Mahimmin bayani |
Jamus Leitmotiv, lit. – jagoranci dalili
Dan gajeriyar kida. juyawa (bh melody, wani lokacin waƙa tare da daidaitawa da aka sanya wa wani kayan aiki, da dai sauransu; a wasu lokuta, jituwa daban ko jerin jituwa, siffa mai ruɗi, timbre na kayan aiki), akai-akai akai-akai a cikin kiɗan. samfur. da kuma yin aiki a matsayin nadi da halayen wani mutum, abu, sabon abu, motsin rai, ko ra'ayi mara kyau (L., wanda aka bayyana ta hanyar jituwa, wani lokaci ana kiransa leitharmony, wanda aka bayyana ta timbre - leittimbre, da dai sauransu). L. yawanci ana amfani dashi a gidan wasan kwaikwayo na kiɗa. nau'ikan nau'ikan software da instr. kiɗa. Ya zama ɗaya daga cikin mahimman maganganu. kudi a cikin rabin 1st. Karni na 19 Kalmar da kanta ta fara amfani da ita daga baya. Yawancin lokaci ana danganta shi da shi. Masanin ilimin falsafa G. Wolzogen, wanda ya rubuta game da wasan kwaikwayo na Wagner (1876); a gaskiya ma, tun kafin Wolzogen, kalmar "L." FW Jens ya nema a cikin aikinsa akan KM Weber (1871). Duk da rashin kuskure da al'ada na kalmar, da sauri ya bazu kuma ya sami karbuwa ba kawai a cikin ilimin kiɗa ba, har ma a cikin rayuwar yau da kullum, ya zama kalmar gida don rinjaye, akai-akai maimaita lokuta a cikin ayyukan ɗan adam, kewaye da abubuwan rayuwa, da dai sauransu.
A cikin kiɗan prod. tare da aikin ma'anar ma'anar magana, harshe kuma yana yin aikin ingantacciyar (haɗin kan jigo, tsari). Makamantan ayyuka har zuwa karni na 19. yawanci ana warwarewa daban a cikin decomp. nau'ikan kiɗa: na'urori masu fa'ida na zahiri. An haɓaka yanayi da yanayi na motsin rai a cikin wasan opera na ƙarni na 17-18, yayin da gudanar da muses guda ɗaya ya kasance ta hanyar da ta dace. An yi amfani da jigogi har ma a cikin tsoffin sautin murya. siffofin (duba Cantus firmus). An riga an fayyace ƙa'idar layi ɗaya a ɗaya daga cikin wasan operas na farko (Monteverdi's Orfeo, 1607), amma ba a haɓaka shi a cikin abubuwan wasan kwaikwayo na gaba ba saboda rarrabuwar keɓaɓɓen woks a cikin kiɗan opera. siffofin conc. shirin. Maimaita gine-ginen kida-jigo, raba ta wasu jigogi. abu, hadu kawai a keɓe lokuta (wasu operas ta JB Lully, A. Scarlatti). Kawai a cikin con. An kafa liyafar ƙarni na 18 L. a hankali a ƙarshen wasan kwaikwayo na WA Mozart da kuma a cikin operas na Faransanci. mawaƙa na zamanin Babban Faransanci. juyin juya hali - A. Gretry, J. Lesueur, E. Megul, L. Cherubini. Tarihin gaskiya na L. yana farawa a cikin lokacin ci gaban muses. romanticism kuma ana danganta shi da farko. wasan opera na soyayya (ETA Hoffmann, KM Weber, G. Marschner). A lokaci guda, L. ya zama ɗaya daga cikin hanyoyin aiwatar da babban abu. abubuwan da ke cikin akidar opera. Don haka, arangama tsakanin dakarun haske da duhu a cikin wasan opera na Weber The Free Gunner (1821) ya bayyana a cikin ci gaban jigogi da maƙasudai, haɗin kai a ƙungiyoyi biyu masu bambanta. R. Wagner, haɓaka ka'idodin Weber, ya yi amfani da layin layi a cikin opera The Flying Dutchman (1842); Ƙimar wasan kwaikwayo tana nuna alamar bayyanar da hulɗar leitmotifs na Dutchman da Senta, alamar lokaci guda. "la'ana" da "fansa".
Dutch leitmotif.
Leitmotif na Senta.
Mafi mahimmancin cancantar Wagner shine ƙirƙirar da haɓakar muses. wasan kwaikwayo, esp. a tsarin L. Ya sami cikakkiyar magana a cikin kiɗansa na baya. wasan kwaikwayo, musamman a cikin tetralogy "Ring of the Nibelungen", inda m muses. hotuna kusan ba su nan, kuma L. ba wai kawai yana nuna mahimman lokutan wasan kwaikwayo ba. ayyuka, amma kuma sun mamaye dukan kiɗan, preim. Orchestral, masana'anta Suna sanar da bayyanar jarumawa a kan mataki, "ƙarfafa" ambaton su na magana, suna bayyana ra'ayoyinsu da tunaninsu, suna tsammanin ƙarin abubuwan da suka faru; wani lokacin polyphonic. haɗi ko jerin L. suna nuna alaƙar abubuwan da suka faru; a cikin hoto mai ban sha'awa. aukuwa (dazuzzuka na Rhine, da kashi na wuta, da rustle na gandun daji), sun juya zuwa bango figuration. Irin wannan tsarin, duk da haka, yana cike da sabani: yawan kidan L. ya raunana tasirin kowannensu kuma ya rikitar da fahimtar gaba daya. Modern To Wagner, mawaƙa da mabiyansa sun guje wa ƙetare sarkar tsarin L. Yawancin mawaƙa na karni na 19 sun fahimci mahimmancin layin, waɗanda sau da yawa sukan zo yin amfani da layi ba tare da Wagner ba. Faransa a cikin 20s da 30s karni na 19 kowane sabon mataki a cikin ci gaban wasan opera yana nuna ci gaba a hankali a hankali a cikin wasan kwaikwayo. Matsayin L. (J. Meyerbeer - C. Gounod - J. Wiese - J. Massenet - C. Debussy). A Italiya suna da 'yanci. G. Verdi ya ɗauki matsayi dangane da L.: ya fi son bayyana cibiyar kawai tare da taimakon L.. ra'ayin opera kuma ya ƙi yin amfani da tsarin layi (ban da Aida, 1871). . L. ya sami mahimmanci mafi girma a cikin operas na verists da G. Puccini. A cikin Rasha, ka'idodin kiɗa-jigo. maimaita baya a cikin 30s. MI Glinka (opera "Ivan Susanin") ya haɓaka. Don faɗin amfani da L. zo zuwa bene na 2. Karni na 19 PI Tchaikovsky, MP Mussorgsky, NA Rimsky-Korsakov. An lura da wasu daga cikin wasan operas na ƙarshe don ƙirƙira su. aiwatar da ka'idodin Wagnerian (musamman Mlada, 1890); a lokaci guda, ya gabatar da sababbin abubuwa da yawa a cikin fassarar L. - a cikin samuwar su da ci gaba. Al'adun gargajiya na Rasha gabaɗaya suna watsi da iyakar tsarin Wagnerian.
Ƙoƙarin yin amfani da ƙa'idar layi a cikin kiɗan ballet ya riga ya yi ta A. Adam a Giselle (1841), amma tsarin L. Delibes na layi ya yi amfani da shi musamman a cikin Coppélia (1870). Matsayin L. kuma yana da mahimmanci a cikin ballet na Tchaikovsky. Ƙayyadaddun nau'in nau'in ya gabatar da wata matsala ta wasan kwaikwayo ta giciye - choreographic. L. A cikin ballet Giselle (dan wasan ballet J. Coralli da J. Perrot), ana yin irin wannan aikin ta abin da ake kira. katin zabe. An samu nasarar magance matsalar cudanya tsakanin raye-rayen kide-kide da kida a Sov. ballet (Spartacus ta AI Khachaturian - LV Yakobson, Yu. N. Grigorovich, Cinderella ta SS Prokofiev - KM Sergeev, da dai sauransu).
A cikin instr. L. kiɗa ya fara amfani da shi sosai a ƙarni na 19. Tasirin kiɗan t-ra ya taka muhimmiyar rawa a cikin wannan, amma bai kawar da shi ba. rawar. Dabarar gudanar da duk wasan k.-l. Wani Bafaranshe ya ɓullo da ƙa'idar halayyar. mawaƙa na ƙarni na 18. ("The Cuckoo" na K. Daken da sauransu) kuma ƙwararrun 'yan Viennese sun ɗaukaka zuwa wani matsayi mafi girma (bangaren 1st na Mozart's Symphony "Jupiter"). Haɓaka waɗannan hadisai dangane da ƙarin ma'ana da kuma bayyana ra'ayoyin akida, L. Beethoven ya zo kusa da ka'idar L. (Appassionata sonata, sashi na 1, da Egmont overture, musamman ma na 5th symphony).
Fantastic Symphony na G. Berlioz (1830) ya kasance yana da muhimmaci ga amincewar L. a cikin shirin waƙar, inda waƙar farin ciki ta ratsa dukkan sassa 5, wani lokaci kuma tana canzawa, wanda aka sanya a cikin shirin marubucin a matsayin "mafilar ƙauna" :
An yi amfani da shi a irin wannan hanya, L. a cikin wasan kwaikwayo na "Harold a Italiya" (1834) na Berlioz an kara shi da siffar katako na jarumi (solo viola). A matsayin “hoton” na babban sharadi. hali, L. ya tabbatar da kansa a cikin wasan kwaikwayo. samfur. nau'in shirin shirin ("Tamara" na Balakirev, "Manfred" na Tchaikovsky, "Til Ulenspiegel" na R. Strauss, da dai sauransu). A cikin Rimsky-Korsakov's Scheherazade suite (1888), Shahriar mai girma da kuma m Scheherazade an kwatanta su ta hanyar layukan da suka bambanta, amma a lokuta da dama, kamar yadda mawallafin kansa ya nuna, waɗannan su ne jigogi. abubuwa suna ba da dalilai masu inganci kawai, suna rasa halayensu na “keɓaɓɓen”.
Leitmotif of Shahriar.
Leitmotif na Scheherazade.
Babban ɓangaren motsi na I ("Sea").
Side part I.
Ƙungiyoyin anti-Wagnerian da anti-romantic, wanda ya tsananta bayan yakin duniya na farko na 1-1914. dabi'un sun ragu sosai. rawar L. A lokaci guda kuma, ya riƙe ƙimar ɗayan hanyoyin ƙetare muses. ci gaba. Mutane da yawa za su iya zama misali. fice kayayyakin. dec. nau'o'i: operas Wozzeck ta Berg da War da Aminci ta Prokofiev, oratorio Joan na Arc a gungumen azaba ta Honegger, ballets Petrushka na Stravinsky, Romeo da Juliet na Prokofiev, Shostakovich's 18th Symphony, da dai sauransu.
Arzikin gwaninta da aka tara a fagen aikace-aikacen L. kusan ƙarni biyu, yana ba mu damar siffanta mahimman abubuwan da ke cikinsa. L. da preim. ciki yana nufin, kodayake kuma yana iya yin sauti a cikin wok. sassa na operas da oratorios. A cikin yanayin ƙarshe, L. wok ne kawai. waƙa, yayin da instr. (Orchestral) nau'i, matakin simintin sa da halayen alama yana ƙaruwa saboda jituwa, polyphony, babban rajista da ƙarfi. iyaka, da kuma takamaiman. ciki timbre. Orc. L., ƙarawa da bayanin abin da aka faɗa cikin kalmomi ko ba a bayyana su gaba ɗaya ba, yana da tasiri musamman. Irin wannan shi ne bayyanar L. Siegfried a cikin wasan karshe na "The Valkyrie" (lokacin da jarumi ba a haife shi ba kuma ba a ambaci sunansa ba) ko kuma sautin L. Ivan the Terrible a wannan wurin na wasan opera "The Maid of Pskov". ”, inda muke magana game da mahaifin Olga da ba a sani ba. Muhimmancin irin wannan L. a cikin kwatanta ilimin halin ɗan adam na jarumi yana da girma sosai, misali. a cikin yanayi na 4 na wasan opera The Queen of Spades, inda L. Countess, ya katse ta hanyar dakatarwa,
nuna lokaci guda. Sha'awar Herman nan da nan ya san sirrin mutuwa da shakkunsa.
Don kare wasiƙar da ake buƙata tsakanin kiɗa da ayyukan L., ana aiwatar da su sau da yawa a cikin yanayin cikakken aikin matakin bayyananne. yanayi. Haɗin kai mai ma'ana ta hotuna da maras amfani yana ba da gudummawa ga fitaccen zaɓi na L.
Ayyuka L., bisa manufa, na iya yin lalata. abubuwan kiɗa. Harsuna, waɗanda aka ɗauka daban-daban (leitharmonies, leittimbres, leittonality, leitrhythms), amma hulɗar su ta fi kama a ƙarƙashin rinjaye na waƙa. farawa (jigon ƙetare, magana, dalili). Ya danganta gajarta – na halitta. sharadi don dacewa da shigar L. a cikin kiɗan gabaɗaya. ci gaba. Ba sabon abu ba ne don L., wanda aka bayyana ta jigon farko da aka kammala, a ƙara raba shi daban. abubuwan da ke aiwatar da ayyukan a kai tsaye ta hanyar sifa (wannan shine yanayin dabarar leitmotif na Wagner); Hakanan ana samun irin wannan murkushe L. a cikin instr. kiɗa - a cikin kade-kade, wanda babban jigon motsi na 1 a cikin gajeren tsari yana taka rawar L. a cikin ƙarin sassan sake zagayowar (Berlioz's Fantastic Symphony da Dvorak's 9th Symphony). Hakanan akwai tsarin juyawa, lokacin da jigon yankan giciye mai haske ya kasance a hankali daga wani sashe daban. precursor abubuwa (na al'ada ga hanyoyin Verdi da Rimsky-Korsakov). A matsayinka na mai mulki, L. yana buƙatar ƙaddamar da mahimmanci na musamman, halayyar da aka nuna, wanda ke tabbatar da sauƙin ganewa a cikin aikin. Yanayin ƙarshe yana iyakance gyare-gyare na layi, sabanin hanyoyin monothematic. canje-canje na F. List da mabiyansa.
A cikin gidan wasan kwaikwayo na kiɗa. samfur. kowane L., a matsayin mai mulkin, an gabatar da shi a lokacin da ma'anarsa nan da nan ta bayyana godiya ga rubutun wok mai dacewa. jam'iyyu, halayen yanayi da halayen halayen. A cikin symph. bayanin kida na ma'anar L. shine shirin marubucin ko kuma otd. umarnin marubuci game da babban niyya. Rashin abubuwan nuni na gani da na magana a cikin ci gaban kiɗan yana iyakance aikace-aikacen L.
Takaitaccen hali da haske na L. yawanci suna ƙayyade matsayinsa na musamman a cikin al'ada. nau'ikan kiɗan, inda da wuya ya taka rawar ɗayan abubuwan da ake buƙata na nau'in (Rondo Refrain, babban jigon sonata Allegro), amma sau da yawa yakan mamaye ba zato ba tsammani. sassanta. A lokaci guda, a cikin abubuwan da aka tsara na kyauta, wuraren karantawa da manyan ayyuka. gidan wasan kwaikwayo. shirin, wanda aka ɗauka gabaɗaya, L. na iya taka muhimmiyar rawa ta tsari, yana ba su jigo-jigo na kiɗa. hadin kai.
References: Rimsky-Korsakov HA, "The Snow Maiden" - wani bazara labari (1905), "RMG", 1908, No 39/40; Nasa, Wagner and Dargomyzhsky (1892), a cikin littafinsa: Labarun kiɗa da bayanin kula, 1869-1907, St. , 1911-2); Asafiev BV, Tsarin Kiɗa a matsayin tsari, M., 4, (tare da littafin 1960), L., 63; Druskin MS, Tambayoyi na wasan kwaikwayo na kiɗa na opera, L., 1930; Yarustovsky BM, Dramaturgy na Rasha opera classic, M., 2, 1963; Sokolov O., Leitmotifs na opera "Pskovityanka", a cikin tarin: Ayyukan Ma'aikatar Kiɗa, Moscow. kundin tarihi, vol. 1952, Moscow, 1952; Protopov Vl., "Ivan Susanin" Glinka, M., 1953, shafi. 1-1960; Bogdanov-Berezovsky VM, Labarai game da ballet, L., 1961, p. 242, 83-1962; Wagner R., Oper und Drama, Lpz., 48; guda, Sämtliche Schriften und Dichtung (Volksausgabe), Bd 73-74, Lpz., (oj) (Fassarar Rashanci - Opera da Drama, M., 1852); nasa, Eine Mitteilung an meine Freunde (3), ibid., Bd 4, Lpz., (oj); nasa, bber die Anwendung der Musik auf das Drama, ibid., Bd 1906, Lpz., (oj) (a cikin fassarar Rashanci - A kan aikace-aikacen kiɗa zuwa wasan kwaikwayo, a cikin tarinsa: Zaɓaɓɓen labarai, M., 1851); Federlein G., Lber “Rheingold” von R. Wagner. Versuch einer musikalischen Fassarar, "Musikalisches Wochenblatt", 4, (Bd) 10; Jdhns Fr. W., CM Weber a cikin seinen Werken, B., 1935; Wolzogen H. von, Motive in R. Wagners “Siegfried”, “Musikalisches Wochenblatt”, 1871, (Bd) 2; nasa, Thematischer Leitfaden durch die Musik zu R. Wagners Festspiel “Der Ring der Nibelungen”, Lpz., 1871; nasa, Motive in Wagners “Götterdämmerung”, “Musikalisches Wochenblatt”, 1876-7, (Bd) 1876-1877; Haraszti E., Le problime du Leitmotiv, "RM", 1879, (v.) 8; Abraham G., The Leitmotiv tun Wagner, "ML", 10, (v.) 1923; Bernet-Kempers K. Th., Herinneringsmotieven leitmotieven, grondthemas, Amst. - P., 4; Wörner K., Beiträge zur Geschichte des Leitmotivs in der Oper, ZfMw, 1925, Jahrg. 6, H. 1929; Engländer R., Zur Geschichte des Leitmotivs, "ZfMw", 1931, Jahrg. 14, H. 3; Matter J., La fonction psychologique du leitmotiv wagnerien, “SMz”, 1932, (Jahrg.) 14; Mainka J., Sonatenform, Leitmotiv und Charakterbegleitung, “Beiträge zur Musikwissenschaft”, 7, Jahrg. 1961, H.101.
GV Krauklis
