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Greek moysikn, daga mousa – muse

Wani nau'i na fasaha wanda ke nuna gaskiya kuma yana rinjayar mutum ta hanyar tsarin sauti masu ma'ana kuma an tsara shi musamman a tsayi da lokaci, wanda ya ƙunshi yawancin sauti (sauti na wani tsayi, duba sautin kiɗa). Bayyana tunani da motsin zuciyar mutum a cikin nau'i mai ji, M. yana aiki ne a matsayin hanyar sadarwa tsakanin mutane da kuma rinjayar tunanin su. Yiwuwar hakan ya biyo bayan yanayin yanayin yanayi da yanayin yanayin yanayin bayyanar mutum (da sauran halittu masu rai) tare da tunaninsa. rayuwa (musamman motsin rai) da kuma daga aikin sauti a matsayin mai ban sha'awa da siginar aiki. A cikin abubuwa da yawa, M. yana kama da magana, mafi daidai, shigar da magana, inda ext. yanayin mutum da halinsa na tunanin duniya suna bayyana ta hanyar canje-canje a cikin sauti da sauran halayen sautin muryar yayin furci. Wannan kwatancin yana ba mu damar yin magana game da yanayin M. (duba Intonation). A lokaci guda, M. ya bambanta sosai da magana, da farko ta halayen da ke cikinsa a matsayin fasaha. Daga cikin su: tsaka-tsaki na tunanin gaskiya, ayyuka masu amfani na zaɓi, mafi mahimmancin rawar da ke da kyau. ayyuka, art. darajar duka abun ciki da nau'i (nau'in mutum na hotuna da yanayin su, bayyanar da kerawa, fasaha na gabaɗaya da fasaha na musamman na marubuci ko mai yin wasan kwaikwayo, da dai sauransu). Idan aka kwatanta da hanyoyin sadarwa na sauti na ɗan adam na duniya - magana, ƙayyadaddun M. kuma yana bayyana kansa a cikin rashin yiwuwar bayyana takamaiman ra'ayi ba tare da shakka ba, a cikin tsauraran tsari na sauti da na ɗan lokaci (rhythmic) na sauti (saboda tsayayyen sauti). da tsawon kowane ɗayansu), wanda ke ƙara haɓaka tunaninsa da ƙayatarwa.

Kasancewa "fasaha na ma'ana" (BV Asafiev), kiɗa yana wanzuwa kuma yana aiki a cikin al'umma kawai a cikin sauti mai rai, a cikin aiki. A cikin zane-zane da dama, M. yana haɗawa, da farko, zuwa ga waɗanda ba na hoto ba (waƙar waƙa, gine-gine, da sauransu), watau irin wannan, wanda ba lallai ba ne don sake haifar da tsarin kayan abu na takamaiman abubuwa, kuma, na biyu, zuwa wucin gadi. wadanda (raye-raye, adabi, wasan kwaikwayo, sinima), watau irin wannan, to-rye yana bayyana a cikin lokaci, kuma, na uku, don yin (rawar iri ɗaya, wasan kwaikwayo, sinima), watau buƙatar masu shiga tsakani tsakanin ƙirƙira da fahimta. A lokaci guda, duka abun ciki da nau'in fasaha sun keɓance dangane da sauran nau'ikan fasaha.

Abubuwan da ke cikin M. an yi su ne da hotuna na zane-zane, watau an kama su cikin sauti masu ma'ana (intonations), sakamakon tunani, canji da kyan gani. tantance haƙiƙanin haƙiƙa a cikin zuciyar mawaƙi (mawaƙi, mai yin wasan kwaikwayo).

Babban rawar da ke cikin abun ciki na M. “arts. motsin rai” – zaba bisa ga yuwuwar da manufofin da'awar, share daga bazuwar lokacin da ma'ana tunani yanayi da matakai. Matsayinsu na jagora a cikin kiɗa. An ƙaddara abun ciki ta hanyar sauti (intonation) da yanayin ɗan lokaci na M., wanda ya ba shi damar, a gefe guda, don dogara ga dubban shekaru na gwaninta a waje da bayyanar da motsin zuciyar mutane da kuma tura su zuwa ga sauran membobin al'umma, da farko kuma Ch. arr. ta hanyar sautuka, kuma a gefe guda, don bayyana ƙwarewar ƙwarewa a matsayin motsi, tsari tare da duk canje-canje da inuwa, mai ƙarfi. tashi da faɗuwa, jujjuyawar motsin zuciyar juna da karonsu.

Daga dec. nau'ikan motsin rai M. Mafi yawan duka sun kasance sun haɗa da yanayi - yanayin tunanin mutum, ba a jagorance shi ba, sabanin ji, ga kowane takamaiman. batun (ko da yake ya haifar da haƙiƙa dalilai): fun, baƙin ciki, fara'a, despondency, taushi, amincewa, tashin hankali, da dai sauransu M. Har ila yau, yadu nuna wani tunanin al'amurran da hankali da son rai halaye na mutum (da kuma m matakai): thoughtfulness. , Ƙaddara, makamashi, rashin aiki, rashin ƙarfi, kamewa, juriya, rashin so, mahimmanci, rashin tausayi, da dai sauransu. Wannan yana ba da damar M. don bayyana ba kawai m. jihohin mutane, amma kuma halayensu. A cikin mafi kankare (amma ba a fassara a cikin harshen kalmomi), sosai da dabara da kuma "cututtuka" magana na motsin zuciyarmu, M. bai san daidai ba. A kan wannan ikon ne ma'anarsa mai yaduwa a matsayin "harshen rai" (AN Serov) ya dogara.

A cikin kiɗan Abubuwan kuma sun haɗa da “Arts. tunani” da aka zaɓa, kamar motsin rai, kuma suna da alaƙa da kusanci da na ƙarshe, “ji”. A lokaci guda, ta hanyar kansu, ba tare da taimakon kalmomi ba, da dai sauransu vnemuz. dalilai, M. ba zai iya bayyana kowane irin tunani. Ba a siffanta ta da ainihin saƙon tunani waɗanda ke da sauƙin isa don bayyanawa cikin kalmomi, waɗanda ke ɗauke da bayanai game da kowace hujja, da ƙayyadaddun ƙayyadaddun bayanai, waɗanda ba sa haifar da ƙungiyoyin motsin rai da na gani. Duk da haka, M. yana da sauƙin isa ga irin waɗannan tunani-gaba ɗaya, to-rye wanda aka bayyana a cikin ra'ayoyi masu alaƙa da ƙarfi. bangaren zamantakewa da tunani. abubuwan mamaki, zuwa halaye na ɗabi'a, halayen halayen mutum da yanayin tunanin mutum da al'umma. A cikin tsarki instr. Ayyukan manyan mawaƙa na zamani daban-daban sun ƙunshi ra'ayoyinsu game da jituwa ko rashin jituwa na duniya, kwanciyar hankali ko rashin zaman lafiya a cikin al'umma da aka ba su, mutunci ko wargajewar al'ummomi. da wayewar kai, iko ko rashin ƙarfi na mutum, da dai sauransu. Babbar rawar da ke cikin siffar tunanin tunani-generalizations tana taka rawa ta hanyar wasan kwaikwayo na kiɗa, watau kwatanta, karo da haɓaka hotunan kiɗan. Mafi girman dama don bayyana mahimman ra'ayoyin ra'ayoyin muses daidai. yana nufin yana ba da symphonism a matsayin yare. ci gaban tsarin hotuna, yana haifar da samuwar sabon inganci.

A yunƙurin faɗaɗa fa'idar duniyar falsafa da ra'ayoyin zamantakewa, mawaƙa sukan juya zuwa haɗakar waƙa tare da kalmar a matsayin mai ɗaukar takamaiman abun ciki na ra'ayi (vok. and program instr. M., duba waƙar Shirin), haka kuma tare da kida na mataki. aiki. Godiya ga hadawa tare da kalmar, aiki, da sauran abubuwan da ba na kiɗa ba, yuwuwar kiɗan yana faɗaɗa. An kafa sabbin nau'ikan muses a cikinsa. hotuna, to-rye da ke da alaƙa akai-akai a cikin al'ummomi. sani tare da ra'ayoyi da ra'ayoyin da wasu sassa na haɗawa suka bayyana, sa'an nan kuma shiga cikin "tsabta" M. a matsayin masu ɗaukar ra'ayi da ra'ayoyi iri ɗaya. Bugu da ƙari, mawaƙa suna amfani da alamun sauti (alamomi na al'ada) waɗanda suka taso a cikin al'ummomi. aiki (iri-iri na sigina, da sauransu; wannan kuma ya haɗa da waƙoƙi ko waƙoƙin da ke wanzuwa a cikin wani yanayi na zamantakewa kuma sun sami tabbataccen ma'ana mara ma'ana a cikinsa, waɗanda suka zama "alamomin kiɗa" na kowane ra'ayi), ko kuma sun ƙirƙira nasu. , sabo “waka. alamu." Sakamakon haka, abubuwan da ke cikin M. sun haɗa da da'irar ra'ayoyi masu girma da ci gaba da wadata.

Wuri mai ƙayyadaddun ƙayyadaddun ƙayyadaddun ƙayyadaddun wuri a cikin M. yana shagaltar da shi ta hanyar hotunan gani na takamaiman abubuwan al'ajabi na gaskiya, wanda ke kunshe cikin kiɗa. hotuna, watau a cikin sauti, to-rye yana haifar da alamun sha'awa na waɗannan abubuwan mamaki (duba zanen sauti). Ƙananan rawar wakilci a cikin fasaha shine da gaske saboda ƙarancin ikon ji, idan aka kwatanta da gani, don sanar da mutum game da ƙayyadaddun siffofi na abubuwa. Duk da haka, ana samun zane-zane na yanayi da "hotuna" a cikin M. dec. mutane, da hotuna ko "al'amuran" daga rayuwar Dec. tsarin al'ummar wata kasa da zamani. An gabatar da su azaman ƙari ko žasa kai tsaye (ko da yake babu makawa batun ilimin kida) hoto (haihuwa) na sautin yanayi (hayaniyar iska da ruwa, waƙar tsuntsu, da sauransu), mutum (ƙarshen magana, da sauransu) da kuma al'umma (sautunan da ba na kiɗa ba da nau'ikan kiɗa na yau da kullun waɗanda ke cikin ɓangaren rayuwa mai amfani), da kuma nishaɗin bayyane da sauran abubuwan sifofi na zahiri na abubuwa tare da taimakon ƙungiyoyi (waƙar tsuntsu - hoto na gandun daji), kwatankwacin (fadi mai faɗi). motsawa a cikin karin waƙa - ra'ayi na uXNUMXbuXNUMXbspace) da synesthesia - haɗin kai tsakanin abubuwan jin dadi da na gani, tactile, jin nauyi, da dai sauransu (sauti masu girma suna haske, kaifi, haske, bakin ciki; ƙananan sautunan duhu, maras kyau, nauyi. , kauri). Ma'anar sararin samaniya, saboda kasancewar ƙungiyoyi, kwatankwacinsu da haɗin gwiwa, dole ne su kasance tare da fahimtar M., duk da haka, ba koyaushe suna nufin kasancewar wannan samfurin ba. hotuna a matsayin ainihin hotunan gani na takamaiman abubuwa. Idan hotunan suna cikin kiɗan. samfurori, to, a matsayin mai mulkin, suna aiki ne kawai a matsayin ƙarin hanyoyin bayyana abubuwan akida da tunani, watau tunani da yanayin mutane, halayensu da burinsu, manufofinsu da kimantawa na gaskiya. Don haka, takamaiman. Maudu'in tunani na kiɗa shine hali (ch. arr. motsin zuciyarmu) na mutum da al'umma zuwa ga duniya, wanda aka ɗauka a cikin ƙarfinsa.

Abin da ke cikin M. (a cikin jama'ar aji) haɗin kai ne na mutum ɗaya, aji da kuma duniya baki ɗaya. M. koyaushe yana bayyana ba kawai halayen marubucin ga gaskiya ba, ext. duniya, amma kuma wasu daga cikin mafi muhimmanci, na hali. fasali na akida da, musamman, ilimin halin dan Adam na wani rukuni na zamantakewa, ciki har da. tsarinta na ji, “sautin ilimin halin ɗabi’a” gabaɗaya, yanayin yanayin rayuwa da na ciki. kari. A lokaci guda, sau da yawa yana ba da launi na motsin rai, taki, rhythm na zamanin gaba ɗaya, tunani da motsin zuciyar da ba kusa da ɗaya ba, amma ga da yawa. azuzuwan (misali, ra'ayoyin juyin mulkin demokraɗiyya na al'umma, 'yanci na ƙasa, da dai sauransu) ko ma duk mutane (misali, yanayin da yanayi ya tada, ƙauna, da sauran abubuwan da suka faru na lyrical), ya ƙunshi manyan manufofin duniya. Duk da haka, tun da na duniya a duniyar akida da tunanin mutum ba a sake shi daga zamantakewarsa ba, to babu makawa duniya a cikin M. ya sami daidaiton zamantakewa.

Gaskiya kuma, ƙari kuma, typing, watau haɗawa gaba ɗaya tare da zamantakewa-tarihi, nat. da kuma daidaitaccen tunani na tunanin mutum, nunin yanayi da halayen mutane a matsayin membobin da aka ayyana. al'umma tana aiki a matsayin bayyanar gaskiyar a cikin kiɗa. Cikakken rashi a cikin samar da abun ciki na akida da tunani (ciki har da duniyar tunanin mutum), "wasa" mara ma'ana tare da sautuna ko canjin su kawai zuwa hanyar ilimin lissafi. tasiri a kan masu sauraro suna kawo irin wannan "gini na sauti" fiye da iyakokin M. a matsayin fasaha.

M. akwai abun ciki Dec. Genus: almara, ban mamaki, waƙa. A lokaci guda, duk da haka, saboda yanayin da ba na hoto ba, waƙoƙin da suka fi kusa da shi, suna ba da fifikon "bayyanar da kai" a kan hoton duniyar waje, "hotunan kai" na tunanin mutum akan halayen wasu. mutane. Abubuwan da ke cikin M. gabaɗaya sun mamaye kyawawan hotuna waɗanda suka dace da kyakkyawar ɗabi'a da kyakkyawar manufa ta marubucin. Kodayake hotuna masu banƙyama (kuma tare da su masu banƙyama, caricature, da grotesque) sun shiga cikin duniyar kiɗa da dadewa - kuma musamman tun lokacin zamanin romanticism - har yanzu sun kasance babban tasiri a cikin kiɗa. abun ciki, akwai sauran halaye zuwa ga tabbatarwa, " rera waƙa ", kuma ba zuwa ga ƙin yarda ba. Irin wannan hali na M. na halitta don bayyanawa da kuma jaddada mafi kyau a cikin mutum yana haɓaka mahimmancinsa a matsayin mai magana da yawun ɗan adam. mafari kuma mai ɗaukar aikin ɗabi'a da ilimi.

Tsarin kayan abu na abun ciki na M., hanyar wanzuwarsa shine kiɗa. tsari - tsarin kiɗa. sautuna, a cikin abin da tunani, motsin zuciyarmu da kuma alama na mawaƙi aka gane (duba Musical form). Musanya. tsari na biyu ne ga abun ciki kuma gabaɗaya yana ƙarƙashinsa. A lokaci guda yana da alaƙa. 'yancin kai, wanda ya fi girma saboda fasaha, kamar duk nau'ikan fasaha ba na hoto ba, yana da iyaka sosai a cikin amfani da nau'o'in al'amuran rayuwa na ainihi don haka babu makawa ya haifar da siffofinsa a kan babban sikelin da ba ya maimaita dabi'a. wadanda. An ƙirƙiri waɗannan siffofi na musamman don bayyana takamaiman. abun ciki na kiɗa, bi da bi, yana tasiri sosai, “siffata” shi. Siffar kiɗa (kazalika da kowane nau'i na fasaha) yana da alaƙa da yanayin kwanciyar hankali, kwanciyar hankali, maimaita tsari da abubuwan mutum ɗaya, wanda ya zo cikin rikici tare da sauye-sauye, motsi, da asali na muses. abun ciki. Wannan yare ne. ana warware sabani a cikin tsarin haɗin kai da haɗin kai a kowane lokaci a cikin hanyarta ta hanyar ƙirƙirar takamaiman muses. samarwa, lokacin da, a gefe guda, tsarin gargajiya ya zama daidaikun mutane kuma an sabunta su a ƙarƙashin rinjayar sabon abun ciki, kuma a gefe guda, ana kwatanta abun ciki kuma ana bayyana lokuta da crystallized a ciki wanda ya dace da tabbatattun fasali na form amfani.

Rabo a cikin kiɗa. kerawa da aiki tsakanin barga da canzawa ta hanyoyi daban-daban a cikin kiɗa. al'adu na iri daban-daban. A cikin M. al'adar baka (tatsuniya na duk ƙasashe, prof. da'awar ka'idar ingantawa (kowane lokaci bisa ga wasu ka'idoji na salo), nau'in ya kasance a buɗe, "buɗe". music pl. jama'a sun fi kwanciyar hankali fiye da tsarin kiɗan ƙwararru (duba kiɗan jama'a) A cikin M. rubuce-rubucen al'ada (Turai) kowane samfur. yana da rufaffiyar tsari, fiye ko žasa barga, kodayake a nan, a wasu salon, abubuwan haɓakawa. Ana bayar da (duba Ingantawa).

Baya ga gyare-gyaren kayan aiki na abun ciki, nau'i a cikin M. kuma yana yin aikin watsawa, "saƙon" ga al'umma. Wannan aikin sadarwa kuma yana ƙayyadaddun wasu muhimman al'amura na muses. sifofi, kuma sama da duka – yarda da tsarin gaba ɗaya na hasashe mai sauraro da (a cikin ƙayyadaddun iyaka) nau'insa da iyawarsa a cikin wani zamani da aka bayar.

Har ma da muses daban-daban. Sautunan sauti sun riga sun sami furci na farko. dama. Kowannen su yana iya haifar da ilimin lissafi. jin dadi ko rashin jin daɗi, jin daɗi ko natsuwa, tashin hankali ko fitarwa, da kuma synaesthetic. jin daɗi (nauyi ko haske, zafi ko sanyi, duhu ko haske, da sauransu) da ƙungiyoyin sararin samaniya mafi sauƙi. Ana amfani da waɗannan damar ta hanya ɗaya ko wata a kowace kiɗa. prod., amma yawanci kawai a matsayin gefe dangane da waɗannan albarkatun tunani. da kuma tasirin kyawawan dabi'u, waɗanda ke ƙunshe a cikin zurfin yadudduka na nau'in kiɗan, inda sautunan suka riga sun yi aiki a matsayin abubuwa na tsarin da aka tsara.

Tsayawa wasu kamanceceniya da sautunan rayuwa ta ainihi, muses. sauti a lokaci guda ya bambanta da su a cikin cewa an haɗa su a cikin tsarin da aka kafa na tarihi wanda muses suka haɓaka. al'adar al'umma da aka bayar (duba Tsarin Sauti). Kowane kiɗa. tsarin sauti (trichord, tetrachord, pentatonic, diatonic, tsarin sauti guda goma sha biyu daidai da yanayin zafi, da dai sauransu) yana ba da abubuwan da ake buƙata don fitowar nau'o'in barga daban-daban na sautunan da za a iya maimaita su akai-akai a kwance da kuma a tsaye. Irin wannan hanya a cikin kowace al'ada an zaɓa kuma an ƙara shi zuwa tsarin tsawon lokacin sautunan, wanda ya sa ya yiwu a samar da nau'i-nau'i na tsarin lokaci na lokaci.

A cikin M., ban da sautuna, kuma ana amfani da sautuna marasa iyaka. tsawo (amo) ko irin wannan, wanda ba a la'akari da tsayinsa ba. Duk da haka, suna taka rawar dogara, matsayi na biyu, tun da, kamar yadda kwarewa ya nuna, kawai kasancewar kafaffen filin yana ba da damar tunanin ɗan adam don tsara sauti, kafa dangantaka a tsakanin su, ya kawo su cikin tsarin da kuma samar da su cikin tsari mai ma'ana, ma'ana da ma'ana. , haka kuma, isassun ingantaccen tsarin sauti. Saboda haka, gine-gine daga surutu kadai (misali, daga sautin magana "marasa kida" ko kayan kaɗe-kaɗe ba tare da takamaimai takamaimai ba) ko dai sun kasance na "pre-music" (a cikin al'adu na farko), ko kuma sun wuce iyakar kiɗa. shari’a ta wannan ma’ana, wadda ta kafu a cikin tarihin zamantakewa. al'adar mafi yawan mutane shekaru da yawa. ƙarni.

A cikin kowane kida da aka bayar. a cikin wani aiki, sautunan suna samar da nasu tsarin tsarin layi na kwance da kuma (a cikin polyphony) haɗin kai tsaye (consonances), wanda ya zama siffarsa (duba Melody, Harmony, Polyphony). A cikin wannan nau'i, ya kamata mutum ya bambanta tsakanin bangarori na waje (na jiki) da na ciki ("harshe"). Gefen waje ya haɗa da canjin timbres, shugabanci na melodic. motsi da tsarin sa (m, spasmodic), mai ƙarfi. lankwasa (canje-canje a cikin ƙara, duba Dynamics), ɗan lokaci, yanayin ɗabi'a na gabaɗaya (duba Rhythm). Ana ganin wannan gefen nau'ikan kiɗan kamar magana a cikin harshen da ba a sani ba, wanda zai iya yin tasiri ga mai sauraro (a yanayin ilimin lissafi da ƙananan hankali) tare da sauti na gaba ɗaya, ba tare da fahimtar abin da ke ciki ba. Gefen ciki ("harshe") na kiɗan. siffofin su ne innation. Ƙirƙiri, watau ma'anar ma'anar haɗakar sautin da aka haɗa a ciki (waɗanda ke cikin sautin waƙa, daidaitawa da jujjuyawar rhythmic), waɗanda al'ummomi suka riga sun ƙware a baya. sani (ko kama da waɗanda aka ƙware), yuwuwar ma'anonin waɗanda galibi an san su ga masu sauraro. Ana ganin wannan gefen nau'ikan kiɗan iri ɗaya da magana a cikin harshen da aka saba, ba wai kawai sautinsa ba, har ma da ma'anarsa.

M. na kowace al'umma a kowane zamani yana da wani abu. hadaddun barga nau'ikan haɗakar sauti (intonations) tare da dokoki (ka'idoji) don amfani da su. Irin wannan hadaddun ana iya kiransa (metaphorically) muses. "harshen" wannan al'umma da zamanin. Ba kamar yaren magana ba, ba shi da wasu halittu. alamomin tsarin alamar, domin, na farko, abubuwan da ke cikinta ba takamaiman tsari ba ne (alamomi), amma nau'ikan haɗin sauti ne kawai, na biyu kuma, kowane ɗayan waɗannan abubuwan yana da ma'anar fiye da ɗaya. ƙima, amma saiti na ƙima mai yuwuwa, filin da ba shi da ƙayyadaddun ƙayyadaddun iyakoki, na uku, nau'in kowane nau'in sigar ba ya rabuwa da ƙimarsa, ba za a iya maye gurbinsa da wani ba, kuma ba za a iya canza shi ba tare da canza darajar ba; saboda haka, a cikin M. ba shi yiwuwa a canja wurin daga muses guda ɗaya. harshe zuwa wani.

Filin yuwuwar ƙimar kowane nau'in kiɗan-harshe ya dogara, a gefe ɗaya, akan zahirinsa. (acoustic), da kuma a daya bangaren, daga gwaninta na amfani da shi a cikin al'ummomin kiɗa. yin aiki da haɗin kai, sakamakon wannan ƙwarewa, tare da wasu abubuwan mamaki. Irin su vnemuz. ƙungiyoyi (tare da sauti na magana, yanayi, da dai sauransu, kuma ta hanyar su tare da hotuna masu dacewa na mutane da al'amuran halitta) da kuma kiɗa na ciki, wanda, bi da bi, an raba su zuwa ƙungiyoyin karin rubutu (tare da sauran ayyukan kiɗa) da kuma intra-rubutu (sun taso ne a cikin wani aikin da aka bayar akan nau'ikan haɗin kai daban-daban, kamanceceniya, da sauransu). A cikin samuwar ma'ana. yiwuwa bambanta. abubuwan kiɗa. Harshe yana taka rawa sosai a cikin ƙwarewar amfani da su akai-akai a cikin M. na yau da kullun, haka kuma a cikin M. tare da kalma da mataki. aiki, inda aka kafa dangantakarsu mai ƙarfi tare da yanayin rayuwa da kuma abubuwan da ke cikin abubuwan da ke tattare da su a waje da muse. yana nufin.

Zuwa abubuwa masu maimaitawa na kiɗa. siffofin, ilimin tauhidi. damar zuwa-rykh ya dogara da al'adun amfani da su a cikin al'ummomin kiɗa. yi, nasa ba kawai ga nau'ikan intonations (kungiyoyin "kalmomi") ba, har ma da irin wannan haɗin kai na maganganun kiɗa. na nufin, mene ne nau'o'in (tafiya, rawa, waƙa, da sauransu, duba nau'ikan kiɗan). Tukunya. Ma'anar kowane nau'i an ƙaddara shi ta hanyar ayyukansa na yau da kullum, watau matsayinsa a ayyukan rayuwa.

Mawaƙin na iya amfani da shi a cikin ayyukansa. a matsayin general alamu na music. “harshen” na al’umma da zamanin, da kuma takamaiman abubuwan da ke cikinta. A lokaci guda kuma, wasu abubuwa suna wucewa a cikin salon da aka bayar daga aiki zuwa aiki kuma daga wannan marubuci zuwa wani ba tare da kasancewa ba. canje-canje (haɓaka jujjuyawar launin rawaya da jujjuyawar jituwa, ƙwararru, ƙirar rhythmic na nau'ikan yau da kullun, da sauransu). Wasu suna aiki ne kawai a matsayin samfuri don ƙirƙirar sababbin, a kowane hali, abubuwan asali na muses. nau'i (irin waɗannan su ne farkon jigogi - "kwayoyinsu", da kuma ƙaddamar da intonations). Lokacin da kuka kunna kowane ɓangaren kiɗan. harshe ya zama aiki, fagen ma'anarsa yana canzawa: a gefe guda, yana raguwa saboda rawar gani na muses. mahallin, da kalmomi ko fage. aiki (a cikin nau'ikan roba), a gefe guda, yana faɗaɗa saboda bullowar haɗin gwiwar rubutu. Amfani da abubuwa da ka'idojin muses na yanzu. Harsuna, gyara su, ƙirƙirar sababbi, mai yin waƙa ta haka ya samar da nasa, ta wata hanya ta musamman na kiɗa. harshen da yake bukata don shigar da nasa ainihin abun ciki.

Musanya. harsuna daban-daban. zamanin, al'ummomi, mawaƙa suna da banbance-banbance daban-daban, amma dukkansu kuma suna da wasu ƙa'idodi na gabaɗaya don tsara sautunan - sauti da lokaci. A cikin mafi yawan al'adun kiɗa da salon, an tsara dangantakar sauti na sautuna bisa ga yanayin, kuma an tsara dangantakar ɗan lokaci a kan tushen mita. Fret da mita suna aiki a lokaci guda kamar yadda ake yin gabaɗaya na gabaɗayan innation-rhythm na baya. ayyuka da masu kula da ƙarin ƙirƙira, waɗanda ke jagorantar kwararar haɗaɗɗen sauti da wayewar mawaƙi ya haifar tare da wata tashar. Haɗin kai da ma'ana mai ma'ana (cikin monophony) na tsayi mai tsayi da dangantakar ɗan lokaci na muses. sautunan da suka dogara akan tashin hankali kuma mita suna samar da karin waƙa, wanda shine mafi mahimmancin bayyanawa. nufin M., ruhinta.

Haɗa babban kiɗan baya. bayyana ra'ayi (jin sauti, rhythmic da syntactic kungiyar), waƙar tana aiwatar da su a cikin tsari mai mahimmanci da keɓaɓɓu. Relief da asali melodic. abu yana aiki azaman mahimman ma'auni don ƙimar muses. yana aiki, yana ba da gudummawa sosai ga fahimta da haddar sa.

A cikin kowane kida da aka bayar. wani aiki na kowane nau'i na nau'i na nau'i yana samuwa a cikin tsari na haɗawa da ƙaddamar da tsarin gaba ɗaya, wanda ya ƙunshi saitin sifofi masu zaman kansu. Ƙarshen sun haɗa da sigar kiɗa, rhythmic, fret-harmonic, textural, timbre, dynamic, tempo, da dai sauransu. Muhimmanci na musamman shine jigo. tsarin, abubuwan da suke da muses. jigogi tare da diff. nau'o'i da matakan canjin su da ci gaban su. A mafi yawan salon kiɗa, jigogi ne su ne manyan masu ɗaukar kayan muses. hotuna, kuma, saboda haka, jigogi. tsarin kiɗa. siffofi a wajen. digiri yana aiki azaman bayyanar waje na tsarin siffa na abun ciki. Dukansu, hadewa, sun ƙunshi jigo na alama. tsarin aikin.

Duk masu zaman kansu tsarin muses. an haɗa siffofin tare kuma an haɗa su ta hanyar daidaitawa. tsarin (haɗin kai dalilai, jimloli, jimloli, lokuta) da kuma abubuwan da aka haɗa (ɓangarorin haɗin kai, sassan, sassa, da sauransu). Tsarin biyu na ƙarshe ya samar da muses. tsari a cikin kunkuntar ma'anar kalmar (a wasu kalmomi, abun da ke cikin aikin kiɗa). Saboda musamman babban dangi 'yancin kai na nau'i a cikin fasaha azaman nau'in fasaha mara hoto, barga, nau'ikan sifofi masu ɗorewa sun ɓullo a ciki - muses na yau da kullun. siffofi (a cikin kunkuntar ma'anar kalmar) masu iya haɗa nau'ikan hotuna da yawa. Waɗannan su ne waɗanda suke a Turai. M. shekaru da yawa riga. ƙarni biyu nau'i-nau'i biyu da uku, bambancin, rondo, sonata allegro, fugue, da dai sauransu; akwai nau'o'i na al'ada a cikin kiɗa. al'adun Gabas. Kowannen su gabaɗaya yana nuna halaye, mafi yawan nau'ikan motsi a cikin yanayi, al'umma da wayewar ɗan adam (samuwar abubuwan mamaki, maimaita su, canji, haɓakawa, kwatance, karo, da sauransu). Wannan yana ƙayyade ma'anarsa mai yiwuwa, wanda aka ƙayyade ta hanyoyi daban-daban a cikin ayyuka daban-daban. Tsarin tsari na yau da kullum yana samuwa a cikin sabuwar hanya a kowane lokaci, yana juya zuwa wani nau'i na musamman na wannan aikin.

Kamar abun ciki, kiɗa. sifar yana buɗewa cikin lokaci, kasancewa tsari. Kowane kashi na kowane tsari yana taka rawa a cikin wannan tsari, yana yin takamaiman. aiki. Ayyukan kashi a cikin kiɗa. nau'i na iya zama mahara (multifunctionality) da canzawa (sauwar ayyuka). Abubuwan acc. Tsarin (kazalika da sautuna - a cikin abubuwa) haɗawa da aiki akan tushen muses. dabaru, wanda ke da takamaiman. refraction na gaba ɗaya tsarin ɗan adam. ayyuka. A cikin kowane salon kiɗa (duba salon kiɗa) yana samar da nau'ikan muses iri-iri. dabaru, tunani da taƙaita ayyukan kirkire-kirkire na wannan zamanin, nat. makaranta, ko wanne daga cikin magudanar ruwa ko mawallafi guda ɗaya.

Dukansu abubuwan da ke cikin M. da nau'insa suna haɓaka sannu a hankali. Damarsu na cikin gida ana ƙara bayyanawa kuma a hankali suna wadatar da su a ƙarƙashin tasirin abubuwan waje kuma, sama da duka, canzawa cikin rayuwar zamantakewa. M. ya ƙunshi sabbin jigogi, hotuna, ra'ayoyi, motsin zuciyarmu, waɗanda ke haifar da sabbin siffofi. A lokaci guda, abubuwan da ba a gama ba na abun ciki da siffa suna mutuwa. Duk da haka, duk wani abu mai mahimmanci da aka halicce a Moscow ya kasance don rayuwa a cikin nau'i na ayyukan da suka hada da classic. al'adun gargajiya, kuma a matsayin al'adun kirkire-kirkire da aka karbe a cikin zamani masu zuwa.

Ayyukan kiɗa na ɗan adam ya kasu kashi uku manyan nau'ikan: ƙirƙira (duba Haɗin kai), wasan kwaikwayon (duba wasan kwaikwayo na kiɗa) da tsinkaye (duba ilimin halin kiɗan kiɗan). Sun dace da matakai uku na wanzuwar muses. ayyuka: halitta, haifuwa, sauraro. A kowane mataki, abun ciki da nau'in aikin suna bayyana a cikin nau'i na musamman. A mataki na halitta, a lokacin da a cikin tunanin mawaki a lokaci guda. Abubuwan da marubucin ya rubuta (madaidaici) da sigar marubucin (kayan abu) an haɓaka su, abun ciki yana wanzuwa a cikin ainihin tsari, kuma sigar tana wanzuwa ne kawai a cikin yuwuwar. Lokacin da aka gane aikin a cikin wasan kwaikwayo (a cikin rubuce-rubucen al'adun kiɗa, wannan yawanci ana gaba da shi ta hanyar yin rikodin sharadi na nau'in kiɗan a cikin nau'i na kiɗan kiɗa, duba rubutun kiɗa), sa'an nan kuma an sabunta nau'in, ya shiga cikin yanayin sauti. A lokaci guda, duka abun ciki da nau'in suna canzawa kaɗan, mai yin ya canza su daidai da ra'ayinsa na duniya, kyakkyawa. akida, gwaninta, halin mutum, da sauransu. Wannan yana nuna ra'ayinsa na mutum da fassarar aikin. Akwai bambance-bambancen abun ciki da tsari masu aiki. A ƙarshe, masu sauraro sun tsallake samfurin da aka gane. ta hanyar prism na ra'ayi, dandano, rayuwa da muses. dandana kuma ta wannan sake dan canza shi. Ana haifar bambance-bambancen abun ciki da nau'ikan masu sauraro, an samo su daga masu aiwatarwa, kuma ta hanyar su - daga abun ciki na marubucin da sigar marubucin. Don haka, a duk matakan kiɗa. aiki ne m. hali, ko da yake zuwa nau'i daban-daban: marubucin ya ƙirƙira M., mai yin wasan yana sake ƙirƙira shi da sake ƙirƙira shi, yayin da mai sauraro fiye ko žasa yana gane shi.

Hankalin M. tsari ne mai rikitarwa, gami da na zahiri. ji M., fahimtarsa, gogewarsa da kimantawa. Ji ta jiki hasashe ne kai tsaye na gefen (sauti) gefen muses. siffofin, tare da physiological. tasiri. Fahimta da dandanawa shine fahimtar ma'anar ma'anonin muses. siffofi, watau abubuwan da ke cikin M., ta hanyar fahimtar tsarinsa. Yanayin fahimta a wannan matakin shine farkon sanin (aƙalla a gaba ɗaya) tare da daidai. harshen kiɗa da haɗakar da dabaru na kiɗa. tunani mai mahimmanci a cikin wannan salon, wanda ke ba da damar mai sauraro ba kawai don kwatanta kowane lokaci na tura muses ba. siffofi tare da waɗanda suka gabata, amma kuma don hango ("tunanin") shugabanci na ƙarin motsi. A wannan matakin, ana aiwatar da tasirin akida da tunanin M. ga mai sauraro.

Ƙarin matakai na fahimtar kiɗa. ayyukan da suka wuce iyakokin hakikanin sautinsa a cikin lokaci, su ne, a daya bangaren, samuwar dabi'ar mai saurare zuwa ga fahimta (bisa la'akari da yanayin sauraren karar da ke tafe, da sanin nau'in aikin, da sunan sa. marubuci, da sauransu), da kuma a daya bangaren, na gaba fahimtar abin da aka ji, da haifuwa a cikin memory (“bayan ji”) ko a nasa. aiki (misali, ta hanyar rera waƙa aƙalla gutsuttsura da muryoyi) da ƙima ta ƙarshe (yayin da an riga an kafa kima na farko yayin sautin M.).

Ikon mai sauraro don fahimtar ma'ana (fahimta da gogewa) wannan ko waccan kiɗan. aikin, abin da ke cikin tsinkayensa da kimantawa ya dogara da abu (aiki) da kuma a kan batun (mai sauraro), mafi daidai, a kan dangantakar da ke tsakanin bukatun ruhaniya da bukatu, kayan ado. manufa, matakin fasaha. haɓakawa, ƙwarewar sauraron kiɗan da halayen ciki na cikin halayen aikin. Bi da bi, bukatun da sauran sigogi na mai sauraro suna samuwa ta hanyar yanayin zamantakewa, da kuma kiɗan sa na sirri. kwarewa wani bangare ne na jama'a. Sabili da haka, tsinkayen kiɗa yana daidai da yanayin zamantakewa kamar kerawa ko aiki (wanda ba ya ware takamaiman mahimmancin iyawar asali da kaddarorin tunanin mutum na kowane nau'in ayyukan kiɗa). Musamman, abubuwan zamantakewa suna taka muhimmiyar rawa wajen samar da fassarori na mutum da na jama'a (fassara) da kima na muses. aiki. Wadannan fassarori da kimantawa suna canzawa a tarihi, suna nuna bambance-bambance a cikin ma'anar ma'anar da darajar aikin guda ɗaya don lokuta daban-daban da ƙungiyoyin zamantakewa (dangane da yarda da manufofin buƙatun lokaci da bukatun al'umma).

Nau'in asali na ayyukan kiɗa guda uku suna da haɗin kai, suna kafa sarka ɗaya. Kowane mahaɗin da ke gaba yana karɓar abu daga wanda ya gabata kuma yana fuskantar tasirin sa. Har ila yau, akwai ra'ayi a tsakanin su: aikin yana motsa (amma, zuwa wani matsayi, iyaka) kerawa ga bukatunsa da damarsa; al'ummomi. hasashe yana rinjayar aiki kai tsaye (ta hanyar halayen jama'a a kai tsaye, hulɗar kai tsaye tare da mai yin wasan kwaikwayo da sauran hanyoyi) da kuma a kaikaice akan ƙirƙira (tunda mai yin waƙar da son rai ko kuma ba da son rai ba yana mai da hankali kan wani nau'i ko wani nau'i na tsinkaye na kiɗa kuma ya dogara da harshen kiɗa. wanda ya ci gaba a cikin wata al'umma).

Tare da irin waɗannan ayyuka kamar rarrabawa da farfagandar M. tare da taimakon decomp. kafofin watsa labarai, binciken kiɗa na kimiyya (duba Musicology, Musical Ethnography, Musical Aesthetics), zargi (duba Musical Criticism), horar da ma'aikata, jagoranci ƙungiya, da dai sauransu, da cibiyoyin da suka dace da su, batutuwan wannan aikin da ƙimar da aka haifar. da shi, kerawa, aiki da tsinkaye suna samar da tsarin - muses. al'adun al'umma. A cikin al'adun kiɗan da suka ci gaba, kerawa yana wakiltar nau'ikan da yawa masu tsaka-tsaki, to-rye za a iya bambanta bisa ga Dec. alamu.

1) Ta nau'in abun ciki: M. waƙa, almara, ban mamaki, da kuma jaruntaka, ban tausayi, ban dariya, da dai sauransu; a wani bangare - kiɗa mai mahimmanci da kiɗa mai haske.

2) Ta hanyar yin manufa: kiɗan murya da kiɗan kayan aiki; a cikin wani bangare daban-daban - solo, gungu, ƙungiyar makaɗa, ƙungiyar mawaƙa, gauraye (tare da ƙarin bayani game da abubuwan da aka tsara: alal misali, don ƙungiyar mawaƙa, don ƙungiyar makaɗa, don jazz, da sauransu).

3) Ta hanyar haɗawa da wasu nau'ikan fasaha da kuma kalmar: M. wasan kwaikwayo (duba kiɗan wasan kwaikwayo), choreographic (duba kiɗan rawa), kayan aiki na shirye-shirye, melodrama (karanta zuwa kiɗa), murya tare da kalmomi. M. a waje da kira - sautin murya (waƙa ba tare da kalmomi ba) da "tsarkake" kayan aiki (ba tare da shirin ba).

4) Dangane da mahimman ayyuka: kiɗan da aka yi amfani da su (tare da bambance-bambance na gaba a cikin kiɗan samarwa, kiɗan soja, kiɗan sigina, kiɗan nishaɗi, da sauransu) da kiɗan da ba a amfani da su ba.

5) Dangane da yanayin sauti: M. don sauraro na musamman. yanayi inda aka raba masu sauraro daga masu yin wasan kwaikwayo ("gabatar" M., a cewar G. Besseler), da M. don yawan aiki da sauraron sauraro a cikin yanayin rayuwa na yau da kullum ("kullum" M.). Bi da bi, na farko ya kasu kashi na ban mamaki da kide kide, na biyu - cikin taro-gida da al'ada. Kowane ɗayan waɗannan nau'ikan guda huɗu (kungiyoyin nau'ikan) ana iya bambanta su gaba: mai ban mamaki - akan M. don muses. gidan wasan kwaikwayo, wasan kwaikwayo na wasan kwaikwayo da silima (duba kiɗan fim), wasan kwaikwayo - kan kiɗan jin daɗi, kiɗan ɗaki da kiɗan pop. kiɗa, taro-kowace rana - akan M. don waƙa da motsi, al'ada - akan ayyukan ibada na M. (duba kiɗan Ikilisiya) da na zamani. A ƙarshe, a cikin bangarorin biyu na kiɗa na yau da kullun na yau da kullun, a kan daidai wannan, tare da aiki mai mahimmanci, nau'ikan waƙa (waƙar waƙa, lullaby, serenade, barcarolle, da sauransu), nau'ikan raye-raye (hopak, waltz, polonaise, da sauransu) . ) da tattaki (takin yaƙi, tattakin jana'iza, da sauransu).

6) Ta nau'in abun da ke ciki da kiɗa. harshe (tare tare da hanyoyin aiwatarwa): daban-daban kashi ɗaya ko zagaye. nau'ikan nau'ikan nau'ikan nau'ikan (ƙungiyoyin nau'ikan) an gano su gwargwadon yanayin sauti. Alal misali, a cikin m. - opera, ballet, operetta, da dai sauransu, a cikin wasan kwaikwayo - oratorio, cantata, romance, symphony, suite, overture, poem, instr. concerto, solo sonata, trio, quartet, da dai sauransu, a cikin bikin - waƙoƙi, waƙoƙi, taro, requiem, da sauransu. matakin: misali, aria, gungu, mawaƙa a opera, operetta, oratorio da cantata, Adadio da solo bambancin ballet, andante da scherzo a cikin symphony, sonata, chamber-instr. gungu, da dai sauransu. Saboda haɗin su tare da irin waɗannan abubuwan da ba na kiɗa ba da kuma abubuwan ciki na ciki kamar ayyuka masu mahimmanci, yanayi na aiki da nau'in tsari, nau'o'in (da ƙungiyoyin nau'i) kuma suna da kwanciyar hankali, karko, wani lokacin dagewa na shekaru da yawa. zamanin. A lokaci guda kuma, an sanya wani yanki na abun ciki da wasu siffofi na muses ga kowannensu. siffofin. Koyaya, tare da canji a cikin yanayin tarihi na gabaɗaya da yanayin aiki na M. a cikin al'umma, nau'ikan kuma suna haɓakawa. Wasu daga cikinsu suna canzawa, wasu sun ɓace, suna ba da hanya zuwa sababbin. (Musamman, a cikin karni na 20, ci gaban rediyo, silima, talabijin, da sauran hanyoyin fasaha na yada kafofin watsa labarai sun ba da gudummawa ga samuwar sabbin nau'ikan nau'ikan.) Sakamakon haka, kowane zamani da nat. Al'adun kiɗa yana da alaƙa da "asusun nau'in".

7) Ta salon (na tarihi, na kasa, kungiya, mutum). Kamar nau'in nau'i, salo shine ra'ayi na gaba ɗaya wanda ke rufe adadi mai yawa na muses. al'amuran da suka yi kama da juna ta wasu abubuwa (ch. arr. bisa ga nau'in tunanin kiɗan da ke cikin su). A lokaci guda, styles, a matsayin mai mulkin, sun fi wayar hannu, sun fi canzawa fiye da nau'i. Idan nau'in nau'in nau'in nau'in nau'in nau'in nau'in nau'in nau'in nau'in nau'in nau'in nau'in nau'in nau'in nau'in nau'in nau'in nau'in nau'in nau'in nau'in nau'in nau'in nau'in muses yana nuna alamar muses. Ayyukan wannan nau'in na nau'ikan daban-daban na nau'ikan daban-daban ne da kuma tasirin salon - yankin na ayyuka daban-daban na wannan zamanin ne. A wasu kalmomi, nau'in yana ba da juzu'i na kida-tarihi. tsari a jere, diachrony, da salo - a cikin lokaci ɗaya, aiki tare.

Yin, kamar kerawa, ya kasu kashi cikin murya da kayan aiki kuma, ƙari, bisa ga kayan kida da kuma bisa ga tsarin ƙungiyoyi ko ƙungiyar makaɗa; ta ƙungiyoyin nau'ikan (wasan kwaikwayo-wasan kwaikwayo, kide-kide, da sauransu), wani lokaci kuma ta ƙungiyoyin ƙasa (symphonic, chamber, pop) da kuma ta otd. nau'o'i (opera, ballet, song, da dai sauransu); ta salo.

An rarraba fahimta zuwa nau'i daban-daban bisa ga matakin maida hankali ("hankalin kai" -wanda ya haɗa da aikin mutum; "hankali" hangen nesa - gaba ɗaya ya mai da hankali kan matsakaicin da aka fahimta kuma ba tare da wani aiki ba; "raka" - tare da ayyukan CL. ); bisa ga daidaitawar mai sauraro zuwa ɗaya ko wani nau'in M. abun ciki (mai tsanani M. ko haske), zuwa wani rukuni na nau'i, ko ma zuwa wani rukuni daban. nau'i (misali, ga waƙa), don wani salo; ta hanyar iya fahimta da kuma isassun kimanta M. na wani nau'i da salon da aka bayar (masu fasaha, mai son, rashin iyawa). Dangane da wannan, akwai rarrabuwa na masu sauraro zuwa yadudduka da ƙungiyoyi, a ƙarshe an ƙaddara ta hanyar abubuwan zamantakewa: kiɗa. tarbiyya a cikin wata al'umma ta musamman. yanayi, kamanta buƙatunta da ɗanɗanonta, yanayinta na yau da kullun na fahimtar M., da sauransu (duba Ilimin Kiɗa, Ilimin Kiɗa). Hakanan ana taka wata rawa ta hanyar bambance-bambancen fahimta bisa ga tunani. alamomi (bincike ko syntheticity, fifiko na farko na hankali ko tunani, daya ko wani hali, tsarin tsammanin dangane da M. da kuma fasaha a gaba ɗaya).

M. yana yin ayyuka masu mahimmanci na zamantakewa. Da yake amsa buƙatu daban-daban na Al'umma, ya zo cikin hulɗa da dec. ire-iren mutane. ayyuka - abu (sa hannu a cikin matakai na aiki da al'adun da suka danganci), fahimta da kimantawa (tunanin tunanin tunanin mutum da ƙungiyoyin jama'a, bayyana ra'ayinsu), ruhaniya da canji (tasirin akida, ɗabi'a da kyakkyawa), sadarwa (sadarwar sadarwa). tsakanin mutane). Musamman manyan al'ummomi. Matsayin M. a matsayin hanyar ilimin ruhaniya na mutum, samuwar imani, ɗabi'a. halaye, kyawawan dandano da manufa, haɓaka motsin rai. amsawa, hankali, kirki, jin daɗin kyan gani, ƙarfafawa na kerawa. iyawa a kowane fanni na rayuwa. Duk waɗannan ayyukan zamantakewa na M. suna samar da tsari, wanda ke canzawa dangane da tarihin zamantakewa. yanayi.

Tarihin kiɗa. Game da asalin M. a karni na 19. kuma an gabatar da hasashe na farkon karni na 20, bisa ga abin da asalin M. ya kasance nau'in magana mai ban sha'awa (G. Spencer), waƙar tsuntsaye da kuma kira na dabbobi (C. Darwin), rhythms na rhythms. aikin mutanen farko (K. Bucher), siginar sautinsu (K. Stumpf), sihiri. sihiri (J. Combarier). Kamar yadda kimiyyar jari-hujja ta zamani ta dogara da ilimin archaeology. da bayanan kabilanci, a cikin al'umma na farko akwai dogon tsari na "maturing" a hankali na M. a cikin aikace-aikacen. ayyukan mutane da syncretic na farko wanda bai riga ya fito daga gare ta ba. hadaddun - pre-art, wanda harbored da embryos na M., dance, shayari, da sauran nau'o'in art da kuma bauta wa dalilai na sadarwa, kungiyar na hadin gwiwa aiki da na al'ada matakai da kuma wani tunanin tasiri a kan mahalarta su domin su ilmantar da ruhaniya halaye. wajibi ga tawagar. Da farko m, unorganized, rufe da fadi da kewayon jeri na babban adadin sautin da tsawo mara iyaka (kwaikwayo na tsuntsaye raira waƙa, kukan dabbobi, da dai sauransu) aka maye gurbinsu da sautunan da wakoki, kunshi kawai 'yan. sautunan da aka bambanta ta hanyar ma'ana. darajar cikin tunani (barga) da kuma gefe (m). Maimaituwa da yawa na launin rawaya da rhythmic. dabarar da aka yi amfani da su a cikin al'ummomi. aiki, ya haifar da wayar da kan jama'a a hankali da kuma daidaita yiwuwar dabaru. kungiyar sauti. An kafa tsarin tsarin kiɗa-sauti mafi sauƙi (kayan kiɗa sun taka muhimmiyar rawa wajen ƙarfafa su), nau'ikan mita na farko da yanayin. Wannan ya ba da gudummawa ga fahimtar farko game da yiwuwar maganganu. yiwuwar sautunan da haɗuwa.

A lokacin bazuwar tsarin gama gari na farko (kabila), lokacin art. A hankali ya rabu da aiki daga aiki, da daidaitacce. Rukunin zane-zane na farko yana raguwa a hankali, kuma ana haifar da fasaha a matsayin mahalli mai zaman kanta. irin da'awar. A cikin tatsuniyoyi na mutane daban-daban dangane da wannan lokacin, ra'ayin M. a matsayin wani ƙarfi mai ƙarfi da ke da ikon yin tasiri ga yanayi, gurɓata namun daji, warkar da mutum daga cututtuka, da sauransu. Tare da haɓaka rabon aiki da fitowar azuzuwan, da farko kiɗa ɗaya da kamanni. Al’adun da suka shafi al’umma gaba daya ya kasu zuwa al’adun masu mulki da al’adun wadanda aka zalunta (mutane), da kuma masu sana’a da wadanda ba sana’a ba (mai son). Daga wannan lokacin, ta fara zama mai zaman kanta. kasancewar kida. almara a matsayin jama'a marasa sana'a kara. Musanya. kere kere na jama'a talakawa zama a nan gaba ginshiƙi na muses. al'adun al'umma gaba ɗaya, mafi kyawun tushen hotuna da bayyanawa. kudi ga prof. mawaƙa.

Musanya. al’adar bautar bayi da rigimar farko. Jihohin Duniya na Tsohuwar (Masar, Sumer, Assuriya, Babila, Siriya, Falasdinu, Indiya, China, Girka, Roma, jihohin Transcaucasia da Asiya ta Tsakiya) an riga an san su da fa'idar aikin prof. mawaƙa (yawanci suna haɗa mawaƙa da mai yin wasan kwaikwayo), waɗanda suka yi hidima a cikin temples, a kotunan masu mulki da masu daraja, sun shiga cikin ayyukan al'ada na jama'a, al'ummomi. bukukuwa, da sauransu M. yana riƙe da Ch. arr. ayyuka na zahiri da na ruhaniya waɗanda aka gada daga al'umma na farko kuma suna alaƙa da ita kai tsaye. shiga cikin aiki, rayuwar yau da kullun, rayuwar soja, ayyukan farar hula da na addini, a cikin ilimin matasa, da sauransu. Duk da haka, a karon farko, an bayyana rabuwar kayan ado. ayyuka, samfurori na farko na kiɗa sun bayyana, an yi niyya ne kawai don sauraro (misali, waƙoƙi da instr. wasan kwaikwayo da aka yi a Girka a gasar mawaƙa). Daban-daban suna tasowa. waka (epic and lyric) da rawa. nau'o'in nau'o'in, wanda yawancin waƙa, waƙa da raye-raye suna riƙe da haɗin kai na asali. M. yana taka rawa sosai a gidan wasan kwaikwayo. wakilci, musamman a cikin Girkanci. bala'i (Aeschylus, Sophocles, Euripides ba kawai marubutan wasan kwaikwayo ba, har ma da mawaƙa). Daban-daban muses suna inganta, samun ingantaccen tsari da gini. kayan kida (ciki har da garaya, garaya, tsohuwar iska da kaɗa). Tsarin farko na rubutun M. sun bayyana (cuneiform, hieroglyphic, ko haruffa), kodayake rinjaye. nau'in adanawa da yada shi ya kasance na baki. Na farko kayan ado na kiɗa sun bayyana. da koyarwar ka'idar da tsarin. Yawancin masana falsafa na zamanin da sun rubuta game da M. (a China - Confucius, a Girka - Pythagoras, Heraclitus, Democritus, Plato, Aristotle, Aristoxenus, a Roma - Lucretius Carus). M. ana ɗaukarsa a aikace kuma a ka'idar aiki ne kusa da kimiyya, sana'a da addini. al'ada, a matsayin "samfurin" na duniya, yana ba da gudummawa ga sanin dokokinta, kuma a matsayin mafi karfi wajen rinjayar yanayi (sihiri) da mutum (samuwar halayen jama'a, ilimin halin kirki, warkarwa, da dai sauransu). Dangane da wannan, an kafa ƙa'idodin jama'a (a wasu ƙasashe - har ma da jihohi) ƙa'idar amfani da M. na 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'in nau'in nau'in nau'in nau'in nau'in nau'in nau'in nau'in nau'i nau'i nau'i nau'i nau'i nau'i nau'in nau'in nau'in nau'in nau'in nau'in nau'in nau'in nau'in nau'i) an kafa tsarin amfani da M. (har zuwa kowane nau'i).

A zamanin tsakiyar zamanai a Turai, akwai gidan kayan gargajiya. al'adun sabon nau'in - feudal, haɗin kai prof. fasaha, kiɗan mai son da kuma tatsuniyoyi. Tunda Ikilisiya ta mamaye dukkan bangarorin rayuwa ta ruhaniya, tushen prof. fasahar kiɗa shine ayyukan mawaƙa a cikin temples da gidajen ibada. Secular prof. Ana wakilta fasaha da farko ta hanyar mawaƙa waɗanda ke ƙirƙira da yin almara. tatsuniyoyi a kotu, a cikin gidajen manyan mutane, a cikin mayaka, da sauransu (bardi, skalds, da sauransu). Bayan lokaci, mai son da ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararru (Adam de la Halle, karni na 13), a cikin Jamus (Wolfram von Eschenbach, Walter von der Vogelweide, 12) -13th century) , da duwatsu. masu sana'a. A cikin husuma. manyan gine-gine da birane sun noma nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan wakoki ne (almara, “alfijir”, rondo, le, virelet, ballads, canzones, laudas, da sauransu). Sabbin muses suna shiga rayuwa. kayan aiki, incl. waɗanda suka zo daga Gabas (viola, lute, da dai sauransu), ensembles (m abun da ke ciki) tashi. Tatsuniya tana bunƙasa a tsakanin manoma. Har ila yau, akwai "ƙwararrun jama'a": masu ba da labari, masu yawo synthetics. masu fasaha (jugglers, mimes, minstrels, shpilmans, buffoons). M. yana sake yin Ch. arr. shafi kuma na ruhaniya-mai amfani. ayyuka. Ƙirƙirar aiki tare da haɗin kai tare da aiki (a matsayin mai mulki - a cikin mutum ɗaya) kuma tare da fahimta. Tarin tarin ya mamaye duka a cikin abun ciki na taro da kuma cikin sigar sa; wanda ya fara mika wuya ga janar, ba tare da ficewa daga gare ta ba (shugaban mawaki shine mafi kyawun wakilcin al'umma). Tsananin al'ada da canonicity suna mulki a ko'ina. Ƙarfafawa, adanawa da yada hadisai da ma'auni (amma kuma sabunta su a hankali) an sauƙaƙe ta hanyar sauye-sauye daga neumes, wanda kawai ya nuna yanayin waƙar. motsi, zuwa layin layi (Guido d'Arezzo, karni na 10), wanda ya ba da damar daidaita sautin sauti daidai, sannan tsawon lokacin su.

Sannu a hankali, duk da sannu a hankali, abubuwan da ke cikin kiɗan, nau'ikansa, nau'ikansa, da hanyoyin magana suna haɓaka. In Zap. Turai daga 6th-7th ƙarni. Tsarin tsari na monophonic (monodic, duba Monophonic, Monody) coci yana ɗaukar tsari. M. bisa tushen diatonic. frets (Gregorian rera), hada karatu (zabura) da kuma waƙa (waƙa). A ƙarshen karni na 1st da 2nd, an haifi polyphony. Ana yin sabbin woks. (choral) da wok.-instr. (mawaƙa da gabobin jiki) nau'ikan: organum, motet, hali, sannan taro. a Faransa a cikin karni na 12. makarantar farko ta mawaki (na halitta) da aka kafa a Cathedral na Notre Dame (Leonin, Perotin). A lokacin Renaissance (style ars nova a Faransa da Italiya, karni na 14) a cikin prof. M. monophony an maye gurbinsa da polyphony, M. ya fara 'yantar da kansa a hankali daga aikace-aikace zalla. ayyuka (bautar ayyukan coci), yana haɓaka mahimmancin nau'ikan mutane, gami da. waƙoƙi (Guillaume de Machaux).

A cikin Vost. Turai da Transcaucasia (Armenia, Jojiya) suna haɓaka nasu muses. al'adu tare da tsare-tsare masu zaman kansu na yanayi, nau'o'i da siffofi. A cikin Byzantium, Bulgaria, Kievan Rus, daga baya Novgorod, cult znamenny rera waƙa ya bunƙasa (duba waƙar Znamenny), osn. a kan tsarin diatonic. muryoyin, iyakance kawai ga tsarkakakken wok. nau'ikan nau'ikan (troparia, stichera, waƙoƙi, da sauransu) da amfani da tsarin rubutu na musamman (ƙugiya).

A lokaci guda kuma, a Gabas (Khalifancin Larabawa, kasashen Asiya ta Tsakiya, Iran, Indiya, Sin, Japan), an kafa majami'ar 'yan tawaye. wani nau'in al'adu na musamman. Alamominsa sune yaɗuwar ƙwararrun ƙwararrun duniya (dukansu na kotu da na jama'a), suna samun halayen kirki, iyakance ga al'adar baka da monodich. siffofin, kai, duk da haka, high sophistication dangane da karin waƙa da kari, da halittar sosai barga na kasa da kuma na duniya tsarin muses. tunani, hade da takamaiman ma'anar. Nau'in modes, tsarin-iri da kuma tsarin tsari da kuma tsarin tsarin (mugams, makams, Ragi, da sauransu).

A lokacin Renaissance (ƙarni na 14-16) a Yamma. da Center, Turai feudal music. al'ada ta fara rikidewa ta zama ta Burgeois. Fasahar duniya tana bunƙasa a kan akidar ɗan adam. M. a nufin. an keɓe digiri daga aiki na wajibi. makoma. Da yawa suna fitowa a gaba da kyawun sa. kuma sani. ayyuka, ikonsa na yin aiki a matsayin hanyar ba kawai sarrafa halayen mutane ba, har ma da nuna ciki. duniyar ɗan adam da gaskiyar da ke kewaye. A cikin M. an ware farkon kowane mutum. Ta sami 'yanci mafi girma daga ikon canons na gargajiya. cibiyoyin. Hankali ya rabu da hankali daga kerawa da aiki, an kafa masu sauraro a matsayin masu zaman kansu. bangaren kiɗa. al'ada. Blooming instr. amateurishness (lute). Gidan wok yana samun mafi girman ci gaba. kunna kiɗa (a cikin gidajen ƴan ƙasa, da'irar masoya kiɗan). An ƙirƙira masa maƙasudai masu sauƙi. waƙoƙi - villanella da frottola (Italiya), chansons (Faransa), da kuma mafi wuya a yi kuma sau da yawa mai ladabi a cikin salon (tare da siffofin chromatic) 4- ko 5-manufa. madrigals (Luca Marenzio, Carlo Gesualdo di Venosa), incl. zuwa ga ayoyin Petrarch, Ariosto, Tasso. Mawakan ƙwararrun ƙwararrun mawaƙa suna aiki a Jamus. ƙungiyoyin mutanen gari-masu sana'a - bita na mastersingers, inda yawa. waƙoƙi (Hans Sachs). Anthems of mass social, nat. da ƙungiyoyin addini: Waƙar Hussite (Jamhuriyar Czech), waƙar Lutheran (Reformation and Peasant War na ƙarni na 16 a Jamus), zabura Huguenot (Faransa).

A cikin prof. M. ya kai kololuwar mawakan sa. polyphony a cappella (polyphony na "tsararren salo") diatonic ne zalla. sito a cikin nau'ikan taro, motet ko polygon. waƙoƙi tare da virtuoso amfani da hadaddun kwaikwayo. siffofin (canon). Makarantun mawaƙa: makarantar Franco-Flemish ko makarantar Dutch (Guillaume Dufay, Johayanes Okeghem, Jacob Obrecht, Josquin Despres, Orlando di Lasso), makarantar Roman (Palestrina), makarantar Venetian (Andrea da Giovanni Gabrieli). Manyan malaman mawaka suna ci gaba. kerawa a Poland (Vaclav daga Shamotul, Mikolaj Gomulka), Jamhuriyar Czech. Lokaci guda a karon farko ya sami 'yancin kai instr. M., a cikin taro kuma yana haɓaka kwaikwayo. polyphony (gaban preludes, ricercars, canzones ta Venetian A. da G. Gabrieli, bambancin mawaƙin Mutanen Espanya Antonio Cabezon). Kimiyya ta farfado. tunani game da M., an halicci sababbin hanyoyi. kiɗa-ka'idar. rubuce-rubuce (Glarean a Switzerland, G. Tsarlino da V. Galilei a Italiya, da dai sauransu).

A Rasha, bayan 'yanci daga Mong.-Tat. karkiya tayi fure M., a cikin prof. M. ya kai babban ci gaba na waƙar Znamenny, ya bayyana kerawa. ayyukan fitattun mawaƙa - "mawaƙa" (Fyodor Krestyanin), asalin polyphony ("layi uku") an haife shi, manyan muses suna aiki. gamayya (mawaƙa na "masu mawaƙan waƙa", karni na 16).

Tsarin canji a Turai daga muses. al'adar nau'in feudal zuwa bourgeois ya ci gaba a cikin karni na 17. da hawa na 1. Karni na 18 An ƙaddara gabaɗayan rinjaye na M. a ƙarshe (ko da yake a Jamus da wasu ƙasashe, cocin M. yana riƙe da mahimmanci). Abubuwan da ke cikin sa sun ƙunshi batutuwa masu yawa da hotuna, gami da. na falsafa, tarihi, zamani, farar hula. Tare da kunna kiɗa a cikin aristocratic. salon gyara gashi da kyawawan kayayyaki, a cikin gidajen wakilai na "estate na uku", da kuma a cikin asusun. cibiyoyi (jami'o'i) an tura jama'a sosai. rayuwar kiɗa. Zuciyarta ta zama muses na dindindin. cibiyoyi na yanayin budewa: gidajen opera, philharmonic. (concert) game da-va. Ana maye gurbin Violas da na zamani. kidan kirtani (violin, cello, da dai sauransu; fitattun mashahuran masana'antunsu - A. da N. Amat, G. Guarneri, A. Stradivari daga Cremona, Italiya), an halicci pianoforte na farko (1709, B. Cristofori, Italiya). ). Buga kiɗan (wanda ya samo asali tun ƙarshen ƙarni na 15) yana haɓakawa. Waƙar tana faɗaɗawa. ilimi (conservatories a Italiya). Daga muses. kimiyya ta tsaya waje da zargi (I. Mattheson, Jamus, farkon karni na 18).

A cikin ci gaban ƙirƙira mawaƙa, wannan lokacin an yi masa alama ta hanyar ketare tasirin irin waɗannan fasahohin. salo, irin su baroque (Italiyanci da Jamusanci instr. da ƙungiyar mawaƙa M.), classicism ( opera na Italiyanci da Faransanci ), rococo (Faransa instr. M.) da kuma sauyi a hankali daga nau'o'in da aka kafa a baya, salo da siffofi zuwa sababbin, suna riƙe da rinjaye. . matsayi a Turai M. har zuwa yau. Daga cikin manyan nau'o'in, kusa da ci gaba da wanzuwar "sha'awar" (sha'awar) akan addini. jigogi da taro, opera da oratori sun zo kan gaba da sauri. Cantata (solo da choral), instr. kide kide (solo da orchestral), chamber-instr. gungu (trio, da dai sauransu), waƙar solo tare da instr. rakiya; Suite ya ɗauki sabon salo (iri-irinsa partita ne), wanda ke haɗa raye-rayen yau da kullun. A ƙarshen zamani, samuwar zamani. symphonies da sonatas, kazalika da ballets a matsayin masu zaman kansu. nau'in. A layi daya da polyphony na kwaikwayo na "free style", wanda ya kai ga kololuwar, tare da fadi da yin amfani da chromatism, bisa ga guda halaye (manyan da qananan), wanda ya balaga ko da a baya, a cikin polyphony da kuma a cikin polyphony. rawa ta yau da kullun, an tabbatar. M., homophonic-harmonic. sito (muryar babba ita ce babba, sauran kuma rakiyar mawaƙa ce, duba Homophony), crystallize jituwa. ayyuka da sabon nau'in waƙar da aka dogara da su, aikin bass na dijital, ko bass na gabaɗaya, yana yaɗuwa sosai (ingantawa ta mai yin gayya, garaya ko lute na jituwa tare da waƙa ko karantawa dangane da ƙaramin murya da aka rubuta. fitar da mawaki – bass tare da sharadi, dijital bayanin jituwa) . A lokaci guda tare da siffofin polyphonic (passacaglia, chaconne, fugue) suna ƙara wasu masu homophonic: rondo, tsohuwar sonata.

A cikin ƙasashen da a wannan lokacin tsarin samar da haɗin kai (Italiya, Faransa, Ingila, Jamusanci) ke faruwa (ko ƙare), ci gaba na ƙasa. al'adun kiɗa. Daga cikinsu akwai rinjaye. Italiyanci ne ke riƙe da rawar. A Italiya ne aka haifi opera (Florence, a farkon karni na 16 da 17), kuma an kirkiro wasan opera na farko. misalan wannan sabon nau'in (rabin farko na karni na 1, makarantar Venetian, C. Monteverdi), an kafa nau'o'in barga, wanda ya bazu cikin Turai: opera mai tsanani, ko opera seria, jarumi. da ban tausayi. hali, a kan mythological. da kuma makircin tarihi (rabi na biyu na karni na 17, makarantar Neapolitan, A. Scarlatti), da kuma wasan kwaikwayo, ko opera buffa, a kan batutuwa na yau da kullum (rabin farko na karni na 2, makarantar Neapolitan, G. Pergolesi). A cikin ƙasa ɗaya, oratorio (17) da cantata sun bayyana (fitattun misalan nau'ikan nau'ikan nau'ikan biyu sun fito daga G. Carissimi da A. Stradella). A ƙarshe, a gindin soyayyar heyday. da conc. wasan kwaikwayon (mafi girman violin virtuosos - J. Vitali, A. Corelli, J. Tartini) yana haɓakawa da haɓaka instr. M .: sashin jiki (rabin farko na karni na 1, G. Frescobaldi), ƙungiyar makaɗa, gungu, solo don kirtani. kayan aiki. A cikin bene na 18. 1600- bara. Karni na 1 nau'ikan concerto grosso (Corelli, Vivaldi) da solo instr. concerto (Vivaldi, Tartini), iri ("coci" da "chamber") trio sonata (na kirtani 17 ko kayan iska da clavier ko gabo - ta Vitali) da solo sonata (na violin ko na solo violin da clavier - ta Corelli, Tartini, don clavier ta D. Scarlatti).

A Faransa, akwai na musamman na kasa. nau'ikan op. for music t-ra: “lyric. bala'i ”(wani nau'in wasan opera mai ban mamaki) da opera-ballet (J. B. Luli, J. F. Rameau), wasan kwaikwayo-ballet (Lully tare da haɗin gwiwar Moliere). Taurari na fitattun mawakan kaɗe-kaɗe-mawaƙa da masu yin wasan kwaikwayo (ƙarshen 17th—farkon ƙarni na 18, F. Couperin, Rameau) -wanda ya haɓaka siffofin rondo (sau da yawa a cikin wasan kwaikwayo na yanayin shirye-shirye) da bambance-bambance, ya zo kan gaba. A Ingila, a farkon ƙarni na 16 da na 17, a zamanin Shakespeare, an taso makarantar farko ta Turai na mawaƙa don kiɗan piano — 'yan budurwa (W. Bird da J. Bijimin). M. ya mamaye babban wuri a cikin gidan wasan kwaikwayo na Shakespearean. A cikin bene na 2. Ƙarni na 17 fitattun misalan nat. opera, mawaƙa, organ, chamber-instr. da clavier M. (G. Purcell). A cikin bene na 1. Ƙirƙirar ƙarni na 18 yana buɗewa a cikin Burtaniya. aikin G. F. Handel (oratorios, opera seria), a lokaci guda. Haihuwar nau'in ban dariya na ƙasa. opera - ballad opera. A cikin Jamus a cikin karni na 17 na asali ayyukan oratori ("sha'awar", da dai sauransu) kuma an bayyana misalai na farko na ƙasashen uba. opera da ballet (G. Schutz), yana haɓaka org. art (D. Buxtehude, I. Froberger, I. Pachelbel). A cikin bene na 1. Karni na 18 yana nufin. samfur. a yawancin nau'o'in ("sha'awar", sauran nau'ikan oratorio; cantatas; fantasies, preludes, fugues, sonatas for organ and clavier, suites for clavier; concertos for orchestra and for daban-daban kida, da dai sauransu) halitta J. S. Bach , wanda aikinsa ya kasance sakamakon da kuma kololuwar duk ci gaban da ya gabata na Turai. polyphony da duk M. baroka. A Spain, an haifi gidajen wasan kwaikwayo na kiɗa na asali. nau'ikan wasan opera tare da maganganun magana: zarzuela (abun ban mamaki), tonadilla (mai ban dariya). A Rasha, yawan yin waƙa a cikin kiɗan ɗaiɗai yana ƙaruwa (ɓangare na rera waƙa na ƙarshen 17th da farkon ƙarni na 18 - kide kide da wake-wake na V. Titov da kuma N. Kalachnikov). A lokaci guda a zamanin sauye-sauye na Peter I, an haifi kiɗan ƙwararrun mutane (panegyric cantes), kuma an kunna haɓaka kiɗan yau da kullun na birane (cantes na waƙoƙi, zabura). Ci gaban Turai M. hawa na 2. Karni na 18 da farkon karni na 19 ya ci gaba a karkashin tasirin ra'ayoyin wayewar kai, sannan Babban Faransanci. juyin juya hali, wanda ba wai kawai ya haifar da sabon kide-kide na yau da kullun ba (taka-tsaki, wakokin jarumta, gami da Marseillaise, bukukuwan taro da al'adun juyin juya hali), amma kuma ya sami amsa kai tsaye ko kai tsaye a cikin wasu wakokin. nau'o'i. Baroque, "style gallant" (rococo) da kuma al'ada mai daraja suna ba da dama ga babban wurin bourgeois. (haske) classicism, wanda ya tabbatar da ra'ayoyin tunani, daidaito na mutane, sabis ga al'umma, high da'a manufa. A cikin Faransanci Mafi girman magana na waɗannan buri shine aikin opera na K. Gluck, a cikin Austro-Jamus - symphonic, operatic da kuma dakin ayyukan wakilan Viennese classical makaranta J. Haydin, W. A. Mozart da L.

Faru yana nufin. ci gaba a duk fage prof. M. Gluck da Mozart, kowannensu ta hanyarsa, suna sake fasalin nau'in wasan opera, suna ƙoƙarin shawo kan al'adar ossified na aristocratic. opera mai mahimmanci. A kasashe daban-daban, kusanci da juna dimokuradiyya na samun ci gaba cikin sauri. nau'ikan: opera buffa (Italiya - D. Cimarosa), mai ban dariya. opera (Faransa - JJ Rousseau, P. Monsigny, A. Gretry; Rasha - VA Pashkevich, EI Fomin), Singspiel (Austria - Haydn, Mozart, K. Dittersdorf). A lokacin babban juyin juya halin Faransa ya bayyana "opera na ceto" akan jarumi. da melodrama. filaye (Faransa – L. Cherubini, JF Lesueur; Austria – Fidelio na Beethoven). Rabu a matsayin mai zaman kansa. nau'in ballet (Gluck, Beethoven). A cikin aikin Haydn, Mozart, Beethoven, an gyara shi kuma yana karɓar classic. siffar nau'in wasan kwaikwayo a cikin zamani. fahimta (zagayowar kashi 4). Kafin wannan, a cikin ƙirƙirar wasan kwaikwayo (kazalika a cikin tsari na ƙarshe na ƙungiyar mawaƙa na zamani), Czech (J. Stamitz) da Jamusanci sun taka muhimmiyar rawa. mawakan da suka yi aiki a Mannheim (Jamus). A layi daya, da classic babban sonata irin da jam'iyya-instr. gungu (trio, quartet, quintet). Ana haɓaka sigar sonata allegro kuma ana ƙirƙirar sabon yare mai yare. Hanyar tunanin kida ita ce symphonism, wanda ya kai kololuwar aikin Beethoven.

A cikin mutanen M. Slavic (Rasha, Poland, Jamhuriyar Czech), ci gaban wok ya ci gaba. nau'o'i (mawaƙa. kide kide a Rasha - MS Berezovsky, DS Bortnyansky, soyayya na yau da kullum), na farko uban kasa bayyana. opera, ana shirya kasa don ƙirƙirar nat. litattafan kiɗa. Duk Turai. Prof. M. polyphonic. yawanci ana maye gurbin su da homophonic-harmonic; tsarin aiki na jituwa yana samuwa a ƙarshe kuma an ƙarfafa shi.

A cikin karni na 19 a yawancin kasashen Turai da kuma a Arewa. Amurka ta kammala karatun muses. al'ada "classic". nau'in bourgeois. Wannan tsari yana faruwa ne a kan tushen da kuma ƙarƙashin rinjayar dimokiradiyya mai aiki na dukkanin al'ummomi. da kiɗa. rayuwa da shawo kan matsalolin da aka gada daga feudalism. Daga salon aristocratic, gidajen wasan kwaikwayo na kotu da ɗakin karatu, ƙananan conc. Zauren da aka yi niyya don rufaffiyar da'irar jama'a masu gata, M. yana shiga cikin ɗimbin wurare (har ma a dandalin), buɗe don samun damar dimokuradiyya. masu sauraro. Akwai sabbin muses da yawa. gidan wasan kwaikwayo, conc. cibiyoyi, fadakarwa. ƙungiyoyi, masu buga kiɗa, kiɗa. ku uch. cibiyoyi (ciki har da gidajen rani a Prague, Warsaw, Vienna, London, Madrid, Budapest, Leipzig, St. Petersburg, Moscow, da sauransu; da ɗan baya, a ƙarshen karni na 18, an kafa ƙungiyar masu ra'ayin mazan jiya a Paris). Musanya bayyana. mujallu da jaridu. An raba tsarin aiki a ƙarshe daga kerawa a matsayin mai zaman kansa. irin ayyukan kiɗa, wanda aka wakilta da babban adadin ensembles da soloists (mafi fice masu wasan kwaikwayo na karni na 19 da farkon karni na 20: pianists - F. Liszt, X. Bulow, AG da NG Rubinstein, SV Rachmaninov; violinists - N. Paganini, A. Vieton, J. Joachim, F. Kreisler; mawaƙa - G. Rubini, E. Caruso, FI Chaliapin; cellist P. Casals, masu gudanarwa - A. Nikish, A. Toscanini). Takaddama prof. ƙirƙira tare da yin aiki da kuma jawo hankalin jama'a masu sauraro suna ba da gudummawa ga saurin ci gaban su. A lokaci guda, da stratification na kowane nat. al'adu a cikin dace bourgeois da dimokuradiyya. Kasuwancin kiɗan yana girma. rayuwar da mawakan ci gaba ke yakarsu. M. yana da matsayi mai mahimmanci a cikin zamantakewa da siyasa. rayuwa. Dimokuradiyya gabaɗaya sannan kuma juyin juya halin ma'aikata ya haɓaka. waka. Mafi kyawun samfuransa ("International", "Red Banner", "Varshavyanka") ana samun su ta duniya. ma'ana. Kusa da nat da aka yi a baya. Makarantun mawakin matasa na sabon nau'in suna haɓaka: Rashanci (wanda MI Glinka ya kafa), Yaren mutanen Poland (F. Chopin, S. Moniuszko), Czech (B. Smetana, A. Dvorak), Hungarian (F. Erkel, F. Liszt) , Yaren mutanen Norway (E. Grieg), Mutanen Espanya (I. Albeniz, E. Granados).

A cikin aikin mawaki na Turai da dama. kasashe a rabi na farko. Ƙarni na 1 romanticism an tabbatar (M. Jamusanci da Austrian M. - ETA Hoffmann, KM Weber, F. Schubert, F. Mendelssohn, R. Schumann; Faransanci - G. Berlioz; Hungarian - Liszt; Yaren mutanen Poland - Chopin , Rashanci - AA Alyabiev, AN Verstovsky). Siffofin halayensa a cikin M. (idan aka kwatanta da classicism): ƙara da hankali ga duniyar tunanin mutum, ƙaddamarwa da wasan kwaikwayo na lyrics, inganta jigon rashin jituwa tsakanin mutum da al'umma, tsakanin manufa da gaskiya, da kuma roko. ga tarihi. (tsakiyar karni), al'adun gargajiya da al'adun gargajiya na yau da kullun da hotuna na yanayi, sha'awar kasa, tarihi. da Geographic asalin ainihin nuna gaskiya, wani karin kankare tsari na kasa bisa ga waƙoƙin mutane daban-daban, ƙarfafa rawar murya, farkon waƙa, da launi (a cikin jituwa da tsarawa), fassarar kyauta na hadisai. nau'ikan nau'ikan halitta da siffofin da kirkirar sababbi (wakar waka (sha'awar waƙa), sha'awar sabulu ta hanyar M. tare da wasu fasahohin. Ana haɓaka kiɗan da aka tsara (dangane da makirci da jigogi daga zamanin jama'a, adabi, zane, da sauransu), instr. kadan (prelude, lokacin kida, impromptu, da dai sauransu) da kuma zagayowar kananan shirye-shirye, soyayya da kuma dakin wok. sake zagayowar, "babban wasan opera" na nau'in kayan ado akan almara da tarihi. jigogi (Faransa - J. Meyerbeer). A Italiya, opera buffa (G. Rossini) ya kai saman, nat. nau'ikan wasan kwaikwayo na soyayya (lyrical - V. Bellini, G. Donizetti; jarumi - farkon G. Verdi). Rasha tana kafa nata na gargajiya na kiɗa na ƙasa, suna samun mahimmancin duniya, an kafa nau'ikan tarihin tarihi na asali. da almara. operas, kazalika da symphonies. M. a kan tudu. Jigogi (Glinka), nau'in soyayya ya kai wani babban matakin ci gaba, wanda a hankali fasali na hankali ya balaga. da gaskiyar yau da kullun (AS Dargomyzhsky).

Duk R. da 2nd bene. Karni na 19 wasu mawakan Yammacin Turai sun ci gaba da soyayya. shugabanci a opera (R. Wagner), symphony (A. Bruckner, Dvorak), software instr. M. (Liszt, Grieg), waƙa (X. Wolf) ko neman haɗa ka'idodin salo na romanticism da classicism (I. Brahms). Tsayawa tare da al'adar soyayya, hanyoyi na asali sune Italiyanci. opera (mafi girmanta shine aikin Verdi), Faransanci. opera (Ch. Gounod, J. Wiese, J. Massenet) da kuma ballet (L. Delibes), wasan opera na Poland da Czech (Moniuszko, Smetana). A cikin aikin da dama na Yammacin Turai. mawaƙa (Verdi, Bizet, Wolf, da dai sauransu), dabi'un gaskiyar suna ƙaruwa. Suna bayyana kansu musamman a fili da yadu a cikin Rasha M. na wannan lokacin, wanda ke da alaƙa da akida da dimokuradiyya. al'ummomi. motsi da ci-gaba wallafe-wallafe (marigayi Dargomyzhsky; mawakan The Mighty Handful su ne MA Balakirev, AP Borodin, MP Mussorgsky, NA Rimsky-Korsakov da Ts. A. Cui; PI Tchaikovsky). Dangane da nar na Rasha. wakoki, da kuma M. East rus. Mawaƙa (Mussorgsky, Borodin da Rimsky-Korsakov) suna haɓaka sabon waƙa, rhythmic. kuma masu jituwa. kudade suna inganta Turai sosai. damuwa tsarin.

Daga Ser. Karni na 19 a Zap. Turai, an kafa sabon gidan wasan kwaikwayo na kiɗa. nau'in - operetta (Faransa - F. Herve, J. Offenbach, Ch. Lecoq, R. Plunket; Austria - F. Suppe, K. Millöker, J. Strauss-son, daga baya Hung. composers, wakilan "neo-Viennese" ” makarantar F. Legar da I. Kalman). A cikin prof. kerawa ya tsaya a kan kansa. layin "haske" (rawar yau da kullum) M. (waltzes, polkas, gallops na I. Strauss-son, E. Waldteuffel). An haifi wurin nishaɗi. M. a matsayin mai zaman kansa. masana'antar kiɗa. rayuwa.

A cikin con. Karni na 19 da farkon karni na 20 a Turai Lokacin mika mulki ya fara a Moscow, daidai da farkon mulkin daular a matsayin mataki mafi girma kuma na karshe na jari hujja. Wannan lokacin yana da rikici na magabata da dama. yanayin akida da salo.

An sabunta hadisai da aka kafa kuma galibi ana sabunta su. Dangane da canji a cikin "yanayin ruhaniya" na gaba ɗaya, sababbin hanyoyi da salo suna fitowa. Albarkatun kiɗa suna faɗaɗa. bayyana ra'ayi, akwai bincike mai zurfi don neman hanyoyin da ke da ikon isar da ƙayyadaddun fahimta da tsaftataccen fahimtar gaskiya. A lokaci guda kuma, dabi'un ɗabi'a da ɗabi'a suna haɓaka, a lokuta da yawa akwai haɗarin rasa babban jigon zamantakewa (zamani). A Jamus da Ostiriya, layin soyayya ya ƙare. Symphony (G. Mahler, R. Strauss) da kiɗa an haife shi. magana (A. Schoenberg). Sauran sababbin abubuwan da suka faru kuma sun ci gaba: a Faransa, impressionism (C. Debussy, M. Ravel), a Italiya, verismo (operas ta P. Mascagni, R. Leoncavallo, da kuma, zuwa wani lokaci, G. Puccini). A cikin Rasha, layin da ke fitowa daga "Kuchkists" da Tchaikovsky (SI Taneev, AK Glazunov, AK Lyadov, SV Rakhmaninov) suna ci gaba da haɓaka, a lokaci guda. sababbin abubuwan kuma sun taso: wani nau'in kiɗa. alamar alama (AN Skryabin), sabuntar nar. fabulousness da "barbarian" tsoho (da wuri IF Stravinsky da SS Prokofiev). Tushen na kasa music litattafansu a Ukraine (NV Lysenko, ND Leontovich), a Jojiya (ZP Paliashvili), Armenia (Komitas, AA Spendiarov), Azerbaijan (U. Gadzhibekov), Estonia (A. Kapp), Latvia (J. Vitol), Lithuania (M. Čiurlionis), Finland (J. Sibelius).

Tsarin kiɗan Turai na gargajiya. tunani, bisa manyan-ƙananan jituwa na aiki, yana fuskantar manyan canje-canje a cikin ayyukan mawaƙa da yawa. Dep. mawallafa, kiyaye ka'idar tonality, fadada tushe ta amfani da na halitta (diatonic) da kuma wucin gadi halaye (Debussy, Stravinsky), saturate shi da yalwar gyare-gyare (Scriabin). Wasu gabaɗaya suna watsi da wannan ƙa'idar, suna motsawa zuwa kiɗan atonal (Schoenberg, American C. Ive). Raunin haɗin gwiwar jituwa ya ƙarfafa farfaɗowar ka'idar. da kuma m sha'awar a polyphony (Rasha - Taneyev, Jamus - M. Reger).

Daga 1917-18 kidan bourgeois. al'ada ta shiga wani sabon lokaci na tarihinta. Ci gabanta yana da tasiri sosai daga irin waɗannan abubuwan zamantakewa kamar shigar miliyoyin mutane a cikin siyasa. da al'ummomi. rayuwa, girma mai ƙarfi na taro zai 'yantar da shi. ƙungiyoyi, fitowar a cikin kasashe da dama, sabanin bourgeois, sababbin al'ummomi. tsarin - gurguzu. Yana nufin tasiri akan makomar M. a zamani. al'ummar bourgeois kuma tana da saurin kimiyya da fasaha. ci gaba, wanda ya haifar da bullar sababbin kafofin watsa labaru: cinema, rediyo, talabijin, rikodi. Sakamakon haka, ilimin lissafi ya bazu a duniya, yana shiga cikin dukkan "pores" na al'ummomi. rayuwa, tushen da taimakon kafofin watsa labarai a cikin rayuwar daruruwan miliyoyin mutane. Sabbin rundunonin masu sauraro da yawa sun shiga ta. Ƙarfinsa na yin tasiri ga wayewar membobin al'umma, duk halayensu, ya karu sosai. Musanya. rayuwa a ci gaban jari-hujja. Ƙasashe sun sami yanayi mai tsananin iska mai tsananin zafi. Alamun sa sun kasance da yawa na bukukuwa da gasa, tare da tallan talla, saurin canji na salon, kaleidoscope na artificially ya haifar da jin dadi.

A cikin kasashen masu jari-hujja, al'adu biyu sun fi fitowa fili, suna adawa da akidarsu. kwatance ga juna: bourgeois da demokradiyya (ciki har da gurguzu. abubuwa). Burzh. al'ada ta bayyana a cikin nau'i biyu: elite da "taro". Na farko daga cikinsu shi ne adawa da dimokradiyya; sau da yawa yana musun ɗan jari hujja. hanyar rayuwa da sukar bourgeois. halin kirki, duk da haka, kawai daga matsayi na ƙananan bourgeois. son kai. Burzh. Al'adar "Mass" na yaudara ce ta dimokuradiyya kuma a zahiri tana ba da muradun mamaya, ajujuwa, da kawar da hankalin talakawa daga gwagwarmayar neman 'yancinsu. Ci gabansa yana ƙarƙashin dokokin jari-hujja. samar da kayayyaki. An halicci dukan "masana'antu" na nauyin nauyi, yana kawo riba mai yawa ga masu shi; M. ana amfani dashi sosai a cikin sabon aikin talla. Al'adun kiɗan dimokraɗiyya ana wakilta ta ayyukan mawaƙa masu ci gaba da yawa waɗanda ke gwagwarmaya don kamewa. karar da ke tabbatar da ra'ayoyin dan Adam da kasa. Misalan irin wannan al'ada su ne, ban da ayyukan wasan kwaikwayo na kiɗa. da conc. nau'o'i, yawancin waƙoƙin juyin juya hali. motsi da gwagwarmayar anti-fascist na 1920-40s. (Jamus -X. Eisler), zamani. wakokin zanga-zangar siyasa. A cikin ci gabanta, tare da prof. Faɗin ɗimbin ƙwararrun ƙwararru da ƙwararru sun taka rawa kuma suna ci gaba da taka rawa a matsayin mawaƙa.

A cikin karni na 20 mawaƙin kirkira a cikin ɗan jari hujja. An bambanta ƙasashe da bambance-bambancen da ba a taɓa ganin irinsa ba da bambancin salon salo. Expressionism ya kai ga kololuwar sa, halin kaifi ƙin yarda da gaskiya, haɓaka batun batun, da tsananin motsin rai (Sabuwar Makarantar Viennese-Schoenberg da ɗalibansa A. Berg da A. Webern, da mawallafin Italiyanci L. Dallapiccola—sun haɓaka ƙayyadaddun tsari. tsarin atonal melodic dodecaphony). Neoclassicism yana yaduwa sosai, yana nuna sha'awar nisantar da rashin daidaituwa na zamani. al'ummomi. rayuwa a duniyar hotuna da muses. siffofin 16th-18th ƙarni, karfi pronounced rationalism (Stravinsky a cikin 20-50s; Jamus - P. Hindemith; Italiya - O. Respighi, F. Malipiero, A. Casella). Tasirin waɗannan al'amuran zuwa mataki ɗaya ko wani kuma wasu manyan mawaƙa ne suka samu, waɗanda, duk da haka, sun sami nasarar shawo kan iyakokin raƙuman ruwa saboda alaƙar su da dimokuradiyya. kuma na gaskiya. trends na zamanin kuma daga Nar. kerawa (Hungary – B. Bartok, Z. Kodai; Faransa – A. Honegger, F. Poulenc, D. Millau; Jamus – K. Orff; Poland – K. Shimanovsky; Czechoslovakia – L. Janacek, B. Martinu; Romania – J. Enescu, Biritaniya – B. Britten).

A cikin 50s. akwai magudanan kida daban-daban. avant-garde (Jamus – K. Stockhausen; Faransa – P. Boulez, J. Xenakis; Amurka – J. Cage; Italiya – L. Berio, wani bangare L. Nono, wanda ya tsaya baya saboda manyan mukaman siyasansa), gaba daya ya watse. tare da na gargajiya. hadisai da noma takamaiman kiɗa (monage na amo), kiɗan lantarki (monage na sautunan da aka samu ta hanyar fasaha), sonorism (monage na sautin kiɗan da ba a saba gani na timbres ba), aleatorics (haɗin sauti daban ko sassan nau'ikan kiɗan akan ka'idar kwatsam). ). Avant-gardism, a matsayin mai mulkin, yana bayyana yanayin ƙananan bourgeois a cikin aikin. son kai, anarchism ko sophisticated aestheticism.

Siffar siffa ta duniya M. karni na 20. – farkawa zuwa sabuwar rayuwa da kuma m girma na muses. al'adun ƙasashe masu tasowa na Asiya, Afirka, Lat. Amurka, mu'amalarsu da kusancinsu da al'adun Turai. nau'in. Wadannan matakai suna tare da gwagwarmayar gwagwarmayar mawaƙa masu ci gaba, a gefe guda, a kan tasirin tasirin yammacin Turai. da Arewacin Amurka. elitist da pseudo-mass M., kamuwa da cosmopolitanism, kuma a daya bangaren, a kan reactionaries. yanayin kiyayewa nat. al'adu a cikin wani nau'i marar girgiza. Ga waɗannan al'adu, ƙasashen gurguzu suna zama misali na warware matsalar ƙasa da ƙasa a Moldova.

Bayan nasarar babban dan gurguzu na Oktoba. juyin juya hali a kasar Soviet (bayan yakin duniya na 2 na 1939-1945 da kuma a wasu kasashe da dama da suka hau kan tafarkin gurguzu), an kafa kida na kiɗa. al'adun sabon nau'in asali - 'yan gurguzu. An bambanta shi ta hanyar dimokiradiyya mai dorewa, halin ƙasa baki ɗaya. An ƙirƙiri ƙaƙƙarfan hanyar sadarwa na kiɗan jama'a a cikin ƙasashen gurguzu. cibiyoyi ( gidajen wasan kwaikwayo, al'ummomin philharmonic, cibiyoyin ilimi, da sauransu), opera da ƙungiyoyin kide-kide da ke yin kida da kyan gani. wayewa da tarbiyyar dukkan mutane. Tare da hadin gwiwar prof. ƙara haɓaka kiɗan kiɗa. ƙirƙira da aiki a cikin nau'ikan wasan kwaikwayon mai son da tatsuniyoyi. Duk al'ummai da al'ummai, gami da. kuma ba a rubuta waƙa a baya ba. al'adu, sun sami damar bayyanawa da haɓaka ainihin halayen mutanensu. M. kuma a lokaci guda ya shiga kololuwar duniya prof. fasaha, don ƙware irin waɗannan nau'ikan kamar opera, ballet, symphony, oratori. Al'adun kiɗa na ƙasa suna hulɗa da juna sosai, suna musayar ma'aikata, dabaru da nasarori, wanda ke haifar da haɗuwa ta kusa.

Matsayin jagora a cikin kiɗan duniya. da'awar a karni na 20. na mujiya. M. Mawaƙa da yawa da suka yi fice sun zo kan gaba (ciki har da Rashawa – N. Ya. Myaskovsky, Yu. A. Shaporin, SS Prokofiev, DD Shostakovich, V. Ya. Shebalin, DB Kabalevsky, TN Khrennikov, GV Sviridov, RK Shchedrin; Tatar - N. Zhiganov; Dagestan - G. Gasanov, Sh. Chalaev; Ukrainian - LN Revutsky, BN Lyatoshinsky; Belarushiyanci - EK Tikotsky, AV Bogatyrev, Jojiya - Sh. Harutyunyan, AA Babadzhanyan, EM Mirzoyan; Azerbaijani - K. Karaev, F Amirov; Kazakh - E.K. B. Dvarionas, E. Balsis), kazalika da masu wasan kwaikwayo (EA Mravinsky, EP Svetlanov, GN Rozhdestvensky, KN Igumnov, VV Sofronitsky, ST Richter, EG Gilels, DF Oistrakh, LB Kogan, LV Sobinov, AV Nezhdan ova, IS Kozlovsky , S. Ya. Lemeshev, ZA Dolukhanova), masana kimiyyar kiɗa (BV Asafiev) da sauran kiɗa. adadi.

Akida da kyau. tushen mujiya. Matthatics din ya hada da ka'idodin kasa da kasa a zane-zane, hanyar hakikanin gaskiyar gurguzu, wanda ke ba da nau'ikan nau'ikan nau'ikan, salon, da kuma mutum hali. A cikin mujiya M. ya sami sabuwar rayuwa, al'adu da yawa. nau'ikan kiɗan. Opera, ballet, simphony, riƙe da al'ada. babban sifa mai girma (wanda aka rasa a yamma), an sabunta su daga ciki a ƙarƙashin tasirin jigogi na juyin juya hali da zamani. A bisa juyin juya halin tarihi. kuma mutane-kishin kasa. theme blossomed choir. da wok.-symp. M. (oratorio, cantata, waka). Mujiya. wakoki (tare da na gargajiya da na gargajiya) sun zaburar da ci gaban salon soyayya. Sabon salo prof. Ƙirƙirar ƙira ita ce waƙar - taro da yau da kullum (AV Aleksandrov, AG Novikov, AA Davidenko, Dm. Ya. da Dan. Ya. Pokrassy, ​​IO Dunaevsky, VG Zakharov, MI Blanter, VP Solovyov-Sedoy, VI Muradeli, BA Mokrousov, AI Ostrovsky, AN Pakhmutova, AP Petrov). Mujiya. wakar ta taka rawar gani sosai a rayuwa da gwagwarmayar Nar. talakawa kuma suna da tasiri mai karfi akan sauran muses. nau'o'i. A duk muses. al'adun mutanen USSR sun sami zamani. jajircewa da bunqasa al'adar tatsuniyoyi, kuma a lokaci guda bisa tsarin gurguzu. abun ciki ya wadata kuma ya canza nat. Salon da suka mamaye sabbin kalmomin shiga da sauran hanyoyin bayyanawa.

Yana nufin nasarori a cikin ginin kiɗa. An kuma samu al’adu a wasu ƙasashe masu ra’ayin gurguzu, inda fitattun mawaƙa da yawa suka yi aiki kuma suka ci gaba da aiki (GDR—H. Eisler da P. Dessau; Poland—V. Lutoslawski; Bulgaria—P. Vladigerov da L. Pipkov; Hungary—Z Kodály, F. Sabo, Czechoslovakia - V. Dobiash, E. Suchon).

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AN Makaho