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daga Girkanci métron - ma'auni ko ma'auni
A cikin kade-kade da wake-wake, tsarin da ake yi na raye-raye bisa kiyaye wani ma'auni wanda ke kayyade girman gine-ginen rhythmic. Dangane da wannan ma'auni, rubutun na baka da na kiɗa, ban da ma'anar kalma (syntactic), an raba shi zuwa awo. raka'a - ayoyi da stanzas, ma'auni, da dai sauransu Dangane da siffofin da ke bayyana waɗannan raka'a (lokaci, yawan damuwa, da dai sauransu), tsarin kayan kida ya bambanta (metric, syllabic, tonic, da dai sauransu - a cikin versification, mensural da dai sauransu). agogo - a cikin kiɗa), kowannensu na iya haɗawa da mitoci masu yawa (tsare-tsare don gina raka'a awo) waɗanda aka haɗa ta hanyar ka'ida ta gama gari (misali, a cikin tsarin agogo, girman su ne 4/4, 3/2, 6/8, da sauransu). A cikin ma'auni tsarin ya ƙunshi alamun ma'aunin dole kawai. raka'a, yayin da sauran rhythmic. abubuwa sun kasance masu 'yanci kuma suna haifar da rhythmic. iri-iri a cikin mita da aka ba. Rhythm ba tare da mita yana yiwuwa ba - rhythm of prose, sabanin aya ("aunawa," "ma'auni" magana), rhythm na kyauta na Gregorian song, da sauransu. A cikin kidan zamani, akwai nadi na rhythm kyauta senza misura. Ra'ayoyin zamani game da M. a cikin kiɗa yana nufin. zuwa wani ɗan lokaci ya dogara da manufar kiɗan waƙa, wanda, duk da haka, kanta ya tashi a matakin haɗin kai na aya da kiɗan da ba za a iya raba su ba kuma asali ne na kiɗa. Tare da wargajewar haɗin kai na kida-aya, takamaiman tsarin waƙa da kiɗa. M., mai kama da M. a cikin su yana tsara ƙararrawa, kuma ba tsawon lokaci ba, kamar yadda yake a tsohuwar awo. versification ko a tsakiyar mensural (daga lat. mensura - ma'auni) kiɗa. Sabani masu yawa a cikin fahimtar M. da dangantakarsa da rhythm sun samo asali ne daga Ch. arr. gaskiyar cewa halayen halayen ɗaya daga cikin tsarin ana danganta su da mahimmancin duniya (ga R. Westphal, irin wannan tsarin yana da dadewa, don X. Riemann - bugun kiɗa na sabon lokaci). A lokaci guda kuma, bambance-bambancen da ke tsakanin tsarin suna ɓoye, kuma abin da ya fi dacewa ga duk tsarin ya ɓace daga gani: rhythm shine tsarin da aka tsara, ya juya ya zama madaidaicin tsari (sau da yawa na al'ada kuma an bayyana shi a cikin tsari na tsari). ƙaddara ta hanyar fasaha. al'ada, amma ba psychophysiological. dabi'un da ke tattare da dabi'ar dan adam gaba daya. Canje-canje na fasaha. Matsaloli suna haifar da juyin halitta M. Anan zamu iya bambanta manyan guda biyu. nau'in.
Antich. tsarin da ya haifar da kalmar "M". nasa ne da nau'in halayen matakin kida da wakoki. hadin kai. M. yana aiki a cikinsa a cikin aikinsa na farko, yana ƙarƙashin magana da kiɗa don ƙayatarwa. ka'idar ma'auni, wanda aka bayyana a cikin daidaitattun ƙimar lokaci. Matsakaicin da ke bambanta aya da magana ta yau da kullun yana dogara ne akan kiɗa, da ƙa'idodin awo, ko ƙididdigewa, versification (sai dai na da, da na Indiya, da Larabci, da sauransu), waɗanda ke ƙayyadaddun jerin kalmomi masu tsawo da gajere ba tare da ɗauka ba. cikin la’akari da matsalolin kalmomi, a zahiri suna hidima don saka kalmomi a cikin tsarin kiɗan, waɗanda salon salon su ya bambanta da ainihin salon waƙar sabon kiɗa kuma ana iya kiransa ƙima, ko auna lokaci. Daidaitawa yana nuna kasancewar lokacin farko (Girkanci xronos protos - "chronos protos", Latin mora - mora) azaman naúrar ma'aunin babban. tsawon lokacin sauti (syllabic) waɗanda ke da yawa na wannan ƙimar farko. Akwai 'yan irin wannan durations (akwai 5 daga cikinsu a cikin tsohuwar rhythmics - daga l zuwa 5 mora), ana iya kimanta ƙimar su koyaushe ta hanyar fahimtarmu (ya bambanta da kwatancen bayanan bayanan gabaɗaya tare da daƙiƙa talatin, da sauransu, an yarda a cikin new rhythmics). Babban ma'auni naúrar - ƙafar - an samo shi ta hanyar haɗin tsawon lokaci, duka daidai da rashin daidaituwa. Haɗin tsayawa zuwa ayoyi (kalmomin kiɗa) da ayoyi zuwa stanzas (lokacin kiɗa) su ma sun ƙunshi daidaitattun sassa, amma ba lallai ba ne daidai gwargwado. A matsayin tsarin hadadden tsarin ma'auni na lokaci, a cikin kididdigar rhythm, rhythm yana rinjayar rhythm har ta yadda a cikin tsohuwar ka'idar ta samo asali ne daga rikice-rikicen rikice-rikicen da yaduwa da rhythm. Duk da haka, a zamanin d ¯ a waɗannan ra'ayoyin sun bambanta a fili, kuma mutum zai iya fayyace fassarori da yawa na wannan bambance-bambancen da suka dace a yau:
1) Bambance-bambancen bambamci na syllables ta Longitude da aka yarda wok. kiɗa ba ya nuna alaƙar ɗan lokaci, waɗanda aka bayyana sarai a cikin rubutun waƙar. Musanya. rhythm, don haka, za a iya auna ta da rubutu ("Wannan magana ita ce adadi a bayyane yake: bayan haka, an auna shi da gajere da dogon lokaci" - Aristotle, "Categories", M., 1939, shafi na 14), wanda da kansa ya ba da awo. makirci da aka cire daga sauran abubuwan kiɗa. Wannan ya sa ya yiwu a ware ma'auni daga ka'idar kiɗa a matsayin koyaswar mitoci. Saboda haka da adawa tsakanin poetic melodicism da kuma m kari da har yanzu ci karo (misali, a cikin ayyukan a kan m labarin B. Bartok da KV Kvitka). R. Westphal, wanda ya ayyana M. a matsayin bayyanar kari a cikin kayan magana, amma ya ki yin amfani da kalmar “M.” zuwa kiɗa, amma yi imani cewa a cikin wannan yanayin ya zama daidai da kari.
2) Antici. furucin, wanda ya bukaci a yi kari a cikin larura, amma ba M., wanda ya juya shi zuwa aya ba, ya shaida bambanci tsakanin sautin magana da. M. - rhythmic. tsari da yake siffar ayar. Irin wannan adawa na daidaitattun M. da kuma rhythm na kyauta sun sha haduwa akai-akai a zamanin yau (misali, sunan Jamus don ayar kyauta shine freie Rhythmen).
3) A cikin madaidaicin ayar, an kuma bambanta rhythm a matsayin tsarin motsi da kari kamar motsin da kansa ya cika wannan tsari. A cikin ayar tsohuwar, wannan motsi ya ƙunshi accentuation kuma, dangane da wannan, a cikin rabon awo. raka'a zuwa hawan (arsis) da gangarowa (rubutun) sassa (fahimtar waɗannan lokutan rhythmic yana da matukar cikas da sha'awar daidaita su da bugun ƙarfi da rauni); Ba a haɗa lafazin rhythmic tare da matsananciyar magana ba kuma ba a bayyana su kai tsaye a cikin rubutu ba, kodayake jerinsu ba shakka ya dogara da awo. makirci.
4) Rabewar waqoqin a hankali da rukunanta. siffofin kai riga a juya cf. ƙarnuka har zuwa bullar wani sabon nau'in waƙa, inda ba a la'akari da tsayin daka ba, amma yawan ma'auni da kuma sanya damuwa. Ba kamar "mita" na gargajiya ba, an kira wakoki na sabon nau'i "rhythms". Wannan versification na magana zalla, wanda ya kai ga cikakken ci gabansa a zamanin yau (lokacin da waƙa a cikin sabbin harsunan Turai, bi da bi, keɓewa da kiɗa), wani lokacin ma a yanzu (musamman ta marubutan Faransanci) yana adawa da ma'auni azaman “rhythmic” (duba. , misali, Zh. Maruso, Kamus na kalmomin harshe, M., 1960, shafi na 253).
Abubuwan sabani na ƙarshe suna haifar da ma'anoni waɗanda galibi ana samun su a tsakanin masana falsafa: M. - rarraba tsawon lokaci, rhythm - rarraba lafazin. An kuma yi amfani da irin waɗannan ƙididdiga ga kiɗa, amma tun lokacin M. Hauptmann da X. Riemann (a cikin Rasha a karon farko a cikin littafin ka'idar farko na GE Konyus, 1892), akasin fahimtar waɗannan sharuɗɗa ya yi nasara, wanda ya yi nasara. ya fi dacewa da rhythmic. Ina gina kade-kade da wakoki a matakin kasancewarsu daban. Waƙar “Rhythmic”, kamar kowace, ta bambanta da nazarce-nazarce ta wata hanya ta rhythmic. tsari, wanda kuma ya karbi sunan girman ko M. (an riga an samo kalmar a G. de Machaux, karni na 14), ko da yake ba ya nufin ma'auni na tsawon lokaci, amma ga ƙidayar kalmomi ko damuwa - magana zalla. adadin da ba su da takamaiman tsawon lokaci. Matsayin M. baya cikin kyan gani. kida akai-akai kamar haka, amma a cikin jaddada kari da haɓaka tasirin sa na tunani. Ɗaukar awo aikin sabis. tsare-tsare sun rasa kyawun su masu zaman kansu. sha'awa kuma sun zama matalauta kuma sun fi kowa. A lokaci guda kuma, akasin ma'aunin ayar kuma akasin ma'anar zahirin kalmar "versification", aya (layi) ba ta ƙunshi ƙananan sassa ba, b.ch. rashin daidaito, amma an raba su zuwa hannun jari daidai. Sunan "dolniki", wanda aka yi amfani da shi ga ayoyi masu yawan damuwa da kuma adadin mabambantan kalmomin da ba a sanya su ba, za a iya fadada shi zuwa wasu tsarin: a cikin syllabic. kowane ma’auni “dule” ne a cikin ayoyi, ayoyin syllabo-tonic, saboda madaidaicin juzu’i na matsananciyar damuwa da rashin damuwa, an raba su zuwa ƙungiyoyin silabi iri ɗaya – ƙafafu, waɗanda ya kamata a ɗauke su azaman kirga sassa, kuma ba a matsayin sharuɗɗa ba. Ana yin raka'o'in awo ta maimaitawa, ba ta hanyar kwatanta ma'auni ba. Lafazin M., ya bambanta da ƙididdiga, ba ya rinjaye rhythm kuma yana haifar da ba ga ruɗewar waɗannan ra'ayoyin ba, amma ga adawarsu, har zuwa tsarin A. Bely: rhythm shi ne kaucewa daga M. (wanda yake shi ne). hade da peculiarities na syllabic-tonic tsarin, inda, a karkashin wasu yanayi, ainihin accentuation ya karkata daga metric daya). Uniform awo tsarin yana taka rawa ta biyu a cikin ayar idan aka kwatanta da rhythmic. iri-iri, kamar yadda aka tabbatar da bullowar karni na 18. ayar kyauta, inda wannan makirci ba ya nan kwata-kwata kuma bambanci daga litattafai ne kawai a cikin hoto zalla. rarrabuwa zuwa layi, wanda ba ya dogara da syntax kuma ya haifar da "shigarwa akan M."
Irin wannan juyin halitta yana faruwa a cikin kiɗa. Juyin haila na ƙarni na 11-13. (wanda ake kira modal), kamar tsoho, yana tasowa ne a kusanci da waƙa (masu-tallafi da trouvers) kuma suna samuwa ta hanyar maimaita wani lokaci na tsawon lokaci (modus), kama da ƙafafu na tsoho (mafi yawan su ne nau'i 3, wanda aka kawo a nan. da bayanin zamani: 1- th
, na 2
kuma na 3
). Daga karni na 14, jerin durations a cikin kiɗa, sannu a hankali rabuwa da waƙa, ya zama kyauta, kuma ci gaban polyphony yana haifar da bayyanar ƙananan tsawon lokaci, ta yadda mafi ƙarancin darajar farkon mensural rhythmic semibrevis ya juya zuwa "dukan bayanin kula. ”, dangane da wanda kusan duk sauran bayanan ba su da yawa, amma masu rarrabawa. “Auna” na tsawon lokacin da ya dace da wannan bayanin kula, wanda aka yiwa alama ta bugun hannu (Latin mensura), ko “auna”, an raba shi ta bugun ƙarami, da sauransu. har zuwa farkon karni na 17 akwai ma'auni na zamani, inda bugunan, ya bambanta da sassa 2 na tsohuwar ma'auni, ɗaya daga cikinsu zai iya ninka girman ɗayan, daidai yake, kuma za'a iya samun fiye da 2 (a cikin). mafi yawan lokuta - 4). Musanya na yau da kullun na ƙarfi da rauni (nauyi da haske, tallafi da mara tallafi) a cikin kiɗan zamani yana haifar da mita, ko mita, mai kama da mitar aya — bugun rhythmic na yau da kullun. makirci, ciko a cikin taro tare da lokuta daban-daban na bayanin kula yana haifar da rhythmic. zane, ko “rhythm” a cikin kunkuntar ma’ana.
Wani nau'i na kiɗa na musamman dabara ne, wanda ya ɗauki siffa azaman kiɗan da aka raba da fasaha masu alaƙa. Mahimman gazawar ra'ayoyin al'ada game da kiɗa. M. ya samo asali ne daga gaskiyar cewa wannan sigar sharaɗi na tarihi an gane shi a matsayin maɗaukakiyar kida "ta yanayi". Musanya na yau da kullun na lokuta masu nauyi da haske ana danganta su ga tsoffin kade-kade, kiɗan na zamani, tatsuniyoyi, da sauransu. Wannan ya sa ya zama da wahala a fahimta ba kawai kiɗan farkon zamanin da muses ba. tatsuniyoyi, amma kuma tunaninsu a cikin waƙar zamani. In Russian nar. waka pl. Masana ilimin tatsuniyoyi suna amfani da mashaya don zayyana bugu mai ƙarfi (wadanda ba a can), amma iyakoki tsakanin jimloli; Ana samun irin wannan "ƙarancin jama'a" (kalmar PP Sokalsky) a cikin Rashanci. Prof. kiɗa, kuma ba kawai a cikin nau'i na mita masu ban mamaki ba (alal misali, 11/4 na Rimsky-Korsakov), amma har ma a cikin nau'i-nau'i biyu. zagaye na uku, da sauransu. Waɗannan su ne jigogin wasan ƙarshe na fp na farko. concerto da na Tchaikovsky na 1nd symphony, inda ɗaukar barline a matsayin nadi mai ƙarfi bugun take kaiwa ga cikakken murdiya na rhythmic. Tsarin. Ƙididdigar ma'auni yana rufe nau'i daban-daban. ƙungiya da raye-raye da yawa na West Slavic, Hungarian, Spanish, da sauran asali (polonaise, mazurka, polka, bolero, habanera, da sauransu). Waɗannan raye-rayen suna da alaƙa da kasancewar ƙididdiga - takamaiman jerin lokuta (ba da izinin bambanta tsakanin wasu iyakoki), gefuna bai kamata a yi la'akari da su azaman kari ba. tsarin da ya cika ma'auni, amma a matsayin M. na nau'in ƙididdiga. Wannan dabara yayi kama da ƙafar awo. tantancewa. A cikin rawa mai tsafta. Kidan Gabas. Ka'idodin mutane na iya zama mafi rikitarwa fiye da ayar (duba Usul), amma ƙa'idar ta kasance iri ɗaya.
Bambance-bambancen launin waƙa (madaidaicin lafazin) tare da kari (tsawon ma'auni-Riemann), wanda ba zai iya amfani da kari mai ƙididdigewa ba, kuma yana buƙatar gyare-gyare a cikin salon sauti na zamani. Tsawon lokaci a cikin rhythms na lafazi da kansa ya zama hanyar ƙarawa, wanda ke bayyana kansa duka a cikin agogics da a rhythmics. adadi, binciken wanda Riemann ya fara. Agogic damar. accentuation dogara ne a kan gaskiyar cewa lokacin da kirga bugun (wanda ya maye gurbin auna lokaci a matsayin M.), da inter-shock tazara, al'ada dauka a matsayin daidai, na iya shimfiɗawa da raguwa a cikin mafi fadi da iyaka. Ma'auni a matsayin wani rukuni na damuwa, daban-daban na ƙarfi, ba ya dogara da lokaci da canje-canjensa (hanzari, raguwa, fermat), duka suna nunawa a cikin bayanin kula kuma ba a nuna su ba, kuma iyakokin 'yanci na ɗan lokaci ba zai iya yiwuwa ba. Ƙarfafa rhythmic. zana tsawon lokacin bayanin kula, wanda aka auna ta adadin rarrabuwa a kowane awo. grid ba tare da la'akari da gaskiyar su ba. durations kuma dace da gradation na danniya: a matsayin mai mulkin, tsawon durations fada a kan karfi bugun, karami a kan rauni bugun jini na ma'auni, da kuma sabawa daga wannan tsari ana gane a matsayin syncopations. Babu irin wannan ka'ida a cikin kididdigar rhythm; akasin haka, ƙididdiga tare da taƙaitaccen ɗan gajeren nau'in nau'in
(tsohuwar iambic, yanayin kidan al'ada na biyu),
(ancient anapaest), da dai sauransu sosai halayyar ta.
“Ingantacciyar ma'auni” da Riemann ya danganta ga ma'auni na lafazi nasu ne kawai ta yanayin halayensu na yau da kullun. Barline ba ya nuna wani lafazin, amma wurin al'ada na lafazin kuma ta haka ne yanayin halayen halayen gaske, yana nuna ko sun kasance na al'ada ko canzawa (syncopes). "Madaidaicin" awo. an fi bayyana lafazi a sauƙaƙe a cikin maimaita ma'aunin. Amma banda gaskiyar cewa ba a mutunta daidaiton matakan a cikin lokaci, sau da yawa ana samun canje-canje a girman. Don haka, a cikin waƙar Scriabin op. 52 Babu l don 49 hawan keke na irin waɗannan canje-canje 42. A cikin karni na 20. "sanduna masu kyauta" suna bayyana, inda babu sa hannun lokaci da layukan mashaya suna raba kiɗan zuwa sassa marasa daidaituwa. A gefe guda, mai yiwuwa lokaci-lokaci. maimaitu marar awo. lafazi, waɗanda ba sa rasa halayen “dissonances na rhythmic” (duba manyan gine-ginen Beethoven tare da lafazin raɗaɗi a ƙarshen wasan ban dariya na 7, “hatsaye” waƙoƙin bugun biyu a cikin sandunan bugun bugun uku a kashi na 1st na wasan kwaikwayo. 3rd symphony da sauransu). A karkacewa daga M. a hl. a cikin muryoyin, a lokuta da yawa ana adana shi a cikin rakiyar, amma wani lokacin yakan juya zuwa jerin firgita na tunanin, alaƙar da ke ba da ainihin sautin halin ƙaura.
"Hanyoyin rakiya" na iya samun goyan bayan inertia na rhythmic, amma a farkon "Manfred" na Schumann, ya bambanta da kowace dangantaka da ta baya da mai biyowa:
Hakanan farkon daidaitawa yana yiwuwa a sanduna kyauta:
SV Rakhmaninov. Romance "Da dare a cikin lambuna", op. 38 ba 1.
Rarraba cikin ma'auni a cikin bayanin kida yana bayyana kari. manufar marubucin, da ƙoƙarin Riemann da mabiyansa don "gyara" tsarin marubucin daidai da ainihin ma'anar, yana nuna rashin fahimtar ma'anar M., cakuda da aka ba da ma'auni tare da ma'auni na gaske.
Wannan motsi kuma ya haifar da (ba tare da tasirin kwatance tare da aya ba) zuwa faɗaɗa manufar M. zuwa tsarin jumloli, lokuta, da sauransu. Amma daga kowane nau'in kiɗan waƙa, dabara, a matsayin kiɗan kiɗa na musamman, ya bambanta. daidai idan babu ma'auni. zance. A cikin ayar, maki na damuwa yana ƙayyade wurin iyakokin aya, rashin daidaituwa ga-rykh tare da syntactic (enjambements) ya haifar a cikin ayar "rhythmic. dissonances." A cikin kiɗa, inda M. ke tsara kawai ƙararrawa ( wuraren da aka riga aka ƙayyade don ƙarshen lokaci a wasu raye-raye, alal misali, a cikin polonaise, sune gadon ma'auni na M.), enjambements ba zai yiwu ba, amma wannan aikin yana gudana ta hanyar. syncopations, wanda ba za a iya tunanin a cikin ayar (inda babu rakiya, ainihin ko tunanin, wanda zai iya saba wa ƙarar manyan muryoyin). Bambanci tsakanin waka da kiɗa. M. yana bayyana karara a cikin rubuce-rubucen hanyoyin bayyana su: a wani yanayi, rarrabuwa zuwa layi da ƙungiyoyinsu (stanzas), yana nuna awo. dakatarwa, a ɗayan - rarraba zuwa zagayawa, yana nuna awo. lafazi. Haɗin kai tsakanin kiɗan kiɗa da rakiya shine saboda gaskiyar cewa ana ɗaukar lokaci mai ƙarfi azaman farkon ma'auni. raka'a, domin shi ne na al'ada wuri domin canza jituwa, rubutu, da dai sauransu. Ma'anar mashaya Lines a matsayin "kwarangwal" ko "architectural" iyakoki da aka sanya a gaba (a cikin wani ɗan karin gishiri nau'i) da Konus a matsayin counterweight ga syntactic, " rufe" articulation, wanda ya karbi sunan "metric" a makarantar Riemann. Catoire kuma yana ba da damar samun sabani tsakanin iyakoki na jimloli (syntactic) da “ginin gine-gine” waɗanda ke farawa a cikin ƙarfi mai ƙarfi (“trocheus na nau'in 2nd” a cikin kalmominsa). Rukunin ma'auni a cikin gine-gine sau da yawa yana ƙarƙashin hali zuwa "squareness" da kuma daidaitaccen canji na matakan ƙarfi da rauni, yana tunawa da canjin bugun bugun jini a cikin ma'auni, amma wannan dabi'a (psychophysiologically conditioned) ba ta dace ba. al'ada, iya tsayayya da muses. syntax wanda a ƙarshe ke ƙayyade girman gine-gine. Har yanzu, wasu lokuta ana haɗa ƙananan matakan zuwa ma'auni na gaske. hadin kai - "sanduna na oda mafi girma", kamar yadda shaida ta yiwuwar syncope. lafazi kan matakan rauni:
L. Beethoven Sonata don piano, op. 110, part II.
Wani lokaci marubuta kai tsaye suna nuna rukunin sanduna; a wannan yanayin, ba kawai ƙungiyoyin murabba'i ba (ritmo di quattro battute) mai yiwuwa ne, har ma da sanduna uku (ritmo di tre battute a cikin wasan kwaikwayo na Beethoven na 9th, rythme ternaire a cikin Koyarwar Duke's The Sorcerer's Apprentice). To graphics fanko matakan a karshen aikin, kawo karshen a kan wani karfi gwargwado, su ne kuma wani ɓangare na designations na matakan da mafi girma oda, waxanda suke da yawa a cikin Viennese classics, amma kuma samu daga baya (F. Liszt, "Mephisto Waltz). "No1, PI Tchaikovsky, karshen wasan kwaikwayo na 1st) , da kuma adadin ma'auni a cikin rukuni (Liszt, "Mephisto Waltz"), kuma ƙididdigar su ta fara da ma'auni mai ƙarfi, kuma ba tare da syntactic ba. iyakoki. Asalin bambance-bambance tsakanin kiɗan wakoki. M. cire haɗin kai tsaye a tsakanin su a cikin wok. kiɗan sabon zamani. A lokaci guda, dukansu biyu suna da siffofi na gama gari waɗanda ke bambanta su daga ma'auni M.: yanayin lafazin, matsayi na taimako da aikin dynamizing, musamman a fili a cikin kiɗa, inda ci gaba da agogo M. (wanda ya tashi lokaci guda tare da "bass ci gaba da ci gaba). ”, basso continuo) ba ya wargajewa, amma, akasin haka, yana haifar da “haɗin kai biyu” waɗanda ba sa ƙyale kiɗan ya rabu cikin muradi, jumla, da sauransu.
References: Sokalsky PP, kiɗan al'adun gargajiya na Rasha, Babban Rashanci da Ƙananan Rashanci, a cikin tsarin saƙar waƙa da rhythmic da bambancinsa daga tushe na kiɗan jituwa na zamani, Kharkov, 1888; Konyus G., Ƙari ga tarin ayyuka, motsa jiki da tambayoyi (1001) don nazari mai amfani na ka'idar kiɗa na farko, M., 1896; guda, M.-P., 1924; nasa, Sukar ka'idar gargajiya a fagen sigar kiɗa, M., 1932; Yavorsky B., Tsarin magana na kiɗa Kayan aiki da bayanin kula, sashi na 2, M., 1908; nasa, The Basic Elements of Music, "Art", 1923, Babu l (akwai bugu dabam); Sabaneev L., Kiɗa na magana Binciken Aesthetic, M., 1923; Rinagin A., Tsarin ilimin kida da ka'idar, a cikin littafin. Da musica Sat. Art., ed. I. Glebova, P., 1923; Mazel LA, Zukkerman VA, Nazarin ayyukan kiɗa. Abubuwa na muchyka da hanyoyin bincike na ƙananan nau'i, M., 1967; Agarkov O., A kan isasshiyar fahimtar mitar kiɗa, a cikin Sat. Kiɗa da Kimiyya, vol. 1, Moscow, 1970; Kholopova V., Tambayoyi na rhythm a cikin aikin mawaƙa na farkon rabin karni na 1971, M., 1; Harlap M., Rhythm na Beethoven, a cikin littafin. Beethoven Asabar. st., batu. 1971, M., XNUMX. Duba kuma kunna. ku Art. Ma'auni.
MG Harlap
