nau'in nau'in halitta a cikin binciken ilimin geology, haɓakawa a cikin Sov. Ƙungiyar tun daga 40s, yana nunawa a cikin matsalolin tarin tarin yawa akan salon SS Prokofiev da DD Shostakovich (1962-63), akan kiɗa na karni na 20. gaba daya (1967). A cikin wani littafi game da jituwa na zamani SS Skrebkov (1965) ya jaddada matsalar jigo. Ƙimar G. dangane da tonality, otd. consonances, karin waƙa (dangane da jagororin aikinsa), rubutu; Ana nazarin wannan kewayon tambayoyin a cikin marigayi Scriabin, Debussy, Prokofiev, Shostakovich. Tattaunawar jama'a da ke nuni da ci gaban kimiyya a cikin USSR sun tabbatar da amfani ga ka'idar G. A kan shafukan mujallar Sov. kida” an yi tataunawa akan yawan magana (1956-58) da matsaloli iri-iri na zamani. G. (1962-64).

Domin sanin G. suna da matukar muhimmanci da ka'idar. ayyuka sadaukar ba kawai ga harmonica. matsaloli, ciki har da ayyukan gargajiya na Rus. ilimin kida, ayyuka da yawa na BV Asafiev, litattafai da uch. alawus ga kiɗa-ka'idar. abubuwa da abun da ke ciki, alal misali. LA Mazel da VA Zuckerman - bisa ga nazarin kiɗa. aiki (1967), I. Ya. Ryzhkin da LA Mazel - a kan tarihin m-ka'idar. koyarwa (1934-39), SS Skrebkova - in polyphony (1956), SV Evseeva - a Rasha. polyphony (1960), Vl. V. Protopopova - akan tarihin polyphony (1962-65), MR Gnessin - akan aiki. abubuwan da aka tsara (hada kiɗa, 1962); yana aiki akan waƙa, misali. Babban bincikensa na LA Mazel (1952), nazarin waƙar Rimsky-Korsakov ta SS Grigoriev (1961); monographs akan ayyukan, misali. game da fantasy f-moll Chopin - LA Mazel (1937), game da "Kamarinskaya" Glinka - VA Zukkerman (1957), game da "Ivan Susanin" Glinka - Vl. V. Protopopov (1961), game da marigayi operas ta Rimsky-Korsakov - MR Gnesin (1945-1956), LV Danilevich (1958), DB Kabalevsky (1953).

III. Ra'ayin G. a matsayin asusu. batun ya hada da wadannan. Tambayoyi: Ilimin kiɗan G. da matsayi a cikin horar da mawaƙa (1), siffofi da hanyoyin koyarwar G. (2).

1) A cikin tsarin mujiya. Prof. kiɗa yana ba da kulawa sosai ga ilimin G. a duk matakan ilimi: a cikin kiɗan yara. makarantu na shekara goma sha ɗaya, a cikin kiɗa. makarantu da jami'o'i. Akwai nau'ikan horon G. iri biyu - ƙayyadaddun bayanai. da kwasa-kwasan gama-gari. Na farko an yi niyya ne don horar da mawaƙa, masana tarihi da masana tarihi na kiɗa (masu kida), na ƙarshe don horar da mawaƙa. An kafa ci gaba a ilimin G. tun daga ƙananan matakan ilimi zuwa manya. Duk da haka, ilimin jami'a yana ba da, baya ga nazarin sabbin batutuwa, da zurfafa ilimin da aka samu a baya, wanda ke tabbatar da tarin prof. gwaninta. Jerin koyarwa G. gaba ɗaya yana nunawa a cikin asusun. tsare-tsare, shirye-shirye da buƙatun shiga don shiga cikin asusun. cibiyoyin da jihar ta amince da su. jiki. A kan misalin koyarwar G., ana iya ganin manyan halaye. da yawa. nasarorin da mawakan suka samu. ilimi a cikin USSR. Ana gudanar da koyarwar G. tare da la'akari da yanayi da kuma ƙararrawa. peculiarities na mujiya kida. mutane. Babban ɓangaren asusun yana kashe lokaci mai amfani. azuzuwan. Tun daga 30s. akan G. ana ba da laccoci, waɗanda aka fi wakilta a makarantar sakandare ta musamman. darussa. A cikin koyarwar G., ana bayyana ka'idodin koyarwa na kiɗa a cikin USSR: fuskantarwa zuwa kerawa. yi, dangantaka uch. batutuwa a cikin tsarin ilmantarwa. Haɗin kai na horon G., alal misali, tare da horar da solfeggio ana aiwatar da su cikin duka darussan biyu a duk makarantu. cibiyoyin. Nasarar koyar da aikin ilimin kiɗa. ji (duba kunne na kiɗa) da kuma a cikin koyarwa G. ana samun su a cikin hulɗa mai amfani.

2) Ta kokarin mujiya. malamai sun ɓullo da ingantacciyar hanya mai sassauƙa don koyar da G., wanda ya kai ga duka nau'ikan aikace-aikacen guda uku da aka yarda da su. yana aiki:

a) A cikin rubuce-rubucen ayyukan, an haɗa maganin jituwa. ayyuka da kowane irin kerawa. gwaje-gwaje: hada preludes, bambance-bambancen karatu (a kan kansa da kuma jigon da malami ya kafa), da dai sauransu Irin wannan ayyuka, miƙa da farko ga musicologists (theorists da masana tarihi), taimaka wa convergence na musical-theoretical. koyo tare da kerawa yi. Ana iya gano irin wannan yanayin a cikin aikin akan ayyuka bisa ga G.

b) masu jituwa. nazarin kiɗan (ciki har da waɗanda aka rubuta) yakamata su saba da daidaiton abubuwan ƙira, jawo hankali ga cikakkun bayanai na abubuwan kiɗan kuma, a lokaci guda, kimanta abubuwan kiɗan azaman fasaha. yana nufin gane matsayinsa a tsakanin sauran muses. kudade. Ana kuma amfani da bincike mai jituwa a cikin wasu darussa, ka'idar. da tarihi, misali. a yayin nazarin kiɗan. yana aiki (duba Nazarin Kiɗa).

c) A cikin lalata. horon horo bisa ga G. akan fp. a cikin ilimin zamani, kuma, akwai wata hanya mai dacewa don yin aiki. Irin waɗannan, alal misali, ayyuka ne don aiwatar da fp. modulations a ayyana. tempo, girma da siffa (yawanci a cikin sigar lokaci).

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VO Berkov