Sigar kiɗa |
Girki morpn, lat. tsari - bayyanar, hoto, zane-zane, bayyanar, kyakkyawa; Fom ɗin Jamusanci, nau'in Faransanci, Italiyanci. form, eng. siffar, siffar
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I. Ma'anar kalmar. Etymology II. Siffa da abun ciki. Gabaɗaya ƙa'idodin siffa III. Siffofin kiɗa kafin 1600 IV. Siffofin kaɗe-kaɗe da yawa V. Siffofin kiɗan homophonic na zamani VI. Siffofin kiɗa na karni na 20 VII. Koyarwa game da siffofin kiɗa
I. Ma'anar kalmar. Etymology. Kalmar F.m." amfani da hanyoyi da dama. dabi'u: 1) nau'in abun ciki; def. Shirye-shiryen abun ciki (mafi daidai, "tsarin tsari", bisa ga BV Asafiev) muses. ayyuka ("nau'i na abun da ke ciki", bisa ga PI Tchaikovsky; misali, rundo, fugue, motet, ballata; wani bangare ya kusanci manufar nau'in, watau, nau'in kiɗa); 2) kida. fasalin abun ciki (cikakkiyar kungiya mai ma'ana, jituwa, mita, masana'anta na polyphonic, timbres, da sauran abubuwan kiɗa). Baya ga waɗannan manyan ma'anoni guda biyu na kalmar "F. m." (music da aesthetic-philosophical) akwai wasu; 3) hoton sauti na musamman na muses. wani yanki (ƙayyadaddun sautin fahimtar manufarsa na asali kawai a cikin wannan aikin; wani abu da ya bambanta, misali, nau'i na sonata daya daga duk sauran; ya bambanta da nau'i-nau'i, ana samun shi ta hanyar jigon jigo wanda ba a maimaita shi ba a ciki). sauran ayyukan da ci gaban sa na mutum; a waje da abstractions na kimiyya, a cikin kiɗan raye-raye akwai kawai F. m.; 4) ado. oda a cikin kide-kide na kiɗa ("jituwa" na sassanta da sassanta), samar da kayan ado. martabar waka. abubuwan da aka tsara (darajar fasalin tsarinta; "forme yana nufin kyau...", bisa ga MI Glinka); ingantaccen darajar ƙimar ra'ayi na F. m. yana samuwa a cikin 'yan adawa: "siffa" - "rashin tsari" ("nakasawa" - gurɓataccen tsari; abin da ba shi da tsari yana da lahani mai kyau, mummuna); 5) daya daga cikin manyan guda uku. sassan aikace-aikacen kiɗa-ka'idar. kimiyya (tare da jituwa da counterpoint), wanda batun shi ne nazarin F. m. Wani lokaci kiɗa. sifa kuma ana kiransa: tsarin muses. samfur. (tsarinsa), ƙarami fiye da duk samfuran, in mun gwada da cikakken gutsuttsura na kiɗa. Ƙungiyoyin sassa ne na nau'i ko sassan kiɗa. op., kazalika da bayyanar su gaba ɗaya, tsarin (alal misali, tsarin tsari, ƙararrawa, ci gaba - "nau'i na jimla", lokaci a matsayin "nau'i"; "nau'i masu jituwa" - PI Tchaikovsky; "wasu" wani nau'i, bari mu ce, wani nau'i na cadence "- GA Laroche; "A kan wasu nau'i na kiɗa na zamani" - VV Stasov). Etymologically, Latin tsari - lexical. gano takarda daga Girkanci morgn, ciki har da, sai dai babban. ma'anar "bayyanar", ra'ayin "kyakkyawan" bayyanar (a cikin Euripides Eris morpas; - jayayya tsakanin alloli game da kyakkyawan bayyanar). Lat. kalmar forma - bayyanar, siffa, hoto, kamanni, kamanni, kyakkyawa (misali, a cikin Cicero, forma muliebris - kyawun mace). Kalmomi masu alaƙa: formose - siriri, kyakkyawa, kyakkyawa; formosulos - kyakkyawa; giyan rum. frumos da Portuguese. formoso - kyakkyawa, kyakkyawa (Ovid yana da "formosum anni tempus" - "kyakkyawan kakar", wato, bazara). (Duba Stolovich LN, 1966.)
II. Siffa da abun ciki. Gabaɗaya ka'idodin tsarawa. Ma'anar "form" na iya zama mai daidaitawa a cikin decomp. nau'i-nau'i: nau'i da kwayoyin halitta, nau'i da kayan aiki (dangane da kiɗa, a wata fassarar, abu shine gefensa na zahiri, siffar ita ce dangantakar da ke tsakanin abubuwa masu sauti, da kuma duk abin da aka gina daga gare su; a wata fassarar; kayan abu shine abubuwan da ke cikin abun da ke ciki - melodic, gyare-gyare masu jituwa, timbre samo, da dai sauransu, da kuma tsari - tsarin jituwa na abin da aka gina daga wannan abu), tsari da abun ciki, tsari da rashin tsari. Babban kalmomin kalmomi. nau'i biyu na nau'i - abun ciki (a matsayin nau'in falsafa na gabaɗaya, GVF Hegel ya gabatar da manufar "abun ciki", wanda ya fassara shi a cikin mahallin haɗin kai na kwayoyin halitta da nau'i, kuma abun ciki a matsayin rukuni ya haɗa da duka biyu, a cikin cire form. Hegel, 1971, shafi 83-84). A cikin ka'idar fasaha ta Marxist, an yi la'akari da nau'i (ciki har da F. m.) a cikin wannan nau'i biyu, inda aka fahimci abin da ke ciki a matsayin nuni na gaskiya.
Abubuwan da ke cikin kiɗan - ext. bangaren ruhaniya na aikin; abin da waƙar ya bayyana. Cibiyar. ra'ayoyin kiɗa. abun ciki - kiɗa. ra'ayi (tunanin kida na sha'awa), muz. hoto (halayen da aka bayyana cikakke wanda ke buɗe kai tsaye zuwa jin daɗin kiɗan, kamar "hoto", hoto, da kuma nunin kiɗan ji da yanayin tunani). Abubuwan da ke cikin da'awar suna cike da sha'awar maɗaukaki, mai girma ("Mai fasaha na gaske ... dole ne ya yi ƙoƙari ya ƙona don manyan manufofi," wasiƙar daga PI Tchaikovsky zuwa AI Alferaki kwanan wata Agusta 1, 8). Abu mafi mahimmanci na abun ciki na kiɗa - kyakkyawa, kyakkyawa, kyakkyawa. manufa, kiraistic bangaren music a matsayin ado. abubuwan mamaki. A cikin kyawawan dabi'un Markisanci, ana fassara kyakkyawa ta mahangar al'umma. aikin ɗan adam a matsayin ado. manufa ita ce siffar da aka yi la'akari da hankali game da fahimtar duniya na 'yancin ɗan adam (LN Stolovich, 1891; S. Goldentrict, 1956, shafi 1967; da Yu. B. Borev, 362, shafi 1975-47). Bugu da kari, abun da ke ciki na muses. abun ciki na iya haɗawa da hotunan da ba na kiɗa ba, da kuma wasu nau'ikan kiɗan. ayyuka sun haɗa da kashe kida. abubuwa - hotunan rubutu a wok. kiɗa (kusan duk nau'ikan, gami da opera), mataki. ayyuka kunshe a cikin gidan wasan kwaikwayo. kiɗa. Domin cikar fasaha. ci gaban ɓangarorin biyu ya zama dole don aiki - duka arziƙin akida mai ban sha'awa, abun ciki mai ban sha'awa, da ingantaccen fasahar haɓakawa. siffofin. Rashin ɗayan ko ɗayan yana cutar da kyan gani. cancantar aikin.
Form a cikin kiɗa (a cikin ma'anar ado da falsafa) shine fahimtar sauti na abun ciki tare da taimakon tsarin abubuwa masu sauti, ma'ana, dangantaka, watau, yadda (kuma ta menene) abin da ke cikin kiɗa ya bayyana. Fiye da daidai, F. m. (a wannan ma'ana) yana da salo. da wani nau'i-nau'i na nau'i-nau'i na nau'i na kiɗa (misali, don waƙar waƙa - wanda aka tsara don yawan fahimtar bukukuwan; sauƙi da lapidarity na waƙar waƙar da aka yi niyya ta ƙungiyar mawaƙa tare da goyon bayan ƙungiyar makaɗa). ayyana. haɗuwarsu da hulɗar su (zaɓaɓɓen hali na motsi na rhythmic, tonal-jitu yadudduka, ƙarfin hali na siffa, da dai sauransu), cikakke ƙungiya, ma'anar. fasahar kiɗa. abubuwan da aka tsara (mafi mahimmancin manufar fasaha shine kafa "daidaituwa", kamala, kyakkyawa a cikin abubuwan kiɗa). Za a bayyana komai. hanyoyin kiɗan, waɗanda ke tattare da ma'anar “style” da “fasaha” gabaɗaya, an tsara su a kan cikakkiyar al'amari - takamaiman kiɗan. abun ciki, na F. m.
Siffa da abun ciki suna wanzu a cikin haɗin kai mara rabuwa. Babu ko da mafi ƙanƙanta dalla-dalla na muses. abun ciki, wanda ba lallai ba ne a bayyana shi ta hanyar ɗaya ko wani haɗin bayanan. ma'ana (misali, mafi ƙanƙanta, kalmomi marasa ma'ana suna bayyana inuwar sautin ma'auni, dangane da takamaiman wurin sautunan sa ko a kan katako da aka zaɓa don kowane ɗayansu). Kuma akasin haka, babu irin wannan, har ma da mafi yawan fasaha na "abstract". hanyar, wanda ba zai zama bayanin c.-l ba, daga abubuwan da ke cikin abubuwan da ke ciki (misali, tasirin ci gaba na ci gaba na canon tazara a cikin kowane bambance-bambancen, ba a gane kai tsaye ta kunne a kowane bambancin ba, lambar. wanda ke rarraba ta uku ba tare da saura ba, a cikin "Goldberg Variations" JS Bach ba wai kawai ya tsara tsarin sake zagayowar gaba ɗaya ba, amma kuma ya shiga cikin ra'ayin yanayin ruhaniya na ciki na aikin). Ana ganin rashin rabuwar nau'i da abun ciki a cikin kiɗa a fili lokacin da aka kwatanta shirye-shirye na waƙa iri ɗaya ta mawaƙa daban-daban (misali, The Persian Choir daga opera Ruslan da Lyudmila na Glinka da I. Strauss's Maris da aka rubuta zuwa waƙa guda-) jigo) ko a cikin bambance-bambance (misali, bambance-bambancen piano na B-dur na Brahms, jigon wanda ya kasance na GF Handel, da kuma sautin kiɗan Brahms a farkon bambancin). A lokaci guda, a cikin haɗin kai na nau'i da abun ciki, abun ciki shine jagora, mahimmancin motsi na motsi; yana da muhimmiyar rawa a wannan hadin kai. Lokacin aiwatar da sabon abun ciki, rashin daidaituwa tsakanin nau'i da abun ciki na iya tasowa, lokacin da sabon abun ciki ba zai iya ci gaba da haɓakawa cikin tsarin tsohuwar nau'in (irin wannan sabani an kafa shi, alal misali, yayin amfani da injina na fasahar rhythmic baroque da polyphonic). siffofi don haɓaka jigon sautin melodic mai sauti 12 a cikin kiɗan zamani). Ana warware sabani ta hanyar kawo fom daidai da sabon abun ciki, yayin da ake bayyanawa. abubuwa na tsohon siffa sun mutu. Hadin kan F. m. kuma abun ciki yana ba da damar tsinkayar juna ga juna a cikin tunanin mawaƙi; duk da haka, irin wannan canja wuri akai-akai na kaddarorin abun ciki don samarwa (ko akasin haka), hade da ikon mai tsinkaya don "karanta" abun ciki na alama a cikin haɗuwa da abubuwa na nau'i kuma suyi tunaninsa cikin sharuddan F. m. , ba yana nufin ainihin tsari da abun ciki ba.
Kiɗa. kara, kamar sauran su. nau'ikan art-va, nuni ne na gaskiya a cikin dukkan matakan tsarin sa, saboda juyin halitta. matakan haɓakarsa daga ƙananan sifofi zuwa mafi girma. Tun da kiɗa shine haɗin kai na abun ciki da tsari, gaskiyar tana nunawa duka ta hanyar abun ciki da nau'insa. A cikin kiɗa-kyakkyawan kamar "gaskiya" na kiɗa, an haɗa halayen halayen-daraja da inorganic. duniya (aunawa, daidaito, daidaito, daidaito na sassa, gabaɗaya, haɗi da jituwa na dangantaka; cosmological. tunanin tunanin gaskiya ta hanyar kiɗa shine mafi tsufa, yana fitowa daga Pythagoreans da Plato ta hanyar Boethius, J. Caroline, I. Kepler da kuma M. Mersenne zuwa yanzu; cm. Kayser H., 1938, 1943, 1950; Losev A. F., 1963-80; Losev, Shestakov V. P., 1965), da kuma duniyar masu rai ("numfashi" da dumin rayayyun rayayyun halittu, ra'ayi na kwaikwayon yanayin rayuwar muses. ci gaba a cikin nau'i na haihuwar kiɗa. tunani, girma, tashi, kai saman da kammala, bi da bi. fassarar lokacin kiɗa a matsayin lokacin "zagayowar rayuwa" na kiɗa. "kwayoyin halitta"; da ra'ayin abun ciki a matsayin hoto da tsari a matsayin mai rai, m kwayoyin), kuma musamman mutum - tarihi. da zamantakewa - duniya ta ruhaniya (ma'anar rubutun haɗin kai-ruhaniya wanda ke rayar da tsarin sauti, daidaitawa zuwa ɗa'a. da kyakkyawar manufa, siffar 'yancin ruhaniya na mutum, tarihi. da ƙayyadaddun ƙayyadaddun al'umma na duka ma'ana da akida na kiɗa, da F. m.; "Nau'i na kiɗa a matsayin abin da aka ƙaddara al'umma shine da farko da aka sani da nau'i ... na binciken zamantakewa na kiɗa a cikin hanyar shiga" - Asafiev B. V., 1963, p. 21). Haɗuwa cikin inganci guda ɗaya na kyau, duk nau'ikan ayyukan abun ciki, watau o., a matsayin nuni na gaskiya a cikin hanyar watsa na biyu, yanayin "yan Adam". Musical Op., Da fasaha yana nuna tarihi. da kuma ƙayyadaddun gaskiyar al'umma ta hanyar manufa na kyau a matsayin ma'auni don kyan gani. kimantawa, sabili da haka ya juya ya zama hanyar da muka san shi - "kyau" mai kyau, aikin fasaha. Duk da haka, tunanin gaskiya a cikin nau'o'in nau'i da abun ciki ba kawai canja wurin gaskiyar da aka ba a cikin kiɗa ba (nunawa na gaskiya a cikin fasaha zai zama kawai kwafi na abin da ke wanzu ba tare da shi ba). Kamar yadda fahimtar ɗan adam "ba kawai yana nuna ainihin duniya ba, amma kuma ya halicci shi" (Lenin V. I., PSS, 5 ed., t. 29, p. 194), da kuma zane-zane, kiɗan canji ne, yanki mai ƙirƙira. ayyukan ɗan adam, yanki na ƙirƙirar sabbin abubuwa (na ruhaniya, kyakkyawa, fasaha. dabi'u) waɗanda ba su wanzu a cikin abin da aka nuna a cikin wannan ra'ayi. Saboda haka muhimmancin art (a matsayin wani nau'i na tunani na gaskiya) na irin wannan Concepts kamar hazaka, iyawa, kerawa, kazalika da gwagwarmaya da m, baya siffofin, ga halittar sababbi, wanda aka bayyana duka a cikin abun ciki na. music in F. m. Don haka F. m. kullum akida e. yana ɗaukar hatimi. kallon duniya), ko da yake b. h ana bayyana shi ba tare da siyasa da akida kai tsaye ba. formulations, kuma a cikin wadanda ba shiri instr. kiɗa - gabaɗaya ba tare da k.-l. ma'ana-conceptual siffofin. Tunani a cikin kiɗa na zamantakewa-tarihi. aikin yana da alaƙa da aiki mai tsattsauran ra'ayi na kayan da aka nuna. Canjin na iya zama mai mahimmanci ta yadda ba abun ciki na kida ko na F. m. maiyuwa ba zai yi kama da zahirin gaskiya ba. Wani ra'ayi na kowa shine cewa a cikin aikin Stravinsky, daya daga cikin fitattun ma'auni na zamani. Gaskiya a cikin sabaninsa, wanda ake zargin bai sami cikakkiyar ma'anar gaskiyar karni na 20 ba, ya dogara ne akan dabi'a, inji. fahimtar nau'in "tunani", akan rashin fahimtar rawar da ke cikin zane-zane. nuna juzu'in juzu'i. Binciken sauye-sauye na abin da aka nuna a cikin tsarin samar da fasaha. aikin da V.
Mafi yawan ka'idodin ginin tsari, wanda ya shafi kowane salon (kuma ba takamaiman salon gargajiya ba, alal misali, litattafan Viennese na zamanin Baroque), suna nuna F.m. kamar kowane nau'i kuma, a zahiri, saboda haka an haɗa su sosai. Irin waɗannan mafi yawan ƙa'idodin gama gari na kowane F. m. Siffata zurfin jigon kiɗa a matsayin nau'in tunani (a cikin hotunan sauti). Don haka misalan da ke da nisa tare da sauran nau'ikan tunani (na farko, ra'ayi mai ma'ana, wanda zai zama kamar baƙon baki ne dangane da fasaha, kiɗa). Gabatar da tambayar waɗannan mafi yawan ƙa'idodin gama gari na F. m. Al'adun kiɗa na Turai na karni na 20 (Irin wannan matsayi ba zai iya kasancewa ko dai a cikin duniyar da ta dade ba, lokacin da kiɗa - "melos" - an haife shi cikin haɗin kai tare da aya da rawa, ko kuma a cikin kiɗa na Yammacin Turai har zuwa 1600, watau har sai instr. kiɗa ya zama. wani nau'i mai zaman kansa na tunani na kiɗa, kuma kawai don tunanin karni na 20 ya zama ba zai yiwu ba mu iyakance kanmu don gabatar da tambaya game da samuwar zamanin da aka ba kawai).
Gaba ɗaya ƙa'idodin kowane F. m. bayar da shawarar a cikin kowace al'ada yanayin yanayin ɗaya ko wani nau'in abun ciki ta yanayin muses. kara a gaba daya, ya ishãra. determinism dangane da takamaiman matsayin zamantakewa, al'adu, launin fata da na ƙasa. asali. Wani F.m. magana ce ta muses. tunani; don haka ainihin alaƙa tsakanin F. m. da nau'ikan kiɗan. iya magana (duba gaba a sashe na V; duba kuma Melody). Tunani na iya zama ko dai mai cin gashin kansa-kaɗe-kaɗe (musamman a cikin kiɗan Turai masu kai da yawa na zamani), ko kuma an haɗa shi da rubutu, rawa. (ko tafiya) motsi. Duk wani kiɗa. an bayyana ra'ayin a cikin tsarin ma'anar. ginin shiga, kiɗa-bayyana. kayan sauti (rhythmic, pitch, timbre, da dai sauransu). Don zama hanyar bayyana kiɗa. Tunani, shigar da kayan FM an tsara su ne da farko bisa tushen bambance-bambance na farko: maimaitawa da rashin maimaitawa (a wannan ma'ana, FM azaman ƙayyadaddun tsari na abubuwa masu sauti a cikin faɗuwar tunani na ɗan lokaci shine ƙarar kusa); daban F.m. a cikin wannan girmamawa - nau'ikan maimaitawa daban-daban. A karshe, F. m. (kodayake zuwa matakin da bai dace ba) shine gyare-gyare, kamala na maganganun muses. tunani (kyakkyawan yanayin F. m.).
III. Siffofin kiɗa kafin 1600. Matsalar nazarin tarihin farko na kiɗan kiɗa yana da rikitarwa ta hanyar juyin halitta na ainihin abin da ke tattare da manufar kiɗa. Kiɗa a cikin ma'anar fasaha na L. Beethoven, F. Chopin, PI Tchaikovsky, AN Scriabin, tare da F. m. na asali, ba su wanzu a cikin tsohuwar duniya; cikin 4 c. a cikin rubutun Augustine "De musica libri sex" bh bayanin kida, wanda aka ayyana a matsayin scientia bene modulandi – lit. “Kimiyyar daidaitawa da kyau” ko “ilimin ingantacciyar samuwar” ya ƙunshi bayyana koyaswar mita, rhythm, aya, tsayawa da lambobi (F. m. a ma’anar zamani ba a magana a nan gaba ɗaya).
Na farko Tushen F. m. shi ne da farko a cikin rhythm ("A farkon akwai kari" - X. Bülow), wanda a fili ya taso a kan mita na yau da kullum, kai tsaye canjawa wuri zuwa music daga iri-iri na rayuwa mamaki - bugun jini, numfashi, mataki, rhythm na processions. , Ayyukan aiki, wasanni, da dai sauransu (duba Ivanov-Boretsky MV, 1925; Kharlap MG, 1972), kuma a cikin ƙayyadaddun ƙayyadaddun "na halitta" rhythms. Daga ainihin haɗin kai tsakanin magana da rera waƙa ("Magana da rera waƙa abu ne na farko" - Lvov HA, 1955, shafi na 38) mafi mahimmanci F. m. ("F. m. lamba daya") ya faru - waƙa, nau'in waƙa wanda ya haɗu da kuma nau'i na waƙa, nau'i na aya zalla. Filayen fasalin fasalin waƙar: bayyane (ko saura) haɗi tare da ayar, tsattsauran ra'ayi, daidaitaccen rhythmic. (wanda ke fitowa daga ƙafafu) tushen layi, haɗuwa da layi a cikin stanzas, tsarin tsarin rhyme-cadences, dabi'a ga daidaito na manyan gine-gine (musamman - zuwa nau'i na nau'in 4 + 4); Bugu da kari, sau da yawa (a cikin waƙar fm masu haɓakawa) kasancewar fm na matakai biyu - zayyanawa da haɓakawa-ƙarewa. Musanya. misalin ɗaya daga cikin tsoffin misalan kiɗan waƙa shine Teburin Seikila (ƙarni na farko AD (?)), duba Art. Hanyoyin Girka na dā, shafi na 1; duba kuma whale. waƙa (ƙarni na farko BC (?)):
Babu shakka, asali da asali. ci gaban waƙar da aka samu a cikin tarihin dukan mutane. Bambanci tsakanin P. m. waƙoƙi sun zo daga yanayi daban-daban na wanzuwar nau'in (bi da bi, ɗaya ko wata manufar rayuwa kai tsaye na waƙar) da nau'ikan ma'auni., Rhythmic. da tsarin fasali na waka, rhythmic. Dabaru a cikin nau'ikan rawa (daga baya, 120 rhythmic formula na 13th theorist Indian theorist Sharngadeva). Haɗe da wannan shine ma'anar gabaɗaya na "ɗaurin nau'i" a matsayin babban al'amari na ƙira-halaye. alamar da aka ayyana. nau'in (musamman rawa, tafiya), maimaita rhythmic. dabara a matsayin ka'ida-thematic. (muradi) Factor F. m.
Aure-karni. Bature F. m. an kasu kashi biyu manya-manyan rukunoni waɗanda suka bambanta ta fuskoki da yawa sosai - monodic fm da polyphonic (mafi rinjaye; duba sashe na IV).
F. m. monodies ana wakilta da farko ta waƙar Gregorian (duba waƙar Gregorian). Siffofinsa na nau'ikan suna da alaƙa da ƙungiyar asiri, tare da ma'anar ma'anar rubutu da takamaiman manufa. Kidan liturgical. rayuwar yau da kullum ta bambanta da kiɗa a Turai daga baya. hankali shafi ("aikin") hali. Musanya. kayan suna da halin da ba na mutum ba, ba na mutum ɗaya ba (ana iya jujjuya waƙa daga wannan waƙa zuwa wani, rashin mawallafin waƙar yana nuni ne). A daidai da akida shigarwa na coci domin monodich. F. m. shi ne hali na rinjayen kalmomi a kan kiɗa. Wannan yana ƙayyade 'yancin mita da rhythm, wanda ya dogara da bayyanawa. furucin rubutu, da kuma halayyar “laushi” na madaukai na FM, kamar dai ba shi da cibiyar nauyi, ƙarƙashinsa ga tsarin rubutun kalmomi, dangane da abin da ra'ayoyin FM da nau'ikan dangane da monodic. . kiɗan suna kusa da ma'ana. Mafi tsufa monodic. F. m na farkon. Millennium na farko. Daga cikin kayan kida na Byzantine (nau'i), mafi mahimmanci sune Ode (waƙa), zabura, troparion, waƙoƙin yabo, kontakion, da canon (duba kiɗan Byzantine). Suna halin haɓakawa (wanda, kamar yadda yake a cikin wasu lokuta masu kama da juna, yana nuna ƙwararrun ƙwararrun tsara al'adun gargajiya). Misali na Byzantine F.m.:
Ba a sani ba. Canon 19, Ode 9 (III plagal yanayin).
Daga baya, wannan Byzantine F.m. karbi sunan. "bar".
Tushen jimla ɗaya ɗaya na Yammacin Turai ita ce zabura, wasan kwaikwayo na zabura bisa sautunan zabura. A matsayin wani ɓangare na zabura a kusa da karni na 4. Ana rubuta manyan Zabura uku. F. m. - responsory (zai fi dacewa bayan karantawa), antiphon da Zabura kanta (zabura a cikin kai tsaye; ba tare da haɗawa da masu amsawa da siffofin antiphonal ba). Don misalin Zabura F.m., duba Art. Matsalolin tsakiya. Zabura. F. m. yana bayyana kamanceceniya, ko da yake har yanzu yana da nisa, tare da tsawon jimloli biyu (duba Cikakken Cadence). Irin wannan monodic. F.m., kamar litattafai, waƙa, waƙa, juzu'i, ma'ana, da jerin layi, layi, da tropes, sun taso daga baya. Wasu F. m. sun kasance wani ɓangare na officium (coci. sabis na ranar, a waje da taro) - waƙar waƙa, zabura tare da antiphon, mai ba da amsa, magnificat (ban da su, vespers, invitatorium, nocturne, canticle tare da antiphon) an haɗa su. a cikin hukuma. Duba Gagnepain B., 1968, 10; duba kuma art. Kidan coci.
Mafi girma, monumental monodich. F. m. - taro (masa). FM da aka haɓaka na Mass na yanzu yana samar da babban zagayowar, wanda ya dogara ne akan sauye-sauye na sassa na talakawa (ordinarium missae - rukuni na yau da kullun na waƙar Mass, mai zaman kanta daga ranar cocin shekara) da propria (proprium missae). - masu canji) ƙayyadaddun ƙayyadaddun ƙayyadaddun ƙayyadaddun tsarin al'ada-na yau da kullun. wakokin da aka sadaukar domin wannan rana ta shekara).
Tsarin gabaɗaya na nau'in Mass na Romawa (Lambobin Romawa suna nuna rabe-raben gargajiya na nau'in Mass zuwa manyan sassa 4)
Falsafofi da suka samo asali a tsohuwar Mass na Gregorian sun riƙe mahimmancinsu ta wata siga ko wani na lokuta masu zuwa, har zuwa ƙarni na 20. Siffofin sassa na talakawa: Kyrie eleison kashi uku ne (wanda ke da ma'ana ta alama), kuma kowane furci kuma ana yin sau uku (zaɓuɓɓukan tsarin su ne aaabbbece ko aaa bbb a 1 a1 a1; aba ede efe1; aba cbc dae) . Babban harafin P. m. Gloria a kai a kai tana amfani da ɗayan mahimman ka'idoji na ƙa'idar dalili. Tsarin: maimaita kalmomi - maimaita kiɗa (a cikin sassa 18 na Gloria maimaita kalmomin Domine, Qui tollis, tu solus). P. m Gloria (a cikin ɗayan zaɓuɓɓuka):
Daga baya (a cikin 1014), Credo, wanda ya zama wani ɓangare na Mass na Roman, an gina shi azaman ƙarami F. m., kama da Gloria. P. m Sanestus kuma an gina shi bisa ga rubutu - yana da sassa 2, na biyun mafi yawan su shine - ut supra (= da capo), bisa ga maimaita kalmomin Hosanna m excelsis. Agnus Dei, saboda tsarin rubutun, yana da sassa uku: aab, abc ko aaa. Misali na F.m. monodich. don Mass na Gregorian, duba shafi na 883.
F. m. Ƙwaƙwalwar Gregorian – ba zayyanawa ba, raba su da nau'in kida mai tsafta. gini, amma tsarin da aka ƙaddara ta hanyar rubutu da nau'i (nau'i na rubutu-musical).
Nau'in nau'i mai kama da F. m. Yammacin Turai. coci monodic. kiɗa - sauran Rashanci. F. m. Kwatankwacin da ke tsakaninsu ya shafi kyan gani. abubuwan da ake buƙata don F. m., kamance a cikin nau'i da abun ciki, da kuma kiɗa. abubuwa (ƙara, layukan waƙa, daidaitawa tsakanin rubutu da kiɗa). Samfuran da za a iya yankewa waɗanda suka zo mana daga wasu Rashanci. kiɗa yana kunshe ne a cikin rubuce-rubucen rubuce-rubuce na ƙarni na 17 da 18, amma kayan kiɗan nasa babu shakka sun kasance na asali mafi tsufa. Bangaren nau'in waɗannan F. m. an ƙaddara ta hanyar manufar ƙungiyar Op. da rubutu. Mafi girman sashi na nau'ikan nau'ikan da kuma F. m. bisa ga nau'ikan sabis: Mass, Matins, Vespers; Compline, Ofishin Tsakar dare, Sa'o'i; All-Night Vigil shine ƙungiyar Great Vespers tare da Matins (duk da haka, farkon wanda ba na kiɗa ba shine haɗin haɗin F. m. a nan). Gabaɗaya nau'o'in rubutu da falsafa - stichera, troparion, kontakion, antiphon, theotokion (dogmatist), litanies — suna nuna kamanceceniya na rubutu tare da falsafar Byzantine iri ɗaya; Rukunin F. m. kuma canon ne (duba Canon (2)). Bugu da ƙari, ƙungiyar ta musamman ta ƙunshi nau'o'in rubutun kalmomi (kuma, daidai, fm): mai albarka, "Kowane numfashi", "Ya cancanci a ci", "Haske mai shuru", sedate, Cherubic. Su ne nau'ikan asali na asali da kuma F. m., kamar rubutu-nau'i-nau'i a Yammacin Turai. kiɗa - Kyrie, Gloria, Te Deum, Magnificat. Fusion na manufar P.m. tare da rubutu (kuma tare da nau'in) yana ɗaya daga cikin halayen. ka'idodin F. m.; rubutun, musamman tsarinsa, yana cikin tsarin FM (FM yana bin rarraba rubutun zuwa layi).
Gregorian Mass din Feriis a kowace shekara” (an nuna frets a cikin lambobin Roman).
A yawancin lokuta, tushen (kayan abu) F. m. wakoki (duba Metallov V., 1899, shafi na 50-92), kuma hanyar amfani da su ita ce bambance-bambance (a cikin bambance-bambancen tsarin waƙoƙin sauran waƙoƙin Rashanci, ɗaya daga cikin bambance-bambance tsakanin F. m. Turai chorale). , wanda hali ga daidaita tsarin ma'ana yana da halaye). Hadadden waƙoƙin jigo ne. tushen gaba ɗaya abun da ke ciki na F. m. A cikin manyan abubuwan haɗin gwiwa, babban kwatancen F. m. abun da ke ciki (marasa kida) ayyuka: farawa - tsakiya - ƙarshe. Daban-daban nau'ikan F. m. an haɗa su a kusa da babba. sabanin nau'ikan F. m. - mawaƙa da kuma ta hanyar. Chorus F. m. sun dogara ne akan bambancin amfani da nau'i-nau'i: aya - dena (ana iya sabuntawa). Misalin nau'i na hanawa ( sau uku, wato, tare da raguwa guda uku) shine waƙar babban waƙar znamenny "Yabo, raina, Ubangiji" (Obikhod, sashi na 1, Vespers). F. m. ya ƙunshi jerin "layi - mawaƙa" (SP, SP, SP, da dai sauransu) tare da hulɗar maimaitawa da rashin maimaitawa a cikin rubutu, maimaitawa da rashin maimaitawa a cikin waƙar. Giciye-yanke F. m. wani lokaci ana siffanta su da bayyanannen sha'awar guje wa irin na yammacin Turai. kiɗa na hanyoyin inganta hankali na gina kayan kida, ainihin maimaitawa, da ramawa; a cikin mafi ci gaba F, m. na wannan nau'in, tsarin yana da asymmetric (bisa ga rashin daidaituwa na m), rashin iyaka na haɓaka; ka'idar F. m. ba shi da iyaka. linearity. Tushen tushe na F. m. A cikin nau'i-nau'i shine rarrabuwa zuwa sassa-layi da dama dangane da rubutu. Misalai na manyan nau'ikan yankan giciye sune sticheras bishara 11 na Fyodor Krestyanin (ƙarni na 16). Don nazarin su F. m., wanda MV Brazhnikov ya yi, duba littafinsa: "Fyodor Krestyanin", 1974, shafi na 156. 221-1977. Duba kuma "Bincike na Ayyukan Kiɗa", 84, p. 94-XNUMX.
Kiɗa na zamani na tsakiyar zamanai da Renaissance sun haɓaka nau'ikan nau'ikan nau'ikan nau'ikan kida da kayan kida, wanda kuma ya dogara ne akan hulɗar kalma da waƙa. Waɗannan su ne nau'ikan waƙoƙi da raye-raye iri-iri. F. m .: ballad, ballata, villancico, virele, canzo (canzo), la, rondo, rotrueng, estampi, da dai sauransu (duba Davison A., Apel W., 1974, NoNo 18-24). Wasu daga cikinsu suna da cikakkiyar waka. siffa, wanda shine irin wannan muhimmin kashi na F. m., wanda a wajen mawaƙa. rubutu, ya rasa tsarinsa. Asalin irin wannan F.m. yana cikin hulɗar maimaita rubutu da kiɗa. Misali, sigar rondo (a nan layi 8):
Hoton rondo mai layi 8: Lambobin layi: 1 2 3 4 5 6 7 8 Waqoqin (rondo): AB c A de AB (A, B ne refrains) Kiɗa (da waƙoƙi): abaaabab
G. de Macho. 1st rondo "Doulz viaire".
Dogaran P.m na farko akan kalma da motsi ya ci gaba har zuwa ƙarni na 16 da na 17, amma tsarin sakin su a hankali, ƙwaƙƙwaran ƙayyadaddun nau'ikan abubuwan da aka tsara, ana lura da su tun daga ƙarshen Zamani na Tsakiya, na farko a cikin nau'ikan duniya. , sa'an nan a cikin coci nau'o'i (misali, kwaikwayo da kuma canonical F. m. a cikin talakawa, motets na 15th-16th ƙarni).
Wani sabon tushe mai ƙarfi na siffa shi ne fitowar da haɓakar polyphony azaman cikakken nau'in muses. gabatarwa (duba Organum). Tare da kafa polyphony a cikin Fm, an haifi sabon nau'i na kiɗa - abin da ba a taɓa ji ba a baya na "tsaye" na Fm.
Bayan kafa kanta a cikin kiɗan Turai a cikin karni na 9, polyphony a hankali ya zama babba. nau'in yadudduka na kiɗa, alamar canjin muses. tunanin zuwa wani sabon matakin. A cikin tsarin sautin da yawa, wani sabon abu, mai yawan sauti, ya bayyana. wasiƙar, ƙarƙashin alamar da aka kafa yawancin Renaissance fm (duba sashe na IV). polyphony da polyphony. rubuce-rubucen ya haifar da nau'o'in kiɗa (da nau'ikan nau'ikan) na ƙarshen Tsakiyar Tsakiyar Tsakiya da Renaissance, da farko taro, motet, da madrigal, da irin waɗannan nau'ikan kiɗan kamar kamfani, sashi, hali, goket, nau'ikan waƙar duniya daban-daban. da kuma siffofin rawa, da maye gurbin fm), Quadlibet (da kuma irin nau'ikan nau'ikan FM - Tivicar, Takaddun Kayayyaki - PL. Daga cikin suna f .m., duba Davison A., Apel W., 1974). A hankali, amma a hankali inganta fasahar F. m. – G. Dufay, Josquin Despres, A. Willart, O. Lasso, Palestrina. Wasu daga cikinsu (alal misali, Palestrina) suna amfani da ka'idar ci gaban tsarin gini a cikin ginin F. m., wanda aka bayyana a cikin haɓakar haɓakar tsarin ta ƙarshen samarwa. (amma babu tasirin tasiri). Alal misali, madrigal na Palestrina "Amor" (a cikin tarin "Palestrina. Choral Music", L., 15) da aka gina a cikin irin wannan hanyar da 16st line aka zana sama a matsayin daidai fugato, a cikin na gaba biyar kwaikwayo zama. 'Yanci da yawa, 1973th yana dawwama a cikin ma'ajiyar kide-kide, kuma a canonically fara na ƙarshe tare da kwaikwayonsa yayi kama da ramuwa na tsari. Makamantan ra'ayoyin F. m. ana yin su akai-akai a cikin motets na Palestrina (a cikin mawaƙa da yawa F.m., rhythm na gabatarwar antiphonal shima yana biyayya ga ƙa'idar ci gaban tsarin).
IV. nau'ikan kiɗan polyphonic. Polyphonic F. m. ana bambanta su ta hanyar ƙari zuwa manyan uku. Fassarar F. m. (nau'i, rubutu - a wok. kiɗa da kwance) ɗaya ƙari - a tsaye (ma'amala da tsarin maimaitawa tsakanin daban-daban, sautunan sauti lokaci guda). A bayyane yake, polyphony ya kasance a kowane lokaci (“… lokacin da kirtani ke fitar da waƙa ɗaya, kuma mawaƙin ya tsara wani waƙa, lokacin da suka cimma daidaituwa da sauti…” - Plato, “Laws”, 812d; cf. Har ila yau Pseudo-Plutarch, "Akan Kiɗa", 19), amma ba wani abu bane na muses. tunani da siffatawa. Matsayi mai mahimmanci na musamman a cikin ci gaban F. m. wanda ya haifar da shi mallakar wariyar launin fata ne na Yammacin Turai (daga karni na 9), wanda ya ba da yanayin tsaye darajar daidaitattun haƙƙoƙi tare da madaidaiciyar madaidaiciya (duba Polyphony), wanda ya haifar da samuwar sabon nau'in F. m na musamman. - polyphonic. Aesthetically da kuma na tunani polyphonic. F. m. akan sautin haɗin gwiwa na sassa biyu (ko da yawa) na kiɗa. tunani kuma yana buƙatar wasiku. fahimta. Don haka, abin da ya faru na polyphonic. F. m. yana nuna ci gaban sabon al'amari na kiɗa. Godiya ga wannan kiɗan. karar da aka samu sabbin kayan kwalliya. dabi'u, in ba tare da wanda manyan nasarorin da ya samu ba ba za su yiwu ba, gami da a cikin Op. homoph. sito (a cikin kiɗa na Palestrina, JS Bach, BA Mozart, L. Beethoven, PI Tchaikovsky, SS Prokofiev). Dubi luwadi.
Babban tashoshi na samuwar da bunƙasa na polyphonic. F. m. an dage farawa ta hanyar haɓaka takamaiman polyphonic. dabarun rubuce-rubuce kuma suna tafiya a cikin hanyar fitowar da ƙarfafa 'yancin kai da bambancin muryoyin, batutuwan su. haɓakawa (bambancin jigogi, haɓaka jigogi ba kawai a kwance ba, har ma a tsaye, halaye zuwa ta hanyar thematization), ƙari na takamaiman polyphonic. F. m. (ba za a iya rage shi zuwa nau'in F. m. da aka bayyana da yawa ba - waƙa, rawa, da sauransu). Daga mafarin polyphonic daban-daban. F. m. da polygonal. haruffa (bourdon, nau'ikan heterophony iri-iri, kwafi-dakika, ostinato, kwaikwayo da canonical, responsorial da antiphonal Tsarin) a tarihi, farkon abin da suka kirkiro shi ne paraphony, yanayin layi ɗaya na muryar da ba ta dace ba, daidai kwafin babban abin da aka bayar - vox (cantus) principalis (duba Organum), cantus firmus ("waƙar waƙa ta doka"). Da farko dai, shine farkon nau'ikan kwayoyin halitta - abin da ake kira. layi daya (9th-10th century), da kuma daga baya gimel, foburdon. Yanayin polyphonic. F. m. Anan akwai sashin aiki na Ch. murya (a cikin sharuddan daga baya soggetto, "Subjectum oder Thema" - Walther JG, 1955, S. 183, "jigo") da kuma 'yan adawa da ke adawa da shi, da ma'anar hulɗar da ke tsakanin su a lokaci guda yana tsammanin yanayin tsaye na polyphonic. . F. m. (yana zama sananne musamman a cikin bourdon da kaikaice, sannan a cikin sashin "kyauta", a cikin dabarar "bayanin kula da bayanin kula", daga baya ake kira contrapunctus simplex ko aequalis), alal misali, a cikin littafan karni na 9. "Musica enchiriadis", "Scholia enchiriadis". A hankali, mataki na gaba na ci gaba yana hade da kafa ainihin polyphonic. sifofi a cikin nau'in adawa mai bambanta a cikin daidaituwar biyu ko fiye. muryoyin (a cikin melismatic organum), wani bangare na amfani da ka'idar bourdon, a wasu nau'ikan polyphonic. shirye-shirye da bambance-bambance a kan cantus firmus, a cikin sauƙi mai sauƙi na clauses da farkon motets na Makarantar Paris, a cikin waƙoƙin cocin polyphonic. da nau'o'in addini, da sauransu.
Ƙimar yawan sautin polyphony ya buɗe sabbin damar yin rhythmic. bambance-bambancen muryoyin kuma, saboda haka, ya ba da sabon kallo ga polyphonic. F. m. Farawa tare da ƙungiyar masu ra'ayin ra'ayi na metrorhythm (modal rhythm, mensural rhythm; duba. Modus, Bayanin Mensural) F. m. a hankali yana samun takamaiman. don kiɗan Turai yana haɗuwa da cikakke (har ma da ƙwarewa) mai ma'ana. ginawa tare da maɗaukakin ruhaniya da zurfin tunani. Babban rawa a cikin ci gaban sabon F. m. ya kasance na Makarantar Paris, sannan wasu. Faransa. mawakan karni na 12-14. Kusan. 1200, a cikin juzu'i na Makarantar Paris, ka'idar sarrafa sautin ostinato na rhythmically, wanda shine tushen F. m. (tare da taimakon taƙaitaccen tsarin rhythmic, yana tsammanin isorhythmic. talea, duba Motet; misali: clauses (Benedicamusl Domino, cf. Davison A., Apel W., v. 1, p. 24-25). Wannan dabarar ta zama ginshiƙi na motets kashi biyu da uku na ƙarni na 13. (misali: motets na makarantar Paris Domino fidelium - Domino da Dominator - Esce - Domino, ca. 1225, Ibid., p. 25-26). A cikin motets na karni na 13. ya bayyana aiwatar da thematization na adawa ta hanyar Dec. nau'in maimaitawar layi, filaye, rhythmic. Figures, ko da yunkurin a lokaci guda. sadarwa bambanta. wakoki (cf. мотет «En non Diu! – Quant voi larose espanie – Ejus in oriente “na Makarantar Paris; Parrish K., Ole J., 1975, p. 25-26). Daga baya, bambance-bambance masu ƙarfi na rhythmic na iya haifar da polymetry mai kaifi (Rondo B. Cordier “Amans ames”, ca. 1400, duba Davison A., Apel W., v. 1, p. 51). Bayan bambance-bambancen rhythmic, akwai sabani a cikin tsayin jumlolin da aka yanke. muryoyin (rudiment na counterpoint Tsarin); ana jaddada 'yancin kai na muryoyin ta hanyar bambancin rubutunsu (haka kuma, rubutun na iya kasancewa cikin harsuna daban-daban, alal misali. Latin a tenor da motetus, Faransanci cikin triplum, duba Polyphony, bayanin kula a shafi na 351). Fiye da maimaitawa guda ɗaya na waƙar tenor azaman jigon ostinato a gaban fuska tare da canjin juzu'i yana haifar da ɗayan mafi mahimmancin polyphonic. F. m. - bambancin kan basso ostinato (misali, a cikin Faransanci. zafi 13 c. "Albarka, budurwa mai daraja - Maganar Allah - Gaskiya", cm. Wolf J., 1926, S. 6-8). Amfani da rhythmostinatal dabara ya haifar da ra'ayin rabuwa da 'yancin kai na sigogi na farar da kari (a cikin 1st part na 1st part na da aka ambata tenor motet "Ejus in Oriente", sanduna 7-7 da kuma 13-1; a cikin instrumental tenor motet "A cikin seculum" a cikin alaƙa iri ɗaya na sake daidaita layin farar yayin rhythmic ostinato zuwa dabara na 2st ordo na yanayin XNUMXnd, akwai sassa biyu na nau'in kashi biyu; cm. Davison A., Apel W., v. 1, p. 34-35). Babban mahimmancin wannan ci gaba shine isorhythmic. F. m. Karni na 14-15 (Philippe de Vitry, G. da Macho, Y. Cikoniya, G. Dufay da sauransu). Tare da karuwa a cikin ƙimar dabarar rhythmic daga jimla zuwa karin waƙa, wani nau'i na nau'i na rhythmic yana tasowa a cikin tenor. Taken shine talea. Ayyukansa na ostinato a cikin tenor suna ba F. m. isorhythmic. (T. e. isorhythm.) Tsarin (isorhythm - maimaitawa a cikin melodic. murya kawai aka tura rhythmic. dabara, babban abun ciki wanda ya canza). Don ostinato maimaitawa za a iya haɗuwa - a cikin tenor iri ɗaya - maimaitawar tsayi waɗanda ba su dace da su ba - launi (launi; game da isorhythmic. F. m. duba Saponov M. A., 1978, p. 23-35, 42-43). Bayan karni na 16 (A. Willart) isorhythmic. F. m. bace kuma sami sabuwar rayuwa a cikin karni na 20. a cikin dabarar rhythm-mode na O. Messiaen (daidaitaccen canon a cikin No. 5 na “Ra’ayoyi Ashirin…”, farkonsa, duba shafi na.
A cikin ci gaban yanayin tsaye na polyphonic. F. m. zai ware. ci gaban maimaituwa ta hanyar fasaha na kwaikwayo da canon, da madaidaicin wayar hannu, yana da mahimmanci. Kasancewar sashe mai fa'ida da banbance-banbance na fasahar rubuce-rubuce da tsari, kwaikwayo (da canon) ya zama tushen mafi ƙayyadaddun sautin rubutu. F. m. A tarihi, kwaikwayo na farko. Canonical F. m. Hakanan yana hade da ostinato - amfani da abin da ake kira. musayar muryoyi, wanda shine ainihin maimaitawar ginin kashi biyu ko uku, amma waƙoƙin da suka haɗa shi ne kawai ake watsa su daga wannan murya zuwa waccan (misali, rondelle na Ingilishi “Nunc sancte nobis spiritus”, 2nd rabi. na karni na 12, duba "Musik in Geschichte und Gegenwart", Bd XI, Sp. 885, duba kuma rondelle "Ave mater domini" daga Odington's De speculate musice, kusan 1300 ko 1320, a cikin Coussemaker, "Scriptorum… ", t . 1, shafi na 247a). Jagoran makarantar Paris Perotin (wanda kuma ke amfani da dabarar musayar murya) a cikin Kirsimeti huɗu Viderunt (c. 1200), a fili, sane ya riga ya yi amfani da ci gaba da kwaikwayo - Canon (wani guntu wanda ya faɗi a kalmar "ante" a ciki). tenor). Asalin waɗannan nau'ikan kwaikwayo. fasaha ta nuna alamar tashi daga taurin ostinato F. m. A kan wannan, kawai canonical. siffofin - kamfani (ƙarni na 13-14; haɗin haɗin kamfani na canon da rondel-musanya muryoyin suna wakiltar sanannen Turanci "Summer Canon", 13 ko 14 ƙarni), Italiyanci. kachcha ("farauta", tare da shirin farauta ko ƙauna, a cikin tsari - canon murya biyu tare da ci gaba da murya na 3) da Faransanci. shas (kuma "farauta" - canon murya uku a hade). Hakanan ana samun nau'in canon a cikin wasu nau'ikan (Ballad na 17 na Machot, a cikin sigar shas; rondo na 14 na Machaud “Ma fin est mon commencement”, mai yiwuwa a tarihi misali na 1st na canon canon, ba tare da haɗin gwiwa tare da ma'anar littafin ba. Rubutun: “Ƙarshena shine farkona”; 17th le Machaux zagaye na 12 ne na canons-shas masu murya uku; don haka canon a matsayin polyphonic na musamman. F. m. an rabu da sauran nau'ikan kuma P. m. Adadin muryoyin a cikin F. m. shari'o'in sun kasance masu girman gaske; Okegem yana ladabtar da 36-voice canon-monster "Deo gratias" (wanda, duk da haka, adadin ainihin muryoyin bai wuce 18); Mafi yawan sautin murya (tare da muryoyin gaske 24) na Josquin Despres ne (a cikin motet "Qui habitat in adjutorio"). P. m na canon aka dogara ba kawai a kan sauƙi kai tsaye kwaikwayo (a cikin Dufay's motet "Inclita maris", c. 1420-26, a fili, na farko gwargwado canon; a cikin chanson "Bien veignes vous", c. 1420-26, mai yiwuwa da Canon na farko a girma). KO. 1400 kwaikwayo F. m. wuce, watakila ta kachcha, cikin motet - a Ciconia, Dufay; kuma a cikin F. m. sassa na talakawa, a cikin chanson; zuwa hawa na 2. 15 c. kafa ka'idar kwaikwayo ta ƙarshe zuwa ƙarshe a matsayin tushen F. m.
Kalmar "canon" (canon), duk da haka, yana da a cikin 15-16 ƙarni. ma'ana ta musamman. Maganar marubucin (Inscriptio), yawanci mai ruɗarwa, da ban mamaki, an kira canon ("ka'idar da ke bayyana nufin mawallafin a ƙarƙashin murfin wani duhu", J. Tinktoris, "Diffinitorium musicae"; Coussemaker, "Scriptorum" …”, t. 4, 179 b ), yana nuna yadda za a iya samun biyu daga sanannen murya ɗaya (ko ma fiye da haka, alal misali, duka sautin murya huɗu na P. de la Rue – “Missa o salutaris nostra” – shine. wanda aka samo daga murya ɗaya da aka sani); duba siriri canon. Don haka, duk samfuran da ke da rubutun canon sune F. m. tare da muryoyin deducible (duk sauran F. m. an gina su ta hanyar da, a matsayin mai mulkin, ba su yarda da irin wannan boye-boye ba, wato, ba su dogara ne akan ainihin abin da aka kiyaye "ka'idar ainihi" ba; kalmar BV Asafiev. ). A cewar L. Feininger, nau'ikan canons na Dutch sune: mai sauƙi (duhu ɗaya) kai tsaye; hadaddun, ko fili (multi-duhu) kai tsaye; gwargwado (na al'ada); madaidaiciya (layi ɗaya; Formalkanon); juyawa; elision (Reservatkanon). Don ƙarin a kan wannan, duba littafin: Feininger LK, 1937. Ana samun irin wannan "rubutun" daga baya a cikin S. Scheidt ("Tabulatura nova", I, 1624), a JS Bach ("Musikalisches Opfer", 1747).
A cikin aikin da dama masters na 15th-16th ƙarni. (Dufay, Okeghem, Obrecht, Josquin Despres, Palestrina, Lasso, da sauransu) suna gabatar da nau'ikan sautin murya iri-iri. F. m. (rubutu mai tsauri), DOS. a kan ka'idodin kwaikwayo da bambanci, haɓaka haɓakawa, 'yancin kai na muryoyi masu ban sha'awa, madaidaiciyar kalmomi da layin ayar, dacewa mai laushi da kyakkyawar jituwa (musamman a cikin nau'ikan wok na taro da motet).
Bugu da kari na Ch. Siffofin polyphonic - fugues - kuma ana nuna su ta hanyar rashin daidaituwa tsakanin ci gaban Samui F. m. kuma, a gefe guda, ra'ayi da lokaci. Dangane da ma'ana, kalmar "fugue" ("gudu"; Italiyanci consequenza) yana da alaƙa da kalmomin "farauta", "tsere", kuma da farko (daga karni na 14) an yi amfani da kalmar a cikin ma'ana iri ɗaya, yana nuna canon (kuma a cikin rubutun canons: "fuga in diatessaron" da sauransu). Tinctoris ya bayyana fugue a matsayin "ganewar muryoyin". Amfani da kalmar "fugue" a ma'anar "canon" ya ci gaba har zuwa karni na 17 da 18; ragowar wannan aikin ana iya la'akari da kalmar "fuga canonica" - "canonical. fuge". Misali na fugue azaman canon daga sassa da yawa a cikin instr. kiɗa - "Fuge" don kayan kida na 4 ("violin") daga "Musica Teusch" na X. Gerle (1532, duba Wasielewski WJ v., 1878, Musikbeilage, S. 41-42). Duk karni na R. 16 (Tsarlino, 1558), an raba ra'ayin fugue zuwa fuga legate ("fugue mai haɗin gwiwa", canon; daga baya kuma fuga totalis) da fuga sciolta ("fugue rabe"; daga baya fuga partialis; maye gurbin kwaikwayo- sassan canonical, misali, abсd, da sauransu. . P.); karshen P.m. yana daya daga cikin pre-forms na fugue - sarkar fugato bisa ga nau'in: abcd; abin da ake kira. nau'i na motet, inda bambancin batutuwa (a, b, c, da dai sauransu) ya kasance saboda canjin rubutu. Bambanci mai mahimmanci tsakanin irin wannan "ƙananan" F. m. kuma fugue mai rikitarwa shine rashin haɗuwa da batutuwa. A cikin karni na 17 fuga sciolta (partialis) ya shiga cikin ainihin fugue (Fuga totalis, kuma legata, hadewa ya zama sananne da canon a cikin karni na 17-18). Yawan sauran nau'o'in da kuma F. m. karni na 16. ya samo asali a cikin hanyar nau'in fugue mai tasowa - motet (fugue), ricercar (wanda aka canza tsarin motet na yawan gine-ginen kwaikwayo; mai yiwuwa fugue mafi kusa zuwa F. m.), fantasy, Mutanen Espanya. tiento, imitative-polyphonic canzone. Don ƙara fugue a cikin instr. kiɗa (inda babu wani abu mai haɗawa na baya, wato haɗin kai na rubutu), dabi'ar jigo yana da mahimmanci. tsakiya, watau zuwa fifikon waƙa guda ɗaya. jigogi (kamar yadda ya saba da murya. Multi-duhu) - A. Gabrieli, J. Gabrieli, JP Sweelinck (ga magabata na fugue, duba littafin: Protopov VV, 1979, shafi na 3-64).
A karni na 17 ya kafa babban abin da ya dace har yau polyphonic. F. m. - fugue (na kowane nau'i na tsari da nau'in), Canon, bambance-bambancen polyphonic (musamman, bambancin basso ostinato), polyphonic. (musamman, chorale) shirye-shirye (misali, zuwa cantus firmus da aka ba), polyphonic. cycles, polyphonic preludes, da dai sauransu. Babban tasiri a kan ci gaban polyphonic F. na wannan lokacin an yi shi ta hanyar sabon tsarin daidaitawa na ƙananan ƙananan (sabuntawa, ƙaddamar da ma'anar tonal-modulating factor a matsayin babban factor a FM; ci gaba. na nau'in rubutun homophonic-harmonic da kuma daidai F. m.). Musamman, fugue (da irin wannan polyphonic fm) sun samo asali ne daga babban nau'in modal na karni na 17. (inda modulation bai riga ya zama tushen polyphonic F. m.; misali, a cikin Scheidt's Tabulatura nova, II, Fuga contraria a 4 Voc.; I, Fantasia a 4 Voc. super lo son ferit o lasso, Fuga quadruplici ) zuwa nau'in tonal ("Bach") tare da bambancin tonal a cikin hanyar cf. sassa (sau da yawa a cikin layi daya yanayin). Banda muhimmanci a cikin tarihin polyphony. F. m. yana da aikin JS Bach, wanda ya hura sabuwar rayuwa a cikin su godiya ga kafa tasiri na albarkatun manyan ƙananan ƙananan tsarin tonal don thematism, thematic. ci gaba da tsarin tsari. Bach ya ba da polyphonic F.m. sabon classic. bayyanar, wanda, kamar yadda a kan babban. nau'in, polyphony na gaba yana sane ko rashin sani (har zuwa P. Hindemith, DD Shostakovich, RK Shchedrin). Da yake nuna yanayin gabaɗaya na lokacin da sabbin dabarun da magabata suka samu, ya zarce na zamaninsa (ciki har da ƙwararren GF Handel) a cikin fage, ƙarfi da lallashi na tabbatar da sabbin ka'idojin kiɗan polyphonic. F. m.
Bayan JS Bach, babban matsayi ya kasance ta hanyar homophonic F. m. (duba Homophony). A gaskiya polyphonic. F. m. Wani lokaci ana amfani da su a cikin wani sabon abu, wani lokacin ban mamaki rawar (fughetta na masu gadi a cikin mawaƙa "Sweeter fiye da zuma" daga wasan 1st na opera Rimsky-Korsakov "The Tsar Bride"), samun ban mamaki dalilai. hali; mawaƙa suna ambaton su azaman magana ta musamman, ta musamman. yana nufin. Zuwa babba, wannan sifa ce ta polyphonic. F. m. in Rashanci. kiɗa (misali: MI Glinka, "Ruslan da Lyudmila", canon a cikin wurin da ya faru daga aikin na 1st; sabanin polyphony a cikin wasan "A Tsakiyar Asiya" na Borodin da kuma a cikin wasan "Yahudawa Biyu" daga "Hotuna a Nuni "Mussorgsky; Canon "Makiya" daga 5th scene na opera "Eugene Onegin" na Tchaikovsky, da dai sauransu).
V. Siffofin kiɗan luwaɗi na zamani. Farkon zamanin da ake kira. sabon lokaci (ƙarni na 17-19) ya nuna babban juyi a cikin ci gaban muses. tunani da F. m. (fitowar sabbin kwayoyin, mahimmancin kiɗan mutum, rinjayen manyan-ƙaramin tsarin tonal). A cikin akida da kyawun yanayi sun ci gaba da sabbin hanyoyin fasaha. tunani - roko ga waƙar duniya. abun ciki, tabbatar da ka'idar mutumtaka a matsayin jagora, bayyanawa na ciki. duniyar mutum ("soloist ya zama babban adadi", "ƙaddamar da tunanin mutum da ji" - Asafiev BV, 1963, shafi na 321). Yunƙurin opera zuwa mahimmancin kiɗan tsakiya. nau'in, kuma a cikin instr. kiɗa - tabbatar da ka'idar wasan kwaikwayo (baroque - zamanin "salon wasan kwaikwayo", a cikin kalmomin J. Gandshin) ya fi dacewa da kai tsaye. Canja wurin hoton mutum a cikin su kuma yana wakiltar mayar da hankali ga kayan ado. buri na sabon zamani (aria a cikin wasan opera, solo a cikin wasan kide kide, waƙa a cikin masana'anta na homophonic, ma'auni mai nauyi a cikin mita, tonic a cikin maɓalli, jigo a cikin abun da ke ciki, da tsakiya na kiɗan kiɗan. - bayyanannun abubuwa da yawa da girma na " kaɗaici ", "singularity", rinjaye na ɗaya akan wasu a cikin nau'o'in tunanin kiɗa). Halin da ya riga ya bayyana kansa a baya (misali, a cikin iso-rhythmic motet na ƙarni na 14-15) zuwa ga ikon cin gashin kansa na ƙa'idodin kiɗan zalla na siffa a cikin ƙarni na 16-17. ya kai ga halaye. tsalle - 'yancin kai, an bayyana su kai tsaye a cikin samuwar instr mai cin gashin kansa. kiɗa. Ka'idodin kiɗa mai tsabta. siffata, wanda ya zama (a karo na farko a cikin tarihin duniya na kiɗa) mai zaman kansa daga kalmar da motsi, sanya instr. kiɗa a farkon daidai daidai da haƙƙin haƙƙin kiɗan murya (riga a cikin karni na 17 - a cikin canzones na kayan aiki, sonatas, concertos), sa'an nan kuma, ƙari, an sanya siffa a cikin wok. nau'ikan ya danganta da kiɗan mai cin gashin kansa. dokokin F. m. (daga JS Bach, Viennese classics, composers na 19th karni). Gane m music. dokokin F. m. yana daya daga cikin manyan nasarorin kidan duniya. al'adun da suka gano sabbin kyawawan dabi'u da ruhi da ba a san su ba a cikin kiɗa.
Game da fm Zamanin sabon lokaci ya kasu kashi biyu a fili: 1600-1750 (yanayin - baroque, rinjaye na bass general) da 1750-1900 (classic na Vietnamese da romanticism).
Ka'idojin siffa a cikin F. m. Baroque: ko'ina cikin sigar kashi ɗaya b. sa'o'i, ana kiyaye maganganun tasiri ɗaya, saboda haka F. m. ana siffanta su da fifikon jigon jigo na kamanni da kuma rashin bambance-bambancen asali, watau, fitar da wani batu daga wannan. Abubuwan da ke cikin kiɗan Bach da Handel, girman kai yana da alaƙa da ƙarfi wanda ya zo daga nan, girman sassan nau'in. Wannan kuma yana ƙayyadadden yanayin "terraced" na VF m., ta amfani da tsauri. bambance-bambance, rashin sassauƙa da haɓaka crescendo; ra'ayin samarwa ba mai tasowa bane kamar bayyanawa, kamar wucewa ta matakan da aka ƙaddara. A cikin ma'amala da kayan jigogi yana rinjayar tasiri mai ƙarfi na polyphonic. haruffa da siffofin polyphonic. Babban-kananan tsarin tonal yana ƙara bayyana kaddarorin sa (musamman a lokacin Bach). Canje-canjen Chord da tonal suna ba da sabbin iko. hanyoyin motsi na ciki a cikin F. m. Yiwuwar maimaita abu a cikin wasu maɓalli da cikakkiyar ra'ayi na motsi ta ma'anar. da'irar tonalities yana haifar da sabon ka'ida na siffofin tonal (a cikin wannan ma'anar, tonality shine tushen F. m. na sabon lokaci). A cikin “Jagororin…” na Arensky (1914, shafi 4 da 53), an maye gurbin kalmar “sifofin luwadi” a matsayin ma’ana ta kalmar “harmonic. siffofi”, kuma ta hanyar jituwa muna nufin jituwa ta tonal. Baroque fm (ba tare da bambance-bambancen ma'auni da bambancin jigo ba) yana ba da mafi sauƙin nau'in ginin fm don haka ra'ayin "da'irar"), wucewa ta hanyar cadenzas akan wasu matakan tonality, misali:
cikin manyan: I - V; VI – III – IV – I a qanana: I – V; III - VII - VI - IV - I tare da yanayin rashin maimaita maɓalli tsakanin tonic a farkon da kuma a ƙarshe, bisa ga ka'idar T-DS-T.
Alal misali, a cikin nau'i na kide-kide (wanda ya taka leda a sonatas da baroque concerts, musamman tare da A. Vivaldi, JS Bach, Handel, rawar kama da rawar sonata nau'i a cikin kayan hawan keke na gargajiya-romantic music):
Maudu'i - Kuma - Take - Kuma - Topic - Kuma - Taken T - D - S - T (I - interlude, - modulation; misalai - Bach, motsi na 1 na Brandenburg Concertos).
Mafi yaɗuwar kayan kida na Baroque sune homophonic (mafi daidai, waɗanda ba fugued) da polyphonic (duba Sashe na IV). Babban homophonic F. m. baroka:
1) siffofin ta hanyar haɓakawa (a cikin kiɗan instr., babban nau'in shine prelude, a cikin wok. - recitative); samfurori - J. Frescobaldi, preambles don sashin jiki; Handel, clavier suite a cikin d-moll, gabatarwa; Bach, organ toccata a cikin ƙananan ƙananan, BWV 565, ƙaddamar da motsi, kafin fugue;
2) ƙananan (sauki) nau'i - mashaya (sakewa da rashin mayarwa; misali, waƙar F. Nicolai "Wie schön leuchtet der Morgenstern" ("Yaya mai ban mamaki tauraron safiya ke haskakawa", sarrafa shi ta Bach a cikin 1st cantata kuma a cikin wasu. op.)), nau'i biyu, uku- da yawa (misali na karshen shine Bach, Mass in h-moll, No14); wok. kiɗa sau da yawa yana saduwa da nau'in da capo;
3) nau'i-nau'i (haɗin kai) (haɗin ƙananan ƙananan) - hadaddun biyu-, uku- da yawa-bangare; bambanci-composite (alal misali, sassan farko na overtures orchestral by JS Bach), da capo form yana da mahimmanci musamman (musamman, a Bach);
4) bambance-bambancen da daidaitawa na choral;
5) rondo (idan aka kwatanta da rondo na karni na 13-15 - sabon kayan aiki na F. m. karkashin sunan guda);
6) tsohon sonata nau'i, daya-duhu da (a cikin amfrayo, ci gaba) biyu-duhu; kowannen su bai cika ba (kashi biyu) ko cikakke (kashi uku); misali, a cikin sonatas na D. Scarlatti; Cikakken nau'in sonata mai duhu ɗaya - Bach, Matiyu Passion, No 47;
7) nau'i na kide kide (daya daga cikin manyan tushen tsarin sonata na gargajiya na gaba);
8) nau'ikan woks daban-daban. da instr. Siffofin cyclic (su ma wasu nau'ikan kiɗa ne) - Passion, taro (ciki har da gabobin jiki), oratorio, cantata, concerto, sonata, suite, prelude da fugue, overture, nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan iri ne (Bach. na Fugue"), "cycles na cycles" (Bach, "The Well-Tempered Clavier", Faransa suites);
9) Opera. (Duba "Binciken Ayyukan Kiɗa", 1977.)
F. m. na gargajiya-romantic. lokaci, manufar to-rykh ya bayyana a farkon matakin ɗan adam. Ra'ayoyin Turai. Wayewa da tunani, kuma a cikin karni na 19. individualistic ra'ayoyin romanticism ("Romanticism ba kome ba ne illa apotheosis na hali" - IS Turgenev), ikon kai da kuma aestheticization na music, suna halin da mafi girma bayyanar m muses. ka'idojin tsarawa, fifikon ka'idodin haɗin kai na tsakiya da haɓakawa, ƙayyadaddun bambance-bambancen ma'anar F. m., da sauƙi na ci gaban sassansa. Don classic romantic Tunanin F. m. Hakanan yana kama da zaɓin mafi ƙarancin adadin mafi kyawun nau'ikan F. m. (tare da fayyace bambance-bambance a tsakanin su) tare da arziƙin da ba a saba gani ba kuma daban-daban aiwatar da aiwatar da tsarin iri ɗaya (ka'idar bambancin haɗin kai), wanda yayi kama da mafi kyawun sauran sigogi F. m. (misali, tsayayyen zaɓi na nau'ikan jeri masu jituwa, nau'ikan tsarin tonal, ƙididdiga masu ƙima, ƙayyadaddun ƙayyadaddun ƙaƙƙarfan ƙaƙƙarfan ƙaƙƙarfan ƙaƙƙarfan ƙaƙƙarfan ƙaƙƙarfan ƙaƙƙarfan ƙaƙƙarfan ƙaƙƙarfan ƙaƙƙarfan ƙaƙƙarfan ƙaƙƙarfan ƙaƙƙarfan ƙaƙƙarfan ƙaƙƙarfan ƙaƙƙarfan ƙaƙƙarfan ƙaƙƙarfan ƙaƙƙarfan ƙaƙƙarfan ƙaƙƙarfan ƙaƙƙarfan ƙaƙƙarfan ƙaƙƙarfan ƙaƙƙarfan ƙaƙƙarfan ƙaƙƙarfan ƙaƙƙarfan ƙaƙƙarfan ƙaƙƙarfan ƙaƙƙarfan ƙaƙƙarfan ƙaƙƙarfan ƙaƙƙarfan ƙaƙƙarfan ƙaƙƙarfan ƙaƙƙarfan ƙaƙƙarfan ƙaƙƙarfan ƙaƙƙarfan ƙaƙƙarfan ƙaƙƙarfan ƙaƙƙarfan ƙaƙƙarfan ƙaƙƙarfan ƙaƙƙarfan ƙaƙƙarfan ƙaƙƙarfan ƙira, tsarin awo da ke jan hankali zuwa murabba'i, hanyoyin haɓaka haɓakawa), kyakkyawar jin daɗin fuskantar kiɗa. lokaci, da dabara kuma daidai lissafin ma'auni na lokaci. (Hakika, a cikin tsarin tarihin tarihin shekaru 150, bambance-bambance tsakanin ra'ayoyin Viennese-classical da romantic na F. m. suna da mahimmanci.) A wasu bangarori, yana yiwuwa a kafa yanayin yare na gaba ɗaya. ra'ayi na ci gaba a cikin F. m. (Siffar sonata na Beethoven) . F. m. hada da magana na high art, ado, falsafa ra'ayoyin tare da m "duniya" hali na muses. figurativeness (kuma jigogi da ke ɗauke da tambarin kiɗan jama'a na yau da kullun, tare da sifofinsa na kayan kida; wannan ya shafi babban arr F. m. na ƙarni na 19).
Gabaɗaya ma'ana na ka'idodin soyayya na gargajiya. F. m. sune ƙaƙƙarfan ƙaƙƙarfan ƙaƙƙarfan ƙa'idodin kowane tunani a fagen kiɗa, wanda aka nuna a cikin ma'anar. ayyukan ma'anar sassa na F. m. Kamar kowane tunani, kiɗan yana da wani abu na tunani, kayansa (a cikin ma'anar misali, jigo). Ana bayyana tunani a cikin ma'ana mai ma'ana. "Tattaunawa game da batun" (" Siffar kida shine sakamakon "tattaunawa mai ma'ana" na kayan kida" - Stravinsky IF, 1971, shafi na 227), wanda, saboda yanayin yanayi na wucin gadi da rashin fahimta na kiɗa a matsayin fasaha. , raba F. m. cikin sassan ma'ana guda biyu - gabatar da kiɗa. tunani da haɓakarsa ("tattaunawa"). Bi da bi, ma'ana music ci gaban. tunani ya ƙunshi "la'akari" da "kammala" mai zuwa; don haka ci gaba a matsayin mataki na ma'ana. Ci gaban F. m. ya kasu kashi biyu - ainihin ci gaba da kammalawa. A sakamakon ci gaban da classic F. m. gano manyan guda uku. ayyuka na sassa (daidai da Asafiev triad initium - motus - terminus, duba Asafiev BV, 1963, shafi 83-84; Bobrovsky VP, 1978, shafi 21-25) - nuni (bayani na tunani), tasowa (ainihin tunani). ci gaba) da kuma na ƙarshe (bayani na tunani), ƙayyadaddun alaƙa da juna:
(Alal misali, a cikin sauƙi mai sassa uku, a cikin nau'i na sonata.) A cikin bambance-bambancen F. m., ban da tushe guda uku. ayyuka masu taimako na sassan sun taso - gabatarwa (aikin wanda rassan rassan daga farkon gabatarwar jigon), sauyawa da ƙarewa (reshe daga aikin kammalawa kuma ta haka ne aka raba shi zuwa biyu - tabbatarwa da ƙaddamar da tunani). Don haka, sassan F. m. suna da ayyuka shida kawai (cf. Sposobin IV, 1947, shafi na 26).
Kasancewar bayyanar gaba ɗaya dokokin tunanin ɗan adam, hadaddun ayyuka na sassan F. m. ya bayyana wani abu da ya yi kama da ayyukan sassan gabatar da tunani a cikin mahangar hankali-hankali na tunani, dokokin da suka dace da su an bayyana su a cikin tsohuwar koyarwar rhetoric (kalmomi). Ayyuka na sassan shida na classic. rhetoric (Exordium - gabatarwar, Narratio - labari, Propositio - babban matsayi, Confutatio - kalubale, Confirmatio - sanarwa, Ƙarshe - Ƙarshe) kusan daidai daidai a cikin abun da ke ciki da jerin tare da ayyuka na sassan F. m. (Ana haskaka manyan ayyukan FM. m.):
Exordium – intro Propositio – gabatarwa (babban jigo) Narratio – ci gaba a matsayin sauyi Confutatio – bambance-bambancen bangare (ci gaba, sabanin jigon) Tabbatarwa – reprise Kammalawa – code (ƙari)
Ayyukan maganganu na iya bayyana kansu ta hanyoyi daban-daban. matakan (alal misali, sun rufe duka nunin sonata da duka sigar sonata gaba ɗaya). Daidaitaccen daidaituwa mai nisa na ayyukan sassan a cikin magana da sassan F. m. yana shaida zurfin haɗin kai na decomp. kuma da alama sun yi nisa da juna nau'ikan tunani.
Misc. abubuwan kankara (sauti, timbres, rhythms, chords” melodic. sautin ƙararrawa, layin melodic, tsauri. nuances, tempo, agogics, tonal ayyuka, cadences, tsarin rubutu, da dai sauransu. n.) musa. abu. K F. m. (a cikin faffadan ma'ana) na kida ne. ƙungiyar kayan aiki, wanda aka yi la'akari da shi daga gefen maganganun muses. abun ciki. A cikin tsarin ƙungiyoyin kiɗa ba duk abubuwan kiɗa bane. kayan suna da mahimmanci daidai. Fassarar bayanin martaba na gargajiya-romantic. F. m. - tonality a matsayin tushen tsarin F. m. (cm. Tonality, Yanayin, Melody), mita, tsarin motsa jiki (duba. Motif, Homophony), counterpoint asali. Lines (in homof. F. m. yawanci t. Mr. kwane-kwane, ko babba, murya biyu: waƙa + bass), thematicism da jituwa. Babban ma'anar tonality ya ƙunshi (ban da abin da ke sama) a cikin haɓaka jigo mai tsayayye ta hanyar jan hankali gama gari zuwa tonic guda ɗaya (duba. zane A cikin misalin da ke ƙasa). Babban ma'anar mita shine ƙirƙirar dangantaka (metric. symmetry) na kananan barbashi F. m. (shafi. ka’ida: zagayowar ta biyu ta amsa zagayowar ta 2 kuma ta haifar da zagayowar biyu, ta biyu ta biyu ta amsa zagayowar ta 1 kuma ta haifar da zagaye hudu, ta biyu ta hudu ta amsa na 2 kuma ta haifar da zagayowar takwas; Don haka mahimmancin mahimmancin murabba'i ga na gargajiya-romantic. F. m.), don haka samar da ƙananan gine-gine na F. m. - jumloli, jumloli, lokaci, sassa iri ɗaya na tsaka-tsaki da ragi a cikin jigogi; Classical mita kuma yana tantance wurin cadeces na ɗaya ko wani kuma ƙarfin aikinsu na ƙarshe (Semi-ƙarshe a ƙarshen jumla, cikakken ƙarshe a ƙarshen zamani). Babban mahimmancin dalili (a cikin ma'ana mafi girma, kuma jigo) ci gaba ya ta'allaka ne a cikin gaskiyar cewa babban mus. tunani ya samo asali ne daga asalinsa. ginshiƙi na nahawu (yawanci shine rukunin farko na motsa jiki ko, da wuya, dalili na farko) ta hanyar maimaita maimaitawar barbashi daban-daban (maimaituwar kuzari daga sauran sautin murɗa, daga wasu. matakai, da sauransu. jituwa, tare da canjin tazara a cikin layi, bambance-bambance a cikin rhythm, karuwa ko raguwa, a wurare dabam dabam, tare da rarrabuwa - hanya ta musamman mai aiki na ci gaban motivic, damar da za ta iya karawa har zuwa canji na dalili na farko zuwa wasu. dalilai). Duba Arensky A. C, 1900, p. 57-67; Sopin I. V., 1947, p. 47-51. Haɓaka haɓakawa yana taka rawa a cikin homophonic F. m. game da irin rawar da maimaita jigon da barbashi a polyphonic. F. m. (misali in fugu). Ƙimar ƙimar ƙima a cikin homophonic F. m. yana bayyana kansa a cikin ƙirƙirar yanayin su na tsaye. Kusan homophonic F. m. a ko'ina cikinsa (aƙalla) haɗin kashi biyu ne a cikin nau'in muryoyi masu tsauri, biyayya ga ƙa'idodin wannan salon (matsayin polyphony yana iya zama mafi mahimmanci). Misali na kwane-kwane-murya-V. A. Mozart, symphony a cikin g-moll No 40, minuet, ch. taken. Mahimman mahimmancin jigogi da jituwa yana bayyana a cikin bambance-bambancen da ke da alaƙa na kusantar tsararrun gabatar da jigogi da haɓakar ci gaba mara ƙarfi, haɗawa, gudanar da gine-gine iri ɗaya ko wani (haka ma taken “nayawa” na ƙarshe da jigogi “crystallizing” gabatarwar sassan. ), tonally barga da modulating sassa; Har ila yau, a bambanta structurally monolithic gine-gine na babban jigogi da kuma mafi "sako da" sakandare (misali, a cikin sonata siffofin), bi da bi, a sabanin daban-daban na tonal kwanciyar hankali (misali, ƙarfin tonal sadarwa a hade tare da motsi na tonal). jituwa in Ch. sassa, tabbaci da haɗin kai na tonality haɗe tare da tsarinsa mai laushi a gefe, raguwa zuwa tonic a cikin coda). Idan mita ya haifar da F.
Don zane-zane na wasu manyan kayan kida na gargajiya-romantic (daga mahangar manyan abubuwan tsarin su; T, D, p su ne zane-zane na maɓalli, daidaitawa; madaidaiciyar layi suna da ƙarfi gini, lanƙwasa layukan su ne. unstable) duba shafi na 894.
Tasirin tarawa na babban da aka jera. dalilai na gargajiya romanticism. F. m. An nuna shi akan misalin Andante cantabile na wasan kwaikwayo na 5 na Tchaikovsky.
Tsarin A: dukan ch. Taken kashi na 1 na Andante ya dogara ne akan tonic D-dur, wasan farko na jigon jigo na biyu yana kan tonic Fis-dur, sannan duka biyun ana sarrafa su ta tonic D-dur. Tsarin B (jigon babi, cf. tare da makircin C): wani mashaya guda ɗaya yana amsa mashaya ɗaya, ci gaba da ginin mashaya biyu yana amsa sakamakon mashaya biyu, jumlar mashaya huɗu da aka rufe ta hanyar cadence. wani makamancinsa kuma yana da tsayayye mai tsauri. Tsarin B: bisa ma'auni. Tsarin (Tsarin B) haɓaka mai motsa rai (an nuna guntu) ya fito ne daga dalilin mashaya ɗaya kuma ana aiwatar da shi ta maimaita shi a cikin wasu jigogi, tare da canji a cikin waƙoƙin waƙa. layi (a1) da metro rhythm (a2, a3).
Tsarin G: contrapuntal. tushen F. m., daidaitaccen haɗin murya 2 dangane da izini a cikin na'ura. tazara da bambance-bambance a cikin motsin muryoyin. Tsarin D: mu'amala ta zahiri. kuma masu jituwa. abubuwan da ke haifar da F. m. na aikin gaba ɗaya (nau'in nau'in nau'i ne mai rikitarwa mai nau'i uku tare da wani labari, tare da "bangare" daga tsarin gargajiya na gargajiya zuwa fadada ciki na babban sashi na 1st).
Domin sassan F. m. don aiwatar da ayyukansu na tsari, dole ne a gina su yadda ya kamata. Alal misali, jigo na biyu na Gavotte na "Classical Symphony" na Prokofiev an gane ko da a cikin mahallin a matsayin wani hali na uku na hadaddun nau'i uku; duka manyan jigogi na nunin fp na 8th. Beethoven's sonatas ba za a iya wakilta ta juyi tsari - babba a matsayin gefe, kuma gefe ɗaya a matsayin babba. Siffofin tsarin sassa na F. m., suna bayyana ayyukan tsarin su, wanda ake kira. nau'ikan gabatarwar kiɗa. abu (ka'idar Sposobina, 1947, shafi na 27-39). Ch. Akwai nau'ikan gabatarwa guda uku - nuni, na tsakiya da na ƙarshe. Babban alamar nunin shine kwanciyar hankali a hade tare da aikin motsi, wanda aka bayyana a cikin jigo. haɗin kai (ci gaban ɗaya ko wasu dalilai), haɗin kai na tonal (maɓalli ɗaya tare da ɓatanci; ƙananan daidaitawa a ƙarshe, ba tare da lalata zaman lafiyar gaba ɗaya ba), haɗin kai na tsari (jumloli, lokuta, ƙa'idodin al'ada, tsarin 4 + 4, 2). + 2 + 1 + 1 + 2 da makamantansu a ƙarƙashin yanayin kwanciyar hankali; duba zanen B, sanduna na 9-16. Alamar nau'in tsaka-tsaki (kuma ci gaba) shine rashin zaman lafiya, rashin ruwa, cimma jituwa. rashin zaman lafiya (dogara ba akan T ba, amma akan wasu ayyuka, misali D; farkon ba tare da T ba, gujewa da turawa da tonic, daidaitawa), jigo. rarrabuwa (zaɓi na sassa na babban ginin, ƙananan raka'a fiye da babban sashi), rashin zaman lafiya na tsarin (rashin jimloli da lokuta, jerin, rashin kwanciyar hankali). Kammala. nau'in gabatarwa yana tabbatar da tonic da aka riga aka samu ta hanyar maimaita maimaitawa, ƙarin ƙararrawa, ma'anar gabobin akan T, sabawa zuwa S, da kuma dakatar da jigo. haɓakawa, raguwa a hankali na gine-gine, raguwar haɓakawa don kiyayewa ko maimaita tonic. chord (misali: Mussorgsky, lambar mawaƙa "Tsarki a gare ku, mahaliccin Maɗaukaki" daga opera "Boris Godunov"). Dogara ga F. m. kiɗan jama'a a matsayin abin ado. shigarwa na kiɗa na sabon lokaci, haɗe tare da babban mataki na ci gaba da ayyukan tsarin F. m. da nau'ikan gabatarwar kiɗan da suka dace da su. An tsara kayan a cikin tsarin tsarin kayan kida, matsananciyar maki wanda shine waƙar (dangane da rinjaye na dangantakar ma'auni) da nau'in sonata (dangane da ci gaban jigo da tonal). Janar tsarin na babban. iri na gargajiya-romantic. F. m.:
1) Mafarin tsarin tsarin kayan kida (ba kamar, alal misali, manyan kayan kida na Renaissance) shine nau'in waƙar da aka canjawa wuri kai tsaye daga kiɗan yau da kullun (babban nau'ikan tsarin su ne sassa biyu masu sauƙi da sauƙi uku- part form ab, aba; kara a cikin zane-zane A), na kowa ba kawai a cikin wok ba. nau'ikan nau'ikan, amma kuma suna nunawa a cikin instr. miniatures (preludes, etudes na Chopin, Scriabin, kananan piano guda na Rachmaninov, Prokofiev). Ƙarin girma da rikitarwa na F. m., wanda ke fitowa daga nau'in nau'i na nar. waƙoƙi, ana aiwatar da su ta hanyoyi uku: ta hanyar maimaita (canzawa) jigo iri ɗaya, gabatar da wani jigo, da rikitar da sassan cikin ciki (girman lokacin zuwa sifa "mafi girma", raba tsakiya zuwa tsari: motsawa - jigo- amfrayo – koma motsi, cin gashin kansa na kari zuwa jigon-embryo). Ta wannan hanyar, sigar waƙar tana tasowa zuwa mafi ci gaba.
2) Ma'aurata (AAA…) da bambancin (А А1 А2…) siffofin, osn. akan maimaita jigon.
3) Diffa. nau'ikan nau'ikan nau'ikan nau'ikan jigo biyu da yawa ("hadaddun") da kuma rondo. Mafi mahimmancin abubuwan da aka haɗa F. m. shi ne hadadden ABA mai kashi uku (sauran nau'ikan su ne hadaddun bangare biyu AB, arched ko concentric ABBCBA, ABCDCBA; wasu nau'ikan su ne ABC, ABCD, ABCDA). Don rondo (AVASA, AVASAVA, ABACADA) kasancewar sassan tsaka-tsaki tsakanin jigogi na al'ada ne; rondo na iya haɗawa da abubuwan sonata (duba Rondo sonata).
4) Sonata form. Ɗaya daga cikin tushen shine "germination" daga nau'i mai sauƙi biyu- ko uku (duba, misali, f-moll prelude daga 2nd juzu'i na Sakha's Well-Tempered Clavier, minuet daga Mozart Quartet Es-dur. , K.-V 428; nau'in sonata ba tare da ci gaba ba a cikin kashi na 1 na Andante cantabile na Tchaikovsky's 5th symphony yana da alaƙar kwayoyin halitta tare da ma'anar bambanci mai sauƙi 3-motsi).
5) Dangane da bambancin ɗan lokaci, hali, da (sau da yawa) mita, dangane da haɗin kai na ra'ayi, manyan da aka ambata a sama guda ɗaya na F. mita suna nadewa zuwa cikin zagaye-zagaye da yawa kuma suna haɗuwa zuwa kashi ɗaya. nau'i-nau'i masu bambanci (samfurori na karshen - Ivan Susanin na Glinka, No 12, quartet; nau'i na "Great Viennese Waltz", misali, waƙar choreographic "Waltz" na Ravel). Baya ga nau'ikan kiɗan da aka lissafa, akwai nau'ikan nau'ikan nau'ikan kyauta masu gauraye da ɗaiɗaiku, galibi ana danganta su da ra'ayi na musamman, mai yiwuwa na shirye-shirye (F. Chopin, ballad 2nd; R. Wagner, Lohengrin, gabatarwar; PI Tchaikovsky, symphony . fantasy " The Tempest"), ko tare da nau'in fantasy kyauta, rhapsodies (WA Mozart, Fantasia c-moll, K.-V. 475). A cikin siffofin kyauta, duk da haka, abubuwan da aka buga na siffofin da ke kusa dasu kusan koyaushe suna amfani da su koyaushe suna da kullun, ko kuma sun fassara talakawa f. m.
Waƙar Opera tana ƙarƙashin rukunoni biyu na ƙa'idodi masu ƙima: wasan kwaikwayo-mai ban mamaki da kiɗan kiɗa zalla. Dangane da fifikon ƙa'ida ɗaya ko wata, ƙa'idodin kiɗan opera an haɗa su kusa da tushe guda uku. iri: opera mai lamba (misali, Mozart a cikin operas "Aure na Figaro", "Don Giovanni"), kiɗa. wasan kwaikwayo (R. Wagner, "Tristan da Isolde"; C. Debussy, "Pelleas da Mélisande"), gauraye, ko roba., Nau'in (MP Mussorgsky, "Boris Godunov"; DD Shostakovich, "Katerina Izmailov"; SS Prokofiev, "Yaki da Zaman Lafiya"). Duba Opera, Dramaturgy, Wasan kwaikwayo na kiɗa. Haɗaɗɗen nau'in nau'in wasan opera yana ba da mafi kyawun haɗin gwiwa na ci gaba da mataki. ayyuka tare da zagaye FM Misalin FM na irin wannan shine wurin da aka yi a gidan ruwa daga wasan opera na Mussorgsky Boris Godunov (cikakkiyar rarraba abubuwan tashe da abubuwan ban mamaki dangane da nau'in matakin mataki).
VI. Siffofin kiɗa na karni na 20 F. m. 20 p. an kasu kashi biyu bisa sharaɗi: ɗaya tare da adana tsoffin abubuwan ƙira. nau'ikan - hadaddun fm mai sassa uku, rondo, sonata, fugue, fantasy, da sauransu (ta AN Scriabin, IF Stravinsky, N. Ya. Myaskovsky, SS Prokofiev, DD Shostakovich, P. Hindemith, B. Bartok, O. Messiaen , mawaƙa na sabuwar makarantar Viennese, da dai sauransu), wani ba tare da adana su ba (by C. Ives, J. Cage, mawallafin sabuwar makarantar Poland, K. Stockhausen, P. Boulez, D. Ligeti, tare da wasu mawallafin Soviet - LA Grabovsky, SA Gubaidullina, EV Denisov, SM Slonimsky, BI Tishchenko, AG Schnittke, R K. Shchedrin da sauransu). A cikin bene na 1. Karni na 20 nau'in F. m na farko ya mamaye, a bene na 2. yana ƙara girman rawar na biyu. Ci gaban sabon jituwa a cikin karni na 20, musamman a hade tare da daban-daban rawar ga timbre, kari, da kuma gina masana'anta, zai iya ƙwarai sabunta tsohon tsarin irin rhythmic music (Stravinsky, The Rite of Spring, da rondo na ƙarshe na Babban Rawar Tsarkaka tare da makircin AVASA, wanda aka sake tunani dangane da sabunta tsarin yaren kiɗa duka). Tare da tsattsauran ciki na sabuntawar F. m. za a iya daidaita shi da sabon, tun da haɗin kai tare da tsoffin nau'ikan tsarin ba za a iya gane su ba (alal misali, Orc. F.m. na sauran sonoristic op. fiye da na yau da kullun tonal op. a cikin sonata). Saboda haka mahimmin ra'ayi na "fasaha" (rubutu) don nazarin F. m. a cikin kiɗa na karni na 20. (ma'anar "fasaha" ya haɗu da ra'ayin kayan sauti da aka yi amfani da shi da kaddarorinsa, na jituwa, rubuce-rubuce da nau'i).
A cikin tonal (mafi daidai, sabon-tonal, duba Tonality) kiɗan karni na 20. Sabuntawar gargajiya F. m. yana faruwa da farko saboda sabbin nau'ikan harmonica. cibiyoyi kuma masu dacewa da sababbin kaddarorin masu jituwa. kayan aiki dangantaka. Don haka, a kashi na 1 na fp na 6. sonatas ta Prokofiev gargajiya. ya bambanta tsarin "m" na Ch. sashi da kuma “sako-sako” (duk da cewa yana da tsayayye) bangaren gefen ana bayyana shi a ka'ida ta hanyar bambance-bambancen tonic mai ƙarfi A-dur a ch. jigo da tushe mai laushi mai lullube (hdfa chord) a gefe. Farashin F.m. an samu ta sabon jituwa. da tsarin tsarin, saboda sabon abun ciki na muses. kara. Halin ya yi kama da fasaha na modal (misali: nau'i-nau'i 3 a cikin wasan Messiaen "Korafe-korafe") da kuma abin da ake kira. free atonality (misali, wani yanki ta RS Ledenev ga garaya da kirtani, quartet, op. 16 No 6, yi a cikin dabara na tsakiya consonance).
A cikin kida na karni na 20 ana sake farfado da sautin murya. tunani da polyphonic. F. m. Contrapuntal. harafi da tsohon polyphonic F. m. ya zama tushen abin da ake kira. neoclassical (bh neo-baroque) shugabanci ("Don kiɗa na zamani, jituwa wanda sannu a hankali yana rasa haɗin tonal, haɗin haɗin haɗin nau'i na contrapuntal ya kamata ya zama mahimmanci" - Taneyev SI, 1909). Tare da cika tsohuwar F. m. (fugues, canons, passacaglia, bambance-bambancen karatu, da dai sauransu) tare da sabon innation. abun ciki (a cikin Hindemith, Shostakovich, B. Bartok, jera Stravinsky, Shchedrin, A. Schoenberg, da sauransu da yawa) sabon fassarar polyphonic. F. m. (alal misali, a cikin "Passacaglia" daga Stravinsky's septet, ba a lura da ka'idar neoclassical na layi, rhythmic da babban bambance-bambancen jigon ostinato ba, a ƙarshen wannan ɓangaren akwai canon "rashin daidaituwa", yanayin yanayi. Tauhidi na zagayowar yana kama da serial-polyphonic. bambancin).
Serial-dodecaphonic dabara (duba Dodecaphony, Serial dabara) an yi nufin asali (a cikin Novovensk makaranta) don mayar da damar da za a rubuta manyan litattafai, rasa a "atonality". F. m. A gaskiya ma, dacewar yin amfani da wannan fasaha a cikin neoclassical. manufa tana da ɗan tambaya. Ko da yake ana samun sauƙi-tonal da tasirin tonal ta hanyar amfani da fasaha na serial (misali, a cikin minuet trio na Schoenberg's suite op. 25, tonality of es-moll a fili audible; a cikin dukan suite, daidaitacce zuwa irin wannan sake zagayowar Bach lokaci. , jerin layuka ana zana su ne kawai daga sautunan e da b, kowannensu shine sauti na farko da na ƙarshe a cikin jeri biyu na jere, don haka ana kwaikwayi monotony na rukunin baroque a nan), kodayake ba zai yi wahala maigida ya yi adawa da shi ba. "tonally" barga da kuma m sassa, modulation-transposition, m reprises na jigogi da sauran aka gyara na tonal F. m., ciki saɓani (tsakanin sabon intonation da tsohuwar dabara na tonal F. m.), halayyar neoclassical. siffata, tasiri a nan tare da musamman karfi. (A matsayinka na mai mulki, waɗannan haɗin gwiwa tare da tonic da masu adawa da suka dogara da su ba su samuwa ko wucin gadi a nan, wanda aka nuna a cikin Tsarin A na misali na ƙarshe dangane da classic-romantic. F. m.) samfurori na F. m. . Wasiƙun juna na sabon innation, jituwa. Siffofin, dabarun rubuce-rubuce da fasahohin tsari suna samun ta A. Webern. Misali, a kashi na 1 na wasan kwaikwayo na op. 21 ba ya dogara ne kawai akan kaddarorin da aka tsara na serial conductions, akan neoclassical. ta asali, canons da quasi-sonata pitch ratios, kuma, ta yin amfani da duk wannan a matsayin abu, ya samar da shi tare da taimakon sababbin hanyoyin F. m. - haɗi tsakanin farar da katako, timbre da tsari, nau'i-nau'i masu yawa a cikin sauti-timbre-rhythm. yadudduka, ƙungiyoyi masu tsaka-tsaki, a cikin rarraba sautin sauti, da dai sauransu, a lokaci guda watsi da hanyoyin da aka tsara wanda ya zama na zaɓi; sabon F. m. isar da ado. sakamakon tsarki, daukaka, shiru, sacraments. annuri kuma a lokaci guda rawar jiki na kowane sauti, zurfin zumunci.
An samar da nau'i na musamman na gine-ginen polyphonic tare da hanyar serial-dodecaphone na tsara kiɗa; bi da bi, F. m., sanya a cikin serial dabara, su ne polyphonic a cikin ainihin, ko a kalla bisa ga asali manufa, ko da kuwa ko suna da textured bayyanar polyphonic. F. m. (misali, canons a cikin kashi na 2 na Webern's Symphony op. 21, duba Art. Rakohodnoe motsi, misali a cikin ginshiƙai 530-31; a cikin 1st part na "Concerta-buff" na SM Slonimsky, minuet uku daga suite na piano, op. 25 na Schoenberg) ko kuma kaman-homophonic (misali, siffar sonata a cikin cantata "Hasken Idanu" op. 26 na Webern; a cikin kashi na 1 na wasan kwaikwayo na 3 na K. Karaev; rondo – sonata a karshen na Schoenberg's 3rd quartet). A cikin aikin Webern zuwa babba. fasali na tsohon polyphonic. F. m. ya kara da sababbin al'amuransa (kwance sigogin kiɗa, sa hannu a cikin tsarin sauti na polyphonic, ban da haɓaka mai girma, maimaita jigogi, hulɗar kai tsaye na timbres, rhythms, dangantakar rajista, magana, kuzari; duba, alal misali, bambance-bambancen sashi na 2 na piano op.27, orc.variations op.30), wanda ya share hanya don wani gyara na polyphonic. F. m. – a cikin serialism, duba Seriality.
A cikin kiɗan sonoristic (duba Sonorism) ana amfani da fifiko. daidaikun mutane, kyauta, sababbin nau'ikan (AG Schnittke, Pianissimo; EV Denisov, piano trio, 1st part, inda babban tsarin naúrar ne "hankali", shi ne asymmetrically bambance bambancen, hidima a matsayin kayan don gina wani sabon , non-classical kashi uku nau'i , A. Vieru, "Eratosthenes' sieve", "Clepsydra").
Polyphonic asalin F.m. Karni na 20, osn. akan bambance-bambancen hulɗar muses masu sauti lokaci guda. Tsarin (gudawa No. 145a da 145b daga Bartok's Microcosmos, wanda za a iya yi duka daban da kuma lokaci guda; D. Millau's quartets No. 14 da 15, wanda ke da wannan alama; K. Stockhausen's Groups for uku spatially rabu Orchestras). Iyakance mai kaifi polyphonic. ka'idar 'yancin kai na muryoyin (yadudduka) na masana'anta shine aleatoric na masana'anta, yana ba da izinin rabuwa na ɗan lokaci na ɗan lokaci na sassan sautin gabaɗaya kuma, daidai da haka, yawancin haɗuwarsu a lokaci guda. haɗuwa (V. Lutoslavsky, 2nd symphony, "Littafin for Orchestra").
Sabbin kayan kida na mutum-mutumi (inda "tsarin" aikin shine batun abun da ke ciki, sabanin nau'in kayan kida na zamani) sun mamaye kiɗan lantarki (misali Denisov's "Birdsong"). Wayar hannu F. m. (an sabunta su daga wannan wasan zuwa wani) ana samun su a wasu nau'ikan alea-toric. kiɗa (misali, a cikin Stockhausen's Piano Piece XI, Boulez's 3rd Piano Sonata). F. m. 60-70s. Ana amfani da dabarun gauraye sosai (RK Shchedrin, 2nd da 3rd concertos piano). Abin da ake kira. maimaituwa (ko maimaituwa) F. m., tsarin wanda ya dogara akan maimaitawa da yawa b. sa'o'i na kiɗa na farko. abu (misali, a wasu ayyukan VI Martynov). A cikin fagen nau'ikan mataki - faruwa.
VII. Koyarwa game da siffofin kiɗa. Koyarwar F. m. a matsayin dep. reshe na aikace-aikace na ka'idar musicology kuma a karkashin wannan sunan ya tashi a cikin 18th karni. Duk da haka, tarihinsa, wanda ya yi daidai da ci gaban matsalar falsafar dangantaka tsakanin siffa da kwayoyin halitta, siffa da abun ciki, kuma ya zo daidai da tarihin rukunan muses. abubuwan da aka tsara, sun koma zamanin tsohuwar duniya - daga Girkanci. atomist (Democritus, 5th c. B. BC) da Plato (ya ɓullo da dabarun "tsari", "morphe", "nau'in", "ra'ayi", "eidos", "view", "hoton"; duba. Losev A. F., 1963, p. 430-46 da sauransu; nasa, 1969, p. 530-52 da sauransu). Mafi cikakkiyar tsohuwar ka'idar falsafar sifa ("eidos", "morphe", "logos") da kwayoyin halitta (masu alaka da matsalar tsari da abun ciki) Aristotle ne ya gabatar da shi (ra'ayoyin hadin kan kwayoyin halitta da siffa; matsayi na dangantakar da ke tsakanin kwayoyin halitta da siffa, inda mafi girman nau'i shine alloli. hankali; cm. Aristotle, 1976). Koyarwa mai kama da kimiyyar F. m., An haɓaka a cikin tsarin melopei, wanda ya haɓaka a matsayin na musamman. Ilimin ka'idar kiɗa, mai yiwuwa ƙarƙashin Aristoxenus (rabi na biyu. 4 inci); cm. Cleonides, Janus S., 1895, p. 206-207; Aristides Quintilian, "De musica libri III"). Bellerman III wanda ba a san shi ba a cikin sashin "Game da melopee" ya fito (tare da kiɗa. misalai) bayanai game da "rhythms" da karin waƙa. adadi (Najock D., 1972, p. 138-143), Mujalladi. e. maimakon game da abubuwan F. m. fiye da F. m. a cikin kansa, zuwa sama a cikin mahallin tsohuwar ra'ayin kiɗa a matsayin Triniti an yi la'akari da farko dangane da mawaƙa. siffofin, tsarin stanza, aya. Haɗin kai da kalmar (kuma ta wannan bangaren rashin koyarwar mai cin gashin kansa na Ph. m. a ma'anar zamani) kuma siffa ce ta koyaswar F. m. na da da kuma farfadowa. A cikin zabura, Magnificat, waƙoƙin yabo na Mass (cf. sashe na III), da dai sauransu. nau'ikan wannan lokacin F. m. a zahiri, an ƙaddara ta hanyar rubutu da liturgic. aiki kuma baya buƙatar na musamman. koyaswar mai cin gashin kansa game da F. m. A cikin fasaha. nau'ikan mutane, inda rubutun ya kasance wani ɓangare na F. m. kuma ya ƙaddara tsarin muses zalla. gini, lamarin ya kasance haka. Bugu da kari, da dabara na halaye, kafa a cikin m-ka'idar. rubuce-rubucen, musamman ma'auni sun zama nau'in "waƙar waƙa" kuma an maimaita su cikin decomp. kayayyakin na wannan sautin. Dokokin multigoal. haruffa (farawa daga "Musica enchiriadis", ƙare. 9 c.) ya karawa F. kunshe a cikin waƙar da aka bayar. m.: Hakanan ba za a iya ɗaukar su azaman koyaswar Ph. m. a halin yanzu. Don haka, a cikin littafin Milan "Ad Organum faciendum" (c. 1100), na cikin nau'in "fasaha-fasaha." yana aiki akan kiɗa. abun da ke ciki (yadda ake "yin" organum), bayan babban. ma'anoni (organum, copula, diapony, organizatores, "'yan uwantaka" na muryoyin - affinitas vocum), dabara na consonances, biyar "hanyoyin kungiya" (modi organizandi), watau. e. iri daban-daban na amfani da consonances a cikin "haɗin gwiwa" na organum-counterpoint, tare da kiɗa. misalai; sassan gine-ginen murya biyu da aka ba suna suna suna (bisa ga tsohuwar ƙa'ida: farawa - tsakiya - ƙarshen): prima vox - mediae voces - ultimae voces. Aure kuma daga ch. 15 "Microlog" (ca. 1025-26) Guido d'Arecco (1966, s. 196-98). Da rukunan F. m. kwatancen da aka ci karo kuma suna kusa. nau'o'i. A cikin littafin J. de Groheo ("De musica", ca. 1300), wanda aka yiwa alama ta tasirin hanyoyin dabarun Renaissance, ya ƙunshi cikakken bayanin wasu da yawa. nau'i na F. m .: cantus gestualis, cantus coronatus (ko madugu), versicle, rotunda, ko rotundel (rondel), responsory, stantipa (estampi), induction, motet, organum, goket, taro da sassa (Introitus, Kyrie, Gloria, da dai sauransu). . .), Invitatorium, Venite, antiphon, yabo. Tare da su, akwai bayanai kan cikakkun bayanai na tsarin Ph. m. - game da "maki" (sashe F. m.), nau'ikan ƙarshe na sassan F. m. (arertum, clausuni), adadin sassa a cikin F. m. Yana da mahimmanci cewa Groheo yana amfani da kalmar "F. m.", Bugu da ƙari, a cikin ma'anar kama da na zamani: formae musicales (Grocheio J. daga, p. 130; cm. zai kuma shiga. labarin E. Kwatanta Rolof tare da fassarar kalmar forma y ta Aristotle, Grocheio J. daga, p. 14-16). Bayan Aristotle (wanda aka ambaci sunansa fiye da sau ɗaya), Groheo ya daidaita “siffa” da “al’amari” (shafi na XNUMX). 120), kuma "al'amari" ana ɗaukarsa "harmonic. sautuna”, da kuma “siffa” (a nan tsarin haɗin gwiwa) yana da alaƙa da “lamba” (shafi na XNUMX). 122; Rashanci kowane. - Groheo Y. ku, 1966, p. 235, 253). Irin wannan cikakken bayanin F. m. yana bayar, misali, V. Odington a cikin rubutun "De speculate musice": treble, organum, rondel, conduct, copula, motet, goquet; a cikin waƙar Ya ba da misalai na maki biyu da uku. A cikin koyarwar counterpoint, tare da fasaha na polyphonic. rubuce-rubuce (misali, a cikin Y. Tinctorisa, 1477; N. Vicentino, 1555; J. Tsarlino, 1558) ya bayyana abubuwan da ke cikin ka'idar wasu polyphonic. siffofin, misali. canon (asali a cikin fasahar musayar murya - rondelle tare da Odington; "rotunda, ko rotundel" tare da Groheo; daga karni na 14. ƙarƙashin sunan "fugue", wanda Yakubu na Liege ya ambata; Ramos de Pareja kuma ya bayyana; cm. Parekha, 1966, p. 346-47; kusa da Tsarlino, 1558, ibid., p. 476-80). Ci gaban nau'in fugue a cikin ka'idar ya faɗi galibi a ƙarni na 17-18. (musamman J. M. Bononcini, 1673; Kuma. G. Walter, 1708; KUMA. DA. Fuchsa, 1725; Kuma. A. Shaybe (c. 1730), 1961; I. Matteson, 1739; F. AT. Marpurga, 1753-54; I. F. Kirnberger, 1771-79; KUMA. G.
A kan ka'idar F. m. 16-18 ƙarni. wani gagarumin tasiri ya yi ta hanyar fahimtar ayyukan sassan bisa tushen koyarwar magana. Asalin Dr. Girka (c. 5th karni BC), a kan gab da marigayi tsufa da kuma tsakiyar zamanai, rhetoric ya zama wani ɓangare na "bakwai masu sassaucin ra'ayi arts" (Septem artes liberales), inda ya zo cikin lamba tare da "kimiyya na kiɗa” (“… Maganar magana ba za ta iya yin tasiri sosai ba dangane da kiɗa a matsayin ma’anar harshe mai bayyanawa “- Asafiev BV, 1963, shafi na 31). Ɗaya daga cikin sassan maganganun magana - Dispositio ("tsari"; watau, tsarin tsarin op.) - kamar yadda rukuni ya dace da koyaswar F. m., yana nuna ma'anar. Ayyukan tsarin sassan sa (duba Sashe na V). Zuwa ra'ayi da tsarin muses. cit., da sauran sassan kiɗan kuma na F. m. rhetoric - Inventio ("ƙirƙirar" tunani na kiɗa), Ado ("adonsa" tare da taimakon ƙididdiga na kida-rhetorical). (A kan maganganun kiɗa, duba: Calvisius S., 1592; Burmeister J., 1599; Lippius J., 1612; Kircher A., 1650; Bernhard Chr., 1926; Janowka Th. B., 1701; Walther JG, 1955; Mattheson J., 1739; Zakharova O., 1975.) Daga mahangar kiɗa. rhetoric (ayyukan sassa, dispositio) Mattheson yayi nazari daidai F. m. a cikin aria na B. Marcello (Mattheson J., 1739); ta fuskar kida. rhetoric, an fara bayanin sigar sonata (duba Ritzel F., 1968). Hegel, ya bambanta ra'ayi na kwayoyin halitta, siffa da abun ciki, ya gabatar da ra'ayi na ƙarshe zuwa cikin faffadan amfani da falsafa da kimiyya, ya ba shi (duk da haka, bisa manufa ta manufa) harshe mai zurfi. bayani, ya sanya shi wani muhimmin nau'i na koyaswar fasaha, na kiɗa ("Aesthetics").
Sabon ilimin kimiyya na F.m., a kansa. fahimtar koyarwar F.m., an haɓaka shi a cikin ƙarni na 18-19. A cikin adadin ayyuka na karni na 18. matsalolin mita ("rukunan bugun zuciya"), haɓaka haɓakawa, haɓakawa da rarrabuwa na muses ana bincikar su. gini, tsarin jimla da lokaci, tsarin wasu muhimman instr masu luwadi. F.m., kafa resp. ra'ayoyi da sharuddan (Mattheson J., 1739; Scheibe JA, 1739; Riepel J., 1752; Kirnberger J. Ph., 1771-79; Koch H. Ch., 1782-93; Albrechtsberger JG, 1790). A cikin con. 18- bara. Karni na 19 na gabaɗaya tsarin tsarin homophonic F.m. da aka zayyana, da kuma ƙarfafa ayyukan a kan F. m. ya bayyana, yana mai dalla-dalla dalla-dalla duka ka'idarsu ta gaba ɗaya da fasalin tsarin su, tonal harmonic. tsari (daga koyarwar karni na 19 - Weber G., 1817-21; Reicha A., 1818, 1824-26; Logier JB, 1827). Classic AB Marx ya ba da ingantaccen koyaswar F. m.; nasa “Koyarwar Kiɗa. ƙungiyoyi” (Marx AV, 1837-47) ya ƙunshi duk abin da mawaƙi ke buƙata don ƙware fasahar tsara kiɗa. F. m. Marx yana fassara a matsayin “bayani… na abun ciki”, wanda ta hakan yana nufin “hankali, ra’ayoyi, ra’ayoyin mawaƙi.” Tsarin Marx na homophonic F. m. ya fito ne daga “primary form” na kiɗa. tunani (motsi, jimla, da lokaci), ya dogara da nau'in "waƙar" (ma'anar da ya gabatar) a matsayin mahimmanci a cikin tsarin tsarin F. m.
Babban nau'ikan homophonic F. m .: waƙa, rondo, nau'in sonata. Marx ya rarraba nau'ikan rondo guda biyar (an karbe su a cikin 19th - farkon ƙarni na 20 a cikin ilimin kiɗan Rasha da aikin ilimi):
(Misalan siffofin rondo: 1. Beethoven, 22nd piano sonata, 1st part; 2. Beethoven, 1st piano sonata, Adagio; 3. Mozart, rondo a-moll; 4. Beethoven, 2- 5st piano sonata, finale 1. Beethoven , 1st piano sonata, finale.) A cikin gina na gargajiya. F. m. Marx ya ga aikin “halitta” dokar ta bangaranci a matsayin babba a cikin kowace waƙa. zane: 2) thematic. daukan hotuna (ust, tonic); 3) daidaita sashin motsi (motsi, gamma); 1900) reprise (hutawa, tonic). Riemann, sanin mahimmancin fasaha na gaskiya na "mahimmancin abun ciki", "ra'ayin", wanda aka bayyana ta hanyar F. m. (Riemann H., (6), S. 1901), ya fassara na biyun kuma a matsayin “hanyar tattara sassan ayyukan a wuri guda. Daga cikin sakamakon “gabaɗaya ado. ka'idoji" ya cire "dokokin musamman-music. gini" (G. Riemann, "Musical Dictionary", M. - Leipzig, 1342, shafi na 1343-1907). Riemann ya nuna hulɗar muses. abubuwa a cikin samuwar F. m. (misali, "Catechism of piano Playing", M., 84, shafi 85-1897). Riemann (duba Riemann H., 1902, 1903-1918, 19-1892; Riemann G., 1898, 1806), dogara ga abin da ake kira. ka'idar iambic (cf. Momigny JJ, 1853, da Hauptmann M., XNUMX), sun haifar da sabon koyaswar gargajiya. metric, murabba'in zagaye takwas, wanda kowane zagayowar yana da takamaiman awo. darajar daban da sauran:
(Dabi'un matakan da ba su dace ba sun dogara da nauyi waɗanda suke kaiwa zuwa). Duk da haka, a ko'ina yada tsarin tsarin na metrically barga sassa zuwa m (motsi, ci gaba), Riemann, sabili da haka, bai yi la'akari da tsarin bambance-bambance a cikin na gargajiya. F. m. G. Schenker ya tabbatar da mahimmancin tonality, tonics don samuwar gargajiya. F. m., ya halicci ka'idar matakan tsari na F. m., yana hawa daga farkon tonal core zuwa "yadudduka" na kiɗa mai mahimmanci. abubuwan da aka tsara (Schenker H., 1935). Ya kuma mallaki gogewar babban bincike mai zurfi na otd. aiki (Schenker H., 1912). Zurfafa ci gaban matsala na haɓaka darajar jituwa ga na gargajiya. fm ya ba A. Schoenberg (Schönberg A., 1954). Dangane da haɓaka sabbin dabaru a cikin kiɗa na ƙarni na 20. akwai koyaswa game da P.m. da muses. tsarin abun da ke ciki dangane da dodecaphony (Krenek E., 1940; Jelinek H., 1952-58, da dai sauransu), tsari da sabon rhythmic. fasaha (Messiaen O., 1944; Har ila yau, yana magana game da sake dawowa da wasu zamanai na tsakiya. F. m. - hallelujah, Kyrie, jerin, da dai sauransu), kayan lantarki (duba "Die Reihe", I, 1955) , sabon P . m. (misali, abin da ake kira buɗaɗɗe, ƙididdiga, lokacin P.m. a cikin ka'idar Stockhausen - Stockhausen K., 1963-1978; da Boehmer K., 1967). (Duba Kohoutek Ts., 1976.)
A cikin Rasha, koyarwar F. m. ya samo asali ne daga "Nahawa Kiɗa" na N. AP Diletsky (1679-81), wanda ke ba da bayanin mafi mahimmancin F. m. na wancan zamanin, fasahar polygonal. haruffa, ayyuka na sassa F. m. ("a cikin kowane wasan kwaikwayo" dole ne a sami "farko, tsakiya da ƙarshe" - Diletsky, 1910, p. 167), abubuwa da dalilai na siffatawa ("padyzhi", juzu'i. e. cadenzas; " hawan Yesu zuwa sama" da "saukarwa"; “dudal rule” (watau. e. org point), "countercurrent" (counterpoint; duk da haka, ƙwanƙwasa ƙwanƙwasa ana nufin), da sauransu). A cikin tafsirin F. m. Diletsky yana jin tasirin nau'ikan muses. rhetoric (ana amfani da sharuddansa: “haɓaka”, “ƙirƙira”, “exordium”, “ƙarfafawa”). Koyarwar F. m. a sabuwar ma'ana ta faɗi a bene na 2. 19 - ba. 20 cc Kashi na uku na "Cikakken jagora don tsara kiɗa" na I. Gunke (1863) - "A kan Siffofin Ayyukan Kiɗa" - ya ƙunshi bayanin yawancin F. m. (fugue, rondo, sonata, concerto, waka na simphony, etude, serenade, ed. raye-raye, da sauransu), nazarce-nazarce na abubuwan ƙira, cikakken bayani na wasu “rikitattun siffofi” (misali. sonata form). A cikin sashe na 2, an saita polyphonic. dabara, aka bayyana osn. polyphonic. F. m. (fugues, canons). Tare da m abun da ke ciki. matsayi, ɗan gajeren "Jagorar nazarin nau'ikan kiɗan kayan aiki da kiɗan murya" A. C. Arensky (1893-94). Zurfafa tunani akan tsarin F. m., dangantakarsa da masu jituwa. tsarin da kaddarar tarihi ya bayyana ta S. DA. Taneev (1909, 1927, 1952). Asalin manufar tsarin ɗan lokaci na F. m. wanda G. E. Conus (base. aiki - "Embryology da ilimin halittar jiki na kwayoyin halitta", rubutun hannu, Museum of Musical Culture. M. DA. Glinka; cm. kuma Konus G. E., 1932, 1933, 1935). Yawan ra'ayoyi da sharuɗɗan koyaswar F. m. da B. L. Yavorsky (kafin gwajin, canji a cikin kwata na 3, kwatanta da sakamakon). A cikin aikin V. M. Belyaev "A Brief Exposition of the Doctrine of Counterpoint and the Doctrine of Musical Forms" (1915), wanda ya yi tasiri a kan m ra'ayi na F. m. a cikin ilimin kiɗan owls, an ba da sabon (sauƙaƙe) fahimtar tsarin rondo (dangane da adawar Ch. jigo da adadin sassa), an kawar da manufar "siffan waƙa". B. AT. Asafiev a cikin littafin. "Siffa mai kida a matsayin tsari" (1930-47) an tabbatar da shi ta F. m. ci gaban hanyoyin innation dangane da tarihi. Juyin Halitta na wanzuwar kiɗa a matsayin maƙasudin zamantakewa. mamaki (ra'ayin F. m. kamar yadda sha'aninsu dabam tonation. Shirye-shiryen kaddarorin kayan abu "ya kawo dualism na nau'i da abun ciki zuwa ga rashin hankali" - Asafiev B. V., 1963, p. 60). Muhimman kaddarorin kida (ciki har da. da F. m.) - kawai damar da za a iya aiwatar da su ta hanyar tsarin al'umma (shafi na XNUMX). 95). Ci gaba da tsoho (har yanzu Pythagorean; cf. Bobrovsky V. P., 1978, p. 21-22) ra'ayin triad a matsayin haɗin kai na farko, tsakiya da kuma ƙarshe, Asafiev ya ba da shawarar ka'idar da aka tsara ta kowane tsari na F. m., yana bayyana matakan ci gaba tare da taƙaitaccen tsari initium – motus – terminus (duba. sashen V). Babban abin da binciken ya mayar da hankali a kai shi ne tantance abubuwan da ake bukata don yaren kiɗan. samuwar, ci gaban rukunan na ciki. kuzarin F. m. ("kankara. tsari a matsayin tsari"), wanda ke adawa da tsarin-tsare-tsare. Saboda haka, Asafiev ya bambanta a cikin F. m. "bangarori biyu" - tsari-tsari da tsari-gini (shafi na XNUMX). 23); ya kuma jaddada mahimmancin abubuwan da aka fi sani da su a cikin samuwar F. m. - ganowa da bambance-bambance, rarraba duk F. m. bisa ga fifikon ɗaya ko ɗayan (Vol. 1, sashe na 3). Tsarin F. m., bisa ga Asafiev, yana da alaƙa da mayar da hankali kan ilimin halin ɗan adam na fahimtar masu sauraro (Asafiev B. V., 1945). A cikin labarin V. A. Zuckerman game da opera ta N. A. Rimsky-Korsakov "Sadko" (1933) music. samfur. a karo na farko da aka yi la'akari da hanyar "bincike cikakke". A cikin layi tare da babban saitunan al'ada. F. m. ku G. L. Catuara (1934-36); Ya gabatar da manufar "trochea na nau'i na biyu" (nau'i nau'i ch. sassa na 1st part 8th fp. sonatas ta Beethoven). Bayan da Taneyev ta hanyoyin kimiyya, S. C. Bogatyrev ya haɓaka ka'idar Canon sau biyu (1947) da kuma jujjuyawa (1960). DA. AT. Sposobin (1947) ya haɓaka ka'idar ayyuka na sassa a cikin F. m., ya binciko rawar jituwa wajen tsarawa. A. TO. Butskoy (1948) yayi ƙoƙari na gina koyaswar F. m., daga mahangar rabon abun ciki da bayyanawa. hanyoyin kiɗa, haɗa hadisai. theorist. ilimin kida da kyan gani (p. 3-18), mayar da hankali ga mai bincike kan matsalar nazarin kiɗa. aiki (p. 5). Musamman Butskoy ya tayar da tambayar ma'anar wannan ko ma'anar. hanyoyin kiɗan saboda bambancin ma'anarsu (misali, haɓaka. uku, p. 91-99); a cikin nazarinsa, ana amfani da hanyar daurin furci. tasiri (abun ciki) tare da hadaddun hanyoyin bayyana shi (shafi na XNUMX). 132-33 da sauransu). (Kwanta: Ryzhkin I. Ya., 1955.) Littafin Butsky gwaninta ne na ƙirƙirar ka'idar. tushe na "bincike na kiɗa. yana aiki" - ilimin kimiyya da ilimi wanda ya maye gurbin gargajiya. ilimin F. m. (Bobrovsky V. P., 1978, p. 6), amma kusa da ita (duba Fig. nazarin kida). A cikin littafin marubucin Leningrad, ed. Yau N. Tyulin (1965, 1974) ya gabatar da ra'ayoyin "haɗuwa" (a cikin sassauƙan nau'i-nau'i biyu), "sifofin hana ɓarna da yawa", "bangaren gabatarwa" (a cikin ɓangaren gefen sigar sonata), da manyan siffofi. na rondo an ware su daki-daki. A cikin aikin L. A. Mazel da kuma V. A. Zuckerman (1967) ya ci gaba da aiwatar da ra'ayin yin la'akari da hanyoyin F. m. (zuwa babban girma - kayan kiɗan) a cikin haɗin kai tare da abun ciki (shafi na XNUMX). 7), kida-bayani. kudade (ciki har da irin wannan, to-rye ba a cika yin la'akari da shi a cikin koyarwar F. m., - kuzari, timbre) da tasirin su akan mai sauraro (duba. Duba kuma: Zuckerman W. A., 1970), an kwatanta hanyar cikakken bincike dalla-dalla (shafi na XNUMX). 38-40, 641-56; kara - samfurori na bincike), wanda Zuckerman, Mazel da Ryzhkin suka haɓaka a cikin 30s. Mazel (1978) ya taƙaita ƙwarewar haɗin gwiwar kida da muses. aesthetics a cikin aikin nazarin kiɗa. aiki. A cikin aikin V. AT. Protopov ya gabatar da manufar wani nau'i mai ban sha'awa (duba. aikinsa "Contrasting Composite Forms", 1962; Stoyanov P., 1974), da yiwuwar bambancin. siffofin (1957, 1959, 1960, da dai sauransu), musamman ma, an gabatar da kalmar "nau'i na tsari na biyu", tarihin polyphonic. haruffa da siffofin polyphonic na ƙarni na 17-20th. (1962, 1965), kalmar "babban nau'i mai nau'i". Bobrovsky (1970, 1978) yayi karatu F. m. a matsayin ma'auni mai yawa tsarin tsarin wanda abubuwan da ke da bangarori guda biyu da ba su da alaƙa - aiki (inda aikin shine "gaba ɗaya ka'idar haɗin gwiwa") da kuma tsari (tsarin shine "wata hanya ta musamman ta aiwatar da ƙa'idar gaba ɗaya", 1978, p. . 13). An fayyace ra'ayin (Asafiev) na ayyuka guda uku na ci gaban gabaɗaya: “tushe” (i), “motsi” (m) da “kammala” (t) (shafi na XNUMX). 21). Ayyuka sun kasu kashi-kashi na ma'ana na gabaɗaya, na gaba ɗaya, da kuma na musamman (shafi. 25-31). Asalin ra'ayin marubucin shine haɗuwa da ayyuka (na dindindin da wayar hannu), bi da bi - "haɗin gwiwa. sabawa", "haɗin gwiwa. daidaitawa" da "haɗin gwiwa.
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Yu. H. Kholopov
