Bambance-bambancen faifan murya |

Bambance-bambancen Polyphonic – wani nau'i na kiɗan da ya danganci maimaita aiwatar da jigo tare da canje-canjen yanayin rashin daidaituwa. AP a. zai iya zama kiɗa mai zaman kanta. samfur. ( take to-rogo wani lokaci yana ƙayyade fom, misali. "Bambancin Canonical akan Waƙar Kirsimeti" na I. C. Bach) ko wani ɓangare na babban cyclic. samfur. (Lago daga fp. quintet g-moll op. 30 Taneyev), wani episode a cantata, opera (mawaƙa "The Wonderful Heavenly Sarauniya" daga opera "The Legend na Invisible City Kitezh da Maiden Fevronia" na Rimsky-Korsakov); yawanci P. a. – sashe na babba, ciki har da. wadanda ba polyphonic, siffofin (farkon tsakiyar sashe na 2nd motsi na Myaskovsky 5th symphony); wani lokacin ana haɗa su cikin waɗanda ba polyphonic ba. sake zagayowar bambancin ("Symphonic etudes" na Schumann). K P. a. duk Halayen gaba ɗaya na nau'in bambance-bambancen sun dace (siffata, rarraba cikin tsauri da kyauta, da sauransu); kalmar ta yadu. ar. a cikin owls musicology. AP a. hade da manufar polyphony. bambancin, wanda ke nufin contrapuntal. sabuntawa na jigon, sashin tsari, wani ɓangare na zagayowar (misali, farkon baje kolin, sanduna 1-26, da raddi, sanduna 101-126, a cikin motsi na 2 na wasan kwaikwayo na 1st Beethoven; chimes II tare da ninki biyu a cikin Bach's Turanci Suite No 1; "Kirƙirar Chromatic" No. 145 daga "Microcosmos" na Bartok); Bambancin polyphonic shine tushen gauraye nau'ikan (misali, P. karni, fugue da nau'i uku a cikin aria No 3 daga Bach's cantata No 170). Babban yana nufin polyphonic. bambance-bambance: gabatarwar muryoyin da ba su dace ba (na digiri daban-daban na 'yancin kai), gami da. wakiltar melodic-rhythmic. asali zažužžukan. Batutuwa; aikace-aikacen haɓakawa, juyar da jigo, da dai sauransu; polyphonization na chord gabatarwa da melodicization na rakiyar Figures, ba su da hali na ostinato, da yin amfani da kwaikwayo, canons, fugues da iri; da yin amfani da hadaddun counterpoint; a cikin polyphony na karni na 20. - aleatorics, canje-canje na jerin dodecaphone, da sauransu. A cikin P. a. (ko mafi fadi - tare da polyphonic. Bambance-bambancen), ana ba da ma'anar abun da ke ciki ta hanyoyi na musamman, wanda yana da mahimmancin mahimmanci don adana ɗaya daga cikin mahimman abubuwan jigon ba canzawa (cf., alal misali, gabatarwar farko a cikin sanduna 1-3 da polyphonically bambance bambancen). a cikin sanduna 37-39 na minuet na g-moll symphony Mozart); daya daga cikin mahimman hanyoyin siffatawa shine ostinato, wanda ke cikin ma'auni. m da jituwa. kwanciyar hankali; hadin kan form P. a. sau da yawa ana ƙaddara ta hanyar komawa zuwa c.-l. nau'in gabatarwar polyphonic (misali, zuwa canon), rikicewar fasaha a hankali, haɓaka yawan muryoyin, da sauransu. Don P. a. gamawa na kowa ne, to-rye taƙaitaccen sautin murya. sassan da kuma taƙaita dabarun da ake amfani da su; yana iya zama da wahala sabani. fili (misali a cikin Bach's Goldberg Variations, BWV 988), canon (Largo daga 8th symphony, prelude gis-moll op. 87 No 12 Shostakovich); pl. sake zagayowar sauye-sauye (ciki har da wadanda ba polyphonic ba, wanda, duk da haka, fitacciyar rawa tana taka rawa ta hanyar polyphonic. dabarun ci gaba) ƙare tare da bambancin fugue, misali. in op. AP DA. Tchaikovsky, M. Regra, B. Britt da sauransu. Saboda yawan phonic dabarar galibi tana haɗe zuwa gabatar da homophonic (misali, canja wurin waƙar daga babbar murya zuwa bass, kamar yadda yake a tsaye mai motsi), da kuma cikin P. a. Ana amfani da ma'anar homophonic na bambancin, iyakoki tsakanin polyphonic. kuma ba polyphonic. bambancin dangi ne. AP a. an kasu kashi ostinato (ciki har da lokuta inda jigon mai maimaitawa ya canza, misali fp. "Basso ostinato" Shchedrin) da neostinato. Mafi yawan P. a. na taurin bass. Ana iya riƙe maimaita waƙar a kowace murya (misali, mashawartan salo mai tsauri sau da yawa suna sanya cantus firmus a tenor (2)) kuma a canza shi daga wannan murya zuwa wata (misali, a cikin ukun "Kada ku shaƙa, masoyi" daga wasan opera na Glinka “Ivan Susanin” ); Babban ma'anar waɗannan lokuta shine P. a. zuwa waƙa mai dorewa. Ostinate da neostinate nau'in sau da yawa suna zama tare, babu wata iyaka a sarari tsakanin su. AP a. zo daga Nar. ayyukan kankara, inda waƙar tare da maimaitawa guda biyu ke karɓar nau'in nau'in sauti na daban. kayan ado. Misalai na farko na P. a. a cikin prof. kiɗan yana cikin nau'in ostinato. Misalin sifa shi ne motet na karni na 13. nau'in galliard (duba a cikin Art. Polyphony), wanda ya dogara akan layukan bass 3 na waƙar Gregorian. Irin waɗannan nau'ikan sun yaɗu sosai (motets "Speravi", "Trop plus est bele - Biauté paree - je ne sui mie" na G. da Machot). Masters na tsauraran salon da aka yi a cikin P. a. zai bayyana. fasahar polyphonic. harshe, da dai sauransu. fasahar melodic. canje-canje. Типичен мотет «La mi la sol» X. Izaka: Cantus firmus ana maimaita shi a cikin tenor sau 5 tare da raguwar kari a geometric. ci gaba (riƙe na gaba tare da guntu tsawon sau biyu), ana samar da maƙasudi daga babba. jigogi a cikin raguwa (duba misali a ƙasa). Ka'idar P. a. wani lokacin yin hidima a matsayin tushen Mass - a tarihi shine babban keken keke na farko. siffofin: cantus firmus, wanda aka yi kamar ostinato a kowane bangare, shi ne ginshiƙi mai goyan bayan babban zagayowar bambance-bambancen (misali, a cikin jama'a akan L'homme armé na Josquin Despres, Palestrina). Sov. masu bincike V. AT. Protopov da kuma S. C. Scrapers ana daukar su polyphonic. bambancin (a kan ostinato, bisa ga ka'idar germination da strophic. nau'in) tushen tsarin kwaikwayo na ƙarni na 14-16. (cm. Polyphony). A cikin zamani P. a. Cantus firmus ba a gudanar da shi daban ba kafin bambance-bambancen; An shirya al'adar bayyana jigo musamman don bambance-bambancen ta hanyar innation (cf. Intonation, VI) - ta hanyar raira waƙar buɗe kalmar chorale kafin Mass; liyafar da aka gyara ba a baya fiye da 16th karni. tare da zuwan passacaglia da chaconne, wanda ya zama manyan siffofin P.

Ƙarfafawa ga ci gaban P. na ƙarni. (ciki har da neostinata) kayan aiki ne tare da damar alama.

Wani nau'in da aka fi so shine bambance-bambancen choral, waɗanda aka misalta ta organ P. v. S. Scheidt akan "Warum betrübst du dich, mein Herz".

Organ P. in. Ya. P. Sweelinka a kan "Est-ce Mars" - kayan ado (an yi la'akari da jigon a cikin rubutun tare da raguwa na al'ada (3)), mai tsanani (ana kiyaye nau'in jigon), neostinata - iri-iri iri-iri ne a cikin 16. -17 ƙarni. bambancin kan jigon waƙa.

Daga cikin neostinatny P. in. 17th-18th ƙarni mafi hadaddun su ne wadanda suke a lamba tare da fugue. Don haka, zuwa P. karni. na kusa-da-kusa da abubuwan da suka faru, misali a fugues F-dur da g-moll D. Buxtehude.

Abun da ke ciki ya fi wahala. G. Frescobaldi: na farko fugues 2, sa'an nan na 3rd fugue bambancin (hade jigogi na baya fugues) da kuma 4th fugue bambancin (a kan kayan na 1st).

Kiɗa ta JS Bach – encyclopedia na fasaha na P. v. Bach ya ƙirƙira hawan keke na bambance-bambancen choral, to-rye a yawancin. shari'o'in suna gabatowa kyauta saboda abubuwan da aka sanyawa tsakanin kalmomin chorale. Irin wannan nau'in ya haɗa da bikin " Canonical Variations on a Christmas Song "(BWV 769) - jerin nau'i-nau'i guda biyu na canons-bambance-bambance a kan cantus firmus (a cikin octave, biyar, bakwai da octave a girma; 3rd da 4th canons suna da kyauta). murya); a cikin bambance-bambancen na 5 na ƙarshe, chorale shine abu na canons a wurare dabam dabam (a cikin shida, na uku, na biyu, babu) tare da muryoyin kyauta guda biyu; a cikin bukukuwa. coda mai sauti shida ya haɗa dukkan jimlolin ƙungiyar chorale. Arziki na musamman na bambancin polyphonic ya bambanta "Goldberg Variations": ana gudanar da zagayowar tare da bass iri-iri da dawowa - kamar hanawa - zuwa fasaha na canon. Canons masu murya biyu tare da muryar kyauta ana sanya su a cikin kowane nau'i na uku (babu muryar kyauta a cikin bambance-bambancen na 27), tazarar canons yana faɗaɗa daga haɗin kai zuwa babu ɗaya (a wurare dabam dabam a cikin bambance-bambancen 12th da 15th); a cikin wasu bambance-bambancen - sauran polyphonic. siffofin, a cikinsu akwai fughetta (bambancin na 10) da quadlibet (bambancin 30th), inda jigogin waƙoƙin jama'a da yawa suka kasance cikin fara'a. Ƙungiyar passa-calla a cikin c-moll (BWV582) ta bambanta da ƙarfin da ba zai misaltu ba na ci gaba da ci gaba na tsari, wanda aka yi masa rawani tare da fugue a matsayin mafi girman haɗin fassarar fassarar. Sabuwar aikace-aikacen ingantaccen ra'ayi na tsarin sake zagayowar akan jigo ɗaya yana nuna "Art of Fugue" da "Bayar da Kiɗa" na Bach; kamar yadda free P. in. an gina wasu cantatas akan chorales (misali, No 4).

Daga hawa na 2. Bambance-bambancen karni na 18 da polyphony an ɗan iyakance su: polyphonic. Bambance-bambancen yana aiki don bayyana jigon ɗan luwadi, an haɗa shi a cikin al'ada. nau'in bambancin. Don haka, L. Beethoven ya yi amfani da fugue a matsayin ɗaya daga cikin bambance-bambancen (sau da yawa don dynamization, alal misali, a cikin 33 bambance-bambancen op. 120, fugato a Larghetto daga 7th symphony) kuma ya tabbatar da shi a matsayin ƙarshen sake zagayowar bambancin (misali, bambancin Es-dur op .35). Yawancin P. a cikin sake zagayowar suna sauƙi samar da "nau'i na tsari na 2" (misali, a cikin Brahms' "Variations on a Theme of Handel", 6th bambance-bambancen-canon ya taƙaita ci gaban da ya gabata don haka yana tsammanin fugue na ƙarshe. ). Sakamakon tarihi mai mahimmanci na amfani da polyphonic. bambancin - gauraye homophonic-polyphonic. siffofin (duba Salon Kyauta). Samfuran gargajiya - a cikin Op. Mozart, Beethoven; in Op. mawaƙa na lokuta masu zuwa - ƙarshen piano. hudu op. 47 Schumann, motsi na 2 na Glazunov's 7th symphony (sarabandes a cikin hali suna haɗuwa tare da nau'i uku na motsi, concentric da sonata), ƙarshen wasan kwaikwayo na Myaskovsky na 27 (rondo sonata tare da bambancin manyan jigogi). Ƙungiya ta musamman ta ƙunshi ayyuka inda P. v. da fugue: Sanctus daga Berlioz's Requiem (gabatarwa da fugue sun dawo tare da manyan rikice-rikice na polyphonic da orchestral); baje kolin da strettas a cikin fugue daga Gabatarwar Glinka zuwa opera Ivan Susanin an raba su da ƙungiyar mawaƙa da ke gabatar da ingancin bambancin sautin murya. nau'i na biyu; A cikin gabatarwar opera Lohengrin, Wagner ya kwatanta batun P. v. da gabatarwar amsawa. Ostinatnye P. v. a cikin kiɗa na 2nd bene. Karni na 18-19 da aka yi amfani da su da wuya kuma da sako-sako. Beethoven ya dogara da al'adun tsohuwar chaconnes a cikin 32 bambance-bambance a cikin c-moll, wani lokacin ya fassara P. v. akan basso ostinato a matsayin wani ɓangare na babban nau'i (misali, a cikin mummunan coda na motsi na 1st na 9th Symphony); Tushen karshen ƙarfin hali na wasan kwaikwayo na 3 shine P. v. akan basso ostinato (jigon farko), wanda ke bayyana fasalin rondo (maimaita na 2, babban jigo), tripartite (komawa babban maɓalli a cikin 2nd fugato). ) da kuma siffofi masu mahimmanci. Wannan keɓaɓɓen abun da ke ciki ya yi aiki azaman jagora ga I. Brahms (ƙarshen wasan kwaikwayo na 4th) da masu ba da labari na ƙarni na 20.

A cikin 19th karni ya zama tartsatsi polyphonic. bambance-bambance a kan waƙa mai dorewa; sau da yawa shi ne soprano ostinato - nau'i, idan aka kwatanta da basso ostinato, ba shi da daidaituwa, amma yana da launi mai girma. (misali, 2nd bambance-bambance a cikin Farisa Choir daga Glinka ta Ruslan da Lyudmila) da kuma gani (misali, episodes a cikin waƙar Varlaam daga Mussorgsky ta Boris Godunov) yiwuwa, tun a P. v. on soprano ostinato main. sha'awa ta mayar da hankali kan canje-canjen polyphonic. (haka da jituwa, orc., da dai sauransu) ƙirar waƙa. Jigogi galibi suna da daɗi (misali, Et incarnatus daga Mass Es-dur na Schubert, farkon motsin Lacrimosa daga Verdi's Requiem), shima na zamani. kiɗa (2nd na “Ƙananan Liturgie Uku” na Almasihu). Irin wannan P. in. an haɗa su a cikin manyan nau'i (misali, a cikin Larghetto daga Beethoven's 7th symphony) yawanci tare da wasu nau'o'in bambance-bambancen (misali, Glinka's Kamarinskaya, Glazunov's bambancin a piano op. 72, Reger's Variations and Fugue on theme of Mozart). ). Glinka ya haɗa P. karni. zuwa waƙa mai ɗorewa tare da nau'in nau'i na waƙa (misali, madaidaicin madaidaicin madaidaicin wuri a cikin bambance-bambancen ma'aurata na uku "Kada ku shaƙa, masoyi" daga opera "Ivan Susanin"; a cikin canon "Wane lokaci mai ban mamaki" daga opera "Ruslan da Lyudmila" yanayi contrapuntal shiga cikin rispost kamar P. v. a kan propost). Ci gaban al'adar Glinka ya haifar da bunƙasa nau'in ta hanyoyi da yawa. op. Borodin, Mussorgsky, Rimsky-Korsakov, Lyadov, Tchaikovsky da sauransu. An yi amfani da shi wajen sarrafa bunks. waƙoƙin AV Alexandrov (misali, "Ba hanya ɗaya ba a filin"), Ukrainian. mawaki ND Leontovich (misali, "Saboda m tudun", "Poppy"), Uzbek. mawaki M. Burkhanov ("A kan Dutsen Dutse"), Estoniya mawaki V. Tormis (daban-daban ostinato qagaggun tare da yin amfani da zamani jituwa da kuma polyphonic dabaru a cikin choral sake zagayowar "Songs na St. John's Day") da yawa wasu. wasu

A cikin karni na 20 P. darajar a. (musamman akan basso ostinato) ya karu sosai; iyawar tsarawa na ostinato yana kawar da halayen lalata na zamani. jituwa, kuma a lokaci guda basso ostinato, ba da izini ga duk wani rashin daidaituwa. da polytonal yadudduka, baya tsoma baki tare da jituwa. 'yanci. A cikin komawa zuwa siffofin ostinato, kayan ado sun taka rawa. shigarwa na neoclassicism (misali, M. Reger); a yawancin lokuta P. a cikin - wani abu na salo (misali, ƙarshen ballet "Orpheus" na Stravinsky). A neostinatny P. na karni. Za a iya gano dabi'ar gargajiya ta amfani da fasaha na canon (misali, "Free Variations" No. 140 daga Bartok's "Microcosmos", karshen wasan kwaikwayo na Webern op. 21, "Variazioni polisonici" daga piano sonata na Shchedrin, "Waƙar waƙa" don cello, garaya da timpani na Schnittke) . A cikin P. in. ana amfani da hanyoyin sabon polyphony: bambance-bambancen albarkatun dodecaphony, polyphony na layers da polyphonic. aleatoric (misali, a cikin orchestral op. V. Lutoslavsky), sophisticated metrical. da rhythmic. dabara (misali, P. v. a cikin Ɗabi'un Rhythmic huɗu na Messiaen), da sauransu. Yawancin lokaci ana haɗa su da polyphonic na gargajiya. dabaru; na al'ada shine amfani da hanyoyin gargajiya a cikin mafi hadaddun nau'ikan su (duba, alal misali, gine-ginen da ba su dace ba a cikin motsi na 2 na Shchedrin's sonata). A zamanin yau akwai misalan fitattun misalan kiɗan gargajiya da yawa a cikin kiɗan; roko ga gwaninta na Bach da Beethoven ya buɗe hanya zuwa fasaha mai mahimmanci na falsafa (aikin P. Hindemith, DD Shostakovich). Don haka, a cikin ƙarshen Shostakovich's marigayi (op. 134) violin sonata (ostinato biyu pianos, inda counterpoint a gis-moll yana da ma'anar wani ɓangare na gefe), al'adar Beethoven yana jin a cikin tsarin muses mai zurfi. tunani, a cikin jerin ƙara duka; wannan samfur ne. - daya daga cikin shaidun yuwuwar zamani. Siffofin P.

References: Protopopov Vl., Tarihin polyphony a cikin mafi mahimmancin abubuwan da ya faru. Rasha gargajiya da kuma Soviet music, M., 1962; nasa, Tarihin polyphony a cikin mafi mahimmancin al'amuransa. Alamar Yammacin Turai na ƙarni na XVIII-XIX, M., 1965; nasa, Daban-daban matakai a cikin nau'in kiɗa, M., 1967; Asafiev B., Siffar kiɗa a matsayin tsari, M., 1930, iri ɗaya, littafi. 2, M., 1947, (ɓangare biyu) L., 1963, L., 1971; Skrebkov S., Ka'idodin fasaha na salon kiɗa, M., 1973; Zuckerman V., Nazarin ayyukan kiɗa. Siffar Bambanci, M., 1974.

VP Frayonov