Harafin kiɗa |

alamar kida, notation (Latin notatio, Italian notazione, semeiografia, French notation, semeiographie, German Notation, Notenschrift) tsari ne na alamun hoto da ake amfani da shi don yin rikodin kiɗa, da kuma rikodin kiɗan kanta. Farkon N. p. ya tashi a zamanin da.

Da farko, waƙoƙin da kunne ke watsawa an tsara su ta hoto. hanyar (amfani da hotuna). A Dr. A Masar, an yi ƙoƙarin yin irin wannan rikodin. A cikin Dr. Babila an yi imanin cewa ta yi amfani da akida. (syllabic) rikodin kiɗa. sautuna ta amfani da rubutun cuneiform (an adana kwamfutar hannu mai yumbu tare da rubutun cuneiform - an rubuta waƙa tare da ƙarin alamu, waɗanda aka fassara a matsayin alamar sautin kiɗa). Waƙa. mataki shine harafin N. p. An yi amfani da tsarin haruffa don zayyana sautuna a Dr. Girka. Duk da cewa wannan tsarin ya rubuta sautin sauti ne kawai, amma ba tsawon lokacinsu ba, ya gamsar da mawakan wancan lokacin, tunda waƙar tsohuwar Girkawa ta kasance mai ɗaci ɗaya kuma waƙar tana da alaƙa da mawaƙa. rubutu. Godiya ga wannan, duk da rashin cikar N. p., kiɗa da kiɗa. ka'idar a Dr. Girka, tare da wasu nau'ikan kararraki, sun sami ma'ana. haɓakawa (duba kiɗan Haruffa, kiɗan Girka na dā). Har zuwa 6 c. don zayyana sautuna, tare da Girkanci, an fara amfani da haruffa lat. haruffa; ta 10 c. hanyar zayyana sauti a cikin Latin. haruffa gaba ɗaya sun maye gurbin tsohon. Tsarin haruffa a cikin karni na 20. an yi amfani da wani bangare a cikin kiɗa-ka'idar. lita-re don sanya otd. sautuna da sautuna. Dr. tsohon tsarin ya kasance mahaukaci N. p., wanda ya zama tartsatsi a cf. karni (duba Nevmy). Alamu na musamman - an rubuta neume a kan rubutun kalmomi don tunatar da karin waƙoƙin waƙoƙi; hauka N.p. an yi amfani da shi sosai. don fahimtar Katolika. waƙoƙin liturgical. Bayan lokaci, an fara amfani da layukan don nuna daidai tsayin neum. Da farko, irin waɗannan layukan ba su nuna ainihin sautin sauti ba, amma sun ba wa mawaƙa damar ganin wanne daga cikin adadin sautunan da neuma ke nunawa ya yi ƙasa da ƙasa kuma waɗanda suka fi girma. Adadin layukan sun kasance daga ɗaya zuwa 18; tsarin daga layi da yawa, kamar dai, an sake buga su a kan takarda igiyoyin muses. kayan aiki. A cikin karni na 11 Guido d'Arezzo ya inganta wannan hanyar N. p., yana gabatar da layi na kiɗa guda hudu, wanda shine samfurin zamani. ma'aikatan kiɗa. A farkon layukan, ya sanya alamomin haruffa da ke nuna ainihin sautin da aka rubuta a kansu; waɗannan alamun sun kasance samfuran zamani. makullai. A hankali, alamomin da ba su da ma'ana an maye gurbinsu da kawunan bayanin murabba'i, wanda ke nuni da sautin sauti kawai. Wannan N.p. An yi amfani da shi sosai don yin rikodin waƙoƙin Gregorian don haka ya karɓi sunan choral (duba Choral notation, Gregorian Chant).

Waƙa. wani mataki a cikin ci gaban N. p. shi ne ake cewa. alamar haila, wanda aka gyara a lokaci guda. da sauti da tsawon lokacin sauti. An nuna na ƙarshe ta siffar shugabannin bayanin kula. Alamun ma'auni, wanda ya kafa halayen uku ko biyu na kowane tsawon bayanin kula, an sanya su a farkon layin kiɗa, kuma lokacin da aka canza ma'auni, a tsakiyar rubutun kiɗa. Alamomin dakatarwa da aka yi amfani da su a cikin wannan tsarin sun yi daidai da tsawon lokacin haila kuma suna ɗauke da sunayensu (duba bayanin Mensural, Dakata).

A lokaci guda tare da bayanin haila a cikin ƙarni na 15-17. akwai tsarin haruffa ko lambobi, da sauransu. tablature da aka yi amfani da shi don yin rikodin instr. kiɗa. Tana da nau'ikan iri da yawa waɗanda suka dace da halayen sashen. kayan aiki; Hakanan akwai nau'ikan tablature na ƙasa: Jamusanci, Faransanci, Italiyanci, Sifen.

Hanyar zayyana maɗaukaki tare da lambobi da aka rubuta a sama ko ƙasa sanannun muryar bass - bass gabaɗaya ko basso continuo (bass ci gaba) an yi amfani dashi tare da con. Karni na 16 kuma ya zama tartsatsi. ya yi aiki a matsayin firimiya. don gabatar da sashin rakiyar sashin jiki da piano. A cikin karni na 20 na dijital bass ana amfani da shi kawai azaman motsa jiki a cikin jituwa na koyo.

Ana amfani da tsarin rikodin kiɗan dijital a cikin zamani. aikin koyarwa don sauƙaƙa koyan wasa akan wasu buƙatu. kayan aiki. Ana maye gurbin sandar ta hanyar layi bisa ga adadin kirtani na kayan aiki, an rubuta lambobi akan su suna nuna wace damuwa domin ya kamata a danna kirtani zuwa wuyansa.

A cikin Rasha, wanda ba na layi ba N. p. (znamenny, ko ƙugiya) ya kasance daga ƙarshe. 11 c. (wataƙila a baya) zuwa karni na 17. m. Wani nau'i ne na rubuce-rubucen karkatacciyar hanya kuma ana amfani da shi a cikin Cocin Orthodox. waka. Alamar waƙar Znamenny ta kasance akida. form N.p. – Alamun da aka nuna otd. kalmomin shiga ko dalilai, amma ba su nuna ainihin sauti da girman sauti ba. Daga baya, an gabatar da ƙarin alamun da ke ƙayyade tsayin sauti, abin da ake kira. alamomin cinnabar (duba waƙar Znamenny, Ƙogi).

A farkon. Karni na 17 a Ukraine, sannan a cikin Rasha, tare da la'akari da waƙoƙin monophonic na yau da kullun, ana yin sauyi a hankali daga rubuce-rubucen ƙugiya zuwa tsarin kiɗan madaidaiciya 5 ta amfani da bayanan murabba'i da maɓallin cefaut (duba Maɓalli).

Bayan ƙarni na bincike a cikin tsarin ci gaban muses. zamani ne ya kirkiro karar. N. p., wanda, duk da wasu gazawa, ana ci gaba da amfani da shi a duk faɗin duniya har yau. Amfanin zamani N. p. ya ƙunshi farko a cikin ganuwa na nadi na sauti-tsayin matsayi na bayanin kula da metro-rhythm. rabo. Bugu da ƙari, kasancewar maɓallan da ke ba da damar yin amfani da ma'aikatan kiɗa don yin rikodin dec. jeri na kiɗa. ma'auni, yana ba da damar iyakance kanmu ga tsarin kiɗan madaidaiciya 5, kawai lokaci-lokaci muna yin amfani da ƙarin layi da ƙari. nadi.

D. Millau. Les Choephores. 1916. Shafukan sashe na maki don mawaƙa, mawaƙa na mawaƙa da kaɗe-kaɗe.

Abubuwan da suka ƙunshi na zamani. N. p. su ne: 5-layi ma'aikata; maɓallan da ke ƙayyade ƙimar tsayin layin sandar; Alamun kiɗa: kawunan oval tare da kara (ko sanda) - ba a cika (fari) da cika (baki); dec. abubuwa na alamun kiɗan da ke bayyana alaƙa. tsawon lokacin sautunan, dangane da ilimin lissafi. ka'idar rarraba zuwa biyu na kowane bayanin kula (na lokaci) rabo; alamun bazata a maɓalli, gyara tsayin matakin da aka ba a cikin dukan kiɗan. yana aiki, da haɗari tare da bayanin kula (bazuwar), canza sauti kawai a cikin ma'auni da aka ba da kuma don octave da aka ba da; nadi na mita, watau yawan bugun lokaci a ma'auni da tsayinsu; ƙara. Alamun da ke ba da izinin haɓaka tsawon lokacin sauti (dige, fermata, league), ƙungiyar da yawa. ma'aikatan kiɗa a cikin tsarin kida na gama gari wanda ya dace da iyawar kayan aiki, tarawa, ƙungiyar mawaƙa da ƙungiyoyin kaɗe-kaɗe (duba Ma'aikatan Kiɗa, Accolade, Alamun Maɓalli, Maki).

Tsarin da aka yi amfani da shi da haɓaka zai dace. nadi - ɗan lokaci, mai ƙarfi, da kuma nuna shigar da wasu hanyoyin aiwatarwa, yanayin bayyanawa, da dai sauransu. Tare da zane-zane na ɗan lokaci, wanda ke ba da izini, a cikin kewayon fa'ida, raguwa. aiwatarwa dangane da kida da kyan gani gabaɗaya. shigarwa na zamanin da kiɗa. ji na mai wasan kwaikwayo da kansa (zane-zane irin su allegro, andante, adagio, da dai sauransu), tun daga farko. Ƙarni na 19 sau da yawa an fara amfani da su da ƙarin nadi na lokaci, wanda aka bayyana a cikin lambobi na oscillations na metronome pendulum. Dangane da wannan duka, N. p. ya fara rikodin kiɗan daidai. Kuma duk da haka wannan gyare-gyaren ba zai zama mai banƙyama ba kamar gyaran kiɗa tare da taimakon rikodin sauti.

K. Stockhausen. Daga sake zagayowar don kaɗa.

Ko da mafi tsananin kiyaye umarnin mawaƙa, mai yin wasan kwaikwayo na iya fassara irin waƙar kiɗan na muses ta hanyoyi da yawa. aiki. Wannan rikodin ya kasance tabbataccen gyare-gyaren da aka rubuta na aikin; duk da haka, a cikin ainihin sautin kiɗa. ayyuka suna wanzu ne kawai a ɗaya ko wani mai yin. fassarar (duba wasan kwaikwayo na kiɗa, Fassarar).

Sabuwar waƙa. igiyoyin ruwa na karni na 20. ya kawo wasu sauye-sauye a cikin hanyoyin rubutun waka. A gefe guda, wannan shine ƙarin gyare-gyare da haɓaka abubuwan ƙira, faɗaɗawar su sosai. Don haka, an fara amfani da zane-zane na hanyoyin gudanarwa, zane-zane na nau'ikan ayyukan da ba a san su ba (Sprechgesang), da sauransu. Suna bayyana waɗanda wannan ko mawaƙin ya gabatar kuma ba a yi amfani da su a wajen aikinsa ba. A cikin kankare kiɗa da kiɗan lantarki, N. p. ba a amfani da shi kwata-kwata - marubucin ya kirkiro aikinsa. a cikin rikodin kaset, wanda shine kawai wanda bai yarda da k.-l. canje-canje a cikin sigar gyarawarsa. A gefe guda, masu bin muses. aleatorics a cikin ɗaya ko wani nau'in sa sun ƙi gyare-gyaren da ba za a iya canzawa ba na ayyukansu, suna barin abubuwa da yawa a cikin su bisa ga shawarar mai yin. Mawaƙa, waɗanda suka yi imanin cewa wasan kwaikwayo na ra'ayoyinsu ya kamata a gudanar da su a cikin wani nau'i na kusa da haɓaka kyauta, sau da yawa suna aiwatar da bayanin kida na aikin su. a cikin nau'i na jerin "alamu", irin kiɗa. zane-zane.

Akwai tsari na musamman don gyara rubutun kiɗa ga makafi, wanda Faransanci ya ƙirƙira a cikin 1839. malami kuma mawaki L. Braille; ana amfani da shi a cikin USSR wajen koyar da kiɗa ga makafi. Duba kuma bayanin kidan Armeniya, kiɗan Byzantine.

References: Papadopulo-Keramevs KI, Asalin bayanin kida tsakanin arewa da kudancin Slavs…, "Bulletin of Archaeology and History", 1906, No. 17, ku. 134-171; Nuremberg M., Hotunan kiɗa, L., 1953; Riemann, H. Studien zur Geschichte der Notenschrift, Lpz., 1878; David E. Et Lussy M., Histoire de la notation musicale depuis ses asalinsu, P., 1882; Wölf J., Handbuch der Notationskunde, Bd 1-1, Lpz., 2-1913; nasa, Die Tonschriften, Breslau, 19; Smits vanWaesberghe J., Bayanan kiɗa na Guido d'Arezzo, "Musica Divina", 1924, v. 1951; Georgiades Thr. G., Sprache, Musik, schriftliche Musikdarstellung, "AfMw", 5, Jahrg. 1957, na 14; nasa, Musik und Schrift, Münch., 4; Machabey A., Bayanan kide-kide ba modales des XII-e et XIII-e sicle, P., 1962, 1957; Rarrish C., Bayanan kula da kiɗa na tsakiya, L. - NY, (1959); Karkoschka E., Das Schriftbild der neuen Musik, Celle, (1957); Kaufmann W., Bayanan kiɗa na Gabas, Bloomington, 1966 (Jerin Jami'ar Indiana, No 1967); Ape60 W., Die Note der polyphonen Musik, 1-900, Lpz., 1600.

Vakhromeev