innation |

daga lat. intono - magana da ƙarfi

I. Mafi mahimmancin kida-ka'idar. da kyakkyawan ra'ayi wanda ke da ma'anoni guda uku masu alaƙa:

1) Ƙungiyar Altitude (daidaitawa da haɗin kai) na kiɗa. sautunan kwance. A cikin sautin kiɗa, da gaske yana wanzuwa kawai a cikin haɗin kai tare da tsarin lokaci na sautuna - rhythm. "Intonation… an haɗa shi da rhythm a matsayin abin da ke ladabtar da wahayin kiɗa" (BV Asafiev). Haɗin kai na I. da rhythm suna samar da karin waƙa (a cikin ma'anarsa mafi girma), wanda I., a matsayin babban gefensa, za'a iya bambanta kawai ta hanyar ka'ida, a cikin abstraction.

Musanya. I. yana da alaƙa da asali kuma ta hanyoyi da yawa kama da magana, ana fahimtar su azaman canje-canje a cikin sautin ("sautin") na murya kuma, sama da duka, sautin sa ("waƙar magana"). I. a cikin kiɗa yana kama da I. magana (idan muna nufin gefen tsaye na ƙarshen) a cikin aikin abun ciki (ko da yake a cikin magana babban mai ɗaukar abun ciki shine kalmar - duba I, 2) kuma a wasu siffofi na tsari, wakiltar. kazalika da magana I., tsarin canza sauti a cikin sauti, bayyana motsin zuciyarmu da kuma daidaitawa a cikin magana da wok. kiɗa ta ka'idodin numfashi da ayyukan muscular na igiyoyin murya. jarabar kiɗa. I. daga waɗannan alamu an riga an nuna su a cikin ginin sautin sauti, melodic. Lines (kasancewar sautin magana iri ɗaya daidai da sautuna iri ɗaya a cikin magana I .; wurin da babban ɗayan ke cikin ƙananan ɓangaren sautin murya: canjin hawan hawan da sauka; saukowa, a matsayin mai mulkin, jagorancin filin wasa. layi a cikin ƙarshe, lokacin motsi, da dai sauransu), yana rinjayar da kuma a cikin ƙaddamar da kiɗa. I. (kasancewar caesuras na zurfafa daban-daban, da dai sauransu), a cikin wasu sharuɗɗa na gabaɗaya don bayyanawa (ƙara a cikin tashin hankali lokacin motsi sama da fitarwa lokacin motsi ƙasa, a cikin magana da kiɗan murya mai alaƙa da haɓaka ƙoƙarin ƙoƙarin. na tsokoki na na'urar murya kuma tare da shakatawa na tsoka).

Bambance-bambancen da ke tsakanin nau'ikan I. guda biyu da aka nuna suna da mahimmanci, duka a cikin abun ciki (duba I, 2) da kuma a cikin tsari. Idan a cikin magana I. sautunan ba su bambanta ba kuma ba su da ƙayyadaddun ƙayyadaddun ƙayyadaddun bayanai. daidaito na tsayi, sannan a cikin kiɗa I. ƙirƙirar muses. sautunan sauti ne waɗanda suka fi ko žasa da iyakancewa a cikin farar saboda tsayin daka na mitar oscillation wanda ke nuna kowane ɗayansu (ko da yake a nan ma, gyaran farar ba cikakke ba ne - duba I, 3). Musanya. sautuna, ba kamar sautin magana ba, a kowane hali na k.-l. tsarin tsarin sauti na kida na tarihi, suna samar da dangantaka mai tsayi a tsakanin juna (tsakanin tazara) daidaitacce a aikace kuma suna haɗa juna bisa wani tsarin aiki-ma'ana. dangantaka da haɗin gwiwa (lada). Godiya ga wannan kiɗan. I. Ya bambanta da magana - yana da 'yancin kai, haɓakawa kuma yana da ma'auni mafi girma. dama.

I. (a matsayin ƙungiyar sauti mai girma) tana aiki azaman tushe mai mahimmanci da ma'anar ma'anar kiɗa. Ba tare da kari ba (kazalika ba tare da kari da kuzari ba, da kuma timbre, waɗanda ke da alaƙa da shi ba tare da ɓata lokaci ba), kiɗa ba zai wanzu ba. Don haka, kiɗan gabaɗaya yana da sautin sauti. yanayi. Babban mahimmanci da rinjaye na I. a cikin kiɗa yana da dalilai da yawa: a) dangantakar sauti na sautunan, kasancewa mai sauƙi da sauƙi, suna da bambanci sosai; wasu abubuwan da ke tattare da ilimin halin dan Adam na ilimin halin dan adam suna ƙayyade matsayinsu na jagoranci a cikin magana ta hanyar kiɗan da ke canzawa, bambance-bambancen da ƙayyadaddun ƙayyadaddun ƙayyadaddun abubuwa na ƙungiyoyin ruhaniya na ɗan adam; b) dangantakar sauti na sauti saboda tsayayyen filin kowane ɗayansu, a matsayin mai mulkin, ana sauƙin tunawa da sake bugawa kuma don haka suna iya tabbatar da aikin kiɗa a matsayin hanyar sadarwa tsakanin mutane; c) yuwuwar daidaita daidaitattun sautunan daidai da tsayin su da kafawa a tsakanin su akan wannan madaidaicin aiki mai ƙarfi da ƙarfi. haɗin kai ya ba da damar haɓakawa a cikin kiɗan hanyoyi daban-daban na melodic, jituwa. da kuma polyphonic. ci gaba, bayyana yiwuwar wanda nisa ya wuce yuwuwar, a ce, rhythmic ɗaya, mai ƙarfi. ko ci gaban timbre.

2) Hanyar ("tsarin", "sito", "sautin") na kiɗa. kalamai, "Ingantacciyar lafazin ma'ana" (BV Asafiev) a cikin kiɗa. Ya ta'allaka ne a cikin hadadden sifofin halayen muses. siffofi (high-altitude, rhythmic, timbre, articulatory, da dai sauransu), wanda ke ƙayyade ma'anarsa, watau, motsin rai, na fassarar, da sauran ma'anoni ga waɗanda suka gane. I. - ɗaya daga cikin mafi zurfi yadudduka na nau'i a cikin kiɗa, mafi kusa da abun ciki, mafi kai tsaye da cikakken bayyana shi. Wannan fahimtar kiɗan I. yayi kama da fahimtar shigar da magana kamar yadda aka bayyana. sautin magana, motsin rai da canza launin sautinsa, ya danganta da yanayin magana da bayyanar da halayen mai magana ga abin da aka fada, da kuma siffofin halayensa, kasa da zamantakewa. I. a cikin kiɗa, kamar yadda a cikin magana, na iya samun ma'anar ma'ana (na tunani), ma'ana-ma'ana, halaye da ma'anoni. Ma'anar ma'anar kiɗa. I. ana ƙaddara ta ji, yanayi da burin son rai na mawaki da mai yin da aka bayyana a cikinsa. A cikin wannan ma'anar, suna faɗi, alal misali, game da muses waɗanda ke sauti a cikin abin da aka bayar. aikin (ko sashensa) intonations na roko, fushi, jubilation, damuwa, nasara, ƙaddara, "ƙauna, tausayi, shiga, gaisuwar uwa ko ƙauna, tausayi, goyon bayan abokantaka" (BV Asafiev game da kiɗa na Tchaikovsky), da dai sauransu The ma'ana -Ma'anar ma'anar I. an ƙaddara ta ko yana bayyana magana, tambaya, kammala tunani, da dai sauransu. A ƙarshe, I. na iya lalacewa. bisa ga halayen halayensa, incl. na kasa (Rashanci, Jojiyanci, Jamusanci, Faransanci) da kuma zamantakewa (Rasha baƙauye, raznochinno-birni, da dai sauransu), kazalika da Genre ma'ana ( song, tashi, recitative; labari, scherzo, meditative; iyali, magana, da dai sauransu).

Dakika I. dabi'u an ƙaddara su da yawa. dalilai. Muhimmi, ko da yake ba shi kaɗai ba, shine ƙara ko žasa da matsakanci da canzawa (duba I, 1) haifuwa a cikin kiɗan magana I. daidai. dabi'u. Canji na magana I. (mabambanta ta fuskoki da yawa da canzawar tarihi) zuwa kiɗan kiɗa yana faruwa ci gaba a cikin ci gaban kiɗan. fasaha kuma galibi yana ƙayyade ikon kiɗa don haɗa nau'ikan motsin rai, tunani, buri mai ƙarfi da halaye, isar da su ga masu sauraro da tasiri na ƙarshe. Madogaran bayyana kida. I. Har ila yau yana aiki a matsayin ƙungiyoyi tare da wasu sautuna (duka masu kida da masu kida - duba I, 3) saboda kwarewar sauraron al'umma da abubuwan da ake bukata na ilimin lissafi na kai tsaye. tasiri a kan motsin zuciyarmu. daular mutum.

Wannan ko wancan I. muses. Mawakin ya kaddara furuci da gangan. Kidan da shi ya kirkira. sautuna suna da damar. darajar, dangane da jikinsu. dukiya da ƙungiyoyi. Mai yin wasan kwaikwayo, ta hanyarsa (tsayi mai ƙarfi, mai tsauri, mai launi, da kuma cikin waƙoƙi da kida ba tare da tsayayyen farau ba—kuma ta hanyar bambanta fage a cikin yankin—duba I, 3) ya bayyana I. marubucin kuma ya fassara shi daidai da abin da ya dace. matsayinsa na daidaiku da zamantakewa. Ganewar mai yin (wanda kuma yana iya zama marubucin) na mawaki I., watau, innation, shine ainihin wanzuwar kiɗa. Cikarta da al'umma. wannan kasancewar, duk da haka, yana samun ma'ana ne kawai a ƙarƙashin yanayin fahimtar kiɗan da mai sauraro ya yi. Mai sauraro yana tsinkaya, sake sakewa a cikin zuciyarsa, gogewa da daidaita mawaƙin I. (a cikin fassarar fassararsa) shima daidaiku ɗaya, bisa nasa. ƙwarewar kiɗa, wanda, duk da haka, wani ɓangare ne na al'umma. kwarewa da sharadinsa. Wannan. "Abin da ya faru na innation ya ɗaure cikin haɗin kai na kiɗan kiɗa, wasan kwaikwayo da sauraron sauraro" (BV Asafiev).

3) Kowane ɗayan ƙayyadaddun ƙayyadaddun ƙayyadaddun sauti a cikin kiɗa. furucin da ke da ingantacciyar magana mai zaman kanta. ma'ana; naúrar na fassara a cikin kiɗa. Yawanci ya ƙunshi sautuna 2-3 ko fiye a cikin monophony ko baƙaƙe; in excl. lokuta, yana iya ƙunsar sauti ɗaya ko magana ɗaya, keɓe ta wurin matsayinsa a cikin muses. mahallin da bayyanawa.

Domin main express. ma'anar waƙa ita ce waƙar, I. an fi fahimtar shi a matsayin taƙaitaccen nazarin sautuna a cikin monophony, a matsayin ɓangaren waƙa, waƙa. Duk da haka, a cikin lokuta inda in an kwatanta masu zaman kansu. ma'ana a cikin kiɗa. aikin yana samun wasu masu jituwa, rhythmic, abubuwan timbre, zamu iya magana game da jituwa, rhythmic, bi da bi. har ma da timbre I. ko game da hadaddun I.: melodic-harmonic, harmonic-timbre, da dai sauransu. Amma a wasu lokuta, tare da rawar da ke cikin waɗannan abubuwa, rhythm, timbre da jituwa (zuwa ƙarami - kuzari) har yanzu suna da tasiri a kan hasashe na waƙoƙin waƙa, yana ba su wannan ko wannan haske, waɗannan ko waɗannan inuwar bayyanawa. Ma'anar kowane da aka ba I. zuwa babba kuma ya dogara da yanayinsa, a kan muses. mahallin, wanda ya shiga, da kuma daga cikarsa. fassarar (duba I, 2).

Dangantakar mai zaman kanta. ma'anar ma'anar ma'anar motsin rai na I. ya dogara ba kawai a kan kansa ba. dukiya da wuri a cikin mahallin, amma kuma daga fahimtar mai sauraro. Saboda haka, rabon muses. gudana a kan I. kuma ma'anar ma'anar su ta kasance saboda dalilai na haƙiƙa da abubuwan da suka dace, ciki har da muses. ilmantarwa na sauraro da kwarewar sauraro. Duk da haka, gwargwadon wasu haɗe-haɗen sauti (mafi daidai, nau'ikan haɗakar sauti) saboda maimaita amfani da su a cikin kiɗa. kere-kere da hadewar al'umma. aiki zama saba da saba da kunne, su zabi da kuma fahimta a matsayin mai zaman kanta I. fara dogara ba kawai a kan masu sauraro ta daidaitattun mutane, amma kuma a kan basira, kida da kuma ado. dandano da ra'ayoyin al'ummomi gaba daya. ƙungiyoyi.

I. na iya yin daidai da dalili, karin waƙa. ko harmonic. juya, thematic cell ( hatsi). Bambancin, duk da haka, ya ta'allaka ne a cikin gaskiyar cewa ma'anar haɗakar sauti a matsayin dalili, juyawa, tantanin halitta, da dai sauransu, ya dogara ne akan siffofinsa na haƙiƙa (kasancewar lafazin da ke haɗa rukuni na sautuna, da kuma caesura mai rarrabawa. wannan rukuni daga maƙwabcinsa, yanayin haɗin gwiwar aiki na melodic da jituwa tsakanin sautuna ko maɗaukaki, rawar da aka ba da hadaddun a cikin ginin jigo da ci gabanta, da dai sauransu), yayin zabar I., sun ci gaba daga. bayyanawa. ma'anar ma'anar haɗakar sauti, daga ma'anarsu, don haka babu makawa gabatar da wani abu na zahiri.

I. Wani lokaci ana kiransa muses. "kalma" (BV Asafiev). Kamannin kiɗa. I. kalma a cikin harshe an sami barata wani bangare ta fasalin kamanninsu a cikin abun ciki, tsari da aiki. I. yana kama da kalma a matsayin ɗan gajeren sauti mai ma'ana mai ma'ana, wanda ya taso a cikin tsarin sadarwar mutane kuma yana wakiltar irin wannan na'ura mai mahimmanci wanda za a iya raba shi da sautin sauti. Hakanan kamanceceniya ta ta'allaka ne a cikin gaskiyar cewa kalmomin shiga, kamar kalmomi, abubuwa ne na sarƙaƙƙiya, ingantaccen tsarin da ke aiki a wasu yanayi na zamantakewa. Ta hanyar kwatanci tare da harshe na magana (na halitta), tsarin I. (mafi daidai, nau'in su) da aka samu a cikin aikin k.-l. mawaki, rukuni na mawaƙa, a cikin kiɗa. al'ada k.-l. mutane, da dai sauransu, ana iya kiransa da yanayin “intonation. harshe” na wannan mawaki, rukuni, al'adu.

Bambancin kiɗa. I. daga kalmar ta ƙunshi a cikin gaskiyar cewa ita ce haɗakar sauti daban-daban - muses. sautunan, yanke yana bayyana na musamman, fasaha. abun ciki, ya taso a kan wasu kaddarorin sauti da alaƙa (duba I, 1), a matsayin mai mulkin, ba shi da kwanciyar hankali, sigar da aka sake maimaitawa akai-akai (nau'ikan magana kawai sun fi ko žasa barga) sabili da haka an ƙirƙira sabon ta kowane. marubuci a cikin kowace magana (ko da yake tare da mai da hankali kan wani nau'in innational); I. shine ainihin polysemantic a cikin abun ciki. Kawai don ware. A wasu lokuta, yana bayyana takamaiman ra'ayi, amma duk da haka ba za a iya isar da ma'anarta daidai kuma cikin shakka ba ta kalmomi. I. fiye da kalma, ya dogara da ma'anarta akan mahallin. A lokaci guda kuma, abubuwan da ke cikin wani I. (motsi, da dai sauransu) suna da alaƙa da alaƙa da wani nau'i na abu da aka ba (sauti), wato, ana iya bayyana shi kawai ta hanyar haɗin gwiwa tsakanin abun ciki da tsari a ciki. I. shine, a matsayin mai mulkin, ƙasa da kai tsaye. fiye da a cikin kalma, ba sabani ba kuma ba sharadi ba, saboda abin da abubuwan da ke cikin "intonation". harsuna” ba sa bukatar a fassara su zuwa wani “harshen” kuma kada ku ƙyale irin wannan fassarar. Fahimtar ma'anar I., watau, "fahimtarsa", zuwa ƙarami yana buƙatar farko. ilimin “harshen” daidai, saboda Ch. arr. bisa ga ƙungiyoyin da yake haifar da wasu sautuka, da kuma abubuwan da ake buƙata na psychophysiological da ke cikinsa. tasiri. I., an haɗa cikin wannan “intonation. harshe”, ba a haɗa su cikin wannan tsarin ta kowace hanya tabbatacciya kuma wajibi. ka'idojin samuwar su da haɗin kai. Saboda haka, ra'ayi yana da ma'ana, bisa ga Krom, ba kamar kalmar ba, I. ba za a iya kiran shi alamar ba, amma "Intonation. harshe” – tsarin alamar. Domin masu saurare su buga su, mai yin waƙa a cikin aikinsa ba zai iya dogara ga al'ummomin da ke kewaye da su da aka sani ba. muhalli da kuma muses koyi da shi. da nemuz. sauti conjugation. Daga cikin kiɗan, I. Nar. taka muhimmiyar rawa a matsayin tushe da samfuri don ƙirƙira mawaki. da kiɗan yau da kullun (wanda ba na al'ada ba), wanda ya zama ruwan dare a cikin ƙungiyar zamantakewa ta musamman kuma kasancewa wani ɓangare na rayuwarta, bayyanar sauti kai tsaye (na halitta) ba tare da bata lokaci ba na halayen membobinta ga gaskiyar. Daga nemuz. Haɗin sauti suna taka rawa iri ɗaya da ake samu a kowace nat. barga harshe, yau da kullum sake fitowa a cikin magana yi intonation. juya (intonemes) waɗanda ke da, ga duk wanda ke amfani da wannan harshe, ƙari ko žasa na dindindin, tabbataccen, ma'ana mai ma'ana (intoonemes na tambaya, exlamation, assertion, mamaki, shakka, daban-daban yanayi yanayi da muradi, da dai sauransu). .

Mawaƙin na iya sake haifar da haɗe-haɗen sautin da ke akwai a daidai tsari ko gyaggyarawa, ko ƙirƙiri sababbi, haɗin sauti na asali, hanya ɗaya ko wata yana mai da hankali kan nau'ikan waɗannan haɗin sautin. A lokaci guda, kuma a cikin aikin kowane marubuci, daga cikin yawancin abubuwan da aka sake bugawa da asali na sautunan sauti, wanda zai iya bambanta I., bambance-bambancen su ne duk sauran. Jimlar irin wannan na hali I., halayyar da aka ba mawaki da kuma kafa tushen, kayan da ya "Intonation. harshe”, ya samar da “labari. ƙamus" (lokacin da BV Asafiev). Jimlar I., data kasance a cikin al'ummomi. Aiki na wannan zamanin, wanda ke cikin wannan tarihin. lokacin “a sauraron” al’umma ko al’ummai da yawa, suna samuwa, bi da bi, nat. ko na duniya “intonation. ƙamus na zamanin”, gami da a matsayin tushen I. nar. da kiɗan gida, da kuma I. prof. Ƙirƙirar kiɗa, wanda ya haɗa da fahimtar jama'a.

Saboda manyan bambance-bambancen da ke sama tsakanin I. da kalmar, “Intonation. ƙamus” wani sabon abu ne mabanbanta kwata-kwata idan aka kwatanta da ƙamus. asusu na harshe (na magana) kuma yakamata a fahimce su ta fuskoki da yawa a matsayin sharadi, kwatanci. lokaci.

Nar. da kuma gidan I. su ne halayen wasiƙa. nau'ikan kiɗan. al'adun gargajiya da kiɗan yau da kullun. Saboda haka, "Intonation. ƙamus na zamanin” yana da alaƙa ta kud da kud da nau'o'in nau'ikan da ke gudana a zamanin da aka bayar, "asusun nau'in sa". Dogaro da wannan asusu (saboda haka akan “kamus na zamanin”) da kuma cikakken tsarin sa. fasalulluka a cikin kerawa, watau, “gabaɗawa ta hanyar nau'in” (AA Alshvang), galibi yana ƙayyadaddun fahimta da fahimtar kiɗa ga masu sauraron al'umma da aka bayar.

Magana akan “Intonation. ƙamus na zamanin”, mawallafin ya nuna shi a cikin aikinsa tare da digiri daban-daban na 'yancin kai da aiki. Wannan aikin zai iya bayyana kansa a cikin zaɓi na I., gyare-gyaren su yayin da suke riƙe da magana ɗaya. ma'ana, gamammensu, sake tunani (sake magana), watau irin wannan canji, wanda ke ba su sabuwar ma'ana, kuma, a ƙarshe, a cikin haɗakarwa. intonations da dukan intonations. Spheres.

“Intonation” na ƙasa da ƙasa. ƙamus” suna ci gaba da haɓakawa da sabuntawa a koyaushe sakamakon mutuwar wasu I., canje-canje a wasu, da bayyanar na uku. A cikin wasu lokuta - yawanci ana alama da manyan canje-canje a rayuwar zamantakewa - ƙarfin wannan tsari yana ƙaruwa sosai. Mahimmanci da saurin sabuntawa na “intonation. ƙamus” a irin waɗannan lokuta (misali, a cikin rabin na biyu na karni na 2 a Faransa, a cikin 18-50s na karni na 60 a Rasha, a cikin shekarun farko bayan Babban juyin juya halin gurguzu na Oktoba) BV Asafiev da ake kira “Intonation. rikice-rikice.” Amma gabaɗaya, “Intonation. ƙamus “kowane nat. al'adar kiɗa yana da kwanciyar hankali, yana tasowa a hankali har ma a lokacin "intonation". rikice-rikice” ba yana fuskantar rugujewar rugujewa ba, amma kawai bangare ne, ko da yake mai tsanani, sabuntawa.

“Intonation. ƙamus” na kowane mawaki kuma a hankali ana sabunta shi saboda haɗa sabon I. da bullowar sabbin bambance-bambancen innations na yau da kullun. siffofin da ke ƙarƙashin wannan "kalmomi". Ch. bauta a matsayin hanyar canji Kuma. arr. canje-canje a cikin tazara da tsarin modal, rhythm, da halayen nau'in (kuma, a cikin hadaddun kwaikwayo, kuma cikin jituwa). Bugu da kari, bayyana. ƙimar I. yana shafar canje-canje a cikin ɗan lokaci, timbre, da rajista. Dangane da zurfin canji, wanda zai iya yin magana game da bayyanar ko dai bambance-bambancen I., ko sabon I. a matsayin wani nau'i na daidaitattun nau'i, ko sabon I. a matsayin daya daga cikin bambance-bambancen wani. daidaitaccen tsari. A cikin ƙayyadaddun wannan, tsinkayen sauraro yana taka muhimmiyar rawa.

I. ana iya canzawa kuma a cikin muses iri ɗaya. aiki. Bambanci, ƙirƙirar sabon bambance-bambancen, ko ingantaccen haɓakar c.-l. suna yiwuwa a nan. daya I. Ma'anar innation. ci gaba kuma yana hade da haɗuwa da decomp. I. a kwance (mai sauƙi mai sauƙi ko kwatanta da bambanci) da kuma a tsaye (intonation. counterpoint); "Intonation. daidaitawa ”(canzawa daga wannan yanki na I. zuwa wani); innation rikici da gwagwarmaya; korar wasu I. ta wasu ko samuwar I., da dai sauransu.

Tsarin juna da rabo Kuma. in prod. ya ƙunshi fassararsa. tsari, da haɗin kai na misalta-semantic I. a nan take. bincike ko a nesa ("intonation. arches"), ci gaban su da kowane nau'i na canje-canje - intonation. dramaturgy, wanda shi ne na farko bangaren na muses. wasan kwaikwayo gabaɗaya, mafi mahimmancin hanyoyin bayyana abubuwan da ke cikin muses. aiki.

Ma'anar mallaka, daidai da fassarar samfurin gabaɗaya, yana canzawa da haɓaka shi I. da mai yin (duba I, 2), wanda ke da takamaiman 'yanci a wannan batun, amma a cikin tsarin bayyanawa. dramaturgy da mawaki ya kaddara. Irin wannan yanayin yana iyakance 'yancin yin gyare-gyare na I. a cikin aiwatar da fahimtar su da haifuwa ta tunanin mai sauraro; a lokaci guda, yana da daidaikun mutane. haifuwa (cikin innation) a matsayin bayyanar ayyukan masu sauraro lokaci ne da ya zama dole don cikakkiyar fahimtar kiɗa.

Tambayoyi game da ainihin kiɗan. I., innation. yanayin kiɗa, dangantaka da bambancin muses. da magana I. da sauransu sun daɗe da haɓaka ta hanyar kimiyya (ko da yake a yawancin lokuta ba tare da amfani da kalmar "I") ba, kuma mafi yawan aiki da amfani a cikin waɗannan lokutan lokacin da matsalar hulɗar muses. da magana I. ya zama musamman dacewa ga muses. kerawa. An riga an shirya su a wani yanki a cikin kiɗan. ka'idar da kyawawan halaye na zamanin da (Aristotle, Dionysius na Halicarnassus), sannan kuma tsakiyar zamanai (John Cotton) da Renaissance (V. Galili). Yana nufin Faransawa ne suka ba da gudummawar ci gaban su. mawaƙa na ƙarni na 18 waɗanda ke cikin masu haskakawa (JJ Rousseau, D. Diderot) ko kuma suna ƙarƙashin ikonsu kai tsaye. tasiri (A. Gretry, KV Gluck). A wannan lokacin, musamman ma, an tsara ra'ayin a karon farko game da alaƙar "ƙarashin waƙoƙin waƙa" tare da "ƙarfafa magana", cewa muryar mawaƙa "ta kwaikwayi kalamai daban-daban na muryar magana da ke motsa jiki" (Rousseau). Babban mahimmanci ga ci gaban ka'idar I. sune ayyuka da maganganun ci gaba na Rashanci. mawaƙa da masu sukar ƙarni na 19, musamman AS Dargomyzhsky, AN Serov, MP Mussorgsky, da VV Stasov. Don haka, Serov ya gabatar da tanadi akan kiɗa a matsayin "nau'in nau'in harshe na musamman" kuma, a lokaci guda tare da NG Chernyshevsky, a kan primacy na wok. kalmomin shiga dangane da kayan aiki; Mussorgsky ya nuna mahimmancin kalmomin magana a matsayin tushe da tushe na "waƙar da aka halicce ta hanyar maganganun mutum"; Stasov, da yake magana game da aikin Mussorgsky, a karon farko ya yi magana game da "gaskiya na intonations." Wani koyaswa na musamman na I. ya haɓaka tun farko. 20th karni BL Yavorsky (duba II), wanda ya kira I. "mafi ƙanƙanta (ta hanyar gini) nau'in sauti na monophonic a cikin lokaci" kuma ya ayyana tsarin innation a matsayin "ɗayan nau'i na fahimtar zamantakewa." Ra'ayoyin Rashanci. da kuma mawaƙa na ƙasashen waje game da wasan kwaikwayo. yanayin kiɗan, haɗinsa tare da I. na magana, rawar da ake samu a cikin zamanin, mahimmancin tsarin ƙaddamarwa a matsayin ainihin wanzuwar kiɗa a cikin al'umma, da dai sauransu. wasu an gama su kuma an haɓaka su da yawa. Ayyukan BV Asafiev, wanda ya haifar da zurfi kuma mai ban sha'awa (ko da yake ba a tsara shi gaba daya ba kuma ba tare da rarrabuwa da rikice-rikice na ciki ba) "Intonation. ka'idar" music. kerawa, aiki da fahimta da haɓaka ka'idodin shiga. nazarin kiɗa. Masana kide-kide na USSR da sauran 'yan gurguzu suna ci gaba da haɓaka wannan ka'idar ci gaba, wacce ke da mahimmancin mahimmancin kimiyya. kasashe.

II. A cikin BL Yavorsky's "modal rhythm theory" yana da juxtaposition (canji) na lokuta guda biyu, wanda aka gabatar a cikin murya ɗaya (duba Modal rhythm).

III. Matsakaicin daidaiton sauti na haifuwa na farar da ƙimar su (tsakanin tazara) tare da kiɗa. yi. Gaskiya, "tsabta" I. (kamar yadda ya saba da ƙarya, "datti") - daidaituwa na gaskiya. tsayin sautin sauti tare da larura, watau saboda matsayinsa a cikin kiɗan. tsarin sauti da yanayin, wanda aka gyara ta hanyar nadi (hoton, magana ko waninsa). Kamar yadda mujiya ta nuna. acoustician NA Garbuzov, I. ana iya gane shi ta hanyar ji a matsayin gaskiya ko da lokacin da aka nuna daidaituwa ba daidai ba ne (kamar yadda yawanci yakan faru lokacin da ake yin kiɗa ta hanyar murya ko kayan aiki ba tare da tsayayyen farar kowane sautin ba). Sharadi na irin wannan hasashe shine wurin da sautin sauti yake a cikin wani yanki, iyaka. wurare masu tsayi kusa da abin da ake buƙata. NA Garbuzov ya kira wannan yanki yanki.

IV. A cikin ka'idar yanki na sauraron sauti ta NA Garbuzov, bambancin farar tsakanin tazara guda biyu waɗanda ke yanki ɗaya.

V. A cikin samarwa da kunna kiɗan. kayan aiki tare da ƙayyadaddun sauti na sauti (gagaru, piano, da dai sauransu) - daidaitattun duk sassan da maki na ma'auni na kayan aiki dangane da ƙarar da katako. An samu ta hanyar ayyuka na musamman, waɗanda ake kira innation na kayan aiki.

VI. A Yammacin Turai. kiɗa har ser. Karni na 18 - ɗan gajeren gabatarwa ga wok. ko instr. samfur. (ko sake zagayowar), kama da intrade ko prelude. A cikin waƙar Gregorian, I. an yi niyya ne don kafa sautin waƙar da tsayin sautin farkon sa kuma yana da asali na murya, kuma daga karni na 14, a matsayin mai mulkin, gabo. Daga baya I. kuma ya hada don clavier da sauran kayan aiki. Mafi sanannun su ne kayan aikin gabobin da aka kirkira a karni na 16. A. da J. Gabrieli.

References:

1) Asafiev BV, Tsarin kiɗa a matsayin tsari, littafi. 1-2, M., 1930-47, L., 1971; nasa, Harshen Magana, M.-L., 1965; nasa, "Eugene Onegin" - lyrical al'amuran PI Tchaikovsky. Kwarewa na nazari na innation na salo da wasan kwaikwayo na kiɗa, M.-L., 1944; nasa, Glinka, M., 1947, 1950; nasa, Glinka's Rumor, ch. 1. Al'adun innation na Glinka: ilimin kai na ji, girma da abinci mai gina jiki, cikin tarin: MI Glinka, M.-L., 1950; Mazel LA, Ya waƙa, M., 1952; Vanslov VV, Ma'anar shiga cikin ilimin kide-kide na Soviet, a cikin littafin: Tambayoyi na Kiɗa, vol. 1 (1953-1954), M., 1954; Kremlev Yu. A., Kasidu a kan kayan ado na kiɗa, M., 1957, ƙarƙashin taken: Maƙalakan ƙayatarwa na kiɗa, M., 1972; Mazel LA, A kan ra'ayi na kida-ka'idar B. Asafiev, "SM", 1957, No 3; Orlova BM, BV Asafiev. Birnin Leningrad, 1964; innation da hoton kiɗa. Labarai da nazarin masana kimiyyar kiɗa na Tarayyar Soviet da sauran ƙasashe masu ra'ayin gurguzu, ed. BM Yarustovsky ne ya gyara shi. Moscow, 1965. Shakhnazarova NG, Intonation "kamus" da kuma matsalar kiɗa na jama'a, M., 1966; Sohor AH, Kiɗa a matsayin nau'in fasaha, M., 1961, 1970; Nazaikinsky E., Psychology na fahimtar kiɗa, M., 1972; Kucera V., Vevoj a obsah Asafjevovy intotonacnin teorie, "Hudebni veda", 1961, No 4; Kluge R., Definition der Begriffe Gestalt und Intonation…, “Beiträge zur Musikwissenschaft”, 1964, No 2; Jiranek J., Asafjevova teorie intotonace, jeji genez and a viznam, Praha, 1967;

2) Yavorsky VL, Tsarin magana na kiɗa, M., 1908;

3) da 4) Garbuzov HA, Yanayin yanki na sauraron sauti, M., 1948; Pereverzev NK, Matsalolin kiɗan kiɗa, M., 1966;

5) Protscher G., Tarihin wasan gabobin jiki da abun da ke ciki, vols. 1-2, В., 1959.

AH Coxop