Tsakanin tsaka-tsaki |

Matsalolin tsakiya, mafi daidai frets coci, sautunan coci

lat. modi, toni, tropi; Jamus Kirchentöne, Kirchentonarten; Yanayin Faransa gregoriens, tons ecclesiastiques; Yanayin cocin Ingilishi

Sunan guda takwas (goma sha biyu a ƙarshen Renaissance) Monodic modes wanda ke ƙasa da ƙwararrun Turai (ch. Arr. Cocin) Music na Yammacin Turai. tsakiyar zamanai.

A tarihi, 3 tsarin nadi na S. l.:

1) dakin tururi mai ƙididdigewa (mafi tsufa; ana nuna halaye ta lambobin Helenanci daga Latinized, misali protus - na farko, deuterus - na biyu, da sauransu, tare da rarraba nau'i biyu na kowane zuwa na ainihi - babba da plagal - sakandare);

2) sauƙi na lambobi (hanyoyi ana nuna su ta lambobi na Roman ko lambobi na Latin - daga I zuwa VIII; misali, sautin primus ko I, secudus toneus ko II, sautin tertius ko III, da dai sauransu);

3) maras sani (nadinawa; dangane da ka'idar ka'idar kida ta Girka: Dorian, Hypodorian, Phrygian, Hypophrygian, da sauransu). Ƙarfafa tsarin suna don S. l . takwas:

I – дорийский – protus ingantacce II – Hypodorian – protus plagalis III – Phrygian – ingantacciyar deuterus IV – hypophrygian – deuterus plagalis V – лидийский – ingantaccen tritus VI – Hypolydian – tritus plagalis VII – tetraxolysdiyani - tetraxolysdiyani

Babban Modal Categories S.l. - finalis (sautin ƙarshe), ambitus (ƙarar waƙa) da - a cikin waƙoƙin da ke da alaƙa da zabura, - maimaitawa (kuma tenor, tuba - sautin maimaitawa, zabura); Bugu da kari, wakoki a cikin S. l. sau da yawa halin da wasu karin waƙa. dabara (sun fito daga waƙar zabura). Rabon finalis, ambitus da repercussion sune tushen tsarin kowane S. l .:

Melodich. tsarin S. l. a cikin waƙoƙin zabura (sautin zabura) - farawa ( dabara na farko), finalis (na ƙarshe), matsakanci (tsakiya). melodic samfurori. dabara da karin waƙa a cikin S.l .:

Waƙar "Ave maris Stella."

Bayar da "Na yi kuka daga zurfafa."

Antiphon “Sabuwar doka”.

Hallelujah da ayar "Laudate Dominum".

A hankali "Sun gani".

Kyrie eleison na Mass "Paschal season".

Taro don Matattu, yana shiga hutu na har abada.

Zuwa ga halayen S. l. Har ila yau, sun haɗa da bambance-bambance (lat. differentiae tonorum, diffinitiones, varietates) - cadence melodic. dabarar zabura na antiphonal da ke fadowa akan ƙarshe mai haruffa shida. kalmar da ake kira. “Ƙananan ilimin kimiyya” ( seculum amen – “kuma har abada abadin amen”), wanda yawanci ana nuna shi tare da tsallake baƙaƙe: Euouae.

Ɗan Rago na Allah na Mass "A Ranakun Zuwan da Lent".

Bambance-bambancen suna aiki azaman canji daga ayar zabura zuwa antiphon na gaba. Melodily, ana aro bambance-bambancen daga wasan karshe na sautunan zabura (saboda haka, ana kiran ƙarshen sautunan zabura kuma ana kiran su bambance-bambance, duba “Antiphonale monasticum pro diurnis horis…”, Tornaci, 1963, shafi na 1210-18).

Antiphon "Ad Magnificat", VIII G.

A cikin masu zaman kansu da jama'a. kiɗa na Tsakiyar Zamani (musamman Renaissance), a fili, akwai ko da yaushe akwai wasu halaye (wannan shine rashin kuskuren kalmar "S.l." - su ne na hali ba ga duk tsakiyar zamanai music, amma yafi ga coci music. saboda haka, kalmar “hanyoyin coci”, “ sautunan coci” sun fi daidai). Duk da haka, an yi watsi da su a cikin kiɗa da kimiyya. wallafe-wallafen, wanda ya kasance ƙarƙashin rinjayar coci. J. de Groheo ("De musica", c. 1300) ya nuna cewa waƙar da ba ta da addini (cantum civilem) "ba ta da kyau sosai" tare da dokokin ikkilisiya. damuwa; Glarean ("Dodekachordon", 1547) ya gaskata cewa yanayin Ionian ya wanzu ca. shekaru 400. A cikin mafi tsoho tsakiyar zamanai da suka zo mana. Ana samun waƙoƙin boko, waɗanda ba na liturgical ba, misali, pentatonic, yanayin Ionian:

Waƙar Jamus game da Bitrus. Con. 9 cin c.

Lokaci-lokaci, yanayin Ionian da Aeolian (daidai da manya da ƙanana) ana samun su a cikin waƙar Gregorian, misali. An rubuta duka monodic taro "A cikin Festis solemnibus" (Kyrie, Gloria, Sanctus, Agnus Dei, Ite missa est) a XI, watau Ionian, damuwa:

Kyrie eleison na Mass "A cikin manyan bukukuwa."

Kawai a cikin Ser. Karni na 16 (duba "Dodekachordon" Glareana) a cikin tsarin S. l. An haɗa ƙarin frets 4 (don haka akwai frets 12). Sabbin tashin hankali:

A Tsarlino ("Dimostrationi Harmoniche", 1571, "Le Istitutioni Harmoniche", 1573) da wasu Faransanci. da Jamusanci. mawaƙa na karni na 17 wani nau'in haraji daban-daban na sha biyu S. l. An kwatanta da Glarean. Tsarlino (1558):

G. Zarlin. "Cibiyoyin Harmonic", IV, babi. 10.

У M. Мерсенна ("Universal Harmony", 1636-37):

Na damu - na kwarai. Dorian (s-s1), yanayin II - plagal subdorian (g-g1), damuwa na III - ingantaccen. Phrygian (d-d1), Yanayin IV - Plagal sub-Phrygian (Aa), V - ingantaccen. Lydian (e-e1), VI - Plagal Sublydian (Hh), VII - ingantacce. mixolydian (f-f1), VIII - plagal hypomixolydian (c-c1), IX - ingantacce. hyperdoric (g-g1), X - Plagal Sub-Hyperdorian (d-d1), XI - ingantacce. hyperphrygian (a-a1), XII - plagal subhyperphrygian (e-e1).

Zuwa ga kowane S.l. ya fadi nasa takamaiman magana. hali. Bisa ga jagororin Ikilisiya (musamman a farkon tsakiyar zamanai), ya kamata a ware kiɗa daga kowane abu na jiki, “na duniya” a matsayin masu zunubi da ɗaukaka rayuka zuwa ruhaniya, na sama, na Kiristanci. Don haka, Clement na Iskandariya (c. 150 – c. 215) ya yi hamayya da tsohuwar, arna Phrygian, Lydian da Dorian “nomes” don goyon bayan “waƙar waƙa ta har abada ta sabon jituwa, sunan Allah”, da “ƙaramar waƙoƙi” da “waɗanda suka dace” raye-rayen kuka”, don -ry “lalata rai” da shigar da shi cikin “bikin” komos, don neman “farin ciki na ruhaniya”, “domin haɓakawa da kuma tada hankalin mutum.” Ya yi imani cewa "ya kamata a dauki daidaituwa (watau hanyoyin) mai tsauri da tsafta." Yanayin Dorian (coci), alal misali, galibi ana siffanta shi da masu ra'ayi a matsayin mai girma, mai girma. Guido d'Arezzo ya rubuta game da "ƙauna ta 6th", "magana na 7th" frets. Ana ba da bayanin ma'anar ma'anar yanayin sau da yawa daki-daki, mai launi (an ba da halaye a cikin littafin: Livanova, 1940, shafi na 66; Shestakov, 1966, shafi na 349), wanda ke nuna ra'ayi mai rai na modal intonation.

A tarihi S.l. babu shakka ya fito daga tsarin frets na coci. kiɗa na Byzantium - abin da ake kira. oktoiha (osmosis; Greek oxto – takwas da nxos – murya, yanayin), inda akwai 8 halaye, zuwa kashi 4 nau’i-nau'i, sanya a matsayin ingantacce kuma plagal (na farko haruffa 4 na Greek haruffa, wanda yake daidai da tsari: I. - II - III - IV), kuma ana amfani da su a cikin Hellenanci. Sunayen yanayi (Dorian, Phrygian, Lydian, Mixolydian, Hypodorian, Hypo-Phrygian, Hypolydian, Hypomixolydian). Tsarin tsarin majami'u na Byzantine. An dangana damuwa ga Yahaya na Damascus (rabin farko na karni na 1; duba Osmosis). Tambayar tarihin Farawa na tsarin modal na Byzantium, Dr. Rasha da Yammacin Turai. S.l., duk da haka, yana buƙatar ƙarin bincike. Musanya. Masu ra'ayin farkon tsakiyar zamanai (ƙarni na 8-farkon 6) ba su faɗi sabbin hanyoyin ba (Boethius, Cassiodorus, Isidore na Seville). A karon farko an ambaci su a cikin wata bita, guntuwar da M. Herbert (Gerbert Scriptores, I, shafi na 8-26) ne ya buga a ƙarƙashin sunan Flaccus Alcuin (27-735); duk da haka, marubucin yana da shakku. Daftarin da ya fi daɗe da dogaro yana magana akan S.l. ya kamata a yi la'akari da rubutun Aurelian daga Rheome (ƙarni na 804) "Musica disciplina" (c. 9; "Gerbert Scriptores", I, shafi na 850-28); farkon babinsa na 63 "De Tonis octo" ya sake fitar da kusan baki ɗaya gaɓoɓin Alcunnos. Ana fassara yanayin ("sautin") a nan azaman hanyar waƙa (kusa da manufar modus). Marubucin bai bayar da misalan kida da makirci ba, amma yana nufin waƙar antiphons, responsories, offertories, communio. A cikin rubutun da ba a bayyana sunansa ba na 8 (?) c. "Alia musica" (wanda Herbert ya buga - "Gerbert Scriptores", I, shafi na 9-125) ya riga ya nuna ainihin iyakokin kowane 52 S. l. Don haka, tashin hankali na farko (primus tonus) an sanya shi a matsayin "mafi ƙasƙanci" (omnium gravissimus), yana mamaye wata octave zuwa mesa (watau Aa), kuma ana kiransa "Hypodorian". Na gaba (octave Hh) shine Hypophrygian, da sauransu. ("Gerbert Scriptores," I, shafi na 8a). Boethius ne ya watsa shi ("De institutione musica", IV, capitula 127) tsarin tsarin Girkanci. transpositional ma'auni na Ptolemy (transpositions na "cikakkiyar tsarin", wanda ya sake haifar da sunayen hanyoyin - Phrygian, Dorian, da dai sauransu - amma kawai a baya, hawan hawan) a cikin "Alia musica" ya kuskure don tsarin tsarin. A sakamakon haka, Hellenanci sunayen hanyoyin sun juya suna da alaƙa da wasu ma'auni (duba hanyoyin Girka na Tsohuwar). Godiya ga kiyaye tsarin haɗin gwiwa na ma'auni na modal, tsari na maye gurbin hanyoyin a cikin tsarin biyu ya kasance iri ɗaya, kawai shugabanci na maye ya canza - a cikin ka'idodin tsari biyu-octave na tsarin Girkanci cikakke - daga A zuwa a15.

Tare da ƙarin ci gaban octave S.l. da yaduwar solmization (tun daga karni na 11), tsarin hexachords na Guido d'Arezzo shima ya sami aikace-aikace.

Samuwar polyphony na Turai (a lokacin tsakiyar zamanai, musamman a lokacin Renaissance) ya lalata tsarin kayan kida sosai. kuma daga karshe ya kai ga halaka. Babban abubuwan da suka haifar da rugujewar S. l. sun kasance burinsu da yawa. sito, gabatarwar sautin da kuma canza baƙar fata triad zuwa tushen yanayin. Polyphony ya daidaita mahimmancin wasu nau'ikan S.l. - ambitus, sakamako, ya haifar da yiwuwar ƙarewa lokaci ɗaya a kan biyu (ko ma uku) decomp. sauti (misali, akan d da a lokaci guda). Sautin gabatarwa (musiсa falsa, musica ficta, duba Chromatism) ya keta tsananin diatonicism na S.l., ya rage kuma ya haifar da bambance-bambance mara iyaka a cikin tsarin S. l. na yanayi iri ɗaya, rage bambance-bambance tsakanin hanyoyin zuwa babban ma'anar ma'anar - babba ko ƙarami. triads. Gane yarda na uku (sannan na shida) a cikin karni na 13. (daga Franco na Cologne, Johannes de Garland) ya jagoranci ƙarni na 15-16. zuwa akai-akai amfani da baƙar fata triads (da kuma jujjuyawar su) don haka don ext. sake tsara tsarin tsarin modal, gina shi a kan manya da ƙananan ƙira.

S. l. kiɗan polygonal ya samo asali ne zuwa daidaituwar modal na Renaissance (ƙarni na 15-16) kuma ya ci gaba zuwa "tonality na jituwa" (jituwa mai aiki na manyan ƙananan tsarin) na ƙarni na 17-19.

S. l. Kiɗa mai gefe guda a cikin ƙarni na 15-16. suna da takamaiman launi, mai kama da tsarin gauraye manya-kananan tsarin (duba Manyan-kananan). Yawanci, misali, ƙarewa tare da babban triad na yanki da aka rubuta cikin jituwa da ƙananan yanayi (D-dur - a Dorian d, E-dur - a cikin Phrygian e). Ci gaba da aiki na harmonics. abubuwa na tsarin mabambanta-kwakwalwa-sakamako a cikin tsarin modal wanda ya sha bamban sosai da ainihin monody na salon kiɗan gargajiya. Wannan tsarin tsarin (sabuntawa modal jituwa) yana da ɗan zaman kansa kuma yana da matsayi a tsakanin sauran tsarin, tare da sl da ƙananan ƙananan tonality.

Tare da kafa rinjaye na manyan ƙananan tsarin (ƙarni na 17-19), tsohon S. l. sannu a hankali sun rasa mahimmancinsu, wani bangare ya rage a cikin Katolika. Ikilisiya rayuwar yau da kullum (kasa da sau da yawa - a cikin Furotesta, misali, Dorian waƙar na choral "Mit Fried und Freud ich fahr dahin"). Samfura masu haske na S.l. samu yafi a 1st bene. Karni na 17 Halayen juyin juya halin S. l. tashi daga JS Bach a cikin sarrafa tsoffin waƙoƙin waƙa; Za a iya dawwama gaba ɗaya yanki a ɗayan waɗannan hanyoyin. Don haka, waƙar chorale "Herr Gott, dich loben wir" (rubutunsa shine fassarar Jamusanci na tsohuwar waƙar Latin, wanda M. Luther yayi a 1529) a cikin yanayin Phrygian, wanda Bach ya sarrafa don mawaƙa (BWV 16). , 190, 328) da kuma ga gabobin (BWV 725), shine sake yin aikin tsohuwar waƙar "Te deum laudamus" na sauti na huɗu, kuma an adana abubuwan kiɗa a cikin sarrafa Bach. dabarun wannan Wed.-ƙarni. sautuka.

JS Baci. Choral prelude ga gabobin.

Idan abubuwan S. l. cikin jituwa karni na 17. kuma a cikin kiɗa na zamanin Bach - ragowar tsohuwar al'ada, sa'an nan kuma farawa tare da L. Beethoven (Adagio "In der lydischen Tonart" daga quartet op. 132) akwai farfaɗo da tsohon tsarin modal akan sabon tsarin. . A zamanin romanticism, da yin amfani da modified siffofin S. l. yana da alaƙa da lokacin salo, roko ga kiɗan da suka gabata (by F. Liszt, J. Brahms; a cikin 7th bambance-bambancen daga Tchaikovsky's bambance-bambancen na piano op. 19 No 6 - Phrygian Yanayin tare da hankula manyan tonic a karshen) kuma yana haɗuwa tare da haɓaka masu haɓaka hankali ga yanayin kiɗan jama'a (duba yanayin yanayi), musamman F. Chopin, B. Bartok, mawaƙan Rashanci na ƙarni na 19-20.

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Yu. H. Kholopov