Luwadi |

Omoponia Greek - monophony, unison, daga omos - ɗaya, iri ɗaya, iri ɗaya da ponn - sauti, murya

Nau'in polyphony da ke da alaƙa da rarrabuwar muryoyin zuwa babba da rakiyar su. Wannan G. ainihin ya bambanta da polyphony, bisa daidaiton muryoyin. G. da polyphony an bambanta su tare da monophony - monophony ba tare da rakiya ba (irin wannan shine kafuwar al'ada; duk da haka, wani amfani da sharuɗɗan kuma halas ne: G. - a matsayin monophony, "auton-daya", monody - a matsayin waƙa tare da rakiya, "waƙa a ɗaya daga cikin muryoyin").

Ma'anar "G." ya samo asali ne daga Dr. Girka, inda ake nufi da aikin haɗin kai ("sauti ɗaya") na waƙoƙin waƙa ta hanyar murya da kayan aiki masu rakiya (da kuma wasan kwaikwayonsa ta hanyar ƙungiyar mawaƙa ko gungu a cikin octave biyu). Ana samun irin wannan G. a cikin Nar. kiɗa pl. kasashe har zuwa yanzu. lokaci. Idan haɗin kai yakan karye lokaci-lokaci kuma an sake dawo da shi, heterophony ya taso, wanda shine halayen tsoffin al'adu, don aikin nar. yi.

Abubuwan rubuce-rubucen homophonic sun kasance a cikin Turai. Al'adun kiɗa sun riga sun kasance a matakin farko a cikin haɓakar polyphony. A lokuta daban-daban suna bayyana kansu da girma ko ƙarami (misali, a cikin faubourdon a farkon karni na 14). An haɓaka labarin ƙasa musamman a lokacin canji daga Renaissance zuwa zamanin zamani (ƙarni na 16 da 17). Kwanakin baya na rubutun luwadi a karni na 17. An shirya ta ci gaban Turai. kiɗa na 14th-15th kuma musamman na 16th ƙarni. Muhimman abubuwan da suka haifar da rinjayen G. sune: fahimtar hankali a hankali a matsayin mai zaman kansa. hadaddun sauti (kuma ba kawai jimlar tazara ba), yana nuna babbar murya a matsayin babba (a tsakiyar karni na 16 akwai ka'ida: "yanayin yana ƙaddara ta hanyar tenor"; a ƙarshen 16th. -17th ƙarni an maye gurbinsu da wani sabon ka'ida: yanayin da aka ƙaddara a cikin babbar murya), rarraba homophonic harmonic. bisa ga sito ital. frottall i villanelle, Faransa. ƙungiyar mawaƙa. waƙoƙi.

Kiɗa don lute, kayan aikin gida na gama gari na ƙarni na 15th da 16, sun taka muhimmiyar rawa wajen ƙarfafa guitar. Bayanin G. kuma ya ba da gudummawa ga yawa. shirye-shiryen lute na masu kai da yawa. polyphonic aiki. Saboda iyakantaccen nau'in sautin ringi Yiwuwar lute lokacin da ake yin rubutu dole ne a sauƙaƙa rubutun ta hanyar tsallake kwaikwai, ban da maɗaukakin haɗaɗɗun nau'ikan sautin ringi. haɗuwa. Don adana ainihin sautin aikin kamar yadda zai yiwu, an tilasta mai tsarawa ya bar iyakar waɗannan sautunan da ke cikin polyphonic tare da babbar murya. layuka, amma suna canza aikinsu: daga sautunan muryoyin, sau da yawa daidai daidai da haƙƙoƙin da babbar murya, sun juya zuwa sautin da ke tare da shi.

Irin wannan aikin ya taso a ƙarshen karni na 16. da masu yin wasan kwaikwayo - ’yan ungulu da mawaƙa waɗanda suka raka waƙa. Ba tare da maki a gaban idanunsu ba (har zuwa karni na 17, an rarraba abubuwan kide-kide kawai a cikin sassan wasan kwaikwayo kawai), an tilasta wa ’yan rakiya su tsara rubutun asali na ayyukan da aka yi. a cikin nau'i na jerin ƙananan sauti na kiɗa. masana'anta da sauƙaƙe rikodin wasu sautuna ta amfani da lambobi. Irin wannan rikodin a cikin nau'i na sautin murya da muryar bass tare da digitization na consonances, wanda ya karbi rabawa na musamman tun daga farko. karni na 17, naz. babban bass kuma yana wakiltar ainihin nau'in rubutun homophonic a cikin kiɗan zamani.

Ikilisiyar Furotesta, wanda ya nemi haɗawa da cocin. waƙa na dukan Ikklesiya, kuma ba kawai na musamman. ƙwararrun mawaƙa, kuma ana amfani da ƙa'idar G. sosai a cikin kiɗan al'ada - babba, mafi ƙarar murya ta zama babban ɗaya, wasu muryoyin sun yi rakiya kusa da chordal. Wannan yanayin kuma ya shafi kiɗan. Ayyukan Katolika. majami'u. A ƙarshe, sauyawa daga polyphonic. wasiƙu zuwa homophonic, waɗanda suka faru a ƙarshen ƙarni na 16 da 17, sun ba da gudummawa ga polygon na gida a ko'ina. kidan raye-raye da ake yi a bukukuwa da bukukuwa na karni na 16. Daga Nar. Waƙarta da waƙoƙin raye-rayen ta kuma sun shiga nau'ikan "high" na Turai. kiɗa.

Canji zuwa rubutun homophonic ya amsa sabbin kayan ado. bukatun da ke tasowa a ƙarƙashin rinjayar ɗan adam. Ra'ayoyin Turai. Renaissance music. Sabbin kayan ado sun yi shelar shigar mutum cikin jiki a matsayin takensa. ji da sha'awa. Duk muses. ma'ana, da kuma hanyoyin wasu fasaha (wasiƙa, wasan kwaikwayo, raye-raye) an kira su don yin aiki a matsayin watsa gaskiya na ruhaniya na mutum. An fara ɗaukar Melody azaman sigar kiɗan da ta fi dacewa ta zahiri da sassauƙa bayyana duk wadatar mahaukata. jihohin mutane. Wannan shine mafi keɓantawa. Ana gane waƙar musamman yadda ya kamata a lokacin da sauran muryoyin ke iyakance ga adadi na farko. Dangane da wannan shine ci gaban Italiyanci bel canto. A cikin opera - sabon kiɗa. A cikin nau'in da ya taso a farkon ƙarni na 16 da 17, an yi amfani da rubuce-rubucen homophonic sosai. Wannan kuma ya sami sauƙi ta hanyar sabon hali game da bayyana kalmar, wanda kuma ya bayyana kansa a wasu nau'o'in. Ayyukan Opera na karni na 17. yawanci suna wakiltar rikodin babban. sautin murya daga dijital. bass yana nuna maƙallan rakiyar. An bayyana ƙa'idar G. a fili a cikin karatun aiki:

C. Monteverdi. "Orpheus".

Mafi mahimmancin rawar da ke cikin bayanin G. kuma yana cikin kiɗa don kirtani. kayan kida, da farko don violin.

Faɗin G. a Turai. kiɗa ya nuna farkon saurin ci gaban jituwa a cikin zamani. ma'anar wannan kalma, samuwar sababbin muses. siffofin. Ba za a iya fahimtar rinjayen G. a zahiri ba - a matsayin cikakken matsuguni na polyphonic. haruffa da siffofin polyphonic. A hawa na 1. Ƙarni na 18 ya ƙididdige aikin mafi girma a cikin dukan tarihin duniya - JS Bach. Amma G. har yanzu siffa ce mai ma'ana ta duka tarihin. zamanin a Turai. Prof. kiɗa (1600-1900).

Ci gaban G. a ƙarni na 17-19 na sharadi ya kasu kashi biyu. Na farko daga cikin waɗannan (1600-1750) galibi ana bayyana shi azaman “epoch of the bass general”. Wannan shine lokacin samuwar G., a hankali yana ture polyphony a kusan dukkanin abubuwan asali. nau'ikan murya da kayan aiki. kiɗa. Haɓakawa na farko a layi daya tare da polyphonic. nau'o'i da siffofi, G. a hankali yana samun rinjaye. matsayi. Samfuran farko na G. marigayi 16th - farkon. karni na 17 (waƙoƙin da ke tare da lute, wasan kwaikwayo na Italiya na farko - G. Peri, G. Caccini, da dai sauransu), tare da duk darajar sabon salo. Shaidan har yanzu yana kasa a cikin fasaharsu. dabi'u na mafi girman nasarorin da masu adawa da juna na karni na 15-16. Amma yayin da hanyoyin rubutun luwadi suka inganta da kuma wadatar da su, yayin da sabbin nau'ikan luwadi suka girma, a hankali gypsy ya sake yin aiki kuma ya mamaye waɗannan fasahar. dukiya, to-rye aka tara ta tsohon polyphonic. makarantu. Duk wannan ya shirya ɗaya daga cikin climaxes. haɓakar kiɗan duniya. art - samuwar Viennese classic. salo, ranar farin ciki wanda ya faɗi a ƙarshen 18th - farkon. Ƙarni na 19 Bayan sun riƙe mafi kyawun rubuce-rubucen homophonic, litattafan Viennese sun haɓaka siffofinsa.

Haɓaka kuma an haɗa muryoyin "haɗe-haɗe" a cikin kade-kade da kwata-kwata na Mozart da Beethoven a cikin motsinsu da jigo. Muhimmancin sau da yawa ba shi da ƙasa da sabawa lokaci. layukan tsohuwar polyphonists. A lokaci guda, ayyukan gargajiya na Viennese sun fi na polyphonic. zamani tare da wadatar jituwa, sassauci, ma'auni da amincin muses. siffofin, yanayin ci gaba. A Mozart da Beethoven akwai kuma manyan misalan haɗin homophonic da polyphonic. haruffa, homophonic da polyphonic. siffofin.

A farkon. Ƙarni na 20 G. an raunana ikon mallakarsa. Ci gaban jituwa, wanda ya kasance tushe mai ƙarfi ga siffofin homophonic, ya kai iyakarsa, wanda ya wuce, kamar yadda SI Taneev ya nuna, ƙarfin dauri na jituwa. dangantaka ta rasa ma'anarsu mai mahimmanci. Saboda haka, tare da ci gaba da ci gaban polyphony (SS Prokofiev, M. Ravel), sha'awar yiwuwar polyphony yana ƙaruwa sosai (P. Hindemith, DD Shostakovich, A. Schoenberg, A. Webern, IF Stravinsky).

Kiɗa na mawaƙa na makarantar gargajiya ta Viennese sun mai da hankali ga mafi girman fa'idodin gypsum masu mahimmanci. ya faru a lokaci guda tare da haɓakar tunanin zamantakewa (zamanin wayewa) kuma ga girmansa shine bayyanarsa. Na farko kayan ado. Tunanin classicism, wanda ya ƙaddara jagorancin ci gaban ilimin geology, shine sabon tunanin mutum a matsayin mutum mai 'yanci, mai aiki, wanda ya jagoranci dalili (ra'ayi da aka ba da izini ga danniya na mutum, halayyar zamanin feudal) , da kuma duniya gaba ɗaya mai iya ganewa, an tsara su bisa ka'ida guda ɗaya.

Paphos classic. aesthetics - nasarar hankali a kan runduna na farko, tabbatar da manufa na mutum mai 'yanci, mai jituwa. Don haka farin cikin tabbatar da daidaito, daidaitattun alaƙa tare da madaidaicin matsayi da matakin digiri na babba da sakandare, babba da ƙarami, tsakiya da na ƙasa; jaddada na hali a matsayin magana na gaba ɗaya ingancin abun ciki.

Babban tsarin ra'ayi na rationalist aesthetics na classicism ne tsakiya, dictating bukatar haskaka babban, mafi kyau duka, manufa da kuma m subordination na duk sauran abubuwa na tsarin zuwa gare shi. Wannan kayan ado, a matsayin nunin ɗabi'a ga tsayayyen tsari na tsari, yana canza fasalin kiɗan da gaske, da gaske yana jagorantar ci gaban su zuwa nau'ikan Mozart-Bethoven a matsayin mafi girman nau'in kiɗan gargajiya. Tsarin. Ka'idodin kyawawan dabi'u na classicism sun ƙayyade takamaiman hanyoyi na samuwar da ci gaban gypsy a zamanin ƙarni na 17th da 18th. Wannan shine, da farko, ƙayyadaddun ƙayyadaddun ƙayyadaddun rubutun kiɗa, zaɓi na ch. muryoyin a matsayin mai ɗaukar manyan abubuwa. abun ciki sabanin daidaiton polyphonic. kuri'u, kafa mafi kyau duka classic. Orc. abun da ke ciki sabanin tsohuwar bambance-bambance da abun da ba shi da tsari; haɗin kai da rage girman nau'ikan muses. siffofin sabanin 'yancin nau'ikan tsari a cikin kiɗan zamanin da ya gabata; ka'idar haɗin kai na tonic, ba wajibi ga tsohuwar kiɗa ba. Waɗannan ka'idodin kuma sun haɗa da kafa nau'in jigon (Ch. Jigo) a matsayin mai tattarawa. bayyana ra'ayi a cikin nau'i na rubutun farko, wanda ya saba wa ci gabansa na gaba (tsohuwar kiɗa ba ta san irin wannan jigon ba); nuna alamar triad a matsayin babban nau'in a lokaci guda. haɗe-haɗen sautuna a cikin yawan sauti, ya saba wa gyare-gyare da haɗuwa bazuwar (tsohuwar kiɗan da aka yi magana da shi tare da haɗakar tazara); ƙarfafa aikin cadence a matsayin wurin mafi girman ƙaddamar da kaddarorin yanayin; haskaka babban ma'anar; yana nuna babban sautin murya (babban sautin); ɗaga murabba'i tare da mafi sauƙin ƙirar gininsa zuwa matsayi na ainihin tsari; zaɓin ma'aunin nauyi a matsayin saman awo. matsayi; a cikin filin wasan kwaikwayo - bel canto da kuma samar da cikakkun kayan aikin kirtani a matsayin nuni na babba. Ka'idar G. (waƙar waƙa bisa tsarin mafi kyawun resonators).

Developed G. yana da takamaiman. fasali a cikin tsarin abubuwansa da kuma gaba ɗaya. Rarrabuwar muryoyin zuwa manyan da masu rakiyar suna da alaƙa da bambanci tsakanin su, da farko rhythmic da madaidaiciya. Sabanin Ch. a cikin muryar, bass shine, kamar yadda yake, "waƙar waƙa ta biyu" (furucin Schoenberg), ko da yake na farko da ba a haɓaka ba. Haɗin waƙa da bass koyaushe yana ƙunshe da polyphony. yuwuwar ("zaman murya biyu", a cewar Hindemith). Ana nuna sha'awar zuwa ga polyphony a kowane rhythmic. da kuma motsin rai na layi na muryoyin homophonic, da ma fiye da haka lokacin da maki suka bayyana, cika caesuras na kwaikwayo, da dai sauransu. Polyphonization na rakiya na iya haifar da ƙima-polyphonic. da cika siffofin homophonic. Haɗin kai na polyphony da nahawu na iya wadatar da nau'ikan rubutu guda biyu; saboda haka yanayi. sha'awar hada da makamashi na da yardar kaina tasowa mutum melodic. Lines tare da wadatar homophonic chords da tabbacin func. canji

SV Rakhmaninov. Siphony na 2, motsi III.

Ya kamata a yi la'akari da iyakar da ke raba G. da polyphony yanayin yanayin: idan kiɗan. tunani yana mayar da hankali a cikin murya ɗaya - wannan shine G. (ko da tare da haɗin gwiwar polyphonic, kamar yadda a cikin Adagio na Rachmaninov's 2nd symphony).

Idan an rarraba tunanin kiɗa a tsakanin muryoyi da yawa - wannan shine polyphony (ko da tare da haɗin gwiwar homophonic, kamar yadda ya faru, alal misali, a Bach; duba misali na kiɗa).

Yawancin lokaci rhythmic. rashin haɓaka muryoyin haɗin gwiwa na homophonic (ciki har da ma'anar maɗaukaki), wanda ya saba wa rhythmic. wadata da bambance-bambancen muryoyin waƙa, suna ba da gudummawa ga haɗewar sautunan rakiya a cikin rukunin maɗaukaki.

JS Baci. Mass h-moll, Kyrie (Fugue)

Ƙarƙashin motsi na muryoyin da ke rakiyar yana gyara hankali kan hulɗar su azaman abubuwan sauti guda ɗaya - maɗaukaki. Saboda haka wani sabon (dangane da polyphony) factor na motsi da ci gaba a cikin abun da ke ciki - canji na ma'auni. Mafi sauki, sabili da haka mafi na halitta. hanyar aiwatar da irin waɗannan canje-canjen sauti shine canji na yau da kullun, wanda a lokaci guda yana ba da damar haɓakawa na yau da kullun (accelerations) da raguwa daidai da bukatun muses. ci gaba. Sakamakon haka, an ƙirƙiri abubuwan da ake buƙata don nau'in rhythmic na musamman. bambanci – tsakanin ƙwaƙƙwaran ƙwaƙƙwal a cikin waƙar da ma'aunin daidaituwa. rakiyar motsi (na ƙarshe na iya yin daidai da motsin bass na homophonic ko a haɗa su tare da su). Kyawun darajar “resonant” juzu'i da yawa an fi bayyana shi sosai a cikin yanayin rhythmic. na yau da kullun tare. Ba da damar sautunan rakiya su haɗu ta zahiri zuwa cikin canjin ƙididdiga akai-akai, G. ta haka cikin sauƙi yana ba da damar haɓaka takamaiman takamaiman. (ainihin jituwa) na yau da kullun. Sha'awar sabuntawa lokacin canza sautuna a matsayin bayanin tasiri na masu jituwa. ci gaba kuma a lokaci guda don adana sautuna na yau da kullun don kiyaye daidaituwarsa yana haifar da abubuwan da ake buƙata na haƙiƙa don amfani da alaƙa na huɗu zuwa na biyar tsakanin maɓalli waɗanda suka fi dacewa da buƙatun biyu. Musamman m esthetic. An mallaki aikin ta hanyar ƙananan motsi (sahihin binomial D - T). Asalin farko (har yanzu a cikin zurfin sifofin polyphonic na zamanin da suka gabata na ƙarni na 15-16) azaman madaidaicin madaidaicin maƙasudin, juzu'in D - T ya ƙara zuwa sauran ginin, don haka juya tsarin tsoffin hanyoyin zuwa cikin na gargajiya. tsarin sikeli biyu na manya da kanana.

Muhimman canje-canje kuma suna faruwa a cikin waƙar. A cikin G., waƙar tana tashi sama da muryoyin da ke tare kuma tana mai da hankali a cikin kanta mafi mahimmanci, ɗaiɗaikun mutane, ch. wani bangare na batun batun. Canji a cikin rawar waƙar monophonic dangane da duka yana da alaƙa da ciki. sake tsara abubuwan da ke tattare da shi. Juyin murya guda ɗaya jigon shine, ko da yake rubutun ra'ayi ne, amma cikakkiyar magana ce ta tunani. Don bayyana wannan tunanin, ba a buƙatar shigar da wasu muryoyin, ba a buƙatar rakiya. Duk abin da kuke buƙata don wadatar da kai. kasancewar jigogi na polyphonic, wanda ke cikin kanta - metrorhythm., tonal harmonic. da syntax. Tsarin, zanen layi, melodic. cadence A gefe guda, polyphonic. An kuma yi nufin amfani da waƙar a matsayin ɗaya daga cikin sautin murya. murya biyu, uku da hudu. Za'a iya haɗa maki ɗaya ko fiye da ma'anar ma'anar kyauta zuwa gare ta. Lines, wani polyphonic. jigo ko waƙar da ke shiga da wuri ko daga baya fiye da wanda aka bayar ko tare da wasu canje-canje. A lokaci guda, karin waƙa na polyphonic suna haɗuwa da juna a matsayin haɗin kai, cikakkun ci gaba da tsarin rufaffiyar.

Sabanin haka, waƙar homophonic yana samar da haɗin kai na kwayoyin halitta tare da rakiyar. Juiciness da wani nau'i na musamman na cikar sauti na waƙar homophonic ana ba da shi ta rafi na bass overtones na homophonic yana hawa zuwa gare shi daga ƙasa; Waƙar tana da alama tana bunƙasa a ƙarƙashin tasirin "radiation". Ayyukan mawaƙa masu jituwa suna shafar ma'anar fassarar sautunan waƙar, da bayyanawa. tasirin da aka dangana ga waƙar homophonic, a def. digiri ya dogara da rakiyar. Ƙarshen ba kawai nau'i na musamman ba ne ga waƙar, amma har ma da kwayoyin halitta. wani muhimmin bangare na jigon luwadi. Duk da haka, tasirin jituwa na chordal kuma yana bayyana ta wasu hanyoyi. Ji a cikin tunanin mai yin sabon homophonic-harmonic. yanayin tare da kari na chordal yana gaba da ƙirƙirar takamaiman dalili. Don haka, an ƙirƙiri waƙar a lokaci ɗaya tare da daidaitawar da aka gabatar a cikin sume (ko a hankali). Wannan ya shafi ba kawai ga homophonic melodics dace (Papageno's farko aria daga Mozart's The Magic sarewa), amma ko da polyphonic. waƙoƙin Bach, wanda ya yi aiki a zamanin tashin rubutun homophonic; jituwa tsabta. Ayyuka na asali suna bambanta polyphonic. Waƙar Bach daga polyphonic. melodics, misali, Palestrina. Saboda haka, daidaitawar waƙar homophonic, kamar yadda ake ce, an haɗa shi a cikin kanta, jituwar rakiya yana bayyana kuma ya cika waɗanda ke aiki da jituwa. abubuwan da ke cikin waƙar. A wannan ma'anar, jituwa shine "tsarin hadaddun na'urorin resonators na melos"; "Homophony ba kome ba ne illa waƙa tare da acoustically complementary tunani da tushe, wani waƙa tare da bass goyon baya da kuma bayyana overtones" (Asafiev).

G ci gaba. a Turai kiɗa ya haifar da samuwar da bunƙasa sabuwar duniyar muses. siffofin, wakiltar daya daga cikin mafi girma muses. nasarorin wayewarmu. Ilham da kyawawan kyawawan halaye. ra'ayoyi na classicism, homophonic music. siffofin haduwa a kansu za su yi mamaki. jituwa, ma'auni da cikar duka tare da wadata da cikakkun bayanai iri-iri, mafi girman haɗin kai tare da yare da haɓakar ci gaba, mafi sauƙi da tsabta na ƙa'idar gaba ɗaya daga ban mamaki. sassauci na aiwatar da shi, daidaitaccen daidaituwa tare da babban fa'idar aikace-aikacen a cikin mafi bambancin. 'Yan iri-iri, na duniya na hali tare da ɗan adam na mutum. Yaren ci gaba, wanda ke nuna sauyi daga gabatar da jigon farko (jigon) ta hanyar rashin yarda da shi ko antithesis (ci gaba) zuwa amincewar Ch. tunani akan sababbin halaye. matakin, ya mamaye yawancin nau'ikan homophonic, yana bayyana kansa musamman cikakke a cikin mafi haɓakar su - nau'in sonata. Siffar siffa ta jigon ɗan luwadi ita ce rikitarwa da nau'i-nau'i da yawa na tsarinsa (ana iya rubuta jigon homophonic ba kawai a matsayin lokaci ba, har ma a cikin nau'i mai sauƙi mai sauƙi biyu ko uku). Wannan kuma yana bayyana a cikin gaskiyar cewa a cikin jigon luwaɗi akwai irin wannan bangare (muradi, ƙungiyar motsa jiki) wanda ke taka rawa iri ɗaya dangane da jigon kamar yadda jigon da kansa yake yi dangane da sigar gabaɗaya. Tsakanin polyphonic. kuma jigogin luwadi babu kwatankwacin kai tsaye, amma akwai daya tsakanin muradi ko babba. Ƙungiya mai dalili (zai iya zama jimla ta farko na lokaci ko ɓangaren jimla) a cikin jigon luwaɗi da yawan sauti. take. Kamancin ya ta'allaka ne a cikin gaskiyar cewa duka ƙungiyar motsin homophonic da yawanci gajeriyar polyphonic. Taken yana wakiltar bayanin farko na axis. abu mai motsa rai kafin maimaituwa (matsayin polyphonic; kamar rakiyar luwadi, ƙaramin mataki ne. kayan motsa jiki). Babban bambance-bambance tsakanin polyphony da G. ayyana hanyoyi guda biyu na ƙarin haɓaka kayan haɓakawa: 1) maimaita babban jigo. Ana canja wurin tsakiya cikin tsari zuwa wasu muryoyin, kuma a cikin wannan ƙaramin mataki ya bayyana. jigogi. abu (ka'idar polyphonic); 2) maimaita babban abu. jigogi. Nuclei ana aiwatar da su a cikin murya ɗaya (sakamakon abin da ya zama babba), da sauransu. muryoyin sauti na biyu. jigogi. abu (ka'idar homophonic). “Akwaikwayo” (kamar yadda “kwaikwayo”, maimaituwa) shima yana nan, amma da alama yana faruwa a cikin murya ɗaya kuma yana ɗaukar nau'i daban-daban: ba al'ada ba ne don luwadi don adana rashin ƙarfi na melodic. Lines na motif gaba ɗaya. Maimakon amsa "tonal" ko madaidaiciya "ainihin", "harmonic" yana bayyana. jawabi», i maimaita wani dalili (ko ƙungiyar motsa jiki) akan wani jituwa, dangane da jituwa. ci gaban nau'in homophonic. Abin da ke tabbatar da ganewar wani dalili yayin maimaitawa sau da yawa ba maimaita waƙoƙin waƙa ba ne. Layuka (yana iya zama naƙasasshe), kuma gabaɗayan shaci suna da ɗanɗano. zane da metrorhythm. maimaitawa. A cikin nau'i na homophonic da aka haɓaka sosai, haɓaka mai motsawa zai iya amfani da kowane nau'i (ciki har da mafi hadaddun) nau'i na maimaitawa na dalili (juyawa, karuwa, bambancin rhythmic).

By wadata, tashin hankali da maida hankali thematically. ci gaban irin wannan G. zai iya wuce hadaddun polyphonic. siffofin. Duk da haka, ba ya juya zuwa polyphony, saboda yana riƙe da babban fasali na G.

L. Beethoven. Concerto na 3 don piano da orchestra, motsi I.

Da farko dai, ita ce tatsuniyar tunani a cikin ch. murya, nau'in haɓaka mai motsa rai (maimaituwa daidai ne daga mahangar ra'ayi, amma ba daga ra'ayi na zanen layi ba), wani nau'i na kowa a cikin kiɗan homophonic (jigon 16-bar shine lokacin rashin- maimaita gini).

References: Asafiev B., Tsarin kiɗa a matsayin tsari, sassan 1-2, M., 1930-47, L., 1963; Mazel L., Ainihin ka'ida na tsarin melodic na jigon homophonic, M., 1940 (dissertation, shugaban ɗakin karatu na Moscow Conservatory); Helmholtz H. von, Die Lehre von der Tonempfindungen…, Braunschweig, 1863, Rus. trans., St. Petersburg, 1875; Riemann H., Grosse Kompositionslehre, Bd 1, B.-Stuttg., 1902; Kurth E., Grundlagen des linearen Kontrapunkts, Bern, 1917, Rus. da., M., 1931.

Yu. N. Kholopov