Melody |

sauran Girkanci μελῳδία - waƙar waƙar waƙa, daga μέλος - waƙa, da ᾠδή - waƙa, raira waƙa.

An bayyana tunanin kiɗa gaba ɗaya (a cewar IV Sposobin). A cikin kiɗan homophonic, aikin waƙar yawanci yana kasancewa a cikin babba, mai jagorar murya, yayin da muryoyin tsakiya na biyu suna jituwa. cika da bass wanda ya ƙunshi jituwa. goyon baya, ba su da cikakken mallaka na hali. halayen waƙa. M. yana wakiltar babba. farkon waƙar; "Mafi mahimmancin al'amari na kiɗa shine waƙa" (SS Prokofiev). Ayyukan sauran abubuwan da ke cikin kiɗa - ƙira, kayan aiki, da jituwa - shine "cikawa, kammala tunanin waƙa" (MI Glinka). Melody na iya wanzu kuma ya ba da fasaha. tasiri a monophony, a hade tare da karin waƙa a cikin wasu muryoyin (polyphony) ko tare da homophonic, jituwa. rakiyar (homophony). Murya ɗaya ce Nar. kiɗa pl. mutane; tsakanin al'ummomi da dama, mulkin mallaka shine haɗin kai. irin prof. kida a wasu lokutan tarihi ko ma a tsawon tarihinsu. A cikin waƙar, ban da ƙa'idar intonational, wanda ya fi mahimmanci a cikin kiɗa, irin waɗannan muses kuma suna bayyana. abubuwa kamar yanayi, kari, kiɗa. tsari (form). Ta hanyar waƙar, a cikin waƙar, da farko sukan bayyana nasu maganganun. da kuma tsara damar. Amma ko da a cikin kiɗa na polyphonic M. gaba ɗaya ya mamaye, ita ce "rai na aikin kiɗa" (DD Shostakovich).

Labarin ya tattauna batun ilimin asalin, ma'ana da tarihin kalmar "M." (I), yanayin M. (II), tsarinsa (III), tarihi (IV), koyarwa game da M. (V).

I. Girkanci. Kalmar melos (duba Melos), wadda ta zama tushen kalmar “M.”, asalinta tana da ma’ana ta gaba ɗaya kuma tana nuna wani sashe na jiki, da kuma jiki a matsayin ƙwaƙƙwaran halitta. gaba daya (G. Hyushen). A wannan yanayin, kalmar "M". y Homer da Hesiod ana amfani da su don nuna jigon sautunan da suka zama iri ɗaya, don haka, asali. Hakanan ana iya fahimtar ma'anar kalmar melodia a matsayin "hanyar waƙa" (G. Huschen, M. Vasmer). Daga tushen mel - a cikin Girkanci. yawancin kalmomi suna faruwa a cikin harshe: melpo - Ina raira waƙa, ina jagorantar raye-raye; melograpia - rubutun waƙa; melopoipa - abun da ke ciki na ayyuka (lyrical, m), ka'idar abun ciki; daga melpo - sunan gidan kayan gargajiya Melpomene ("Singing"). Babban kalmar Helenawa shine "melos" (Plato, Aristotle, Aristoxenus, Aristides Quintilian, da sauransu). Musanya. Marubuta na Medieval da Renaissance sunyi amfani da lat. sharuddan: M., melos, melum (melum) ("melum iri ɗaya ne da canthus" - J. Tinktoris). Kalmomin zamani (M., melodic, melismatic da makamantansu sharuddan tushen iri ɗaya) sun kafu a cikin ka'idar kida-ka'idar. rubuce-rubuce da kuma a cikin rayuwar yau da kullum a cikin zamanin da canji daga lat. harshe zuwa ƙasa (ƙarni na 16-17), kodayake bambance-bambance a cikin fassarar abubuwan da suka dace sun ci gaba har zuwa karni na 20. A cikin harshen Rashanci, kalmar farko "waƙa" (kuma "waƙar waƙa", "murya") tare da ma'anoni masu yawa a hankali (yawanci daga ƙarshen karni na 18) ya ba da hanya zuwa kalmar "M". A cikin 10s. Karni na 20 BV Asafiev ya koma Girkanci. kalmar "melos" don ayyana ma'anar melodic. motsi, melodiousness ("transfusion na sauti cikin sauti"). Yin amfani da kalmar “M.”, galibi, suna jaddada ɗaya daga cikin ɓangarorinsa da fagagen bayyanar da aka zayyana a sama, zuwa wani ƙayyadaddun ƙayyadaddun ƙayyadaddun abubuwa. Dangane da wannan, babban kalmar ma'ana:

1) M. - jerin sautunan jeri wanda aka haɗa su zuwa gaba ɗaya (M. line), sabanin daidaituwa (mafi daidai, maɗaukaki) azaman haɗin sauti a cikin lokaci guda ("haɗin sautin kiɗa,… bi daya bayan daya, … ana kiransa waƙa” - PI Tchaikovsky).

2) M. (a cikin harafin homophonic) - babbar murya (misali, a cikin maganganun "M. da rakiya", "M. da bass"); a lokaci guda, M. ba yana nufin kowane haɗin sauti na kwance ba (ana samunsa a cikin bass da sauran muryoyin), amma irin wannan kawai, wanda shine mayar da hankali na melodiousness, kiɗa. haɗi da ma'ana.

3) M. – hadin kai na ma’ana da ma’ana, “kida. tunani”, taro na kiɗa. bayyanawa; kamar yadda gabaɗayan da ba za a iya rarrabawa ba a cikin lokaci, M.-tunanin yana ƙaddamar da tsarin tafiyar da tsari daga wurin farawa zuwa na ƙarshe, wanda aka fahimta a matsayin haɗin kai na lokaci na hoto guda ɗaya da kai; Gagarumin bayyana sassan M. ana tsinkayarsu a matsayin nasu iri ɗaya ne kawai a hankali. Mutunci da bayyanawa na M. shima ya bayyana yana da kyau. darajar da ta yi kama da darajar kiɗa ("...Amma soyayya kuma waƙa ce" - AS Pushkin). Don haka fassarar waƙa a matsayin darajar kiɗa (M. - "sautin sauti wanda ... ke haifar da jin dadi ko, idan na iya faɗi haka, ra'ayi mai jituwa", idan ba haka ba, "muna kira maye gurbin sautunan. mara kyau” - G. Bellerman).

II. Bayan ya fito a matsayin nau'in kiɗa na farko, M. yana riƙe da asalin alaƙarsa da magana, aya, motsin jiki. Kamanceceniya da magana yana nunawa a cikin sifofi da dama na tsarin M. kamar kiɗa. gabaɗaya kuma a cikin ayyukanta na zamantakewa. Kamar magana, M. kira ne ga mai sauraro da nufin yin tasiri a kansa, hanyar sadar da mutane; M. yana aiki da kayan sauti (vocal M. - abu ɗaya - murya); magana M. ya dogara da wani sautin motsin rai. Pitch (tessitura, rijista), kari, ƙara, ɗan lokaci, inuwar timbre, wani yanki, da dabaru suna da mahimmanci duka a cikin magana da cikin magana. rabon sassa, musamman ma sauye-sauyen canje-canjen su, mu’amalarsu. Haɗin kai da kalmar, magana (musamman, na baka) shima yana bayyana a cikin matsakaicin ƙimar waƙa. jumlar da ta dace da tsawon lokacin numfashin ɗan adam; a cikin irin wannan (ko ma na gaba ɗaya) hanyoyin ƙawata magana da waƙa (muz.-retoric. Figures). Tsarin kiɗa. tunani (wanda aka bayyana a cikin M.) yana bayyana ainihin dokokinsa na gaba ɗaya tare da madaidaicin ma'ana gama gari. ka'idodin tunani (cf. dokoki don gina magana a cikin rhetoric - Inventio, Dispositio, Elaboratio, Pronuntiatio - tare da ka'idodin kiɗa na gaba ɗaya. tunani). Zurfin fahimta na gama-gari na ainihin rayuwa da abubuwan fasaha na sharadi (na kida) na magana mai sauti an yarda da B. AT. Asafiev don kwatanta sautin magana na muses tare da kalmar innation. tunani, fahimta a matsayin sabon abu da al'umma ta ƙaddara ta hanyar muses na jama'a. sani (a cewarsa, "tsarin innation ya zama daya daga cikin ayyukan fahimtar zamantakewa", "kiɗa yana nuna gaskiya ta hanyar shiga"). Banbancin waƙa. shiga daga magana ya ta'allaka ne a cikin wani yanayi daban-daban na karin waƙa (kazalika da kiɗan gabaɗaya) - a cikin aiki tare da sautunan tako daidai tsayin tsayi, muses. tazara na daidaitaccen tsarin daidaitawa; a cikin modal da rhythmic na musamman. ƙungiya, a cikin takamaiman tsarin kiɗan M. Kamanceceniya da aya wani lamari ne na musamman kuma na musamman dangane da magana. Tsaye daga tsohuwar syncretic. "Sangita", "trochai" (haɗin kai na kiɗa, kalmomi da raye-raye), M., kiɗa bai rasa abin da ya dace ba wanda ya haɗa shi da aya da motsin jiki - metrorhythm. tsarin lokaci (a cikin murya, da kuma cikin tafiya da rawa). waƙar da aka yi amfani da ita, wannan haɗin yana cikin juzu'i ko ma an kiyaye shi gaba ɗaya). "Order in motion" (Plato) shine zaren gama gari wanda a dabi'ance ya haɗa dukkan waɗannan wurare guda uku tare. Waƙar tana da bambanci sosai kuma ana iya rarraba ta bisa ga Dec. alamu - tarihi, salo, nau'i, tsari. A cikin mafi yawan ma'ana, ya kamata mutum ya rabu da m. waƙar monophonic daga M. polyphonic. A cikin monotone M. yana rufe duk kiɗan. duka, a cikin polyphony, kashi ɗaya ne kawai na masana'anta (ko da shi ne mafi mahimmanci). Saboda haka, game da monophony, cikakken ɗaukar hoto na koyaswar M. nuni ne na dukan ka'idar kiɗa. A cikin polyphony, nazarin wata murya daban, ko da ita ce babba, ba cikakke ba ne (ko ma ba bisa ka'ida ba). Ko kuma tsinkaya ne na dokokin cikakken rubutun (polyphonic) na muses. yana aiki don babbar murya (to wannan ba "rukunan waƙa" ba ne a cikin ma'anar da ta dace). Ko kuma yana raba babbar murya da sauran waɗanda ke da alaƙa da ita ta zahiri. muryoyi da masana'anta na kiɗa mai rai. kwayoyin halitta (sannan "rukunan waƙa" suna da lahani a cikin kiɗa. dangantaka). Haɗin babbar murya tare da wasu muryoyin kiɗan homophonic. Nama bai kamata ba, duk da haka, ya zama cikakke. Kusan duk wani waƙa na ɗakin ajiya na homophonic ana iya tsara shi kuma hakika an tsara shi da polyphony ta hanyoyi daban-daban. Duk da haka, tsakanin keɓewar M. kuma, tare da dr. gefe, la'akari daban-daban na jituwa (a cikin "koyarwar jituwa"), ƙididdiga, kayan aiki, babu isasshen kwatanci, saboda binciken na ƙarshe, ko da yake daya-gefe, mafi cikakken dukan music. Tunanin kiɗan (M.) na haɗaɗɗen sautin murya a cikin M. ba a taɓa bayyana cikakke ba; ana samun wannan ne kawai a cikin jimillar dukkan kuri'u. Don haka, korafe-korafe game da rashin ci gaban kimiyyar M., game da rashin ingantaccen kwas ɗin horo (E. Tokh da sauransu) haramun ne. Dangantakar da aka kafa ba zato ba tsammani tsakanin manyan fasahohin kankara abu ne na halitta, a kalla dangane da Turai. kiɗan gargajiya, polyphonic a yanayi. Saboda haka takamaiman. matsalolin koyarwar M.

III. M. ɓangarorin kiɗa ne da yawa. Babban matsayi na kiɗa a tsakanin sauran abubuwan kiɗa an bayyana shi ta gaskiyar cewa kiɗa yana haɗa nau'ikan nau'ikan kiɗan da aka jera a sama, dangane da waɗanda kiɗan ke iya kuma galibi suna wakiltar duk kiɗan. duka. Mafi takamaiman. bangaren M. - layin farar. Wasu kuma su kansu. abubuwa na kiɗa: modal-jitu abubuwan mamaki (duba Harmony, Mode, Tonality, Interval); mita, kari; rarrabuwar tsarin waƙar zuwa motifs, jimloli; dangantakar jigo a cikin M. (duba sigar kiɗa, Jigo, Motsi); nau'ikan fasali, mai ƙarfi. nuances, tempo, agogics, yin inuwa, bugun jini, canza launin timbre da kuzarin timbre, fasali na gabatarwar rubutu. Sautin hadaddun wasu muryoyin (musamman a cikin ɗakin ajiya na homophonic) yana da tasiri mai mahimmanci akan M., yana ba da furcinsa cikakkiya ta musamman, yana haifar da dabarar dabara, daidaitawa, da nuances na innation, ƙirƙirar bangon da zai iya saita M.. Ayyukan wannan hadadden abubuwan da ke da alaƙa da juna ana aiwatar da su ta hanyar M. kuma ana fahimtar su kamar duk wannan na M.

Siffofin waƙa. layukan sun samo asali ne a matakin farko. kaddarorin yin rajista da saukarwa. Samfurin kowane M. - vocal M. yana bayyana su da mafi girman bambanci; kayan aiki M. ana jin su akan samfurin murya. Sauye-sauye zuwa mafi girma na girgizawa shine sakamakon wani ƙoƙari, bayyanar makamashi (wanda aka bayyana a cikin matakin tashin hankali na murya, tashin hankali, da dai sauransu), kuma akasin haka. Saboda haka, duk wani motsi na layi zuwa sama yana da alaƙa da dabi'a tare da haɓaka gaba ɗaya (tsari, motsin rai), da kuma ƙasa tare da raguwa (wani lokaci mawaƙa suna keta wannan tsari da gangan, suna haɗa haɓakar motsi tare da raunin motsin rai, da saukowa). tare da karuwa, kuma ta haka ne cimma sakamako na musamman). An bayyana tsarin yau da kullun da aka kwatanta a cikin hadaddun haɗakarwa tare da abubuwan yau da kullun na modal nauyi; Don haka, sauti mafi girma na damuwa ba koyaushe ya fi tsanani ba, kuma akasin haka. Lanƙwasa launin rawaya. Lines, tashi da faɗuwa suna kula da nunin inuwa vnutr. yanayin motsin rai a sigar farko. Haɗin kai da tabbacin kiɗa ana ƙaddara ta hanyar jan hankalin rafin sauti zuwa ƙayyadaddun ƙayyadaddun ma'anar tunani - abutment ("melodic tonic," in ji BV Asafiev), wanda kewaye da filin gravitational na sautunan kusa. Dangane da abin da kunne ya fahimta. zumunta, goyon baya na biyu ya taso (mafi yawancin kwata ko na biyar sama da tushe na ƙarshe). Godiya ga daidaitawar quint na huɗu, sautunan wayar hannu waɗanda ke cika sarari tsakanin tushe a ƙarshe suna layi a cikin tsarin diatonic. gamma. Juya sautin M. na daƙiƙa sama ko ƙasa da kyau "yana share alamar" na baya kuma yana ba da motsin motsi, motsin da ya faru. Saboda haka, nassi na daƙiƙa (Sekundgang, kalmar P. Hindemith) yana da takamaiman. ma'anar M. (matsayin dakika yana samar da nau'in "kumburi na melodic"), kuma ainihin ka'idar linzamin kwamfuta ta M. ita ce, a lokaci guda, tantanin halitta-modal. Dangantakar dabi'a tsakanin makamashin layi da jagorancin karin waƙa. motsi yana ƙayyade mafi tsufa samfurin M. - layin saukowa ("layi na farko", a cewar G. Schenker; "layin jagora, mafi yawan saukowa a cikin dakika", bisa ga IV Sposobin), wanda ya fara da sauti mai girma ( "Sautin kai" na layin farko, a cewar G. Schenker; "manyan tushen", a cewar LA Mazel) kuma ya ƙare tare da faɗuwa zuwa ƙananan abutment:

Waƙar gargajiya ta Rasha "Akwai birch a cikin filin."

Ka'idar saukowa na layi na farko (tsarin tsarin M.), wanda ke ƙarƙashin mafi yawan waƙoƙin waƙa, yana nuna aikin tsarin layi na musamman ga M.: bayyanar makamashi a cikin motsi na melodic. layi da nau'in sa a ƙarshe, wanda aka bayyana a ƙarshe. koma bayan tattalin arziki; kawar da (kawar) na tashin hankali da ke faruwa a lokaci guda yana ba da jin dadi, ƙaƙƙarfan maɗaukaki. makamashi yana taimakawa wajen dakatar da karin waƙa. motsi, ƙarshen M. Ƙa'idar zuriya ta kuma bayyana takamaiman, "ayyukan layi" na M. (Lokacin LA Mazel). "Motsi mai sauti" (G. Grabner) a matsayin ainihin maɗaukaki. layi yana da a matsayin burin sa sautin ƙarshe (na ƙarshe). Farkon mayar da hankali na melodic. makamashi yana samar da "yankin rinjaye" na sautin rinjaye (ginshiƙi na biyu na layi, a cikin ma'anar ma'ana - rinjaye na melodic; duba sautin e2 a cikin misalin da ke sama; rinjaye na melodic ba dole ba ne na biyar mafi girma fiye da finalis, yana iya a raba shi da na huɗu, na uku). Amma motsin gyaran fuska na dadewa ne, lebur, da kyan gani. Fasaha. sha'awar yana cikin launuka daban-daban, rikitarwa, karkatacce, lokutan sabani. Sautunan ginshiƙi na tsarin (babban layin da ke saukowa) sun cika girma tare da sassan rassa, suna rufe yanayin farko na waƙar. akwati (boyayyar polyphony):

A. Thomas "Tashi mana, shiru maraice."

Waƙar farko. rinjaye as1 an yi masa ado da mataimaki. sauti (wanda harafin "v" ya nuna); kowane sautin tsari (sai dai na ƙarshe) yana ba da rai ga sautunan kiɗan da ke fitowa daga ciki. "kubuta"; Ƙarshen layin da tsarin tsarin (sauti es-des) an koma wani octave. A sakamakon haka, melodic layin ya zama mai arziki, sassauƙa, ba tare da rasa lokaci guda ba daidai ba da haɗin kai da aka samar ta hanyar motsi na farko na seconds a cikin consonance as1-des-1 (des2).

A cikin jituwa. Tsarin Turai. A cikin kiɗan, sautin sautin barga yana taka rawa ta hanyar sautin baƙar fata (ba kwata ko kashi biyar ba, ana samun tushen triad a cikin kiɗan jama'a, musamman ma daga baya; a cikin misalin waƙar waƙar al'ummar Rasha. da aka bayar a sama, an yi hasashe ma'auni na ƙananan triad). Sakamakon haka, sautunan waƙa sun haɗu. rinjaye - sun zama na uku da na biyar na triad, wanda aka gina a kan sautin ƙarshe (firamare). Kuma alakar da ke tsakanin sautunan waƙa. Layukan (duka ginshiƙan tsarin da rassansa), waɗanda ke cike da aikin haɗin kai, an sake tunani a ciki. Aikin fasaha yana kara karfi. ma'anar boye polyphony; M. a zahiri yana haɗuwa da wasu muryoyin; zane M. na iya kwaikwayon motsin wasu muryoyin. Ado na sautin kai na layin farko na iya girma zuwa samuwar mai zaman kanta. sassa; motsin ƙasa a cikin wannan yanayin yana rufe rabin na biyu kawai na M. ko ma matsawa gaba, zuwa ƙarshe. Idan aka yi hawan zuwa sautin kai, to ka'idar saukowa ita ce:

ya juya zuwa ƙa'idar daidaitawa:

(kodayake motsin layin ƙasa a ƙarshe yana riƙe da ƙimar sa na fitar da kuzari):

VA Mozart. "Little Night Music", sashi na I.

F. Chopin. Nocturno op. 15 ba2.

Ana iya samun kayan ado na ginshiƙan tsarin ba kawai tare da taimakon ma'auni-kamar layi na gefe (duka masu saukowa da hawan hawan), amma kuma tare da taimakon motsi tare da sauti na kullun, kowane nau'i na melodic. kayan ado (lambobi irin su trills, gruppetto; masu tallafawa masu taimakawa, kama da mordents, da dai sauransu) da duk wani haɗuwa da su tare da juna. Don haka, tsarin waƙar yana bayyana a matsayin nau'i mai nau'i mai nau'i mai nau'i, inda a ƙarƙashin tsarin na sama akwai karin waƙa. siffofi sun fi sauƙi kuma m melodic. motsi, wanda, bi da bi, ya zama alamar wani gini na farko da aka kafa daga tsarin tsarin farko. Mafi ƙasƙanci Layer shine tushe mafi sauƙi. m model. (G. Schenker ya ɓullo da ra'ayin da yawa matakan na melodic tsarin; Hanyarsa na bi da bi "cire" da yadudduka na tsarin da kuma rage shi zuwa na farko model aka kira "hanyar ragewa"; IP Shishov's "hanyar nuna alama". kwarangwal” yana da alaƙa da shi.)

IV. Matakan ci gaba na melodics sun dace da babban. matakai a cikin tarihin kiɗan gaba ɗaya. Madogara na gaskiya da taska marar ƙarewa na M. - Nar. halittar kiɗa. Nar. M. nuni ne na zurfafan bunks na gama-gari. sani, al'adun “na halitta” da ke faruwa a zahiri, wanda ke ciyar da ƙwararrun kiɗan mawaƙa. Wani muhimmin sashi na nar na Rasha. Ana goge ƙirƙira a cikin ƙarni da daɗaɗɗen baƙauye M., wanda ke tattare da tsaftataccen tsafta, almara. tsabta da haƙiƙanin hangen nesa na duniya. Girman kwanciyar hankali, zurfin da saurin ji suna da alaƙa ta zahiri a cikin su tare da tsananin, "ƙarashin" diatonic. damuwa tsarin. Babban tsarin tsarin farko na M. na waƙar gargajiya na Rasha "Akwai hanya fiye da ɗaya a filin" (duba misali) shine samfurin sikelin c2-h1-a1.

Waƙar jama'ar Rasha "Ba hanya ɗaya ba a filin."

Tsarin kwayoyin halitta na M. yana kunshe a cikin matsayi. subordination na duk wadannan tsarin matakan da aka bayyana a cikin sauƙi da naturalness na mafi muhimmanci, babba Layer.

Rasha duwãtsu waƙar da ake shiryar da triad jituwa. kwarangwal (na al'ada, musamman, buɗaɗɗen motsi tare da sautin maɗaukaki), murabba'i, mafi yawan ɓangaren yana da fayyace bayyananniyar dalili, rhyming melodic cadences:

Waƙar jama'ar Rasha "Ringing Maraice".

Mugham "Shur". Yi rikodin no. A. Karaeva.

Mafi tsohuwar waƙar gabas (da wani ɓangare na Turai) an gina ta bisa ƙa'idar maqam (ka'idar raga, fret-model). Ma'aunin tsarin tsarin da ake maimaita maimaitawa (bh saukowa) ya zama samfuri (samfurin) don saitin takamaiman sauti na musamman tare da takamaiman. bambance-bambancen ci gaban babban jerin sauti.

Samfuran waƙa mai jagora duka M. da takamaiman yanayi. A Indiya, ana kiran irin wannan samfurin-samfurin para, a cikin ƙasashen Larabawa-Persian al'ada da kuma a cikin yawancin mujiya ta Tsakiyar Asiya. jamhuriyoyin - maqam (poppy, mugham, azaba), a tsohuwar Girka - nom ("doka"), a cikin Java - Patet (patet). Irin wannan rawar a cikin Tsohon Rashanci. ana yin waƙar da murya a matsayin jerin waƙoƙi, wanda akan rera M. na wannan rukuni (waƙar suna kama da waƙar-samfurin).

A zamanin d Rasha A cikin waƙar al'ada, aikin ƙirar yanayin ana aiwatar da shi tare da taimakon abin da ake kira glamor, waɗancan waƙoƙin gajere ne waɗanda suka yi kristal a cikin al'adar waƙar baka kuma sun ƙunshi motifs-chants da aka haɗa a ciki. hadaddun halayyar muryar da ta dace.

Poglasica da zabura.

Waƙoƙin da aka yi a zamanin da sun dogara ne akan mafi kyawun yanayin yanayi-al'adu, wanda, ta wurin bambance-bambancen tazara, ya zarce waƙoƙin waƙar na baya Turai. kiɗa. Bugu da ƙari, nau'i biyu na tsarin filin wasa wanda har yanzu yana wanzu a yau - yanayi da kuma sauti, a zamanin da akwai wani, wanda aka bayyana ta hanyar ra'ayi na jinsi (genos). Genders guda uku (diatonic, chromatic da enharmonic) tare da nau'ikan su sun ba da dama da yawa don sautunan wayar hannu (Kinoumenoi na Girka) don cika sarari tsakanin barga (estotes) sautunan gefen tetrachord (kamar "symphony" na tsarkakakken na huɗu), gami da (tare da diatonic. sautuna) da kuma sautuna a microintervals - 1/3,3/8, 1/4 sautuna, da dai sauransu. Misali M. (bayani) enharmonic. Halitta (ketare yana nuna raguwar sautin 1/4):

Stasim na farko daga Euripides' Orestes (gutsi).

Layin M. yana da (kamar yadda yake a cikin tsohuwar Gabas M.) a fili da aka bayyana jagorancin ƙasa (bisa ga Aristotle, farkon M. a girma da kuma ƙarewa a cikin ƙananan rajista yana taimakawa wajen tabbatarwa, kamala). Dogaro da M. akan kalmar (Kidan Girka galibi ana yin surutu), motsin jiki (a cikin raye-raye, jerin gwano, wasan motsa jiki) ya bayyana kansa a zamanin da tare da cikar cikawa da gaggawa. Don haka babban rawar da ake takawa a cikin kiɗa a matsayin wani abu mai daidaita tsarin dangantakar ɗan lokaci (bisa ga Aristides Quintilian, rhythm shine ka'idar namiji, kuma waƙa ita ce ta mata). Tushen tsohuwar. M. ya fi zurfi - wannan shine yanki na uXNUMXbuXNUMXb "motsi-motor motsi wanda ke ƙarƙashin duka kiɗa da waƙa, watau dukan triune chorea "(RI Gruber).

Waƙar waƙar Gregorian (duba waƙar Gregorian) tana ba da amsa ga liturgical na Kiristanci. alƙawari. Abin da ke cikin Gregorian M. gaba daya ya sabawa da'awar maguzawa tsoho. zaman lafiya. Tushen jiki-muscular na M. na zamanin da yana adawa a nan ta hanyar ƙwaƙƙwaran ɓatanci daga motar-motar. lokatai da mai da hankali kan ma'anar kalmar (fahimta a matsayin " wahayi na allahntaka"), akan kyakkyawan tunani, nutsewa cikin tunani, zurfafa kai. Sabili da haka, a cikin kiɗa na choral, duk abin da ke jaddada aikin ba ya nan - rhythm da aka kori, girman girman magana, aikin motsa jiki, ikon tonal nauyi. Gregorian waƙar al'ada ce ta cikakkar melodrama ("haɗin kai na zukata" bai dace da "rashin ra'ayi") ba, wanda ba wai kawai ba ne ga kowane jituwa na chordal, amma ba ya ƙyale kowane "polyphony" ko kadan. Tushen tsarin Gregorian M. - abin da ake kira. Sautunan coci (biyu na nau'i-nau'i huɗu na yanayin diatonic, an rarraba su bisa ga halaye na finalis - sautin ƙarshe, buri da sakamako - sautin maimaitawa). Kowane nau'i na, haka ma, yana da alaƙa da wani rukuni na halayyar motifs-chants (mai da hankali a cikin abin da ake kira sautin psalmodic - toni psalmorum). Gabatar da waƙoƙin yanayin da aka bayar cikin kayan kida daban-daban masu alaƙa da shi, da kuma kiɗan. bambancin wasu nau'ikan waƙar Gregorian, daidai da tsohuwar ƙa'idar maqam. An bayyana yanayin layin waƙoƙin waƙoƙin waƙa a cikin gininsa na yau da kullun da ke faruwa; sashin farko na M. (initium) shine hawan zuwa sautin maimaitawa (tenor ko tuba; kuma repercussio), kuma sashin ƙarshe shine saukowa zuwa sautin ƙarshe (finalis). Ba a dai-daita waƙar chorale ba kuma ya dogara da lafazin kalmar. Dangantaka tsakanin rubutu da kiɗa. farkon ya bayyana DOS guda biyu. nau'in hulɗar su: karatun, zabura (lectio, orationes; accentue) da waƙa (cantus, modulatio; concentus) tare da nau'o'in su da canji. Misali na Gregorian M.:

Antiphon “Asperges me”, sautin IV.

Melodika polyphonic. Makarantun Renaissance wani ɓangare sun dogara da waƙoƙin Gregorian, amma sun bambanta a cikin kewayon abun ciki na alama daban-daban (dangane da ƙayataccen ɗan adam), wani nau'in tsarin innation, wanda aka ƙera don polyphony. Tsarin farar ya dogara ne akan tsoffin sautunan coci guda takwas tare da ƙari na Ionian da Aeolian tare da nau'ikan plagal ɗin su (yana yiwuwa yanayin ƙarshen ya wanzu daga farkon zamanin phony na Turai, amma an rubuta su a cikin ka'idar kawai a tsakiyar tsakiyar. karni na 16). Babban rawar diatonic a wannan zamanin baya sabawa gaskiyar tsari. amfani da sautin gabatarwa (musica ficta), wani lokaci yana tsananta (misali, a cikin G. de Machaux), wani lokacin tausasa (a Palestrina), a wasu lokuta yana yin kauri har ya kai ga chromaticity na karni na 20. (Gesualdo, ƙarshen madrigal "Rahama!"). Duk da haɗin gwiwa tare da polyphonic, jituwa na chordal, polyphonic. Har yanzu ana ɗaukar waƙar a cikin layi (wato, baya buƙatar goyon bayan jituwa kuma yana ba da damar haɗuwa da juna). An gina layin akan ka'idar ma'auni, ba triad ba; monofunctionality na sautunan a nesa na uku ba a bayyana (ko an bayyana shi da rauni sosai), motsawa zuwa diatonic. na biyu shine Ch. kayan aikin haɓaka layi. Babban kwane-kwane na M. yana shawagi kuma ba a kwance ba, baya nuna halin yin allura mai ma'ana; Nau'in layi galibi ba ya ƙarewa. A rhythmically, sautin M. an tsara su a tsaye, ba tare da wata shakka ba (wanda aka riga aka ƙaddara ta wurin ajiyar polyphonic, polyphony). Koyaya, mitar tana da ƙimar auna lokaci ba tare da wani sanannen bambance-bambancen awo ba. ayyuka na kusa. Wasu cikakkun bayanai game da rhythm na layi da tazara an bayyana su ta hanyar ƙididdigewa don hana muryoyin da ke hana su (ka'idodin tsare-tsaren tsare-tsare, daidaitawa, cambiates, da sauransu). Game da tsarin maɗaukaki na gabaɗaya, kazalika da ƙima, akwai babban hali don hana maimaitawa (sauti, ƙungiyoyin sauti), ƙetare waɗanda aka ba da izini kawai a matsayin wasu, an bayar da su ta hanyar maganganun kiɗa. takardun magani, kayan ado M.; makasudin haramcin shine bambancin (dokar redicta, y ta J. Tinktoris). Ci gaba da sabuntawa a cikin kiɗa, musamman halayyar yawan sautin rubutu mai tsauri a cikin ƙarni na 15 da 16. (abin da ake kira Prosamelodik; kalmar G. Besseler), ya keɓe yiwuwar awo. da tsarin daidaitawa (periodicity) na kusa-up, samuwar murabba'i, lokuta na gargajiya. nau'i da siffofi masu alaƙa.

Falasdina "Missa brevis", Benedictus.

Tsohon waƙar Rasha. mai rairayi. art-va typologically yana wakiltar daidaici da waƙar Gregorian ta Yamma, amma ya bambanta sosai da ita cikin abun ciki na ƙasa. Tun da asali aro daga Byzantium M. ba a daidaita su ba, to, a lokacin da aka canza su zuwa Rasha. ƙasa, da ma fiye da haka a cikin aiwatar da wanzuwar karni na bakwai na Ch. ar. a cikin watsa baka (tun lokacin rikodin ƙugiya kafin karni na 17. bai nuna ainihin tsayin sauti ba) ƙarƙashin ci gaba da tasirin Nar. rubuce-rubucen waƙa, sun sake yin tunani mai tsauri kuma, a cikin sigar da ta zo mana (a cikin rikodin karni na 17), babu shakka sun juya zuwa Rashanci zalla. sabon abu. Ƙwaƙwalwar waƙa na tsofaffin masters sune mahimmancin al'adun gargajiya na Rasha. mutane. ("Daga ra'ayi na abubuwan da ke cikin kiɗan, waƙoƙin al'adun gargajiya na Rasha ba su da daraja fiye da abubuwan tunawa na tsohon zanen Rasha," in ji B. AT. Asafiev.) Babban tushen tsarin modal na waƙa Znamenny, aƙalla daga karni na 17. (cm. Znamenny waƙa), - abin da ake kira. sikelin yau da kullun (ko yanayin yau da kullun) GAH cde fga bc'd' (daga cikin "accordion" guda huɗu na tsari ɗaya; ma'auni a matsayin tsarin ba octave ba ne, amma na huɗu, ana iya fassara shi azaman tetrachords na Ionian huɗu, wanda aka bayyana. ta hanyar da aka haɗa). Yawancin M. rarraba bisa ga mallakar ɗaya daga cikin muryoyin 8. Murya tarin wasu wakoki ne (akwai dozin daga cikinsu a kowace murya), an haɗa su a kewayen waƙoƙinsu. tonic (2-3, wani lokacin fiye da yawancin muryoyin). Har ila yau, tunanin waje na octave yana nunawa a cikin tsarin modal. M. na iya ƙunsar adadin ƙunƙuntaccen nau'in ƙira mai ƙima a cikin ma'auni guda ɗaya. Layin M. halin santsi, fifikon gamma, motsi na biyu, nisantar tsalle-tsalle a cikin ginin (wani lokaci ana samun kashi uku da huɗu). Tare da yanayin taushin magana gabaɗaya (ya kamata a “ rera ta cikin murya mai taushi da natsuwa”) karin waƙa. layin yana da ƙarfi da ƙarfi. Tsohon Rashanci. Kiɗa na al'ada koyaushe yana da murya kuma galibi monophonic ne. Express. furucin rubutu yana ƙayyade kari na M. (hana ma'anar ma'anar kalmomi a cikin kalma, lokuta masu mahimmanci a ma'ana; a ƙarshen M. talakawa rhythmic. kasa, ch. ar. tare da dogon lokaci). Ana kauce wa ma'auni na rhythm, ana daidaita rhythm na kusa ta hanyar tsayi da furucin layin rubutu. Wakokin sun bambanta. M. tare da hanyoyin da ta ke da ita, wani lokaci ta kan kwatanta jihohin ko abubuwan da aka ambata a cikin rubutun. Duk M. gabaɗaya (kuma yana iya zama tsayi sosai) an gina shi akan ka'idar bambance-bambancen haɓakar waƙoƙi. Bambancin ya ƙunshi sabuwar waƙa tare da maimaitawa kyauta, janyewa, ƙari na otd. sautuna da dukan ƙungiyoyin sauti (cf. misali wakoki da zabura). Ƙwarewar mawaƙa (mawaƙi) ta bayyana a cikin ikon ƙirƙirar dogon kuma bambance-bambancen M. daga iyakance adadin dalilai masu tushe. Tsohon Rashanci ya kiyaye ƙa'idar asali sosai. ƙwararrun mawaƙa, sabon layin dole ne ya sami sabon waƙa (meloprose). Don haka babban mahimmancin bambance-bambance a cikin faffadan ma'anar kalmar a matsayin hanyar ci gaba.

Stichera don Idi na Vladimir Icon na Uwar Allah, waƙar tafiya. Rubutu da kiɗa (kamar) na Ivan the Terrible.

Ƙarni na 17th-19th melodic na Turai ya dogara ne akan tsarin ƙananan ƙananan ƙananan ƙananan kuma an haɗa shi tare da polyphonic masana'anta (ba kawai a cikin homophony ba, har ma a cikin ɗakunan ajiya na polyphonic). "Melody ba zai taba bayyana a cikin tunani in ba haka ba tare da jituwa" (PI Tchaikovsky). M. ya ci gaba da zama abin mayar da hankali ga tunani, duk da haka, hada M., mawaki (watakila ba tare da sani ba) ya haifar da shi tare da babban. counterpoint (bass; bisa ga P. Hindemith - "murya na asali guda biyu"), bisa ga jituwa da aka tsara a cikin M.. Babban ci gaban kiɗa. tunani yana kunshe ne a cikin al'amuran wakoki. sifofi saboda zaman tare da kwayoyin halitta a cikinsa. yadudduka, a cikin nau'i mai matsewa mai ɗauke da sifofin waƙoƙin da suka gabata:

1) na farko-makamashi. kashi (a cikin nau'i na motsi na sama da ƙasa, kashin baya mai mahimmanci na layi na biyu);

2) ma'aunin metrorhythm wanda ke rarraba wannan kashi (a cikin nau'i na tsari mai kyau na tsarin dangantaka na lokaci a kowane matakai);

3) tsarin tsarin layi na rhythmic (a cikin nau'i na tsarin haɓakaccen tsari na haɗin haɗin tonal-aikin; Har ila yau a duk matakan kiɗan gabaɗaya).

Ga duk waɗannan yadudduka na tsarin, an ƙara na ƙarshe - jituwa jituwa, an tsara shi akan layin murya ɗaya ta hanyar amfani da sababbin, ba kawai monophonic ba, har ma da nau'ikan polyphonic don gina kayan kida. An matse shi cikin layi, jituwa yana son samun nau'in polyphonic na halitta; sabili da haka, M. na zamanin "harmonic" kusan kullum ana haife shi tare da haɗin gwiwarsa da aka sabunta - tare da bass contrapuntal da cike muryoyin tsakiya. A cikin misali mai zuwa, bisa jigon Cis-dur fugue daga juzu'i na 1 na Well-Tempered Clavier na JS Bach da jigon daga fantasy overture Romeo da Juliet na PI Tchaikovsky, an nuna yadda haɗin gwiwa (A). ) ya zama maɗaukaki samfurin yanayin (B), wanda, wanda aka haɗa a cikin M., yana sake haifar da jituwa da ke ɓoye a cikinsa (V; Q 1, Q2, Q3, da dai sauransu - ayyuka na farko, na biyu, na uku, da dai sauransu. Q1 - bi da bi biyar sauka; 0 - "sifili biyar", tonic); bincike (ta hanyar ragewa) a ƙarshe yana bayyana maƙasudin sa na tsakiya (G):

Saboda haka, a cikin sanannen jayayya tsakanin Rameau (wanda ya yi iƙirarin cewa jituwa yana nuna hanya ga kowane muryoyin, ya haifar da waƙar waƙa) da kuma Rousseau (wanda ya yi imani da cewa "waƙar waƙa a cikin kiɗa daidai yake da zane a zane; jituwa shine kawai aikin launuka”) Rameau ya yi daidai; Tsarin da Rousseau ya yi ya shaida rashin fahimtar jituwa. Tushen kiɗa na gargajiya da rikicewar ra'ayoyi: "jituwa" - "ƙwaƙwalwa" (Rousseau zai zama daidai idan za'a iya fahimtar "jituwa" a matsayin muryoyin rakiyar).

Ci gaban zamanin "harmonic" melodic na Turai shine jerin tarihin tarihi da salo. matakai (bisa ga B. Sabolchi, baroque, rococo, Viennese classics, romanticism), kowannensu yana da wani takamaiman hadaddun. alamu. Salon waƙa guda ɗaya na JS Bach, WA Mozart, L. Beethoven, F. Schubert, F. Chopin, R. Wagner, MI Glinka, PI Tchaikovsky, MP Mussorgsky. Amma wanda kuma zai iya lura da wasu janar alamu na karin waƙa na zamanin "harmonic", saboda da peculiarities na rinjaye ado. shigarwa da nufin mafi cikakken bayyana na ciki. duniyar mutum, mutum. mutane: gabaɗaya, halin “duniya” na furci (saɓanin wani taƙaitaccen waƙar waƙar da ta gabata); kai tsaye lamba tare da intonational Sphere na yau da kullum, jama'a music; rutsawa tare da kari da mita na rawa, tafiya, motsin jiki; hadaddun, ƙungiyar awo mai reshe tare da bambance-bambance masu yawa na haske da lobes masu nauyi; Ƙarfin siffa mai ƙarfi daga rhythm, motif, mita; metrorhythm. da maimaita motsa jiki a matsayin bayanin ayyukan jin daɗin rayuwa; gravitation zuwa squareness, wanda ya zama tsarin tunani batu; triad da bayyanuwar harmonics. ayyuka a cikin M., polyphony mai ɓoye a cikin layi, jituwa ya nuna da tunani ga M.; bambance-bambancen guda ɗaya na sautunan da aka gane azaman sassan maɗaukaki ɗaya; a kan wannan, sake tsarawa na ciki na layi (misali, c - d - motsi, c - d - e - waje, "ƙididdigewa" ƙarin motsi, amma a cikin ciki - komawa zuwa ma'auni na baya); wata dabara ta musamman don shawo kan irin wannan jinkiri a cikin ci gaban layin ta hanyar ƙwanƙwasa, haɓaka motsin rai, jituwa (duba misalin da ke sama, sashe B); tsarin layi, motif, magana, jigo an ƙaddara ta mita; metric dismemberment da periodicity an haɗa su tare da raguwa da lokaci-lokaci na jituwa. sifofi a cikin kiɗa (na yau da kullun melodic cadences suna da halaye na musamman); dangane da ainihin (jigon daga Tchaikovsky a cikin misalin guda ɗaya) ko ma'ana (jigon daga Bach) jituwa, duk layin M. ya bambanta (a cikin salon gargajiyar Viennese har ma da shakka babu shakka) ya kasu kashi-kashi da ba- sautin murya, alal misali, a cikin jigon daga Bach gis1 a farkon mataki na farko - tsare. Siffar alaƙar nau'i ta hanyar mita (wato, haɗin gwiwar sassan sassa) ya wuce zuwa manyan (wani lokaci mai girma) kari, yana ba da gudummawa ga ƙirƙirar mita masu tasowa na dogon lokaci da ban mamaki (Chopin, Tchaikovsky).

Melodika karni na 20 ya nuna hoto na babban bambancin - daga archaic na mafi tsohuwar yadudduka na bunks. kiɗa (IF Stravinsky, B. Bartok), asali na waɗanda ba na Turai ba. al'adun kiɗa (Negro, Gabashin Asiya, Indiya), taro, pop, waƙoƙin jazz zuwa tonal na zamani (SS Prokofiev, DD Shostakovich, N. Ya. Myaskovsky, AI Khachaturyan, RS Ledenev, R K. Shchedrin, BI Tishchenko, TN Khrennikov, AN Alexandrov, A. Ya. Stravinsky da sauransu), sabon-modal (O. Messiaen, AN Cherepnin), sautin goma sha biyu, serial, serial music (A. Schoenberg, A. Webern, A. Berg, marigayi Stravinsky, P. Boulez, L. Nono, D Ligeti, EV Denisov, AG Schnittke, RK Shchedrin, SM Slonimsky, KA Karaev da sauransu), lantarki, aleatoric (K. Stockhausen, V. Lutoslavsky da sauransu.), stochastic (J. Xenakis), kiɗa tare da fasaha na haɗin gwiwa (L. Berio, CE Ives, AG Schnittke, AA Pyart, BA Tchaikovsky), da sauran maɗaukakiyar igiyoyi da kwatance. Ba za a iya samun tambaya game da kowane salo na gama-gari da kowane ka’idojin waƙa a nan; dangane da al'amura da dama, ainihin manufar waƙar ko dai ba ta dace ba, ko kuma tana da wata ma'ana ta dabam (misali, "waƙar timbre", Klangfarbenmelodie - a cikin Schoenbergian ko wata ma'ana). Misalai na M. 20th century: diatonic (A), sautin goma sha biyu (B):

SS Prokofiev. "Yaki da Aminci", Kutuzov's Aria.

DD Shostakovich. Siphony na 14, motsi V.

V. Mafarin koyaswar M. suna cikin ayyukan kiɗa na Dr. Girka da Dr. East. Tun da waƙar mutanen zamanin d ¯ a ya fi rinjaye monophonic, duk ka'idar da aka yi amfani da ita na kiɗa ita ce ainihin kimiyyar kiɗa ("Kiɗa shine kimiyyar cikakken waƙoƙi" - Anonymous II Bellerman; "cikakke", ko "cikakken", melos shine. hadin kan kalma, tune da kari). Haka cikin ma'ana. ko kadan ya shafi ilimin kida na zamanin Turawa. na Tsakiyar Zamani, ta fuskoki da yawa, ban da yawancin rukunan counterpoint, kuma na Renaissance: "Kiɗa shine kimiyyar waƙa" (Musica est peritia modulationis - Isidore na Seville). Koyarwar M. a daidai ma'anar kalmar ta samo asali ne tun lokacin da muses. ka'idar ta fara bambanta tsakanin jituwa, kari da waƙa kamar haka. Wanda ya kafa koyarwar M. ana ɗaukarsa Aristoxenus.

Tsohuwar koyaswar kiɗa tana ɗaukarsa a matsayin wani abu mai kamanceceniya: “Melos yana da sassa uku: kalmomi, jituwa, da rhythm” (Plato). Sautin murya ya zama ruwan dare ga kiɗa da magana. Ba kamar magana ba, melos motsi ne na tazara-mataki na sautuna (Aristoxenus); motsin muryar yana da ninki biyu: "ɗaya ana kiransa ci gaba da magana, ɗayan tazara (diastnmatikn) da melodic" (Anonymous (Cleonides), da kuma Aristoxenus). Motsin tazara "yana bada izinin jinkiri (sauti a sauti ɗaya) da tazara tsakanin su" suna musanyawa da juna. Ana fassara jujjuyawar daga wannan tsayi zuwa wancan azaman saboda ƙarfin tsoka. dalilai ("jinkirin da muke kira tashin hankali, da tsaka-tsakin tsakanin su - canzawa daga wannan tashin hankali zuwa wani. Abin da ke haifar da bambanci a cikin tashin hankali shine tashin hankali da saki" - Anonymous). Anonymous iri ɗaya (Cleonides) yana rarraba nau'ikan karin waƙa. ƙungiyoyi: “akwai juyi waƙoƙi guda huɗu waɗanda ake yin waƙar: agogy, plok, petteia, sautin. Agogue shine motsin waƙar akan sautunan da ke biye cikin tsari nan da nan ɗaya bayan ɗaya (motsi na mataki-mataki); ploke - tsarin sauti a cikin tazara ta hanyar matakan da aka sani (yunƙurin tsalle); petteiya - maimaita maimaita sauti iri ɗaya; sautin - jinkirta sauti na dogon lokaci ba tare da katsewa ba. Aristides Quintilian da Bacchius dattijo sun haɗu da motsi na M. daga sama zuwa ƙananan sautuna tare da raunana, kuma a cikin kishiyar hanya tare da haɓakawa. A cewar Quintilian, M. an bambanta su ta hanyar hawa, saukowa, da zagaye (wavy). A zamanin d ¯ a, an lura da na yau da kullum, bisa ga abin da tsalle-tsalle na sama (prolnpiz ko prokroysiz) ya haɗa da komawa zuwa ƙasa a cikin dakika (bincike), kuma akasin haka. M. an ba su da siffa mai ma'ana ("ethos"). "Amma ga karin waƙa, su da kansu sun ƙunshi haifuwar haruffa" (Aristotle).

A cikin lokacin tsakiyar zamanai da kuma Renaissance, sabon a cikin koyarwar kiɗa ya bayyana da farko a cikin kafa wasu dangantaka da kalmar, magana a matsayin kawai na halal. Yana raira waƙa don kada muryar mai rera ta faranta wa Allah rai.” (Jerome). "Modulatio", wanda aka fahimta ba kawai a matsayin ainihin M., waƙar waƙa ba, har ma a matsayin mai dadi, "baƙin ciki" waƙa da kyakkyawan ginin muses. gabaɗayan, wanda Augustine ya samar daga tushen modus (aunawa), an fassara shi da "kimiyyar motsi mai kyau, wato, motsi a cikin ma'auni", wanda ke nufin "kiyaye lokaci da tazara"; yanayin da daidaiton abubuwan da ke cikin rhythm da yanayin kuma suna cikin ma'anar "modulation". Kuma tun da M. ("modulation") ya fito ne daga "aunawa", to, a cikin ruhun neo-Pythagoreanism, Augustine yayi la'akari da lambar don zama tushen kyakkyawa a cikin M..

Dokokin "daidaitaccen abun da ke cikin waƙoƙin waƙa" (modulatione) a cikin "Microlog" na Guido d'Arezzo b.ch. damuwa ba da yawa waƙa a cikin kunkuntar ma'anar kalmar (kamar yadda ya saba da kari, yanayin), amma abun da ke ciki gabaɗaya. "Maganar waƙar ya kamata ta dace da batun kanta, don haka a cikin yanayi na baƙin ciki kiɗa ya kamata ya kasance mai tsanani, a cikin yanayi mai sanyi ya kamata ya zama mai dadi, a cikin yanayi mai dadi ya kamata ya kasance mai farin ciki, da dai sauransu." An kwatanta tsarin M. da tsarin rubutun kalmomi: “Kamar yadda a cikin mitoci na waƙa da haruffa, sassa da tsayawa, ayoyi, haka ma a cikin kiɗa (a cikin jituwa) akwai phthongs, wato, sautunan da suke. … an haɗa su cikin syllables, da kansu (syllables), masu sauƙi da ninki biyu, suna samar da nevma, wato, ɓangaren waƙar (cantilenae), ”, an ƙara sassan zuwa sashen. Ya kamata waƙa ta zama “kamar an auna ta da awoyin awo.” Sassan M., kamar yadda yake a cikin waƙa, yakamata su kasance daidai, wasu kuma su maimaita juna. Guido yana nuna yiwuwar hanyoyin haɗa sassan: "kamar kamanceceniya a cikin motsi mai hawa ko saukowa", nau'ikan alaƙar ma'auni daban-daban: maimaita ɓangaren M. na iya tafiya "a cikin jujjuyawar motsi har ma a cikin matakai iri ɗaya kamar yadda ya tafi. lokacin da ya fara bayyana”; siffar M., wanda ke fitowa daga sauti na sama, an bambanta shi da irin wannan siffar da ke fitowa daga ƙananan sauti ("kamar yadda muke kallon cikin rijiyar, ganin fuskar fuskarmu"). “Karshen jumloli da sassan ya kamata su zo daidai da irin wannan ƙarshe na rubutu,… yakamata sautin da ke ƙarshen sashe ya kasance, kamar doki mai gudu, da sannu-sannu, kamar sun gaji, da wahalar ɗaukar numfashi. .” Bugu da ari, Guido - mawaƙi na tsakiyar zamani - yana ba da hanya mai ban sha'awa na tsara kiɗa, abin da ake kira. hanyar daidaitawa, wanda a cikinsa ake nuna farar M. da wasalin da ke ƙunshe a cikin waƙar da aka bayar. A cikin M. mai zuwa, wasalin “a” koyaushe yana faɗowa akan sautin C (c), “e” – akan sautin D (d), “i” – akan E (e), “o” – akan F ( f) da "da" a kan G (g). ("Hanyar ta fi koyarwa fiye da rubutawa," in ji K. Dahlhaus):

Wani mashahurin wakilin kyawawan kayan ado na Renaissance Tsarlino a cikin rubutun "Establishments of Harmony", yana nufin tsohuwar (Platonic) ma'anar M., ya umurci mawallafin don "sake ma'anar (soggetto) da ke cikin magana." A cikin ruhun tsohuwar al'ada, Zarlino ya bambanta ka'idoji hudu a cikin kiɗa, wanda tare ya ƙayyade tasirinsa mai ban mamaki a kan mutum, waɗannan su ne: jituwa, mita, magana (oratione) da ra'ayin fasaha (soggetto - "makirci"); ukun farko daga cikinsu hakika M. Kwatanta maganganu. yiwuwar M. (a cikin kunkuntar ma'anar kalmar) da rhythm, ya fi son M. kamar yana da "mafi girman iko don canza sha'awa da ɗabi'a daga ciki." Artusi (a cikin "The Art of Counterpoint") a kan samfurin tsoho rarrabuwa na melodic iri. motsi yana saita wasu karin waƙoƙi. zane. Fassarar kiɗa a matsayin wakilcin tasiri (a kusa da rubutu) ya zo cikin hulɗa tare da fahimtarsa ​​bisa ga maganganun kida, mafi cikakken ci gaban ka'idar da ke faruwa a ƙarni na 17 da 18. Koyarwar game da kiɗa na sabon lokaci sun riga sun bincika waƙar homophonic (fassarar abin da yake a lokaci guda shine zane na dukan kiɗan). Koyaya, kawai a cikin Ser. Karni na 18 zaku iya saduwa da daidai da yanayin kimiyya da hanyoyin. bayanan. Dogaro da kidan luwadi akan jituwa, wanda Rameau ya jaddada ("Abin da muke kira waƙa, wato, waƙar murya ɗaya, an kafa shi ta hanyar tsarin sauti na diatonic tare da haɗin kai na asali da kuma tare da dukkan umarni na sauti masu jituwa. cirewa daga "masu mahimmanci") sanya a gaban ka'idar ka'idar, matsalar daidaitawar kiɗa da jituwa, wanda na dogon lokaci ya ƙayyade ci gaban ka'idar kiɗa. Nazarin kiɗa a cikin ƙarni na 17-19th. gudanar bh ba a cikin ayyukan da aka keɓe ta musamman ba, amma a cikin ayyuka akan abun da ke ciki, jituwa, ƙima. Ka'idar zamanin Baroque tana haskaka tsarin M. wani bangare daga mahangar lafazin kida. adadi (musamman madaidaicin jujjuyawar M. an bayyana su azaman kayan ado na maganganun kiɗa - wasu zane-zanen layi, nau'ikan maimaitawa iri-iri, motsin motsi, da sauransu). Daga Ser. Karni na 18 na koyarwar M. ya zama abin da ake nufi da wannan kalmar a yanzu. Tunani na farko na sabon koyaswar M. an kafa shi a cikin littattafan I. Matteson (1, 1737), J. Ruwa (1739), K. Nickelman (1755). Matsalar M. (ban da na gargajiya na gargajiya-retorical wuraren, misali, a Mattheson), wadannan Jamus. masu ilimin tauhidi sun yanke shawara akan koyaswar mita da kari ("Taktordnung" na Ripel). A cikin ruhin wayewar hankali, Mattheson yana ganin ainihin M. a cikin jimillar, da farko, ta 1755 takamaiman halaye: haske, tsabta, santsi (fliessendes Wesen) da kuma kyau (ja - Lieblichkeit). Don cimma kowane ɗayan waɗannan halaye, yana ba da shawarar dabaru na musamman daidai. dokokin.

1) a hankali saka idanu iri ɗaya na tsayawar sauti (Tonfüsse) da rhythm;

2) kar a keta ma'aunin lissafi. ma'auni (Verhalt) na wasu sassa iri ɗaya (Sdtze), wato lambobi kiɗan (lambobin kiɗa), watau daidaitaccen kiyaye launin waƙa. adadin lambobi (Zahlmaasse);

3) ƙarancin ƙarshe na ciki (förmliche Schlüsse) a cikin M., mafi santsi, da dai sauransu. Daraja na Rousseau shine ya jaddada ma'anar waƙa. intonation (“Melody… yana kwaikwayon kalmomin harshe kuma waɗanda suke jujjuya su a cikin kowane yare sun dace da wasu motsin hankali”).

Kusa da koyarwar ƙarni na 18. A. Reich a cikin "Maganin Magani akan Melody" da AB Marx a cikin "The Doctrine of Musical Composition". Sun yi aiki dalla-dalla game da matsalolin rarraba tsarin. Reich ya fassara kiɗa daga bangarori biyu - kayan ado ("Melody shine harshen ji") da fasaha ("Melody shine maye gurbin sautuna, kamar yadda jituwa ita ce maɗaukakin maɗaukaki") kuma yayi nazari dalla-dalla lokacin, jumla (membre), jimlar (dessin mélodique), “jigo ko motif” har ma da ƙafafu (pieds mélodiques)—trocheus, iambic, amphibrach, da sauransu. Marx cikin hikima ya tsara ma’anar ma’anar ma’anar: “Dole ne a motsa Melody.”

X. Riemann ya fahimci M. a matsayin jimla da hulɗar duk wani tushe. hanyar kiɗa - jituwa, kari, bugun (mita) da ɗan lokaci. A cikin gina ma'auni, Riemann yana fitowa daga ma'auni, yana bayanin kowane sautinsa ta hanyar ma'auni, kuma ya ci gaba zuwa haɗin tonal, wanda aka ƙaddara ta hanyar dangantaka da cibiyar. maƙarƙashiya, sa'an nan a jere yana ƙara kari, melodic. kayan ado, zane-zane ta hanyar cadenzas kuma, a ƙarshe, ya fito ne daga dalilai zuwa jumloli da kuma kara zuwa manyan nau'i (bisa ga "Koyarwa game da Melody" daga ƙarar l na "Babban Koyarwa game da Haɗin"). E. Kurt ya jaddada da ƙarfi musamman halayen halayen koyarwa na ƙarni na 20 game da kiɗa, yana adawa da fahimtar daidaituwar ɗabi'a da ƙayyadaddun lokaci a matsayin tushen kiɗan. Ya bambanta, ya gabatar da ra'ayin makamashi na motsi na linzamin kwamfuta, wanda aka fi nunawa a kai tsaye a cikin kiɗa, amma a ɓoye (a cikin nau'i na "makamashi mai yiwuwa") ya kasance a cikin ma'auni, jituwa. G. Schenker ya gani a cikin M., da farko, motsi yana ƙoƙari zuwa wani manufa ta musamman, an tsara shi ta hanyar dangantaka da jituwa (yawanci nau'ikan 3 - "layi na farko"

,

и

; duk ukun suna nuni zuwa kasa). A kan wadannan "primary Lines", reshe Lines "Bluck", daga wanda, bi da bi, harbi Lines "sprout", da dai sauransu P. Hindemith's ka'idar waƙa yana kama da Schenker's (kuma ba tare da tasirinsa ba) (M. Dukiyar tana cikin haɗuwa daban-daban na motsi na biyu, muddin matakan sun haɗa da tonal). Littattafai da yawa suna zayyana ka'idar waƙar dodecaphone (wani lamari na musamman na wannan fasaha).

A cikin ka'idar Rasha a cikin wallafe-wallafen, aikin farko na musamman "A kan Melody" ya rubuta I. Gunke (1859, a matsayin sashe na 1st na "Complete Guide to Composing Music"). Dangane da halayensa na gaba ɗaya, Gunke yana kusa da Reich. Ana ɗaukar metrorhythm a matsayin tushen kiɗa (kalmomin buɗewa na Jagora: "An ƙirƙira kiɗan kuma an haɗa shi bisa ga ma'auni"). Abun ciki na M. a cikin zagayowar daya kira. Motif na agogo, adadi a cikin motifs samfuri ne ko zane. Nazarin M. zuwa babban matsayi yana ba da lissafin ayyukan da ke bincika tatsuniyoyi, tsoho da gabas. kiɗa (DV Razumovsky, AN Serov, PP Sokalsky, AS Famintsyn, VI Petr, VM Metallov; a zamanin Soviet - MV Brazhnikov, VM Belyaev, ND Uspensky da sauransu).

IP Shishov (a cikin rabin 2nd na 1920s ya koyar da wani kwas a cikin waƙa a Moscow Conservatory) daukan wani Greek. ka'idar rabon lokaci na M. (wanda kuma Yu. N. Melgunov ya haɓaka): mafi ƙanƙanta naúrar ita ce mora, an haɗa mora zuwa tasha, waɗanda a cikin pendants, pendants zuwa lokaci, lokaci zuwa stanzas. Form M. yayi biyayya ga b.ch. ka'idar daidaitawa (bayyane ko ɓoye). Hanyar nazarin magana ta ƙunshi yin la'akari da duk tazarar da aka samu ta hanyar motsin murya da kuma alaƙar wasiƙu na sassan da ke tasowa a cikin kiɗa. LA Mazel a cikin littafin "Akan Melody" yayi la'akari da M. a cikin hulɗar babban. zai bayyana. na nufin kiɗa - melodic. layuka, yanayin, rhythm, furucin tsari, yana ba da kasidu akan tarihi. ci gaban kiɗa (daga JS Bach, L. Beethoven, F. Chopin, PI Tchaikovsky, SV Rachmaninov, da wasu mawallafin Soviet). MG Aranovsky da MP Papush a cikin ayyukansu suna tayar da tambaya game da yanayin M. da kuma ainihin manufar M.

References: Gunke I., Koyarwar waƙa, a cikin littafin: Cikakken jagora ga tsara kiɗa, St. Petersburg, 1863; Serov A., Rasha jama'a song a matsayin batun kimiyya, "Music. kakar", 1870-71, No 6 (sashe 2 - Technical sito na Rasha song); haka, a cikin littafinsa: Zaɓaɓɓe. labarai, vol. 1, M.-L., 1950; Petr VI, A kan ma'ajiyar waƙar waƙar Aryan. Kwarewar Tarihi da Kwatanta, SPV, 1899; Metallov V., Osmosis na Znamenny Chant, M., 1899; Küffer M., Rhythm, waƙa da jituwa, "RMG", 1900; Shishov IP, Game da tambaya na nazarin tsarin melodic, "ilimin kiɗa", 1927, No 1-3; Belyaeva-Kakzemplyarskaya S., Yavorsky V., Tsarin waƙa, M., 1929; Asafiev BV, Tsarin kiɗa azaman tsari, littafi. 1-2, M.-L., 1930-47, L., 1971; nasa, Harshen Magana, M.-L., 1965; Kulakovsky L., A kan hanyar bincike na waƙa, "SM", 1933, No 1; Gruber RI, Tarihin al'adun kiɗa, vol. 1, sashi na 1, M.-L., 1941; Sposobin IV, Siffar Kiɗa, M.-L., 1947, 1967; Mazel LA, Ya waƙa, M., 1952; Tsohuwar kayan ado na kiɗa, shigarwa. Art. da kull. rubutu na AF Losev, Moscow, 1960; Belyaev VM, Maƙala a kan tarihin kiɗa na mutanen Tarayyar Soviet, vol. 1-2, M., 1962-63; Uspensky ND, Tsohuwar fasahar waƙa ta Rasha, M., 1965, 1971; Shestakov VP (Cops nasa, Musical aesthetics na Yammacin Turai na XVII-XVIII ƙarni, M., 1966; Aranovsky MG, Melodika S. Prokofiev, L., 1971; Korchmar L., Koyarwar waƙa a cikin karni na XVIII, a cikin tarin: Tambayoyi na ka'idar kiɗa, vol. 1969, M., 2; Papush MP, Akan nazarin ra'ayin waƙar, a cikin: Art Music and Science, vol. 1970, M., 2; Zemtsovsky I., Melodika na waƙoƙin kalanda, L., 1973; Plato, Jiha, Ayyuka, trans. daga tsohuwar Girka A. Egunova, vol. 1975, Kashi na 3, M., 1, shafi. 1971, § 181d; Aristotle, Siyasa, trans. daga tsohuwar Girkanci S. Zhebeleva, M., 398, p. 1911, §373b; Anonymous (Cleonides?), Gabatarwa ga harmonica, trans. daga tsohon Girkanci G. Ivanova, "Philological Review", 1341, v. 1894, littafi. daya.

Yu. N. Kholopov