Orchestra |

daga Girkanci orxestra - wani zagaye, daga baya semicircular dandali na tsohon gidan wasan kwaikwayo, inda, yin rhythmic ƙungiyoyi, mawaƙa na bala'i da ban dariya rera sassansu, daga orxeomai - Na rawa.

Ƙungiyar mawaƙa waɗanda ke kunna kayan kida daban-daban da aka yi niyya don haɗin gwiwa na ayyukan kiɗa.

Har sai ser. Karni na 18 kalmar "Oh." fahimta a zamanin da. ma'ana, dangane da wurin da mawakan suke (Walther, Lexikon, 1732). Sai kawai a cikin aikin I. Mattheson "Rediscovered Orchestra" ("Das neu-eröffnete Orchestra", 1713) kalmar "O." tare da tsohuwar ma'anar sun sami sabon abu. Na zamani JJ Rousseau ne ya fara bayyana shi a cikin ƙamus na kiɗa (Dictionnaire de la musique, 1767).

Akwai ka'idodin rarrabuwa na O. da yawa: babba shine sashin O. bisa ga instr. abun da ke ciki. Bambance tsakanin gaurayawan abun da ke ciki, gami da kayan kida na kungiyoyi daban-daban (Symphonic O., estr. O.), da kamanni (misali, mawaƙan kirtani, ƙungiyar tagulla, O. kidan kaɗa). Abubuwan da aka yi kama da juna suna da nasu rabe-rabe: alal misali, kayan kirtani na iya ƙunshe da na'urorin ruku'u ko fiɗa; A cikin iska O., wanda aka yi amfani da shi mai hade da juna - tsarin jan karfe ("Gang") ko gauraye, tare da ƙari da irin katako, wani lokacin ƙidaya. Dokta ƙa'idar rarraba O. ta samo asali ne daga naɗin da suka yi a cikin muses. yi. Akwai, alal misali, ƙungiyar soja, estr. O. Nau'in O. na musamman yana wakilta da yawa. nat. ensembles da O. Nar. kayan kida, duka sun yi kama da juna a cikin abun da ke ciki (domrovy O.), da kuma gauraye (musamman, mawakan Neapolitan, wanda ya ƙunshi mandolins da guitars, taraf). Wasu daga cikinsu sun zama masu sana'a (Babban Ƙwallon Ƙwallon Ƙasa na Rasha, wanda VV Andreev ya halitta, da kayan gargajiya na O. Uzbek, wanda AI Petrosyants ya shirya, da sauransu). Don O. nat. kayan kida na Afirka da Indonesiya ana siffanta su da abubuwan ƙira waɗanda ke da fifikon kaɗa, alal misali. gamelan, O. ganguna, O. xylophones. A cikin ƙasashen Turai mafi girman nau'in haɗin gwiwa instr. wasan kwaikwayon ya zama symphonic. O., wanda ya ƙunshi ruku'u, iska da kayan kaɗa. Ana yin duk sassan kirtani a cikin wasan kwaikwayo. O. ta rukuni gabaɗaya (akalla mawaƙa biyu); wannan O. ya bambanta da instr. gungu, inda kowane mawaƙi ke taka otd. jam'iyya.

Tarihin wasan kwaikwayo. O. ya koma farkon karni na 16-17. Manyan kayan aikin gama gari sun wanzu a baya - a zamanin da, tsakiyar zamanai, a cikin Renaissance. A cikin karni na 15-16. a cikin bukukuwa. an tattara lokuta adv. ensembles, to-rye sun haɗa da duk iyalai na kayan kida: kirtani na ruku'u da tsinke, iska da tagulla, madanni. Duk da haka, har zuwa 17th c. babu gunaguni da ke aiki akai-akai; wasan kwaikwayo na kiɗa ya kasance lokacin bukukuwa da sauran abubuwan. Siffar O. a zamani. ma'anar kalmar tana da alaƙa da fitowar a ƙarshen ƙarni na 16-17. sababbin nau'ikan kiɗan homophonic, irin su opera, oratorio, solo wok. concert, wanda O. ya fara aiwatar da aikin rakiyar muryoyin murya. A lokaci guda kuma, ƙungiyoyi irin su O. sukan ɗauki wasu sunaye. Da, Italiyanci. mawaki con. 16- roqo. Karni na 17 galibi ana nuna su da kalmomin “concert” (misali, “Concerti di voci e di stromenti” y M. Galliano), “chapel”, “mawaka”, da sauransu.

Yawancin ci gaban O. sun ƙaddara da yawa. abu da fasaha. dalilai. Daga cikin su akwai 3 mafi mahimmanci: juyin halittar orc. kayan kida (ƙirƙirar sababbi, inganta tsofaffin, bacewar kayan kida daga aikin kiɗa), haɓakar Orc. wasan kwaikwayon (sabbin hanyoyin yin wasa, wurin da mawaƙa suke a kan mataki ko a cikin ramin orc., gudanar da O.), wanda tarihin orcs da kansu ke da alaƙa. ƙungiyoyi, kuma, a ƙarshe, canji a cikin orc. mawaƙa hankali. Don haka, a cikin tarihin O., kayan ado da kayan kida suna da alaƙa da juna. Abubuwan da aka gyara. Saboda haka, idan aka yi la'akari da makomar O., muna nufin ba da yawa tarihin kayan aiki ko ork ba. salo, nawa kayan abu na ci gaban O. Tarihin O. dangane da wannan sharadi ya kasu kashi uku: O. daga kusan 1600 zuwa 1750; A. hawa na 2. 18- bara. Karni na 20 (kimanin farkon yakin duniya na farko 1-1914); O. karni na 18 (bayan yakin duniya na daya).

O. a cikin lokacin 17 - 1st bene. Karni na 18 Daga Renaissance, O. ya gaji kayan aiki mai wadatarwa dangane da timbre da zaɓin tessitura. Mafi mahimmancin ka'idoji na rarraba Orc. kayan aiki a farkon karni na 17 sune: 1) rarraba kayan aiki a zahiri. yanayin sautin jiki zuwa igiyoyi da iska, wanda A. Agazzari da M. Pretorius suka gabatar; na karshen kuma ya ware ganguna. Duk da haka, bisa ga Pretorius, ƙungiyar, alal misali, igiyoyi sun haɗa da duk kayan kida "tare da igiyoyi masu shimfiɗa", ko ta yaya suka bambanta a cikin timbre da samar da sauti - violin, violin, lyres, lutes, garayu, ƙaho, monochord, clavichord. , cembalo, da sauransu. Wannan shi ne yadda iyalai na kayan kida masu kama da juna suka taso, yawanci sun haɗa da 2, wani lokacin ƙarin nau'ikan tessitura masu dacewa da muryoyin ɗan adam (soprano, alto, tenor, bass). An gabatar da su a cikin tebur na kayan kida a cikin sashi na 4 na "Lambar Kimiyyar Kiɗa" ("Syntagma musicum", sashi na II, 2). Mawaƙa na juyawa na ƙarni na 1618-16. suna da, ta haka, rassan iyalai na igiyoyi, iska da kaɗa. Daga cikin iyalan kirtani, violin (treble, alto, babban bass, bass biyu; iri na musamman - viol d'amour, baritone, viola-bastard), lyres (ciki har da braccio), violin (17-string treble, tenor, bass, 4-string Faransanci - pochette, ƙaramin treble kunna na huɗu mafi girma), lutes (lute, theorbo, archilute, da sauransu). Kayan sarewa (iyali na sarewa na tsayi) sun kasance ruwan dare a tsakanin kayan aikin iska; kayan kida masu dunƙule guda biyu: sarewa (a cikinsu akwai rukunin bama-bamai daga bututun bass zuwa bututu mai ƙarfi), ƙahoni karkatattu - krummhorns; embouchure kayan aiki: katako da tutiya kashi, trombones decomp. masu girma dabam, bututu; bugawa (timpani, saitin kararrawa, da sauransu). Wok-instr. Tunanin mawaƙa na ƙarni na 3 da ƙarfi bisa ka'idar tessitura. Dukkan muryoyi da kayan kida na tessitura treble, da kayan kida na alto, tenor da bass tessitura, an haɗa su gaba ɗaya (an rubuta sassansu akan layi ɗaya).

Mafi mahimmancin fasalin da ke fitowa a kan ƙarshen 16-17 ƙarni. salon homophonic, da kuma homophonic-polyphonic. haruffa (JS Bach, GF Handel da sauran mawaƙa), sun zama basso ci gaba (duba Janar bass); dangane da wannan, tare da karin waƙa. muryoyi da kayan aiki (violin, violas, kayan aikin iska iri-iri) sun bayyana abin da ake kira. kungiyar ci gaba. Kayan aiki abun da ke ciki ya canza, amma aikinsa (yin bass da haɗin gwiwar polygonal) bai canza ba. A cikin farkon lokacin haɓaka wasan opera (misali, makarantun opera na Italiya), ƙungiyar ci gaba ta haɗa da sashin jiki, cembalo, lute, theorbo, da garaya; a hawa na 2. Karni na 17 an rage yawan kayan aikin da ke cikinsa sosai. A zamanin Bach, Handel, Faransa composers. Classicism yana iyakance ga kayan aikin maɓalli (a cikin kiɗan coci - sashin jiki, musanya tare da cembalo, a cikin nau'ikan mutane - cembalos ɗaya ko biyu, wani lokacin theorbo a cikin opera) da basses - cello, bass biyu (Violono), sau da yawa bassun.

Domin O. bene na 1. 17th karni halin rashin zaman lafiya na abun da ke ciki, lalacewa ta hanyar da yawa dalilai. Ɗaya daga cikinsu shine bita na al'adun Renaissance a cikin zaɓi da kuma haɗa kayan kida. An sabunta kayan aikin da gaske. Suka bar wakar. ayyuka na lute, violin, gudun hijira ta violins - kayan aiki na sauti mai ƙarfi. A ƙarshe dai bama-bamai sun ba da damar bassons ɗin da aka haɓaka daga bass pommer da oboes da aka sake ginawa daga bututun treble; zinc ya tafi. Ana tarwatsa sarewa na tsayin daka ta hanyar sarewa masu jujjuyawar da suka wuce su da karfin sauti. Yawan nau'in tessitura ya ragu. Duk da haka, wannan tsari bai ƙare ba ko a karni na 18; misali, irin waɗannan igiyoyi kamar violino piccolo, violencello piccolo, da kuma lute, viola da gamba, viol d'amour, galibi suna bayyana a cikin ƙungiyar makaɗar Bach.

Dokta dalilin rashin kwanciyar hankali na abubuwan da aka tsara shi ne zaɓin kayan aikin bazuwar a cikin adv. opera gidaje ko cathedrals. A matsayinka na mai mulki, mawaƙa sun rubuta kiɗan ba don abin da aka yarda da shi gabaɗaya ba, bargaren abun da ke ciki, amma don abun da aka tsara na O.. gidan wasan kwaikwayo ko priv. gidajen ibada. A farkon. Karni na 17 akan taken taken maki, an yi rubutun sau da yawa: "buone da cantare et suonare" (" dace da waƙa da wasa"). Wani lokaci a cikin maki ko a kan taken taken abin da ke cikin wannan gidan wasan kwaikwayo yana daidaitawa, kamar yadda yake a cikin makin wasan opera na Monteverdi Orfeo (1607), wanda ya rubuta wa kotu. gidan wasan kwaikwayo in Mantua.

Canza kayan aikin da ke da alaƙa da sabbin kayan kwalliya. buƙatun, sun ba da gudummawa ga canji a ciki. ƙungiyoyi O. Kwanciyar hankali na ork. abubuwan da aka tsara sun tafi da farko tare da layin asalin zamani. mu manufar Orc. ƙungiyar da ke haɗa kayan aikin da ke da alaƙa a cikin timbre da kuzari. kaddarorin. Bambance-bambancen rukunin kirtani na timbre-mai kama da ruku'i - violins na masu girma dabam - ya faru da farko a cikin aikin wasan kwaikwayo (a karon farko a cikin 1610 a cikin wasan opera na Parisian sunkuyar da "24 Violins of the King"). A cikin 1660-85, an shirya Royal Chapel na Charles II a London bisa ga tsarin Paris - kayan aiki wanda ya ƙunshi violin 24.

Ƙirƙirar ƙungiyar kirtani ba tare da violins da lutes ba (violin, violas, cellos, basses biyu) shine mafi mahimmanci cin nasara na opera na ƙarni na 17, wanda aka nuna da farko a cikin kerawa na opera. An rubuta opera ta Purcell Dido da Aeneas (1689) don garaya da aka rusuna tare da ci gaba; Bugu da ƙari na kayan aikin iska guda uku - Cadmus da Hermione na Lully (1673). Ƙungiyoyin iskan itace da tagulla ba su yi kama da tsarin ƙa'idodin baroque ba, kodayake duk manyan iskar itace, ban da clarinets ( sarewa, oboes, bassoons), an riga an shigar da su cikin O. A cikin ƙimar JB Lully, iska uku. sau da yawa ana jera su: 2 oboes (ko sarewa 2) da bassoon, kuma a cikin wasan operas na F. Rameau (“Castor and Pollux, 1737) rukuni ne da bai cika ba na iskar itace: sarewa, oboes, bassoons. A cikin ƙungiyar makaɗar Bach, sha'awarsa ta asali ga kayan kida na ƙarni na 17. Hakanan ya shafi zaɓin kayan aikin iska: ana amfani da tsoffin nau'ikan oboe - oboe d`amore, oboe da caccia (samfurin ƙahon Turanci na zamani) tare da bassoon ko tare da sarewa 2 da bassoon. Haɗuwa da kayan aikin tagulla kuma suna haɓaka daga tarin nau'ikan Renaissance (misali, zinc da trombones 3 a cikin Concertus Sacri na Scheidt) zuwa ƙungiyoyin tagulla na gida (kakaki 3 da timpani a cikin Bach's Magnificat, ƙaho 3 tare da timpani da ƙaho a cikin cantatata na kansa. Na 205). Yawan Har yanzu abun da O. ya yi bai yi tasiri ba a lokacin. igiyoyi. ƙungiyar a wasu lokuta ƙanana ne kuma ba ta cika ba, yayin da zaɓin kayan aikin iska ya kasance bazuwar (duba Table 1).

Daga bene na 1. An gudanar da rabon karni na 18. abubuwan da aka tsara dangane da aikin zamantakewa na kiɗa, wurin yin wasan kwaikwayonsa, masu sauraro. Rarraba abubuwan da aka tsara zuwa coci, opera da kide-kide an kuma danganta su da ra'ayoyin coci, wasan opera da salon ɗaki. Zaɓin da adadin kayan aiki a cikin kowane ɗayan abubuwan har yanzu sun bambanta sosai; duk da haka, opera opera (Handel's oratorios kuma an yi su a gidan wasan opera) galibi sun fi cika da kayan aikin iska fiye da wasan kide kide. Dangane da dif. a cikin yanayin makirci, tare da kirtani, sarewa da oboes, ƙaho da timpani, trombones sau da yawa suna kasancewa a ciki (a cikin Scene na Jahannama a Monteverdi's Orpheus, an yi amfani da tarin zinc da trombones). Wani lokaci ana gabatar da ƙaramin sarewa ("Rinaldo" na Handel); a cikin ukun karshe na karni na 17. kaho ya bayyana. Zuwa coci. O. dole ya hada da gabobi (a cikin rukunin ci gaba ko azaman kayan kide-kide). Zuwa coci. O. in op. Bach, tare da kirtani, iska mai bushewa (garwa, oboes), wani lokacin bututu tare da timpani, ƙaho, trombones, sau biyu muryoyin mawaƙa (cantata No 21), ana gabatar da su sau da yawa. Kamar yadda a cikin coci, haka a cikin operatic O. halittu. An taka rawar da kayan kida na wajibi (duba wajabta) masu raka waƙar solo: violin, cello, sarewa, oboe, da sauransu.

Kundin kide-kide na O. gaba daya ya dogara da wuri da yanayin kunna kida. Domin bukukuwa. adv. bukukuwan Baroque (coronation, bikin aure), a cikin manyan cathedrals tare da liturgical. kida ya kara instr. kide kide da wake wake da kotu tayi. mawaƙa.

Secular Priv. An gudanar da kide-kide a cikin gidan wasan opera da kuma a sararin sama - a masallatai, jerin gwano, wasan wuta, "a kan ruwa", da kuma a cikin dakunan manyan gidaje ko gidajen sarauta. Duk waɗannan nau'ikan kide-kide suna buƙatar Dec. abubuwan da aka tsara O. da adadin masu yin wasan kwaikwayo. A cikin "Kiɗa don Ayyukan Wuta" na Handel, wanda aka yi a Green Park na London a ranar 27 ga Afrilu. 1749, iska da kaɗa kawai (mafi ƙarancin kayan kida 56); a cikin nau’in kade-kade da aka yi bayan wata daya a Asibitin Kafa, mawakin, ban da kaho 9, kaho 9, obo 24, bassona 12, kade-kade, ya kuma yi amfani da kayan kida. A cikin ci gaban ainihin conc. O. Mafi girman rawar da irin waɗannan nau'ikan zamanin Baroque suka taka kamar concerto grosso, solo concerto, orc. suite. Dogaro da marubucin akan samuwa – yawanci ƙanƙanta – abun da ke ciki ana iya lura da shi anan ma. Duk da haka, ko da a cikin wannan tsarin, mawaki yakan tsara ayyuka na musamman na nagarta da kuma timbre masu alaƙa da salon ɗakin ɗakin kide-kide na homophonic-polyphonic. tushe. Waɗannan su ne 6 Brandenburg Concertos na Bach (1721), kowannensu yana da keɓaɓɓen abun da ke ciki na masu yin soloists, daidai da Bach ya jera. A wasu lokuta, mawallafin ya nuna raguwa. bambance-bambancen abun da ke ciki ad libitum (A. Vivaldi).

Halittu. Tsarin mawaƙa na zamanin Baroque ya rinjayi ka'idodin stereophonic (a cikin ma'anar zamani) ka'idodin kiɗan mawaƙa da yawa. An karɓi ra'ayin juxtaposition na sararin samaniya a cikin karni na 17. daga mawaka. antiphonal polyphony na karni na 16. Wurin mawaƙa da yawa. da instr. Majami'u a cikin ƙungiyar mawaƙa na manyan cathedrals sun haifar da tasirin rabe-raben sonority. An fara amfani da wannan al'ada sosai a cikin Cathedral na St. Mark a Venice, inda G. Gabrieli ya yi aiki, ta kuma saba da G. Schutz, wanda ya yi karatu tare da shi, da S. Scheidt da sauran mawaƙa. Matsanancin bayyanar al'adar mawaƙa da yawa wok.-instr. An yi wasiƙar a cikin 1628 a cikin Cathedral na Salzburg ta O. Benevoli, wani taro mai ban sha'awa, wanda ya ɗauki ƙungiyar mawaƙa 8 (bisa ga masu zamani, akwai ma 12). Tasirin ra'ayi na mawaƙa da yawa ya nuna ba kawai a cikin al'ada na al'ada ba. kiɗa (An rubuta Bach's Matthew Passion don mawaƙa 2 da operas 2), amma kuma a cikin nau'ikan mutane. Ka'idar concerto grosso ita ce rarrabuwar ɗimbin ƴan wasan kwaikwayo zuwa ƙungiyoyi biyu marasa daidaito waɗanda ke yin decomp. ayyuka: concertino - ƙungiyar soloists da concerto grosso (babban concerto) - ƙungiya mai rakiya, kuma an yi amfani da ita a cikin O. oratorio, opera (Handel).

Halin mawakan O. na zamanin 1600-1750 ya nuna duk abubuwan da aka ambata a sama. Dangane da zane-zanen da masana ilimin kimiyya na karni na 18 da zane-zane suka ba mu damar yin hukunci, wurin mawakan O. ya bambanta sosai da wanda aka yi amfani da su daga baya. Wurin masaukin mawaƙa a gidan wasan opera, conc. zauren ko babban coci ya buƙaci mafita na mutum ɗaya. Cibiyar wasan opera ta opera ita ce chambalo na bandmaster da bass masu zaren da ke kusa da shi - cello da bass biyu. A gefen dama na mai kula da makada akwai igiyoyi. kayan kida, a gefen hagu - kayan aikin iska (iskar itace da ƙaho), da aka tattara a kusa da na biyu, tare da cembalo. An kuma samo igiyoyi a nan. basses, theorbo, bassoons, waɗanda tare da cembalo na biyu sun zama ƙungiyar ci gaba.

Wurin mawaƙa a cikin ƙungiyar mawaƙa ta opera a ƙarni na 18. (daga littafin: Quantz J., Versuch einer Anweisung, die Flöte traversiere zu spielen, Berlin, shafi na 134).

A cikin zurfin (a hannun dama) ana iya sanya bututu da timpani. A cikin abubuwan da aka tsara na kide-kide, soloists sun kasance a gaba kusa da mawaƙin bandma, wanda ya ba da gudummawa ga daidaiton son kai. Ƙayyadaddun irin wannan tsarin wurin zama shine haɗin kayan aiki na kayan aiki waɗanda ke samar da ɗakunan sauti masu yawa: 2 ci gaba da ƙungiyoyi, ƙungiyar concertino a cikin wasan kwaikwayo, wani lokaci a cikin wasan opera, 2 manyan ƙungiyoyi masu bambanta ( kirtani, katako) a kusa da 2 cembalos . Irin wannan tsarin yana buƙatar gudanarwa mai matakai da yawa. Wani bangare na masu wasan kwaikwayon ya bi chambalo mai rakiya, O. gaba daya, ya bi chambalo na bandmaster. Hakanan an yi amfani da hanyar sarrafa dual sosai (duba Gudanarwa).

A. hawa na 2. 18- bara. 20th karni O. wannan lokaci, rufe irin wannan decomp. salo abubuwan mamaki irin su Viennese na gargajiya makaranta, romanticism, cin nasara da romantic. trends, impressionism da yawa dissimilar da juna, wanda ya nasu. juyin halittar makarantun kasa, duk da haka, yana da alaƙa da tsari guda ɗaya. Wannan shine ci gaban orc. na'ura, wanda ke da alaƙa mara daidaituwa tare da bayyananniyar rarrabuwar rubutun a tsaye bisa tushen jituwa na homophonic. tunani. Ya samo magana a cikin tsarin aiki na orc. masana'anta (haɓaka ayyukan waƙa, bass, jituwa mai dorewa, orc. pedal, counterpoint, figuration a ciki). Tushen wannan tsari an kafa shi a zamanin muses na Viennese. na gargajiya. A ƙarshensa, an halicci orc. na'ura (duka cikin sharuddan da abun da ke ciki na kayan aiki da kuma na ciki aiki kungiyar), wanda ya zama, kamar yadda ya kasance, farkon batu ga ci gaba da romantics da composers a cikin Rashanci. makarantu.

Mafi mahimmancin alamar balaga ita ce jituwa ta homophonic. trends in orc. tunanin kiɗa - bushewa a cikin kwata na 3rd. Ƙungiyoyin basso ci gaba na ƙarni na 18 Ayyukan da ke rakiyar cembalo da sashin jiki sun shiga rikici tare da haɓakar rawar da Orc ya dace. jituwa. Da yawa baƙon Orc. ’yan zamanin su ma sun yi tunanin ƙwanƙarar kaɗe-kaɗe ta yi sauti. Duk da haka, a cikin sabon nau'i - wasan kwaikwayo - kayan aikin madannai wanda ke yin aikin basso continuo (chembalo) har yanzu yana da yawa - a cikin wasu wasan kwaikwayo na makarantar Mannheim (J. Stamitz, A. Fils, K. Cannabih), a farkon. Tambayoyi na J. Haydn. Zuwa coci. A cikin kiɗa, aikin basso ya ci gaba har zuwa 90s. Karni na 18 (Mozart's Requiem, Haydn's Masses).

A cikin aikin mawaƙa na Viennese classic. Makarantar tana sake tunani game da rarrabuwa zuwa coci, wasan kwaikwayo da kuma abubuwan da aka tsara na O. Tun daga farko. Karni na 19 kalmar "coci O." a zahiri ya fada cikin rashin amfani. Kalmar "chamber" ta fara amfani da ita ga ensembles, don tsayayya da orc. yi. A lokaci guda kuma, banbance tsakanin wasan opera da opera na wasan opera ya kasance da muhimmanci sosai. Idan abun da ke ciki na opera O. ya riga ya kasance karni na 18. bambanta da cikar da iri-iri na kayan aiki, sa'an nan ainihin conc. da abun da ke ciki, kazalika da nau'o'in na symphony da solo concerto kansu, ya kasance a cikin jariri, ya ƙare kawai tare da L. Beethoven.

Ƙaƙƙarfan ƙira na O. ya ci gaba a layi daya tare da sabunta kayan aikin. A cikin bene na 2. Karni na 18 saboda canjin yanayin kwalliya. manufa daga kiɗa. ayyuka sun bace. kayan kida - theorbos, viols, oboes d'amore, sarewa na tsayi. An ƙera sabbin kayan kida waɗanda suka haɓaka sikelin timbre da tessitura na O. Ƙwararren opera a cikin 80s. Karni na 18 ya sami clarinet wanda aka tsara (c. 1690) ta I. Denner. Gabatarwar clarinet zuwa wasan kwaikwayo. O. ya ƙare da farko. Karni na 19 samuwar ruhin katako. kungiyoyi. Ƙhon basset (corno di bassetto), alto iri-iri na clarinet, ya tsira na ɗan gajeren lokaci na wadata. A cikin neman ƙananan ruhu. Mawakan bass sun juya zuwa contrabassoon (Haydn's oratorio).

A cikin bene na 2. Karni na 18 mawaƙin har yanzu ya dogara kai tsaye ga abubuwan da ke akwai na O. Yawancin lokaci abun da ke cikin na farko na gargajiya. O. 1760-70s. rage zuwa 2 oboes, ƙaho 2 da kirtani. Ba a hade ba a Turai. O. da adadin kayan aikin da ke cikin kirtani. kungiyoyi. adv. O., a cikin Krom akwai fiye da kirtani 12. kayan aiki, an dauke su manyan. Duk da haka, yana cikin bene na 2. Karni na 18 dangane da demokradiyyar waka. rayuwa, bukatar barga abun da ke ciki na O. girma. A wannan lokacin, sabon akai O., pl. wanda daga baya ya zama sananne: O. "Ruhaniya Concerts" (concert spirituel) a Paris, O. Gewandhaus a Leipzig (1781), O. Ob-va concerts na Conservatory a Paris (1828). (Duba tebur na 2)

A Rasha, matakan farko na ƙirƙirar O. an dauki su ne kawai a cikin rabi na 2. Karni na 17 A cikin 1672, dangane da ƙirƙirar adv. t-ra zuwa Moscow an gayyaci kasashen waje. mawaƙa. A farkon. Karni na 18 Peter I ya gabatar da kidan tsarin mulki zuwa Rasha (duba Kidan Soja). A cikin 30s. Ƙarni na 18 tare da Rasha Gidan wasan kwaikwayo da wasan kwaikwayo na rayuwa suna tasowa a cikin tsakar gida. A cikin 1731, an kafa jihohin kotun farko a St. Petersburg. O., wanda ya ƙunshi na waje. mawaƙa (tare da shi akwai ɗaliban Rasha). Ƙungiyoyin mawaƙa sun haɗa da igiyoyi, sarewa, bassoons, ƙungiyar tagulla ba tare da trombones ba, timpani, da clavi-chambalos (har zuwa mutane 40 gaba ɗaya). A cikin 1735, an gayyaci ɗan Italiya zuwa St. Petersburg. kungiyar wasan opera karkashin jagorancin F. Araya, 'yan kasar Rasha ne suka buga a O. adv. mawaƙa. A cikin bene na 2. Karni na 18 adv. An raba O. zuwa kungiyoyi 2: “mawakan kamara na farkon O.” (bisa ga jihohin 1791-47 mutane, masu rakiya K. Canobbio) da kuma "mawakan O. na biyu sun kasance ɗakin ball guda" (mutane 43, mai rakiya VA Pashkevich). Na farko O. kusan ya ƙunshi baki, na biyu - daga Rasha. mawaƙa. Serfs sun yadu; wasu daga cikinsu ƙwararru ne. Orchestra na NP Sheremetev (Gidan Ostankino da Kuskovo, 43 mawaƙa) sun sami babban shahara.

A cikin symph. aikin L. Beethoven a ƙarshe ya rikitar da "classical", ko "Beethovenian", abun da ke tattare da wasan kwaikwayo. A: kirtani, nau'i-nau'i guda biyu na woodwinds (2 sarewa, 2 oboes, 2 clarinets, 2 bassoons), 2 (3 ko 4) ƙaho, 2 ƙaho, 2 timpani (a cikin 2nd rabin karni na 19th an classified a matsayin karamin). alamar abun ciki O.). Tare da wasan kwaikwayo na 9th (1824), Beethoven ya aza harsashin babban (a cikin ma'anar zamani) na abubuwan ban dariya. A: kirtani, nau'i-nau'i na iska tare da ƙarin kayan aiki (2 sarewa da ƙaramin sarewa, 2 oboes, 2 clarinets, 2 bassoons da contrabassoon), ƙaho 4, ƙaho 2, trombones 3 (wanda aka fara amfani dashi a ƙarshen wasan kwaikwayo na 5), ​​timpani , alwatika, kuge, bass drum. Kusan a lokaci guda. (1822) An kuma yi amfani da trombones 3 a cikin F. Schubert's "Unfinished Symphony". A cikin opera operas na karni na 18. dangane da matakan matakan sun haɗa da kayan aikin da ba a haɗa su a cikin conc. abun da ke ciki na alamar A: piccolo, contrabassoon. A cikin ƙungiyar bugun, ban da timpani, ɗauke da rhythmic. Aiki, ƙungiyar dagewa ta bayyana, galibi ana amfani da ita a cikin sassan gabas (abin da ake kira Baturke ko "Kiɗa na Janissary"): drum bass, kuge, triangle, wani lokacin drum ɗin tarko ("Iphigenia a Tauris" na Gluck, "The Sace daga Seraglio" na Mozart) . A cikin sashen A wasu lokuta, ƙararrawa suna bayyana (Glcckenspiel, Mozart's Magic Flute), tam-toms (Gosseca's Funeral Maris for the Death of Mirabeau, 1791).

shekarun farko na karni na 19. alama ta ingantaccen ingantaccen ruhu. kayan aikin da suka kawar da irin wannan gazawar kamar ƙarya innation, rashin chromatic. ma'auni na kayan aikin tagulla. sarewa, kuma daga baya sauran katako ruhohi. an yi amfani da kayan aiki tare da injin bawul (ƙirƙirar T. Boehm), ƙaho na halitta da bututu suna sanye take da injin bawul, wanda ya sanya sikelin su chromatic. A cikin 30s. A. Sachs ya inganta bass clarinet kuma ya tsara sababbin kayan aiki (saxhorns, saxophones).

Wani sabon kuzari ga ci gaban O. an ba shi ta hanyar romanticism. Tare da bunƙasa kiɗan shirin, shimfidar wuri da ban mamaki. element a cikin opera, binciken Orc ya zo kan gaba. launi da wasan kwaikwayo. timbre expressiveness. A lokaci guda, mawaƙa (KM Weber, P. Mendelssohn, P. Schubert) da farko sun kasance a cikin tsarin nau'in nau'i na opera (a cikin opera tare da shigar da nau'o'in: ƙananan sarewa, ƙaho na Ingilishi, da dai sauransu). Amfanin tattalin arziki na albarkatun O. yana cikin MI Glinka. Launi mai launi da dukiyar O. yana samuwa akan kirtani. ƙungiyoyin iska da nau'i-nau'i (tare da ƙarin kayan aiki); yana haɗa trombones zuwa ƙahoni da bututu (3, da wuya 1). G. Berlioz ya ɗauki mataki mai mahimmanci a cikin amfani da sababbin damar O.. Gabatar da ƙara yawan buƙatun wasan kwaikwayo, sikelin sauti, Berlioz ya faɗaɗa abun da ke ciki na O. A cikin Fantastic Symphony (1830), ya ƙara kirtani. kungiyar, yana nuna daidai adadin masu wasan kwaikwayo a cikin maki: aƙalla 15 na farko da 15 na biyu violins, 10 violas, 11 cellos, 9 basses biyu. A cikin wannan op. dangane da ƙwaƙƙwaran shirye-shiryensa, mawaƙin ya ƙaura daga tsohuwar bambance-bambancen opera da kide kide. abubuwan da aka tsara ta hanyar shigar da alamar. O. don haka halaye a launi. kayan aikin tsarawa, a matsayin Ingilishi. ƙaho, ƙananan clarinet, garayu (2), karrarawa. Girman rukunin jan ƙarfe ya karu, ban da ƙaho 4, ƙaho 2 da trombones 3, ya haɗa da cornets-a-piston da 2 ophicleides (daga baya an maye gurbinsu da tuba).

Aikin R. Wagner ya zama wani zamani a cikin tarihin O. Koloristich. bincike da ƙoƙari don yawan rubutun da aka rigaya a cikin Lohengrin ya haifar da karuwa a cikin orc. har zuwa nau'i uku (yawanci sarewa 3 ko sarewa 2 da ƙaramar sarewa, 3 oboes ko 2 oboes da ƙaho na Ingilishi, 3 clarinets ko 2 clarinets da bass clarinet, 3 bassoons ko 2 bassoons da contrabassoon, ƙaho 4, ƙaho 3, 3 trombone, bass tuba, ganguna, kirtani). A cikin 1840s kammala samuwar zamani. ƙungiyar jan ƙarfe, wanda ya haɗa da ƙaho 4, ƙaho 2-3, trombones 3 da tuba (Wagner ya fara gabatar da shi a cikin Faust overture da a cikin opera Tannhäuser). A cikin "Ring of the Nibelung" O. ya zama mafi mahimmancin memba na muses. wasan kwaikwayo. Matsayin jagora na timbre a cikin halayen leitmotif da kuma neman wasan kwaikwayo. magana da kuzari. Ƙarfin sauti ya sa mai yin waƙar ya gabatar da ma'auni na musamman na timbre zuwa O. (ta ƙara nau'in tessitura na kayan aikin iska na katako da bututu). Abubuwan da ke cikin O., don haka, ya ƙaru zuwa sau huɗu. Wagner ya ƙarfafa ƙungiyar tagulla tare da ƙaho na Faransa quartet (ko "Wagner") tubas da aka tsara don odarsa (duba Tuba). Bukatun da mawakin ya yi akan fasahar orc na virtuoso sun yi girma sosai. mawaƙa.

Hanyar da Wagner ya zayyana (a wani bangare na A. Bruckner ya ci gaba a cikin nau'in wasan kwaikwayo) ba ita kaɗai ba ce. A lokaci guda a cikin aikin I. Brahms, J. Bizet, S. Frank, G. Verdi, a cikin mawaƙa na Rasha. Makarantar tana ƙara haɓaka layin "classical" na ƙungiyar kade-kade da sake tunani da yawa na soyayya. trends. A cikin ƙungiyar mawaƙa ta PI Tchaikovsky, binciken tunani. an haɗu da bayanin katakon katako tare da ingantaccen amfani da ork. kudade. ƙin yarda da faɗaɗa orc. na'ura a cikin symphonies (biyu abun da ke ciki, sau da yawa ciki har da 3 sarewa), mawaki kawai a cikin shirye-shiryen aiki, a baya operas da ballets juya zuwa ga complement. launuka na Orc. palettes (misali ƙaho Turanci, bass clarinet, garaya, celesta a cikin The Nutcracker). A cikin aikin NA Rimsky-Korsakov, wasu ayyuka suna da ban mamaki. canza launi, abubuwan gani sun sa mawaki ya yi amfani da shi sosai (ba tare da wuce nau'ikan nau'ikan nau'i-nau'i-uku da sau uku ba) duka manyan timbres ɗin kari na O.K. ƙananan clarinet, alto nau'in sarewa da ƙaho an ƙara su a cikin kayan aiki, adadin kayan kida da ke ɗauke da kayan ado da kayan ado ya karu, an gabatar da maɓallan maɓalli (bisa ga al'adar Glinka - fp., da kuma sashin jiki). Fassarar ƙungiyar makaɗa ta NA Rimsky-Korsakov, wanda Rashanci ya karɓa. composers na matasa tsara (AK Glazunov, AK Lyadov, IF Stravinsky a farkon lokaci na kerawa), yana da tasiri a cikin Sphere na Orc. launi kuma akan aikin Western-Turai. mawaƙa - O. Respighi, M. Ravel.

Babban rawa a cikin ci gaban tunanin timbre a cikin karni na 20. ƙungiyar mawaƙa ta C. Debussy ta buga. Ƙara hankali ga launi ya haifar da canja wurin aikin jigon zuwa keɓancewa. dalilai ko rubutu-baya da launi. abubuwa na masana'anta, da kuma fahimtar fonich. bangarorin O. a matsayin sifa. Wadannan dabi'un sun ƙaddara bambance-bambancen da hankali na Orc. daftari.

Ci gaba da haɓaka halayen Wagnerian ya haifar da ƙarshen ƙarni na 19th-20th. zuwa samuwar a cikin aikin da dama composers (G. Mahler, R. Strauss; Rimsky-Korsakov a Mlada, AN Scriabin, da kuma Stravinsky a The Rite of Spring) na abin da ake kira super-Orchestra - fadada idan aka kwatanta da Ƙungiyoyi huɗu na O. Mahler da Scriabin sun yi amfani da ƙaƙƙarfan ƙungiyar makaɗa don bayyana ra'ayoyinsu na duniya. ra'ayoyi. Mafarkin wannan yanayin shine mai yin wasan kwaikwayo. abun da ke ciki na Mahler's 8th symphony (soloists 8, 2 gauraye mawaƙa, maza 'mawaƙa, biyar abun da ke ciki na babban symphony O. tare da ƙarfafa kirtani, babban adadin percussion da kayan ado, kazalika da wani gabo).

Kayan kaɗe-kaɗe a ƙarni na 19 ba su samar da tsayayyen ƙungiya ba. Zuwa farkon ƙarni na 20 ƙungiyar masu adon kaɗe-kaɗe ta faɗaɗa a fili. Baya ga timpani, ya haɗa da manyan ganguna da tarko, tambourine, kuge, triangle, castanets, tom-toms, karrarawa, glockenspiel, xylophone. Giya (1 da 2), celesta, pianoforte, da gabobin yawanci ana haɗa su a cikin babban O., sau da yawa - "kayan aiki don bikin": rattle, injin iska, katako, da dai sauransu A tsakiyar. da con. Sabbin orcs na karni na 19 suna ci gaba da samuwa. gungu: New York Philharmonic Orchestra (1842); Rukunin makada a Paris (1873); Mawaƙa na Bikin Wagner a Bayreuth (1876); Mawakan Boston (1881); ƙungiyar makaɗar Lamoureux a Paris (1881); Kotun Orchestra ("Kotu Musical Choir") a St. Petersburg (1882; yanzu Academic Symphony of O. Leningrad Philharmonic).

A cikin karni na 19 O., sabanin O. na zamanin Baroque, monochoirism ya yi nasara. Koyaya, a cikin kiɗan Berlioz, mawaƙa da yawa sun sake samun aikace-aikacen. A cikin Tuba mirum daga “Requiem” na Berlioz, an rubuta shi don faɗaɗa manyan kade-kade. O., masu wasan kwaikwayo sun kasu kashi 5: symphony. O. da ƙungiyoyi 4 na kayan aikin tagulla waɗanda suke a kusurwoyin haikalin. A cikin wasan opera (fara daga Mozart's Don Giovanni) irin wannan dabi'un kuma sun bayyana: O. "a kan mataki", "bayan mataki", muryoyin mawaƙa da instr. solo "a bayan mataki" ko "a sama" (Wagner). Bambancin wurare. sanya ƴan wasan kwaikwayo sun sami ci gaba a ƙungiyar makaɗar G. Mahler.

A wurin zama na mawakan O. a hawa na 2. Karni na 18 har ma a cikin karni na 19. Partially kiyaye su ne dismemberment da kuma rabuwa da katako hadaddun, wanda su ne halayyar Baroque O.. Duk da haka, riga a cikin 1775 IDAN Reichardt ya gabatar da wani sabon ka'ida na wurin zama, jigon wanda shi ne hadawa da kuma hade da timbres. Na farko da na biyu violins aka located dama da hagu na madugu a daya line, violas aka raba kashi biyu da kuma sanya na gaba jere, ruhu. an sanya kayan aikin a bayansu cikin zurfi. A kan wannan, wurin da Orc ya tashi daga baya. mawaƙa, waɗanda suka bazu a cikin 19th kuma a cikin bene na 1st. karni na 20 kuma daga baya ya karbi sunan tsarin zama na "Turai": na farko violins - zuwa hagu na madugu, na biyu - zuwa dama, violas da cellos - a baya su, woodwinds - zuwa hagu na madugu, tagulla. - zuwa dama (a cikin opera) ko a cikin layi biyu: na farko katako, a baya su - jan karfe (a cikin wasan kwaikwayo), a baya - ganguna, basses biyu (duba adadi a sama).

O. a karni na 20. (bayan yakin duniya na daya 1-1914).

Karni na 20 ya gabatar da sabbin hanyoyin yin wasan kwaikwayo. yi O. Tare da na gargajiya. Wasan kwaikwayo na rediyo da talabijin da wasan opera na studio sun bayyana a matsayin wasan opera da kide-kide. Duk da haka, bambancin dake tsakanin rediyo da opera opera da kide-kide na kade-kade, ban da mai aiki, ya ta'allaka ne kawai a cikin tsarin zama na mawakan. Abubuwan haɗin gwiwar Symphonic. Garuruwan manyan biranen duniya sun kusan hade kansu. Kuma kodayake maki na ci gaba da nuna mafi ƙarancin adadin kirtani don Op. Hakanan za'a iya yin ta ta ƙarami O., babban wasan kwaikwayo. O. Karni na 20 ya ƙunshi ƙungiyar mawaƙa 80-100 (wani lokaci ƙari).

A cikin karni na 20 an haɗa hanyoyin 2 na juyin halitta na O. Daya daga cikinsu yana hade da ci gaban hadisai. babban alama. A. Mawaƙa sun ci gaba da juyawa zuwa nau'i-nau'i biyu (P. Hindemith, "Mathis Mathis", 1938; DD Shostakovich, Symphony No. 15, 1972). An mamaye babban wuri ta hanyar abun ciki sau uku, galibi ana fadada shi saboda kari. kayan kida (M. Ravel, opera "Yaro da sihiri", 1925; SV Rachmaninov, "Symphonic Dances", 1940; SS Prokofiev, symphony No. 6, 1947; DD Shostakovich, wasan kwaikwayo No. 10, 1953; V. Lutoslavsky, symphony No. 2, 1967). Sau da yawa, mawaƙa kuma suna juya zuwa nau'i huɗu (A. Berg, opera Wozzeck, 1925; D. Ligeti, Lontano, 1967; BA Tchaikovsky, symphony No 2, 1967).

A lokaci guda kuma, dangane da sabon tsarin akida da salon salo a farkon karni na 20, wata kungiyar makada ta jam'iyya ta bullo. A yawancin alamu. da wok.-symp. abubuwan da aka tsara suna amfani da wani yanki ne kawai na abun da ke tattare da babban siphony. O. - abin da ake kira. abubuwan da ba na al'ada ba, ko na mutum ɗaya, na O. Misali, a cikin “Symphony of Psalms” na Stravinsky (1930) daga na gargajiya. clarinets, violins da violas ana kwace su da yawa.

A cikin karni na 20, saurin ci gaba na ƙungiyar masu kaɗa yana da halaye, to-rye sun bayyana kansu a matsayin cikakkiyar ƙungiyar orc. ƙungiya. A cikin 20-30s. buga. kayan aikin sun fara ba da amana ba kawai tare da rhythmic, launi ba, har ma da jigogi. ayyuka; sun zama muhimmin sashi na rubutu. Dangane da haka, ƙungiyar ganga a karon farko ta sami 'yancin kai. ma'ana cikin alama. O., da farko a cikin O. na abubuwan da ba na al'ada ba da abun da ke ciki. Misalai su ne Labarin Soja na Stravinsky (1918), Kiɗa na Bartók don Kiɗa, Percussion da Celesta (1936). Akwai ya bayyana ga wani abun da ke ciki tare da rinjaye na kaɗa ko keɓance a gare su: alal misali, Stravinsky's Les Noces (1923), wanda ya haɗa da, ban da soloists da ƙungiyar mawaƙa, 4 pianos da ƙungiyoyin kaɗa 6; "Ionization" na Varèse (1931) an rubuta shi don kayan kida kawai (masu wasan kwaikwayo 13). Ƙungiyoyin kaɗa suna mamaye kayan kida da ba a bayyana su ba. filaye, daga cikinsu nau'ikan kayan kida iri ɗaya ne (saitin manyan ganguna ko kuge, gong, tubalan itace, da sauransu) sun yaɗu. Duk R. kuma musamman hawa na 2. Karni na 20 ya buga. kungiyar ta shagaltar da matsayi daidai da kirtani da ƙungiyoyin iska duka a cikin al'ada ("Turangaila" ta Messiaen, 1946-48) da kuma a cikin abubuwan da ba na al'ada ba na O. ("Antigone" ta Orff, 1949; "Launuka na Birni na Sama” na Messiaen na solo na piano, clarinets 3, xylophones 3 da kayan kaɗe-kaɗe na ƙarfe, 1963; Luka Passion na Pendeecki, 1965). A cikin sashen ƙungiyar mawaƙa ita ma ta ƙaru. A cikin 1961, an shirya wani shiri na musamman a Strasbourg. gungu na kaɗa (kaya 140 da abubuwa masu sauti iri-iri).

Sha'awar wadatar da sikelin katako na O. ya haifar da juzu'i. haɗa cikin alamar. O. kayan aikin wuta. Irin su ne "Martenot raƙuman ruwa" da aka gina a 1928 (A. Honegger, "Joan na Arc a kan gungumen azaba", 1938; O. Messiaen, "Turangaila"), electronium (K. Stockhausen, "Prozession", 1967), ionics ( B. Tishchenko, 1st symphony, 1961). Ana ƙoƙarin haɗawa da abun da ke cikin jazz a cikin O.. A cikin 60-70s. An fara shigar da rikodin kaset a cikin na'urar O. a matsayin ɗaya daga cikin abubuwan da ke cikin sautin (EV Denisov, The Sun of the Incas, 1964). K. Stockhausen (Mixtur, 1964) ya bayyana irin wannan faɗaɗa abubuwan da ke O. a matsayin “lantarki mai rai.” Tare da sha'awar sabunta timbre a cikin wasan kwaikwayo. O. akwai halaye zuwa farfaɗo da kayan aiki da kuma otd. ka'idodin O. Baroque. Daga 1st kwata na 20th karni oboe d'amore (C. Debussy, "Spring Dances"; M. Ravel, "Bolero"), basset ƙaho (R. Strauss, "Electra"), viol d'amour (G. Puccini, "Chio-Chio-san"; SS Prokofiev, "Romeo da Juliet"). Dangane da maidowa a cikin karni na 20. kayan aikin kiɗa na Renaissance ba a lura da su ba kuma kayan aikin ƙarni na 15-16. (M. Kagel, "Music for Renaissance Instruments", 1966; ya ƙunshi masu yin wasan kwaikwayo 23, A. Pärt, "Tintinnabuli", 1976). A cikin O. karni na 20. samu tunani da ka'idar bambance-bambancen abun da ke ciki. Ch. Ives ya yi amfani da wani canji a wani sashe na abun da ke ciki na O. a cikin wasan kwaikwayon The question Left Unanswerd (1908). Zaɓin zaɓi na kyauta a cikin ƙungiyoyin O. da aka tsara ta hanyar ƙima an bayar da su a cikin L. Kupkovich's Ozveny. An ƙara haɓaka manufar stereophonic na O. Gwaje-gwaje na farko a cikin yanki na sararin samaniya na O. na Ives ne ("Ba a Amsa Tambayar ba", 4th Symphony). A cikin 70s. yawancin tushen sauti ana samun su ta hanyar bambance-bambance. hanyoyi. Rarraba duka Orc. talakawa da dama "kungiyoyin mawaƙa" ko "ƙungiyoyi" (a cikin daban-daban fiye da baya - ba timbre ba, amma ma'anar sararin samaniya) K. Stockhausen ("Ƙungiyoyi" don 3 O., 1957; "Kappe" don 4 O. da mawaƙa , 1960). Abubuwan da ke cikin O. "Group" (mutane 109) sun kasu kashi uku masu kama da juna (kowannensu yana da nasa jagoran), an shirya shi a cikin siffar U; Kujerun masu sauraro suna cikin sararin da aka kafa tsakanin makada. 3. Mattus a cikin opera The Last Shot (1967, bisa labarin BA Lavrenyov The Arba'in da Farko) ya yi amfani da uku O. dake cikin wani orc. rami, a bayan masu sauraro da kuma a baya na mataki. J. Xenakis a cikin "Terretektor" (1966) ya sanya mawaƙa 88 na babban mawaƙa na symphonic a cikin hanyar ray-kamar dangane da mai gudanarwa a tsakiya; masu sauraro suna tsaye ba kawai a kusa da O. ba, har ma a tsakanin consoles, suna haɗuwa da mawaƙa. "Motsi stereophony" (motsi na mawaƙa tare da kayan aiki a lokacin wasan kwaikwayo) ana amfani da shi a cikin "Klangwehr" na M. Kagel (1970) da kuma 2nd symphony ta AG Schnittke (1972).

Table 3.

Ana amfani da shirye-shiryen wurin zama na kowane mutum don mawakan O. lokacin amfani. op. abun da ba na al'ada ba; a cikin waɗannan lokuta mawaƙin yana yin alamun da suka dace a cikin maki. Lokacin amfani da O. na yau da kullun azaman hadaddun monochoric guda ɗaya a bene na 1st. Karni na 20 tsarin zama na “Turai” da aka kwatanta a sama ya wanzu. Tun daga 1945, tsarin da ake kira "wanda ake kira" wanda L. Stokowski ya gabatar ya fara farawa sosai. Amer. wurin zama. violin na 1 da na 2 suna gefen hagu na madubin, cellos da violas suna hannun dama, basses biyu suna bayansu, kayan aikin iska suna tsakiyar, bayan kirtani, ganguna, mai kunna piano suna kunne. hagu.

Samar da ingantaccen sautin kirtani a babban rijistar "Amer." tsarin zama ba ya zama mara, a ra'ayin wasu madugu, kuma an hana shi. bangarori (misali, raunana aikin lamba na cellos da basses biyu da ke nesa da juna). Dangane da wannan, akwai halaye don mayar da "Turai" wurin mawaƙa O. Aikin wasan kwaikwayo. O. a cikin yanayin ɗakin studio (rediyo, talabijin, rikodi) yana gabatar da ƙayyadaddun bayanai da yawa. bukatun wurin zama. A cikin waɗannan lokuta, ana daidaita ma'aunin sauti ba kawai ta mai gudanarwa ba, har ma ta hanyar tonemaster.

Tsattsauran ra'ayi na canje-canjen da O. ya fuskanta a ƙarni na 20 ya shaida cewa har yanzu shi kayan aiki ne mai rai na kerawa. nufin mawaƙa kuma yana ci gaba da haɓakawa da kyau duka a cikin na yau da kullun da sabuntawa (wanda ba na al'ada ba).

References: Albrecht E., Tsohon da na yanzu na ƙungiyar makaɗa. (Maƙala akan matsayin zamantakewa na mawaƙa), St. Petersburg, 1886; Kiɗa da kiɗa na tsohuwar Rasha. CO., L., 1927; Pindeizen Nick., Rubuce-rubuce kan tarihin kiɗa a Rasha tun daga zamanin da har zuwa ƙarshen karni na 2, (vol. 1928), M.-L., 29-2; Kayayyaki da takardu akan tarihin kiɗa, vol. 1934 - karni na XVIII, ed. MV Ivanov-Boretsky. Moscow, 1. Shtelin Jakob von, Izvestiya o musik v Rossii, trans. daga Jamusanci, a cikin Sat: Al'adun kiɗa, a'a. 1935, M., 1935; shi, Music da ballet a Rasha a cikin 1961th karni, trans. daga Jamus., L., 1969; Rogal-Levitsky DR, Tattaunawa game da ƙungiyar makaɗa, M., 1969; Barsova IA, Littafin game da ƙungiyar makaɗa, M., 1971; Blagodatov GI, Tarihin kade-kade na kade-kade, L., 1973; Kyawun Kiɗa na Yammacin Turai a cikin Ƙarni na 1973-3th, Sat, comp. VP Shestakov, (M., 1975); Levin S. Ya., Kayan aikin iska a cikin tarihin al'adun kiɗa, L., XNUMX; Fortunatov Yu. A., Tarihin salon kade-kade. Shirin don ilimin kide-kide da mawaƙa na jami'o'in kiɗa, M., XNUMX; Zeyfas HM, Concerto grosso a cikin kiɗan baroque, a cikin: Matsalolin Kimiyyar Kiɗa, vol. XNUMX, M., XNUMX.

IA Barsova