Lada |
Armonia Greek, lat. modulatio, modus, Faransanci da Ingilishi. mode, ita. modo, germ. Tongeschlecht; daukaka. jituwa - jituwa, zaman lafiya, jituwa, tsari
Contents:
I. Ma'anar yanayin II. Etymology III. Asalin yanayin IV. Halin shigar da kayan sauti na yanayin V. Babban nau'i da nau'in tsarin tsarin modal, jinsin su VI. Halittu da yare VII. Tsarin samuwar Fret VIII. Rarraba Fret IX. Tarihin Fret X. Tarihin Koyarwa akan Yanayin
I. Ma'anar yanayi. 1) L. cikin kwalliya. ma'ana - mai yarda da daidaiton kunne tsakanin sautunan tsarin sauti (watau, a zahiri, daidai da jituwa a cikin ma'anar kida-kaya); 2) L. a cikin ma'anar kida-ka'idar - tsarin tsarin tsarin haɗin kai mai tsayi, haɗuwa da sauti na tsakiya ko haɗin kai, da kuma takamaiman tsarin sauti da ke tattare da shi (yawanci a cikin sikelin). Don haka, yana yiwuwa a yi magana game da L. kamar kowane tsarin da aka ba da umarni cikin sauri, kuma game da hanyoyin kamar na daban. irin wannan tsarin. Kalmar "L." Hakanan ana amfani da shi don nuna babba ko ƙarami (mafi daidai, karkata), don nuna tsarin sauti kamar ma'auni (mafi daidai, ma'auni). Aesthetical da kiɗa-ka'idar. al'amuran sun ƙunshi bangarori biyu na ra'ayi ɗaya na L., da ƙayatarwa. lokacin yana kan gaba a cikin wannan hadin kai. A cikin ma'anar ma'anar "L." kuma "jituwa" suna kusa sosai. Musamman ma, an fi danganta jituwa da baƙaƙe da abubuwan da suka biyo baya (mafi yawa tare da yanayin tsarin tsarin farar ƙasa), da kuma daidaitawa tare da haɗin kai da bambancin sauti na tsarin (watau galibi tare da yanayin kwance). Abubuwan Rashanci. manufar "L." amsa Hellenanci na sama, Lat., Faransanci, Ingilishi, Italiyanci, Jamusanci. sharuddan, da kuma irin waɗannan kalmomi kamar "tonality", "ma'auni" da wasu wasu.
II. Etymology na kalmar "L." bai fito fili ba. Yarinyar Czech - oda; Yaren mutanen Poland - jituwa, tsari; Ukrainian L. - yarda, oda. Rashanci mai alaƙa. "zama", "lafiya", "lafiya", sauran Rashanci. "laditi" - don yin sulhu; "Lada" - miji (matar), kuma ƙaunataccen (masoyi). Wataƙila kalmar tana da alaƙa da kalmomin "lagoda" (zaman lafiya, tsari, tsari, daidaitawa), Czech. lahoda (dadi, fara'a), sauran Rashanci. lagoditi (don yin wani abu mai kyau). Hadadden ma'anar kalmar "L." kusa da Armonia na Girka (ɗauri, haɗi; jituwa, zaman lafiya, tsari; tsari, jituwa; daidaituwa; jituwa, jituwa); saboda haka, ma'aurata suna samuwa ta hanyar "daidaita" (daidaitawa, daidaitawa, tsarawa, tsara kayan kiɗa; rayuwa cikin lumana, yarda) da armozo, armotto (daidaita, ɗaure, daidaitawa, daidaitawa, daidaitawa, yin aure). Rasha manufar "L." har ila yau ya haɗa da Girkanci. category "genus" (genos), misali. diatonic, chromatic, "enharmonic" genera (da kuma m kungiyoyin, halaye na halaye).
III. Asalin jituwa. L. a matsayin yarjejeniya tsakanin sautunan nasa ne na kayan ado na asali. nau'ikan kiɗan, sun yi daidai da wannan ma'ana tare da manufar "jituwa" (Jamus: Harmonie; sabanin Harmonik da Harmonielehre). Duk wani kiɗa. aiki, ba tare da la'akari da takamaiman abin da ke cikinsa ba, dole ne da farko ya zama kiɗa, watau ma'amala mai jituwa ta sauti; wannan ado. ma'anar nau'in L. (da jituwa) an haɗa shi a matsayin muhimmin sashi a cikin ra'ayin kiɗa a matsayin mai kyau (kiɗa ba a matsayin ginin sauti ba, amma a matsayin nau'in haɗin kai wanda ke ba da jin dadi ga kunne). L. a matsayin ado. nau'in ("haɗin kai") shine tushen bullowa da haɗin kai a cikin al'ummomi. an ayyana sani. tsarin dangantaka tsakanin sautuna. "Hasken tsari" (bangaren ma'ana na L.) wanda sautin L. ya bayyana yana nufin manyan hanyoyin adonsa. tasiri. Saboda haka, L. a cikin wani samfurin musamman. ko da yaushe yana wakiltar mayar da hankali na kiɗan. Ƙarfin ƙamus (bi da bi, tasirin sa na ado) yana da alaƙa tare da iyawar sa don tsara kayan sauti na "raw", sakamakon haka ya zama nau'i masu jituwa na "sautunan baƙaƙe". Gabaɗaya, L. yana bayyana a cikin cikakkiyar tsarin, yana rufe dukkan hadaddun abubuwan da ke tattare da shi - daga kayan sauti ta hanyar ma'ana. odar abubuwa zuwa crystallization musamman ado. dangantakar tsarin ma'auni, daidaito, daidaiton wasiku (a cikin ma'ana mai faɗi - daidaitawa). Hakanan mahimmanci shine ƙaddamarwar mutum na wani L. a cikin wani abun da aka ba da shi, yana bayyana wadatar yuwuwar sa kuma a zahiri bayyanawa cikin wani babban tsarin gini. Daga ma'anar kyawawan dabi'u na L. yana biye da da'irar matsalolin ka'idoji na asali: siffar L. a cikin ginin sauti; tsarin damuwa da nau'ikansa; ma’ana da tarihi alakarsu da juna; matsalar haɗin kai na modal juyin halitta; aikin L. a matsayin kayan abu da tushen sauti na muses. abubuwan da aka tsara. Babban nau'i na asali na dangantakar modal a cikin sautin kankare na kiɗa shine karin waƙa. dalili (a cikin maganganun sauti - dabarar ma'auni a kwance) - koyaushe ya kasance mafi sauƙi (sabili da haka mafi mahimmanci, mahimmanci) gabatar da jigon L. Don haka ma'anar ma'anar kalmar "L." hade da melodic. Sikeli, wanda galibi ake kira frets.
IV. Yanayin innation na kayan sauti na yanayin. Kayan sauti wanda aka gina fitilun yana da mahimmanci ga kowane tsarinsa da kowane nau'in fitilu. d1-c1, d1-e1, f1-e1, da dai sauransu) da kuma consonance (musamman c1-e1-g1 a matsayin tsakiya), ya ƙunshi halayensa ("ethos"), magana, canza launi, da sauran kyawawan halaye.
Bi da bi, an ƙaddara kayan sauti ta hanyar kankare tarihi. sharuɗɗan wanzuwar kiɗa, abubuwan da ke ciki, ƙayyadaddun tsarin zamantakewar al'umma na yin kida. Wani nau'i na "haihuwa" na L. (wato, lokacin sauyawa na kiɗa a matsayin abin kwarewa a cikin sautin sauti) an rufe shi da ra'ayi na innation (kuma innation) wanda BV Asafiev ya gabatar. Kasancewa "layin kan iyaka" a zahiri (tsaye a wurin hulɗar kai tsaye tsakanin rayuwa ta halitta da fasaha da kiɗa), ra'ayin "intonation" don haka yana ɗaukar tasirin zamantakewa da tarihi. dalilai akan juyin halitta na kayan sauti - innation. hadaddun da kuma siffofin tsarin tsarin tsarin da ya dogara da su. Don haka fassarar ma'anar modal a matsayin nuni na tarihin ƙayyadaddun abubuwan da ke cikin kiɗa: "kasuwanci da wanzuwar ... gine-gine na kasa da kasa dole ne saboda ayyukan zamantakewar su," saboda haka, tsarin shiga (da modal) na wani tarihin musamman. An ƙaddara zamanin ta hanyar "tsarin wannan tsarin zamantakewa" (BV Asafiev). Saboda haka, dauke da innation a cikin amfrayo. fannin zamaninsa, dabarar L. shine innation. hadaddun da ke hade da hangen nesa na duniya na lokacinsa (misali, tsakiyar zamanai. frets a karshen - wani tunani na sani na zamanin feudal tare da keɓewa, taurin kai; tsarin dur-moll shine furci na dynamism na sanin kida na abin da ake kira zamani zamani na Turai da sauransu). A cikin wannan ma'ana, tsarin tsarin tsari shine madaidaicin samfurin duniya a cikin wakilcin zamaninta, nau'in "lambar kade-kade na kiɗa". A cewar Asafiev, L. shine "tsarin sautunan da suka hada da tsarin kiɗan da wani zamani ya bayar a cikin hulɗar su," kuma "wannan tsarin bai cika cikakke ba," amma "koyaushe yana cikin yanayin samuwar da canji. ”; L. gyarawa da kuma ƙaddamar da "kamus na zamani" halayen kowane tarihi, lokaci ("jimillar kiɗan da ta tabbata a cikin fahimtar jama'a" - Asafiev). Wannan kuma yana yin bayanin "rikicin intonation", wanda sama ko žasa sabunta duka sautin sauti. abu, don haka, bin wannan, da kuma tsarin gaba ɗaya na shimfidar wuri (musamman a kan gefuna na manyan zamanin, alal misali, a lokacin 16th-17th ko 19th-20th century). Misali, fifikon soyayyar da aka fi so na rarrabuwar kawuna-kamar jituwa (kayan sauti na L.) a cikin ayyukan Scriabin daga baya ya ba da sabon sakamako mai inganci kuma ya haifar da sake fasalin tsarin L. gabaɗaya a cikin kiɗan sa. Gaskiyar tarihi - canjin tsarin tsari - shine, saboda haka, wani waje (daidaitacce a cikin tsare-tsaren ka'idoji) bayyana zurfin matakai na juyin halittar harshe a matsayin mai rai da ci gaba da samuwar shiga. model na duniya.
V. Babban nau'ikan da nau'ikan tsarin modal, asalinsu. An kafa manyan nau'ikan da nau'ikan kiɗan ƙarƙashin tasirin haɓakar kiɗan. sani (ɓangare na tsarin gaba ɗaya na ci gaba da ci gaban sani, a ƙarshe a ƙarƙashin tasirin ayyukan zamantakewa na mutum a cikin ci gaban duniya). Yanayin sautin da ba makawa ba makawa shine ba da oda "izinin" sautuna (wani nau'in sauti mai aiki) tare da haɓaka (a gaba ɗaya) ƙididdige ƙimar ƙarar kayan sauti da iyakokin da ke rufe shi. Wannan ya sa ya zama dole don daidaitawa. maki mai mahimmanci a cikin juyin halitta na asali na sauye-sauye masu inganci a cikin siffofin wanzuwar L. kuma yana haifar da yiwuwar bullar sabbin nau'ikan tsarin modal. A lokaci guda, bisa ga ma'anar L. a cikin manyan sassa uku - sauti (intonation), ma'ana (haɗin kai) da kyau (haɗin kai, kyakkyawa) - akwai na ciki. perestroika (a gaskiya, wannan Triniti ɗaya ne kuma guda ɗaya ne wanda ba a iya raba shi ba: yarda, L., amma kawai an yi la'akari da shi a cikin bangarori daban-daban). Lokacin tuƙi shine sabuntawa na innation. tsarin (har zuwa "rikicin intonations" da ke ƙarƙashin L.), wanda ke sa ƙarin canje-canje ya zama dole. Musamman, nau'ikan nau'ikan sauti da nau'ikan sauti ana gane su azaman tsarin tazara da layuka na kwance da ƙungiyoyin tsaye (kwayoyin ƙima) waɗanda aka yi su (duba Tsarin Sauti). "Yanayin shine nunin duk abubuwan da suka faru na intonations na zamanin, an rage su zuwa tsarin tazara da ma'auni" (Asafiev). L. kamar yadda aka kafa wani tsarin sauti bisa ga amfani da jiki. (acoustic) abubuwan sauti, na farko, alaƙar dangi mai kyau da ke cikinsa, ana bayyana ta tazara. Koyaya, tazara, sikelin-waƙa, da sauran alaƙa ba sa aiki a matsayin lissafi kawai. ko na zahiri. da aka ba, amma a matsayin "quintessence" na "sautin kalamai" na mutum gamamme da su (Asafiev). (Saboda haka ainihin kuskuren dangane da L. abin da ake kira daidai, watau, aunawa ƙididdiga, hanyoyin, "a'auni-ma'auni").
Na farko daga cikin mafi muhimmanci matakai a cikin juyin halittar rukunoni na mikakke - samuwar tushe a cikin tsarin na m "ecmelic" (watau, ba tare da wani farar) gliding. Dagewa a matsayin nau'in tunani na modal shine farkon kafa tabbataccen layin layi a tsayi (mafi girman sautin a matsayin madaidaicin tsari na tsakiya) kuma a cikin lokaci (zamani na dagewa ga kansa, an kiyaye shi duk da ruwa na lokaci ta hanyar. komawa zuwa wannan sautin da ya rage a ƙwaƙwalwar ajiya); tare da zuwan nau'in tushe, ainihin manufar L. a matsayin nau'in tsarin sauti ya taso. Nau'in L. na tarihi - rera sautin (daidai da "matakin kwanciyar hankali" a cikin juyin halittar L.) ana samunsa cikin kabilanci. ƙungiyoyi a ƙaramin mataki na ci gaba. Nau'in wakoki na gaba (a hankali da tarihi) na gaba shine wakoki guda ɗaya tare da ingantaccen salon waƙar waƙa. layin sauti (nau'in modal, tsarin modal) ya saba da tsoffin waƙoƙin Turai. mutane, ciki har da. da Rashanci, Tsakanin Zamani. Turai chorale, sauran Rashanci. shari'ar chanter; Hakanan ana samunsu a cikin tatsuniya na yawancin waɗanda ba Turawa ba. mutane. Nau'in "rera sautin", a fili, yana kusa da modal (tun da shi ma monodic). Nau'in modal na musamman shine abin da ake kira. accordion h. Turai tonality. kiɗan sabon lokaci. Sunayen manyan hazikan mawakan duniya suna da alaƙa da ita. Harmonic tonality ya bambanta sosai da polyphony na jakar jaka ko ɗakin ajiya na heterophonic (a tsakanin tsoffin mutane, a cikin jama'a, ƙarin kiɗan Turai). A cikin karni na 20 (musamman a cikin ƙasashe na al'adun Turai) nau'ikan tsaunuka masu tsayi waɗanda suka bambanta da duk waɗanda suka gabata (a cikin serial, sonorous, kiɗan lantarki) sun zama tartsatsi. Yiwuwar raba su da L. shine batun takaddama; wannan matsala har yanzu ba a magance ta ba. Baya ga manyan nau'ikan L., akwai matsakaicin matsakaici, in mun gwada da kwanciyar hankali da nau'ikan masu zaman kansu (alal misali, daidaituwar modal na Renaissance na Turai, musamman ƙarni na 15-16).
VI. Halittu da yare na tsarin juyin halitta. Tsarin juyin halitta na sabon abu da manufar "L." Organic kuma, haka ma, yana da yare. hali. Halin yanayin tsarin yana cikin kiyayewa da haɓaka nau'ikan nau'ikan layi ɗaya na farko, fitowar wasu nau'ikan bisa tushen su. nau'o'i da ci gaban su a matsayin masu zaman kansu, suna ba da duk juyin halitta ga ƙa'idodi na gaba ɗaya. Mafi mahimmancin su shine girma (lamba. karuwa, misali. Girman sikelin daga tetrachord zuwa hexachord), rikice-rikice na nau'ikan yarjejeniya, canjin adadi. canje-canje a cikin inganci, ma'ana ɗaya na duka juyin halitta. Don haka, waƙar da aka siffanta da inganci, da sabunta sautin kullum, tana yaɗuwa zuwa rukunin wasu. sautunan (girma), yana buƙatar sababbin nau'o'in haɗin kai - warewar sautunan da ke kusa da zaɓin karin waƙoƙi mafi kusa a matsayin tushe na biyu. consonances (rikitarwa na siffofin yarjejeniya; duba. Consonance); a sakamakon mafi girman nau'in L. riga duk sautunan (tsohon ingancin) ya juya ya zama qualitatively ma'anar kuma sabunta lokaci-lokaci; duk da haka, 'yancin kai na mafi yawansu yana iyakance ga rinjaye ɗaya, wani lokacin biyu ko uku (sabon inganci). Ƙarfafawa na quart ko quint, azaman sautunan aiki guda ɗaya na sandar fret, ripening a cikin tsarin tsari, ya sa ya yiwu a juya waɗannan maganganun kwance zuwa tsaye. A tarihi, wannan yayi daidai da tsakiyar zamanai. Da, in V. Oddington (ca. 1300) daidaiton ra'ayi na kwance da na tsaye a matsayin nau'ikan L. daidaitawa a cikin ma'anar su ta wannan kalmar "jituwa" (harmonia simplex da harmonia multiplex). Ma'anar ma'anar magana a matsayin bayanin ainihin aiki yana kara gaba zuwa tazara mai rikitarwa na gaba - kashi uku (girma); don haka sake tsara tsarin duka tsarin L. (rikitattun siffofin yarjejeniya). Na 20 in. Ana ɗaukar sabon mataki a cikin wannan hanya: ƙungiyar tazara mai zuwa an gabatar da ita a cikin da'irar mafi kyawun tazara - daƙiƙa, bakwai da tritones (girma), kuma ana danganta amfani da sabbin hanyoyin sauti tare da wannan (fassarar sonorally. , jerin daya ko wani tazara abun da ke ciki, da dai sauransu) da kuma daidai canje-canje a cikin siffofin jitu na sauti abubuwa da juna. Yaren juyin halitta L. ya ƙunshi gaskiyar cewa kwayoyin halitta na gaba, mafi girman nau'in ƙungiyar modal, a cikin bincike na ƙarshe, ba kome ba ne sai dai wanda ya gabata, ya ci gaba a cikin sababbin yanayi. Don haka, tsari shine, kamar yadda yake, "waƙa" na tsari mafi girma: ana ƙawata ainihin sautin murya tare da motsawa ta hanyar wani. sautunan, to-rye, bi da bi, ana iya fassara su azaman tushe; cikin jituwa. Yawancin tsarin suna taka rawa iri ɗaya a cikin tonality (a matakai daban-daban na tsarin modal): sautin maɗaukakiyar magana da sautunan da ke kusa (taimako), ƙwararrun tonic da waɗanda ba tonic ba, ch na gida. tonality da sabawa, general ch. tonality da subordinate tonalities. Haka kuma, har abada mafi girma modal siffofin ci gaba da zama tsarin gyare-gyare na guda, melodic a cikin yanayi na farko nau'i - intonation ("jigon innation ne melodic" - Asafiev). Ƙaƙwalwar maɗaukakin maɗaukaki ne (consonance, wanda aka kafa azaman tsaye na naúrar wucin gadi, yana riƙe da ainihin ingancinsa a cikin sigar “naɗewa”) – melodic. motsi), da kuma hadadden timbre-sonor (ba a “aikewa da su” kamar ƙwanƙwasa ba, amma an fassara shi bisa tushen ƙira a cikin sabon ingancinsa). Haka yake ga sauran sassan L. Saboda haka babban yare metamorphosis. category L.
Juriya: - babba. sauti na asali. babban tazara conson. babban igiya. diss. jerin chord - finalis tonic cibiyar. sauti ko magana - sautin (= yanayin) ƙayyadaddun sautin sauti. Sphere – main key main intonation. Sphere
Don haka yaren ma'anar "L." (yana sha kuma yana ƙunshe a cikin kanta, azaman nau'ikan nau'ikan ma'ana daban-daban, duk tarihin ƙaddamar da ƙaddamarwar ƙarni na ƙarni):
1) rabo na kwanciyar hankali da rashin zaman lafiya (daga mataki na "rera sautin"; Saboda haka al'adar wakiltar L. ch. sauti, misali, "IV coci sautin", watau sautin Mi),
2) tsarin sauti mai ma'ana na bambance-bambancen tonal na qualitatively (daga mataki na tsari; don haka al'adar wakiltar sautin farko a cikin nau'i na ma'auni, don bambanta tsakanin sautin sauti guda biyu tare da sautin asali guda ɗaya, watau tonality dace da tonality). ,
3) aiki zuwa nau'in L. na tsarin da nau'in jituwa-chord, ba dole ba ne ya bambanta dangane da ƙayyadaddun ma'auni da rashin tabbas na babban. sautunan (misali, a cikin ayyukan Scriabin na baya; wanda aka tsara akan tonality masu jituwa). Siffofin sautin da ke wakiltar L. suma suna tasowa cikin yare. Samfurin (ma na farko) shine tsakiyar sautin-tsayi, kewaye da melismatic. masana'anta ("bambancin" sautin). Tsohuwar ka'idar karin waƙa-samfurin (a cikin al'adu daban-daban: nom, raga, poppies, pathet, da dai sauransu; Waƙar wasali na Rasha) ya kamata a yi la'akari da ainihin misali na L.. Ka'idar waƙa-samfurin shine halayyar farko ga gabas. hanyoyin (Indiya, Gabas ta Soviet, yankin Gabas ta Tsakiya). A cikin jituwa. tonality - motsi na sikelin, cibiyar daidaitacce. triad (ya bayyana a cikin ayyukan G. Schenker). Jerin dodecaphone, wanda ke ƙayyade innation, ana iya ɗaukar shi azaman analog. tsari da tsarin farar jigon abun da ke ciki (duba Dodecaphony, Series).
VII. Hanyar samuwar damuwa. Hanyar aiwatar da abubuwan da ke haifar da L. ba iri ɗaya bane a cikin decomp. tsarin. Za'a iya wakilta ka'ida ta gaba ɗaya na haɓakar damuwa azaman aiwatar da kerawa. yi aiki ta hanyoyi masu tsayi, ta amfani da damar yin oda da ke ƙunshe cikin wannan sautin, innation. abu. Daga fasaha. A gefe guda, makasudin shine cimma daidaituwa mai ma'ana na sautuka, wanda ake jin shi azaman wani abu mai jituwa na kiɗa, watau L. Mafi tsohuwar ƙa'idar abun da ke ciki na L. ya dogara ne akan kaddarorin na farko consonance - unison (1). : 1; samuwar abutment da wakarsa melismatic). A cikin tsohuwar melodic L. babban mahimmanci a cikin tsarin, a matsayin mai mulkin, kuma ya zama tazara mafi sauƙi masu zuwa. Daga cikin wadanda suka ba da sauti daban-daban, su ne na biyar (3:2) da na hudu (4:3); godiya ga hulɗa tare da madaidaicin melodic. na yau da kullun suna canza wurare; a sakamakon haka, na huɗu ya zama mafi mahimmanci fiye da na biyar. Quarte (da na biyar) daidaitawar sautunan suna tsara ma'auni; yana kuma tsara kafawa da daidaita sauran sautunan magana na L. (na al'ada ga yawancin waƙoƙin jama'a). Saboda haka tsarin diatonic mai kama da L. Sautin magana zai iya zama akai-akai, amma kuma yana canzawa (sauyin yanayi), wanda wani ɓangare ne saboda yanayin nau'in karin waƙa. Kasancewar sautin magana da maimaitawarsa shine babban jigon L.; diatonic quint na huɗu shine magana ta hanyar haɗin modal mafi sauƙi na duka tsarin.
Rubutun "Opekalovskaya" (karni na 17?). "Zo, mu faranta wa Yusufu rai."
Tsaya - sauti g1; a1 - kusa da g1 kuma yana da alaƙa da shi ta hanyar d1 (g: d = d: a). Bugu da ari, a1 da g1 suna samar da tetrachord a1-g1-f1-e1 da na biyu, ƙaramar sautin waƙa f1 (goyan bayan gida). Ci gaba da layin gamma yana ba da tetrachord f1-e1-d1-c1 tare da tasha na gida d1. Ma'amala na tushe g1-d1 ya ƙunshi tsarin L. A ƙarshen misali shine tsarin gaba ɗaya na L. na gabaɗayan stichera (wanda kawai 1/50 na ɓangaren sa aka ba da shi anan). Ƙayyadaddun tsarin tsarin modal yana cikin halin "mai iyo", rashin makamashi na motsi da nauyi (rashin nauyi ba ya hana layin layi, tun da kasancewar kwanciyar hankali da nauyi shine babban dukiyar ba kowane nau'in nau'in nau'in nau'in nau'in nau'in nau'in nau'in nau'in nau'in nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i). linearity).
L. na manyan-kananan nau'ikan sun dogara ne akan dangantakar ba ta "troika" (3:2, 4:3), amma na "biyar" (5:4, 6:5). Ɗaya daga cikin matakai a kan ma'auni na dangantakar sauti (bayan kwata-kwata, tert shine mafi kusa) yana nufin, duk da haka, babban bambanci a cikin tsari da kuma bayanin L., canji a cikin kiɗa-tarihi. zamanin. Kamar dai yadda kowane sautin tsohuwar L. ke daidaita shi ta cikakkiyar ma'amala mai ma'ana, a nan ana sarrafa ta ta hanyar alaƙar da ba ta dace ba (duba misalin da ke ƙasa; n wucewa ce, c shine ƙarin sauti).
A cikin kiɗa na gargajiya na Viennese, waɗannan alaƙa kuma ana jaddada su ta hanyar yau da kullun na rhythms. sauye-sauye da daidaiton lafazi (masha 2 da jituwarta D - lokacin wahala, 4th - T - mai wuya biyu).
(T|D¦D|T) |1+1| |1 1|
Matsakaicin yanayin gaskiya don haka suna magana akan fifikon tonic. jituwa akan rinjaye. (A wannan yanayin, babu S; ga litattafan Viennese, yana da hali don kauce wa matakan gefen da ke wadatar da L., amma a lokaci guda ya hana shi motsi.) Ƙaƙƙarfan L. - yana kawar da shi. Ƙaddamarwa, haɓakawa, inganci; ƙayyadaddun ma'ana da ƙarfi mai ƙarfi; yanayin tsarin multilayered (alal misali, a cikin ɗayan Layer da aka ba da igiya yana da tsayayye dangane da sautunan da ke shiga cikinsa; a cikin ɗayan, ba shi da kwanciyar hankali, da kansa yana motsawa zuwa tonic na gida, da dai sauransu).
WA Mozart. The Magic sarewa, Papageno's aria.
A cikin kiɗan zamani, akwai ɗabi'a ga keɓantawar L., watau gano shi tare da ƙayyadaddun hadaddun innations na ɗaiɗaiku (na waƙa, waƙoƙi, timbre-coloristic, da sauransu) halayen yanki ko jigo. Ya bambanta da na al'ada modal dabara (waƙa-samfurin a zamanin d L., nau'i-nau'i nau'i-nau'i ko tsararru a cikin tsakiyar zamanai L., a cikin na gargajiya manyan-kananan tsarin modal), wani mutum hadaddun-samfurin da aka dauka a matsayin tushen, wani lokacin gaba daya gaba daya. maye gurbin na gargajiya . abubuwan L., har ma a tsakanin mawaƙa waɗanda gabaɗaya suna bin ƙa'idar tonal. Ta wannan hanyar, ana ƙirƙirar sifofin modal waɗanda ke haɗa kowane nau'i na modal ta kowane nau'i (misali, babban yanayin + ma'auni gabaɗayan sauti + ci gaba mai raɗaɗi mai laushi a waje da manyan ƙananan tsarin). Irin waɗannan tsarin gaba ɗaya za a iya rarraba su azaman polymodal (ba kawai a cikin lokaci ɗaya ba, har ma a jere da kuma haɗuwa da abubuwan da suka ƙunshi).
Halin mutum ɗaya na guntu ba a ba da shi ta hanyar triad T C-dur ba, amma ta maƙarƙashiya cgh-(d) -f (kwatanta da maƙallan 1st na babban jigo: chdfgc, lamba 3). Zaɓin jituwa kawai tare da babban tushe kuma tare da kaifi dissonances, kazalika da sonorant (timbre-coloristic) canza launi na consonances kwafi da karin waƙa, haifar da wani sakamako, duk da haka na musamman kawai ga wannan guntu - wani musamman tsanani da kuma kaifafa. babba, inda aka kawo hasken inuwar sautin da ke cikin manyan zuwa haske mai ban mamaki.
WA Mozart. The Magic sarewa, Papageno's aria.
VIII. Rarraba hanyoyin yana da matukar rikitarwa. Abubuwan da ke ƙayyade shi sune: matakin kwayoyin halitta na ci gaban tunanin modal; rikitarwa tazara na tsari; kabilanci, tarihi, al'adu, fasalin fasali. Sai kawai a kan duka kuma a cikin bincike na ƙarshe shine layin juyin halitta na L. ya zama unidirectional. Misalai da yawa na yadda canzawa zuwa mafi girma a cikin kwayoyin halitta gabaɗaya. matakai a lokaci guda yana nufin asarar wani ɓangare na ƙimar da ta gabata kuma, a cikin wannan ma'anar, motsi baya. Don haka, cin galaba a kan polyphony na Yammacin Turai. wayewa shine babban mataki na gaba, amma an tare shi (na shekaru 1000-1500) ta hanyar asarar dukiya mai chromatic. da kuma "enarmonic". Genera na monodic antique. damuwa tsarin. Har ila yau, rikitarwa na aikin shine saboda gaskiyar cewa yawancin nau'o'in sun juya sun kasance masu dangantaka ta kud da kud, ba su dace ba don kammala rabuwa: L., tonality (tsarin sauti), tsarin sauti, sikelin, da dai sauransu. Yana da kyau mu iyakance kanmu ga yana nuna mafi mahimmancin nau'ikan tsarin modal a matsayin maki na maida hankali na babban. alamu na samuwar damuwa: ecmelica; anhemitonics; diatonic; chromaticity; microchromatic; nau'ikan na musamman; gauraye tsarin (rabe cikin wadannan nau'o'in asali ya zo daidai da bambance-bambancen jinsin, Greek genn).
Ekmelika (daga Girkanci exmelns - extra-melodic; tsarin da sautuna ba su da takamaiman ma'anar ma'anar kalmar) kamar yadda tsarin a cikin ma'anar kalmar kusan ba a taba samu ba. Ana amfani da ita kawai azaman fasaha a cikin tsarin da ya fi girma (sliding intonation, abubuwan shigar da magana, hanya ta musamman). Har ila yau Ekmelik ya haɗa da waƙar melismatic (tsawo mara iyaka) na madaidaicin sautin murya - upstoi (a cewar Yu. N. Tyulin, a cikin rera waƙar Kurdawan Armeniya "auti ɗaya mai dorewa… an lulluɓe shi da nau'i-nau'i iri-iri masu cike da makamashi na rhythmic na ban mamaki"; ba zai yiwu ba. ”).
Anhemitonics (mafi daidai, anhemitonic pentatonics), halayyar da yawa. zuwa tsoffin al'adun Asiya, Afirka da Turai, a fili, ya zama babban mataki na haɓaka tunanin modal. Ingantacciyar ka'ida ta anhemitonics ita ce sadarwa ta hanyar mafi sauƙin baƙaƙe. Ƙayyadadden tsari shine semitone (saboda haka iyakance matakai biyar a cikin octave). Wani nau'in nau'in nau'in nau'i shine trichord (misali ega). Anhemitonics na iya zama bai cika ba (3-4, wani lokacin har ma da matakai 2), cikakke (matakai 5), m (misali, sauyawa daga cdega zuwa cdfga). Semitone pentatonic (misali, nau'in hcefg) yana rarraba sifar tsaka-tsaki zuwa diatonic. Misali na anhemitonics shi ne song "Aljanna, Aljanna" ("50 songs na Rasha mutane" da AK Lyadov).
Diatonic (a cikin tsari mai tsabta - tsarin 7-mataki, inda za'a iya shirya sautuna a cikin sa'o'i na biyar) - mafi mahimmanci da tsarin gama gari na L. Ƙimar tsarin shine chromatism (2 semitones a jere). Ka'idodin ƙira sun bambanta; Mafi mahimmanci su ne na biyar (Pythagorean) diatonic (tsarin tsarin shine tsantsa na biyar ko kwata) da triadic (tsarin tsarin shi ne ƙwaƙƙwaran na uku), misalan tsoffin hanyoyin Girkanci, yanayin na tsakiya, yanayin Turai. nar. kiɗa (har ma da sauran mutanen da ba na Turai ba); coci polyphonic L. europ. kiɗa na Renaissance, L. manyan ƙananan tsarin (ba tare da chromatization ba). Abubuwan da aka saba amfani da su sune tetrachord, pentachord, hexachord, cike gibin da ke tsakanin sautunan mawaƙan tertian, da sauransu. Diatonic yana da wadatar nau'ikan iri. Yana iya zama bai cika ba (matakai 3-6; duba, alal misali, guidon hexachords, jama'a da tetrachords na Girka; misali na diatonic mataki 6 shine waƙar "Ut quant laxis"), cikakke (nau'in hcdefga-7-mataki ko octave). cdefgahc; misalan ba su da ƙima), m (misali sauyin yanayi na ahcd da dcba a cikin sautin coci na 1), haɗe-haɗe (misali Rashanci yau da kullun L.: GAHcdefgab-c1-d1), na sharadi (misali “hemiol” frets tare da ƙara na biyu – ƙananan jituwa. da manyan, "Hungarian" ma'auni, da dai sauransu .; "Podgalian sikelin": gah-cis-defg; melodic qananan da manyan, da dai sauransu), polydiatonic (misali, wani yanki ta B. Bartok "A cikin Rasha style" a cikin tarin "Microcosmos", No 90). Ƙarin rikitarwa suna haifar da chromatics.
Chromatics. Takamaiman alamar – jerin jimillar sauti biyu ko fiye a jere. Iyakar tsarin shine microchromatics. Ka'idodin ƙira sun bambanta; mafi mahimmanci - melodic. chromatic (misali, a cikin monody na gabas), maƙarƙashiya-daidaitacce (canzawa, gefe D da S, maɗaukaki tare da sautunan layi na chromatic a cikin manyan-kananan tsarin Turai), enharmonic. Chromatics a cikin Turai (da ƙari a cikin waɗanda ba na Turai ba) kiɗa na ƙarni na 20. bisa daidai hali. Chromatics na iya zama wanda bai cika ba (Greek chromatic; canji a cikin jituwa ta Turai; L. tsarin simmetrical, watau rarraba 12 semitones na octave zuwa daidaitattun sassa) da kuma cikakke (madaidaicin polydiatonic, wasu nau'ikan tonality na chromatic, dodecaphonic, microserial da tsarin serial).
Microchromatic (microinterval, ultrachromatic). Alamar - amfani da tazara ƙasa da semitone. Ana amfani da shi sau da yawa azaman ɓangaren L. na tsarin uku na baya; iya hade tare da ecmelic. Na al'ada microchromatic - Girkanci. Halin haɓakawa (misali, cikin sautuna - 2, 1/4, 1/4), shruti na Indiya. A cikin kiɗa na zamani ana amfani da su a kan wani tsari daban-daban (musamman ta A. Khaba; da V. Lutoslavsky, SM Slonimsky, da sauransu).
Alal misali, slindro na Gabashin Asiya da pylog (bi da bi - 5- da 7-mataki, in mun gwada daidai rabo na octave) za a iya dangana ga musamman L.. Duk wani tsarin modal (musamman anhemitonic, diatonic da chromatic) za a iya hade da juna. , duka a cikin lokaci ɗaya kuma a jere (a cikin ginin guda ɗaya).
IX. Tarihin hanyoyin a ƙarshe shine bayyanar da jere na yuwuwar "yarjejeniya" ("L.") tsakanin sautuna; a haƙiƙa tarihi ba kawai canji ne na lalata ba. tsarin L., da ɗaukar hoto a hankali na ƙarin nesa da hadaddun alaƙar sauti. Tuni a cikin Dr. duniya ya tashi (kuma har zuwa wani lokaci ana kiyaye shi) tsarin tsarin ƙasashen Gabas: Sin, Indiya, Farisa, Masar, Babila, da dai sauransu (duba labaran da suka dace). Ma'auni na pentatonic marasa-semitone (China, Japan, wasu ƙasashe na Gabas mai Nisa, wani ɓangare na Indiya), 7-mataki (diatonic da wadanda ba diatonic) phonics sun zama tartsatsi; don al'adu da yawa sun keɓance ga L. tare da karuwa. na biyu (Kidan Larabci), microchromatic (Indiya, kasashen Larabawa na Gabas). An gane bayyanar da yanayin a matsayin ƙarfin halitta (daidaitacce tsakanin sunayen sautuna da jikunan sama, abubuwa na halitta, yanayi, gabobin jikin mutum, halayen ɗabi'a na rai, da sauransu); an jaddada saurin tasirin L. akan ruhin ɗan adam, kowane L. yana da ƙayyadaddun magana. ma'ana (kamar yadda a cikin kiɗa na zamani - babba da ƙananan). A. Jami (rabi na biyu na karni na 2) ya rubuta cewa: “Kowane daga cikin goma sha biyu (maqama), kowane avaze da shu’be yana da nasa tasiri na musamman (a kan masu saurare), baya ga dukiyar da aka yi tarayya da su gaba daya. ku ji daɗi." Mafi mahimmancin matakai a cikin tarihin ilimin harsuna na Turai shine tsarin tsarin zamani (ba wai Turai ba kamar Rum; har zuwa tsakiyar karni na 15st) da kuma tsarin tsarin "Turai daidai" na ƙarni na 1-9, a cikin tarihi da al'adu. typological sharuddan. hankali - tsarin "Yamma", Jamus. abendländische, zuwa farkon zamanai na tsakiya. tsarin modal (iyakoki na tarihi ba su da iyaka: ya samo asali ne a cikin waƙoƙin waƙa na Ikilisiyar Kirista ta farko, wanda aka kafa a cikin ƙarni na 20-7, sannan a hankali ya girma cikin daidaituwar modal na Renaissance. cf. Modal tsarin na 9th-9th ƙarni, da Renaissance tsarin (yanayin 13th-14th ƙarni), da tonal (manyan-kananan) tsarin (16th-17th ƙarni; a cikin wani gyaggyarawa siga kuma ana amfani da shi a cikin karni na 19th), da sabon tsarin tsayi na 20th . (Duba Maɓalli, Yanayin Halitta, Yanayin Sirri).
Antich. tsarin modal yana dogara ne akan tetrachords, daga haɗuwa da juna tare da juna octave Ls an kafa. Tsakanin sautunan quart, mafi bambance-bambancen sautin tsakiya a tsayi suna yiwuwa (iri uku na tetrachords: diatone, chromium, “enarmony”). A cikin L., tasirin su na kai tsaye yana da daraja (bisa ga wannan ko "ethos"), bambancin, bambancin duk nau'in L. (misali: Skoliya Seikila).
L. farkon yammacin-Turai. Tsakanin zamani saboda abubuwan tarihi na zamanin sun zo mana Ch. arr. dangane da coci. kiɗa. A matsayin nunin tsarin innation daban-daban, ana siffanta su da tsananin (har zuwa asceticism) diatonicism kuma suna kama da mara launi da kuma motsin rai mai gefe ɗaya idan aka kwatanta da cikar sha'awa ta tsohuwar. A lokaci guda, Tsakiyar Zamani. L. yana bambanta ta hanyar mayar da hankali kan lokacin ciki (da farko, har ma da lahani na ainihin fasaha na fasaha, bisa ga jagororin coci). Aure-karni. L. nuna ƙarin rikitarwa na tsarin diatonic. L. (guidonian hexachord maimakon tsohuwar tetrachord; Yamma-Turai masu jituwa polyphony yana nuna yanayi daban-daban idan aka kwatanta da tsohuwar heterophony). Kiɗan jama'a da na zamani na Tsakiyar Tsakiyar Zamani, a fili, an bambanta su da wani tsari daban-daban da bayyanawa na L.
Makamantan app. Aure-karni. al'adun chorale sauran-rus. chanter art-va kuma ya haɗa da ƙarin tsoffin kayan aikin modal (quart extra-octave na "ma'aunin yau da kullun"; tasiri mai ƙarfi na tsohuwar ƙa'idar waƙar-samfurin yana cikin waƙoƙi, muryoyin).
A cikin Tsakiyar Tsakiyar Tsakiya (ƙarni na 9-13), sabon (idan aka kwatanta da tsohuwar) polyphony ya taso kuma ya haɓaka, wanda ya yi tasiri sosai ga tsarin modal da nau'ikansa, kuma ya shirya tarihi. asali daban-daban iri. L. (L. a matsayin tsarin polyphonic).
Tsarin modal na Renaissance, yayin da yake riƙe da yawa daga tsarin tsakiyar zamanai, an bambanta shi ta hanyar cikewar jini mai zurfi wanda ya ci gaba a kan sabon tushe, dumin ɗan adam, da ci gaba mai yawa na musamman. halaye na L. (musamman halayyar: lush polyphony, sautin gabatarwa, rinjaye na triads).
A zamanin da ake kira. sabon lokaci (ƙarni na 17-19), babban tsarin ƙayyadaddun tsari, wanda ya samo asali a cikin Renaissance, ya kai ga rinjaye. Aesthetically, mafi arziki idan aka kwatanta da duk na baya (duk da iyakancewa ta mafi ƙarancin adadin phonics) manyan-kananan tsarin wani nau'in waƙoƙi ne daban-daban, inda polyphony, chord ba kawai nau'i ne na gabatarwa ba, amma muhimmin bangare na li. . ka'idar manyan-kananan tsarin, kamar L., canje-canje ne daban-daban a cikin "micro-modes," ko maɗaukaki. A gaskiya, "harmonic tonality" ya zama wani canji na musamman na rukuni na L., "yanayin guda ɗaya" (Asafiev) tare da yanayi biyu (manyan da ƙananan).
A cikin layi daya tare da ci gaba da ci gaba na tonality na jituwa a cikin ƙarni na 19th da 20th. akwai farkawa a matsayin mai zaman kanta. category da kuma L. melodic. nau'in. Daga fadadawa da gyare-gyaren tsarin tonal na ƙananan ƙananan ƙananan, diatonic na musamman L. (wanda Mozart da Beethoven suka riga sun bayyana, wanda aka yi amfani da shi a cikin 19th da farkon 20th ƙarni ta romantics da composers na sababbin makarantun kasa - F. Chopin, E. Grieg, MP Mussorgsky, NA Rimsky-Korsakov, AK Lyadov, IF Stravinsky da sauransu), kazalika da sikelin pentatonic anhemitone (da F. Liszt, R. Wagner, Grieg, AP Borodin, a farkon ayyukan Stravinsky, da dai sauransu). Ƙara chromatization na L. yana ƙarfafa haɓakar haɓakar L., ma'auni wanda ya raba 12 semitones na octave zuwa sassa na daidaitattun girman; wannan ya ba da dukan tonic, daidai-thermal da tritone tsarin (a Chopin, Liszt, Wagner, K. Debussy, O. Messiaen, MI Glinka, AS Dargomyzhsky, PI Tchaikovsky, Rimsky-Korsakov, AN Scriabin, Stravinsky, AN Cherepnin da sauransu. ).
A cikin kiɗan Turai na ƙarni na 20 kowane nau'in L. da tsarin suna haɗuwa da haɗuwa da juna har zuwa microchromatic (A. Haba), amfani da waɗanda ba na Turai ba. tsari (Masiha, J. Cage).
X. Tarihin koyarwa game da yanayin. Ka'idar L., tana nuna tarihin su, ita ce mafi daɗaɗɗen batun bincike a cikin kiɗa. kimiyya. Matsalar L. ya shiga cikin ka'idar jituwa kuma wani bangare ya zo daidai da matsalar jituwa. Saboda haka, nazarin matsalar L. asali da aka gudanar a matsayin nazarin matsalar jituwa (armonia, jituwa). Bayanin kimiyya na farko L. (harmony) a Turai. Ilimin kiɗa na makarantar Pythagorean ne (ƙarni na 6-4 BC). BC.). Bayanin jituwa da L. bisa ka'idar lamba, Pythagoreans sun jaddada mahimmancin dangantakar sauti mafi sauƙi (a cikin abin da ake kira. tetrad) a matsayin wani abu da ke daidaita tsarin ƙanƙara (wani tunani a cikin ka'idar L. abubuwan al'ajabi na tetrachords da kuma sautin "barga" na magana ta huɗu). An fassara ilimin Pythagorean ta hanyar L. da kuma kiɗa. jituwa a matsayin nunin jituwar duniya, wanda idan ba tare da wanda duniya zata wargaje ba (watau a zahiri ya kalli L. a matsayin samfurin duniya - microcosm). Daga nan ya ci gaba daga baya (a cikin Boethius, Kepler) ilimin kimiyyar sararin samaniya. идеи kiɗan duniya da kiɗan ɗan adam. Cosmos kanta (bisa ga Pythagoreans da Plato) an daidaita su ta wata hanya (an kamanta jikin sama da sautunan Hellenanci. Yanayin Dorian: e1-d1-c1-hagfe). Kimiyyar Girkanci (Pythagoreans, Aristoxen, Euclid, Bacchius, Cleonides, da sauransu) sun ƙirƙira da haɓaka kiɗan. ka'idar L. da takamaiman halaye. Ta haɓaka mafi mahimmancin ra'ayoyin L. - tetrachord, octave jere (armonia), tushe (nstotes), tsakiya (tsakiyar) sautin (mesn), dynamis (dunamis), ecmelika (yankin tazarar da dangantaka mai rikitarwa, da kuma sauti ba tare da wani takamaiman sauti ba), da dai sauransu. A zahiri, duk ka'idar jituwa ita ce ka'idar L. kuma frets kamar monophonic high-fitting Tsarin. Kiɗa. ilimin kimiyya na farkon zamanai na tsakiya ya sake yin aikin tsoho akan sabon tushe. (Pythagorean, Platonic, Neoplatonic) ra'ayoyin game da jituwa da L. a matsayin kayan ado. Sabuwar fassarar tana da alaƙa da Kirista-tiyoloji. fassarar daidaituwar halittu. Tsakanin Zamani ya haifar da sabon koyaswar frets. Da farko sun bayyana a cikin ayyukan Alcuin, Aurelian na Reome da Regino na Prüm, an fara rubuta su daidai a cikin bayanin kiɗa ta marubucin da ba a san shi ba na rubutun “Alia musica” (c. karni na 9). An aro daga Girkanci ka'idar sunan L. (Dorian, Phrygian, da dai sauransu), tsakiyar karni. kimiyya ta dangana su ga wasu ma'auni (wani nau'i na ko'ina; duk da haka, an bayyana wani ra'ayi na daban; duba. aikin da M. Dabo-Peranycha, 1959). Tare da tsarin tsakiyar zamanai. L. Asalin kalmomin "finalis", "sakamakon" (tenor, tuba; daga karni na 17 zuwa kuma "mafi rinjaye"), "ambitus", wanda ya riƙe mahimmancinsu ga na baya monophonic L. A layi daya da ka'idar octaves L. daga karni na 11 (daga Guido d'Arezzo) ya ci gaba da amfani. tsarin solmization dangane da babban hexachord a matsayin rukunin tsari a cikin tsarin modal (duba. Solmization, Hexachord). Ayyukan solmization (wanda ya kasance har zuwa 18th c. kuma ya bar alama mai mahimmanci a cikin ƙa'idar ka'idar L.) ya shirya wasu nau'ikan tarihin bin hanyoyin tsakiyar zamanai da Renaissance na babban-kananan tsarin modal. A cikin rubutun Glarean "Dodecachord" (1547), biyu L. - Ionian da Aeolian (tare da nau'in plagal). Daga karni na 17 wanda L. manyan-kananan tonal-aiki tsarin. Na farko m na tsarin bayani na tsarin manya da kanana kamar haka (sabanin da kuma wani bangare na adawa da magabata - Ionian da Aeolian coci. Sautunan) an ba da su a cikin ayyukan J. F. Rameau, musamman a cikin "Maganin Jiyya" (1722). Sabon L. Turai
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Yanayin (yanayin) duka biyun dokar tsarin sauti ne, da kuma tsarin tsarin su.
A matsayin wani ɓangare na koyaswar jituwa 18-19 ƙarni. Ka'idar tonality ta haɓaka azaman ka'idar tonality tare da ra'ayoyi da sharuɗɗan da suka dace da ita (FaJ Castile-Blaz ya fara amfani da kalmar "tonality" a cikin 1821).
Sabbin tsarin modal (duka waɗanda ba diatonic da diatonic) a Yammacin Turai. an nuna ra'ayoyin a cikin ayyukan F. Busoni ("113 ma'auni daban-daban", microchromatics), A. Schoenberg, J. Setaccioli, O. Messiaen, E. Lendvai, J. Vincent, A. Danielu, A. Khaba da sauransu.
Cikakken ka'idar L. ci gaba a bincike Nar. kiɗan V. F. Odoevsky A. N. Serova, P. AP Sokalsky A. C. Famintsina, A. D. Kastalsky, B. M. Belyaeva X. C. Kushnareva, K. AT. Tikiti, da sauransu. A cikin Rasha, daya daga cikin ayyukan farko da suka shafi abubuwan da suka faru na L. ya kasance "Ideagrammar Mawaƙi..." na N. AP Diletsky (rabi na biyu. karni na 17). Marubucin ya tabbatar da kashi uku na kiɗa ("bisa ga ma'anar"): zuwa "mai farin ciki" (wani a bayyane yake daidai da nadi na manyan da Zarlino ya gabatar - harmonie "allegra"), "mai tausayi" (daidai da ƙananan; a cikin Tsarlino - "Mesta" a cikin m misali Diletsky harmonic qananan) da kuma "gauraye" (inda iri biyu m). Tushen "kiɗa mai daɗi" shine "tone ut-mi-sol", "mai tausayi" - "tone re-fa-la". A cikin jima'i na 1st. 19 a cikin. M. D. Frisky (wanda, bisa ga Odoevsky, "kafa a karon farko mu fasaha m harshen") amintattu a cikin fatherlands. Kalmar ƙanƙara kanta kalmar "L.". Ci gaban tsarin modal dangane da Rasha. coci. kiɗa a cikin ƙarni na 19th da 20th. suka yi D. AT. Razumovsky, I. DA. Voznesensky, V. M. Metalov, M. AT. Brazhnikov, N. D. Uspensky. Razumovsky ya tsara tsarin haɓakar tarihi na L. coci. kiɗa, haɓaka ka'idar Rashanci. yarjejeniya dangane da nau'ikan sautin "yanki", "mafi rinjaye" da "ƙarshe" sautunan (misali na zap. «ambitus», «reperkusse» da «finalis»). Metallov ya jaddada mahimmancin jimillar waƙoƙi a cikin halayyar muryar. N. A. Lvov (1790) ya jawo hankali ga takamaiman girmamawa aka L. daga tsarin Turai. Odoevsky (1863, 1869) yayi nazarin halayen halayen haɓakar damuwa a cikin Rashanci. Nar (da coci) kiɗa da kaddarorin da ke bambanta shi daga app. melodics (kaucewa daga wasu tsalle-tsalle, rashin sautin gabatarwa, tsananin diatonicism), an ba da shawarar amfani da kalmar "glamor" (diatonic. heptachord) maimakon "sautin" na yamma. Don daidaitawa cikin ruhin Rashanci. Frets Odoevsky yayi la'akari da tsattsauran tsattsauran ra'ayi, ba tare da ƙira na bakwai ba. Bambanci tsakanin tsarin katako. aiki da "mummunan ma'auni" fp. ya kai shi ga ra'ayin "shirya piano mara nauyi" (an kiyaye kayan Odoevsky). Serov, yana nazarin yanayin yanayin Rus. Nar songs "a cikin adawa da yammacin Turai music" (1869-71), adawa da "ƙauna" na yamma. masana kimiyya suna la'akari da duk kiɗan kawai “daga mahangar maɓallai biyu (watau halaye) - babba da ƙanana. Ya gane daidaitattun nau'i biyu na "rukuni" (tsarin) na ma'auni - octave da hudu (tare da ka'idar Girkanci. L.). Rasha ingancin L. ya (kamar Odoevsky) yayi la'akari da tsananin diatonicism - sabanin zap. babba da ƙanana (tare da bayanin kula mai hankali), rashin daidaitawa ("Waƙar Rasha ba ta san babba ko ƙarami ba, kuma ba ta taɓa daidaitawa"). Tsarin L. ya fassara a matsayin kama ("bunches") na tetrachords; maimakon modulation, ya yi imani "zubar da tetrachords kyauta." A cikin daidaita wakoki don kallon Rashanci. hali, ya ƙi yin amfani da tonic, rinjaye da maɗaukakiyar ƙira (watau I, V da IV matakai), shawarar gefen ("ƙananan") triads (a cikin manyan - II, III, VI matakai). Famintsyn (1889) yayi nazarin ragowar daɗaɗɗen yadudduka (har yanzu arna) a cikin Nar. kiɗan da ƙirƙira yanayin (waɗanda aka yi tsammani a cikin wannan wasu ra'ayoyin B. Bartoka, Z. Kodaya). Ya gabatar da ka'idar "yadudduka" guda uku a cikin tsarin bunkasa tarihi na haɓaka damuwa - "mafi tsufa" - pentatonic, "sababbin" - 7-mataki diatonic, da "sabbin" - babba da ƙananan. Kastalsky (1923) ya nuna " asali da 'yancin kai na tsarin Rasha. Nar polyphony daga ƙa'idodi da rukunan Turai. tsarin.
BL Yavorskii ya ba da ci gaban kimiyya na musamman game da ra'ayi da ka'idar layi. cancantarsa shine zaɓi na nau'in L. a matsayin mai zaman kansa. Musanya. wani aiki, a cewar Yavorsky, ba kome ba ne face bayyanar rhythm a cikin lokaci (sunan tunanin Yavorsky shine "Theory of Modal Rhythm"; duba Modal Rhythm). Ya bambanta da na al'ada dual fret na Turai A cikin manyan ƙananan ƙananan tsarin, Yavorsky ya tabbatar da yawancin L. (ƙara, sarkar, m, raguwa, manyan nau'i biyu, ƙananan ƙananan, sau biyu augmented, X-modes, da dai sauransu). Daga ka'idar modal rhythm ya zo al'adar Rasha. Ilimin kide-kide bai kamata ya danganta tsarin fira da suka wuce manya da kanana zuwa wani nau'in “atonalism” mara tsari ba, amma bayyana su a matsayin hanyoyi na musamman. Yavorsky ya raba ra'ayoyi na layi da tonality (wani ƙayyadaddun ƙungiya mai tsayi da matsayi a wani matsayi mai tsayi). BV Asafiev ya bayyana ra'ayoyi masu zurfi game da L. a cikin rubuce-rubucensa. Haɗa tsarin L. tare da innation. yanayi na kiɗa, da gaske ya halicci ainihin ainihin ainihin ra'ayi na L. (duba kuma sassan farko na wannan labarin).
Asafiev kuma ya ci gaba da matsalolin gabatar da tonalities a Turai. L., juyin halittarsa; m a ka'idar. dangane da yadda ya bayyana nau'in nau'in nau'in Glinka's Ruslan da Lyudmila, fassarar Asafiev na mataki na 12 L., fahimtar L. a matsayin hadaddun innations. Yana nufin gudummawar da aka yi don nazarin matsalolin L. aikin wasu mujiya ne suka bayar. theoreticians - Belyaev (ra'ayin 12-mataki kari, tsarin da tsarin na gabas music), Yu. seconds; ka'idar modal m ayyuka, da dai sauransu).
AS Ogolevets ('yancin kai - "diatonicity" - 12 sautunan tsarin tonal; nazarin matakai; ka'idar modal genesis), IV Sposobina (nazarin ingantaccen aikin modal tonal aiki, daidaitaccen tsari na halaye ban da babba da ƙarami, fassarar kari da mita a matsayin dalilai na samuwar kankara), VO Berkova (tsari na yawan abubuwan mamaki na samuwar kankara). Matsalar L. sadaukarwa. aiki (da sassan ayyukan) ta AN Dolzhansky, MM Skorik, SM Slonimsky, ME Tarakanov, HF Tiftikidi da sauransu.
References: Odoevsky V. F., wasiƙa zuwa V. F. Odoevsky ga mawallafin game da babban kiɗan Rasha na farko, a cikin Sat: Ketare Kaliki. Asabar wakoki da bincike na P. Bessonova, h. 2, a'a. 5, Moscow, 1863; nasa, Mirskaya song, wanda aka rubuta a cikin murya takwas tare da ƙugiya tare da alamar cinnabar, a cikin tarin: Abubuwan da aka yi na farko na majalisa na archaeological a Moscow, 1869, vol. 2, M., 1871; nasa, ("Rasha gama gari"). Juzu'i, 1860s, a cikin littafin: B. F. Odoevsky. Gadon kiɗa da adabi, M., 1956 (ya haɗa da sake buga labaran da aka ambata a sama); Razumovsky D. V., Waƙar Church a Rasha, vol. 1-3, M., 1867-69; Serev A. N., Waƙar gargajiya ta Rasha a matsayin batun kimiyya, "Lokacin Kiɗa", 1869-71, iri ɗaya, Izbr. labarai, da sauransu. 1, M., 1950; Sokalsky P. P., kiɗan gargajiya na Rasha…, Har., 1888; Famintsin A. S., Tsohuwar gamma ta Indochinese a Asiya da Turai…, St. Petersburg, 1889; Metalov V. M., Osmoglasie znamenny waƙa, M., 1899; Yavorsky B. L., Tsarin magana na kiɗa. Kayayyaki da bayanin kula, a'a. 1-3, M., 1908; Kastalskiy A. D., Siffofin tsarin kiɗa na jama'a-Rasha, M.-P., 1923, M., 1961; Rimsky-Korsakov G. M., Tabbatar da tsarin kiɗan-kwata-kwata, a cikin littafin: De Musica, vol. 1, L., 1925; Nikolsky A., Sauti na waƙoƙin jama'a, a cikin littafin: Tarin ayyukan sashe na al'adun gargajiya na HYMN, vol. 1, M., 1926; Asafiev B. V., Siffar kiɗa azaman tsari, littafi. 1-2, M., 1930-47, L., 1971; nasa, Gabatarwa. zuwa Rasha per. littafi: Kurt E., Mahimman abubuwan da ke kan layi, M., 1931; nasa, Glinka, M., 1947, M., 1950; Mazel L. A., Ryzhkin I. Ya., Rubuce-rubucen kan tarihin ilimin kidan kida, vol. 1-2, M.-L., 1934-39; Tyulin Yu. N., Koyarwar jituwa, vol. 1, L., 1937, M., 1966; nasa, Hanyoyin Halitta da sauye-sauye, M., 1971; Grub R. I., Tarihin al'adun kiɗa, vol. 1, h ku. 1, M., 1941; Ogolevets A. S., Gabatarwa ga tunanin kiɗan zamani, M.-L., 1946; Dolzhansky A. N., A kan modal tushen abubuwan da Shostakovich ya yi, "SM", 1947, No 4; Kushnarev X. S., Tambayoyi na tarihi da ka'idar kiɗan monodic Armenian, L., 1958; Belyaev V. M., Sharhi, a cikin littafin: Jami Abdurakhman, Treatise on Music, trans. daga Farisa, ed. da comments. AT. M. Belyaeva, Tash., 1960; nasa, Maƙala akan tarihin kiɗa na mutanen Tarayyar Soviet, vol. 1-2, Moscow, 1962-63; Berkov V. O., Harmony, h. 1-3, M., 1962-1966, M., 1970; Slonimsky S. M., Prokofiev's Symphonies, M.-L., 1964; Kholopov Yu. N., Kimanin tsarin jituwa na ƙasashen waje uku, a cikin: Kiɗa da Zamani, vol. 4, M., 1966; Tiftikidi H. F., Tsarin Chromatic, a cikin: Kiɗa, vol. 3, A.-A., 1967; Skoryk M. M., Ladovaya tsarin S. Prokofieva, K., 1969; Sposobin I. V., Lakcoci akan tafarkin jituwa, M., 1969; Alekseev E., A kan yanayi mai tsauri na yanayin, "SM", 1969, No 11; Matsalolin damuwa, Sat. Art., M., 1972; Tarakanov M. E., Sabon tonality a cikin kiɗa na karni na XNUMX, a cikin: Matsalolin Kimiyyar Kiɗa, vol. 1, M., 1972; Tikitin K. V., Esq. aiki, i 1-2, M., 1971-73; Harlap M. G., Tsarin kiɗa na Folk-Rasha da matsala: asalin kiɗa, a cikin tarin: Sifofin farko na fasaha, M., 1972; Silenok L., Mawaƙin Rasha-Theorist M. D. Rezvoy, "Mawaƙin Soviet", 1974, Afrilu 30; cm.
Yu. N. Kholopov
