Rhythm |

Girkanci rytmos, daga reo - kwarara

Siffar da aka gane na kwararar kowane tsari a cikin lokaci. Daban-daban na bayyanuwar R. a cikin decomp. nau'ikan da salon fasaha (ba kawai na ɗan lokaci ba, har ma da sararin samaniya), da kuma waje da fasaha. sassa (R. na magana, tafiya, aiki matakai, da dai sauransu) ya haifar da yawa sau da yawa saba ma'anar R. (wanda ya hana wannan kalma na terminological tsabta). Daga cikin su, ana iya gano ƙungiyoyi uku da aka ware.

A mafi faɗin ma'ana, R. shine tsarin ɗan lokaci na kowane tsari da aka sani, ɗaya daga cikin ukun (tare da waƙa da jituwa) asali. abubuwa na kiɗa, rarraba dangane da lokaci (bisa ga PI Tchaikovsky) melodic. kuma masu jituwa. haɗuwa. R. samar da lafazi, dakatawa, rarrabuwa zuwa sassa (raka'o'in rhythmic na matakai daban-daban har zuwa sautunan ɗaiɗaikun ɗaya), ƙungiyoyin su, ƙimar tsawon lokaci, da sauransu; a cikin kunkuntar hankali - jeri na tsawon lokaci na sautuna, abstracted daga tsayinsu (tsarin rhythmic, ya bambanta da melodic).

Wannan dabarar siffatawa tana adawa da fahimtar rhythm a matsayin inganci na musamman wanda ke bambanta ƙungiyoyin rhythmic da waɗanda ba na rhythmic ba. Ana ba da wannan ingancin ma'anoni daban-daban. Mn. masu bincike sun fahimci R. a matsayin canji na yau da kullun ko maimaitawa da daidaito bisa su. Daga wannan ra'ayi, R. a cikin mafi kyawun nau'insa shine maimaitawar motsi na pendulum ko bugun jini na metronome. An bayyana darajar Aesthetic R. ta hanyar yin oda da kuma “tattalin arzikin hankali”, sauƙaƙe fahimta da ba da gudummawa ga sarrafa kansa na aikin tsoka, misali. lokacin tafiya. A cikin kiɗa, irin wannan fahimtar R. yana haifar da ganewar sa tare da lokaci na uniform ko tare da bugawa - muses. mita.

Amma a cikin kiɗa (kamar yadda yake a cikin waƙa), inda aikin R. ya fi girma, sau da yawa yana adawa da mita kuma an haɗa shi ba tare da maimaita daidai ba, amma tare da wuya a bayyana "hankalin rayuwa", makamashi, da dai sauransu. "Rhythm shine babban karfi , babban makamashi na ayar. Ba za a iya bayyana shi ba "- VV Mayakovsky). Asalin R., a cewar E. Kurt, shine "yunƙurin gaba, motsin da ke cikinsa da ƙarfin dagewa." Ya bambanta da ma'anar R., bisa la'akari da daidaituwa (hankali) da maimaita maimaitawa (statics), an jaddada motsin rai da kuzari a nan. yanayin R., wanda zai iya bayyana kansa ba tare da mita ba kuma ba ya nan a cikin daidaitattun siffofi.

Dangane da fahimtar R. mai tsauri yana magana ainihin asalin wannan kalma daga kalmar "zubawa", wanda Heraclitus ya bayyana ainihinsa. matsayi: "komai yana gudana." Heraclitus za a iya kiransa "falsafa na duniya R." da kuma adawa da "falsafa na jituwar duniya" Pythagoras. Dukansu masana falsafa suna bayyana ra'ayinsu na duniya ta hanyar amfani da ra'ayi na tushe guda biyu. sassa na tsoho ka'idar music, amma Pythagoras juya zuwa ga rukunan barga rabo na sauti filaye, da kuma Heraclitus - ga ka'idar samuwar music a cikin lokaci, ya falsafar da antich. rhythms na iya bayyana juna tare. Bambancin Babban R. daga sifofi maras lokaci shine keɓantacce: "ba za ku iya shiga cikin rafi ɗaya sau biyu ba." A lokaci guda, a cikin "duniya R". Heraclitus madadin "hanyar sama" da "hanyar ƙasa", sunayensu - "ano" da "kato" - sun yi daidai da sharuddan antich. rhythms, yana nuna sassa 2 na rhythmic. raka'a (fiye da yawa ana kiranta "arsis" da "tass"), adadin wanda a cikin tsawon lokaci ya zama R. ko "logos" na wannan rukunin (a cikin Heraclitus, "duniya R." Hakanan yayi daidai da "Logos na Duniya"). Don haka, falsafar Heraclitus tana nuni da hanyar haɗin kai. Fahimtar R. na ma'ana, gabaɗaya yana rinjaye a zamanin da.

Mahimman ra'ayi na motsin rai (tsari) da na hankali (a tsaye) ba sa keɓanta da gaske, amma suna haɗa juna. "Murnhic" yawanci gane waɗancan ƙungiyoyin da ke haifar da irin rudani, da aka bayyana a cikin sha'awar haihuwa, da kuma daga ciki na waje da ya zama kamar sauti, tsinkaye na ciki shi ne sau da yawa ta hanyar jin daɗi na ciki. sake kunnawa). Don haka, ya zama dole, a gefe guda, cewa motsin ba ya da rudani, yana da wani tsari da aka sani, wanda za a iya maimaita shi, a daya bangaren, cewa maimaitawar ba inji ba ce. R. ya ɗanɗana azaman canji na tashin hankali da ƙuduri, waɗanda ke ɓacewa tare da ainihin maimaitawa kamar pendulum. A cikin R., don haka, an haɗa a tsaye. da tsauri. alamu, amma, tun da ma'auni na rhythm ya kasance mai tausayi kuma, sabili da haka, a ma'ana. Ta wata hanya ta zahiri, iyakokin da ke raba motsin rhythmic daga hargitsi da na inji ba za a iya kafa su ba, wanda ya sa ya zama doka da siffantawa. m tsarin. takamaiman karatu na duka magana (a cikin aya da na magana) da kiɗa. R.

Musanya tashe-tashen hankula da kudurori (hanyoyi masu hawa da saukowa) suna ba da raha. Tsarin lokaci-lokaci. hali, wanda ya kamata a fahimta ba kawai a matsayin maimaita wasu ba. jerin matakai (kwatanta manufar lokaci a cikin acoustics, da dai sauransu), amma kuma a matsayin "zagaye," wanda ke haifar da maimaitawa, da kuma cikawa, wanda ya sa ya yiwu a gane rhythm ba tare da maimaitawa ba. Wannan siffa ta biyu ita ce mafi mahimmanci, mafi girman matakin rhythmic. raka'a. A cikin kiɗa (kazalika a cikin maganganun fasaha), ana kiran lokacin. gini yana bayyana cikakken tunani. Za a iya maimaita lokacin (a cikin nau'i biyu) ko kuma zama wani ɓangare na babban tsari; a lokaci guda yana wakiltar mafi ƙarancin ilimi, yanke zai iya zama mai zaman kansa. aiki.

Rhythmic. za a iya ƙirƙirar ra'ayi ta hanyar abun da ke ciki gaba ɗaya saboda canjin tashin hankali (lokacin hawan hawan, arsis, kunnen doki) ƙuduri (lokacin saukowa, littafin rubutu, denouement) da rarraba ta hanyar caesuras ko dakatarwa zuwa sassa (tare da arsis da nasu). . Ya bambanta da waɗanda aka haɗa, ƙarami, maganganun magana kai tsaye ana kiran su rhythmic dace. Yana da wuya a iya saita iyakokin abin da ake gane kai tsaye, amma a cikin kiɗa muna iya komawa zuwa R. jimla da raka'a articulatory a cikin muses. lokatai da jimloli, ƙaddara ba kawai ta hanyar ilimin tauhidi (syntactic), amma har ma da ilimin lissafi. yanayi da kwatankwacin girmansa da irin wannan ilimin halittar jiki. lokaci-lokaci, kamar numfashi da bugun jini, to-rye samfurori ne na nau'ikan rhythmic guda biyu. Tsarin. Idan aka kwatanta da bugun jini, numfashi ba shi da ikon sarrafa kansa, nesa da injina. maimaitawa kuma kusa da tushen tunanin R., lokutansa suna da tsari da aka gane a fili kuma an tsara su a fili, amma girman su, yawanci daidai da kimanin. 4 bugun bugun jini, a sauƙaƙe yana karkata daga wannan al'ada. Numfashi shine tushen magana da kiɗa. zance, ƙayyadaddun ƙimar babban. Naúrar jimla – ginshiƙi (a cikin kiɗa ana kiranta “jumla” sau da yawa, haka kuma, alal misali, A. Reicha, M. Lucy, A. F. Lvov, "rhythm"), ƙirƙirar dakata da yanayi. sigar melodic. cadences (a zahiri "faduwa" - saukowa lokaci na rhythmic. raka'a), saboda ragewar murya zuwa ƙarshen fitar numfashi. A cikin canjin haɓakar waƙa da ƙaddamarwa sune ainihin "kyauta, asymmetrical R." (Lvov) ba tare da madaidaicin ƙimar rhythmic ba. raka'a, halayen da yawa. siffofin tatsuniyoyi (farawa da na farko kuma suna ƙarewa da Rashanci. lingering song), Gregorian rera waka, znamenny song, da dai sauransu. da dai sauransu. Wannan melodic ko intonational R. (wanda layin layi maimakon yanayin yanayin yanayin waƙar) ya zama uniform saboda ƙari na lokaci-lokaci mai juyayi, wanda ya bayyana musamman a cikin waƙoƙin da ke hade da motsin jiki (rawa, wasa, aiki). Maimaituwa ya rinjayi a cikinsa akan ka'ida da iyakancewar lokaci, ƙarshen lokaci shine yunƙuri wanda ya fara sabon lokaci, bugu, idan aka kwatanta da Crimea, sauran lokutan, kamar yadda ba'a damu ba, sune na biyu kuma za a iya maye gurbinsu da dakatarwa. Pulsating periodicity sifa ce ta tafiya, motsin aiki mai sarrafa kansa, a cikin magana da kiɗa yana ƙayyadadden lokaci - girman tazara tsakanin damuwa. Rarraba ta hanyar bugun farko na rhythmic intonations. raka'a na nau'in numfashi zuwa daidaitattun hannun jari, wanda aka haifar ta hanyar haɓaka ƙa'idar motsa jiki, bi da bi, yana haɓaka halayen motsa jiki yayin tsinkaye kuma ta haka ne rhythmic. kwarewa. T. o., Tuni a farkon matakai na al'ada, waƙoƙin nau'i na nau'i na nau'i na nau'in nau'i suna adawa da waƙoƙin "sauri", wanda ke haifar da karin rhythmic. ra'ayi. Don haka, a zamanin da, adawar R. da waƙa ("namiji" da "mace" farkon "mace"), da kuma tsantsar magana ta R. Ana gane rawa (Aristotle, "Poetics", 1), kuma a cikin kiɗa yana da alaƙa da kaɗa da kayan kida. Rhythmic a wannan zamani. Har ila yau ana dangana hali ga preim. maci da raye-rayen kiɗa, da ra'ayin R. sau da yawa hade da bugun jini fiye da numfashi. Koyaya, fifikon gefe ɗaya akan lokaci-lokaci na bugun jini yana haifar da maimaitawa na injiniya da maye gurbin canjin tashin hankali da kudurori tare da naushi iri ɗaya (saboda haka rashin fahimtar kalmomin “arsis” da “tass” na ƙarni, yana nuna babban lokacin rhythmic, da ƙoƙarin gano ɗaya ko ɗayan tare da damuwa). Ana ganin yawan bugu kamar R.

Kima na lokaci yana dogara ne akan bugun jini (wanda ke samun daidaito mafi girma dangane da ƙimar kusa da tazarar lokaci na bugun jini na yau da kullun, 0,5-1 sec) kuma, sabili da haka, ƙididdigewa (aunawa lokaci) rhythm gina a kan rabo na durations, wanda ya karbi classic. magana a zamanin da. Duk da haka, muhimmiyar rawa a cikinta yana taka rawa ta hanyar ayyukan ilimin lissafi waɗanda ba su da halayyar aikin tsoka. trends, da kuma ado. bukatu, daidaito a nan ba stereotype ba ne, amma fasaha. canon. Muhimmancin rawa don ƙididdige ƙididdigewa ba shi da yawa ga motarsa, amma ga yanayin filastik, wanda aka kai ga hangen nesa, wanda shine rhythmic. fahimta saboda psychophysiological. dalilai na buƙatar dakatar da motsi, canza hotuna, dawwama na wani lokaci. Wannan shi ne ainihin yadda tsohuwar ta kasance. rawa, R. to-rogo (bisa ga shaidar Aristides Quintilian) ya ƙunshi canjin raye-raye. matsayi ("tsare-tsare") ya rabu da "alamu" ko "digegi" (Girkanci "semeyon" yana da ma'anoni biyu). Beats a cikin rhythm mai ƙididdigewa ba motsin rai ba ne, amma iyakoki na sassa masu kama da girman, wanda aka raba lokacin. Hankalin lokaci a nan yana kusanci na sararin samaniya, kuma manufar rhythm yana fuskantar daidaitawa (tunanin rhythm a matsayin daidaito da jituwa yana dogara ne akan tsoffin rhythms). Daidaita dabi'u na wucin gadi ya zama lamari na musamman na daidaiton su, tare da Crimea, akwai wasu "nau'ikan R." (Ma'auni na sassan 2 na sashin rhythmic - arsis da thesis) - 1: 2, 2: 3, da dai sauransu. Miƙawa ga ƙididdiga waɗanda ke ƙayyade rabo na tsawon lokaci, wanda ke bambanta rawa daga sauran motsin jiki, kuma an canza shi zuwa ayar kiɗa. nau'o'i, kai tsaye tare da raye-rayen da ba su da alaƙa (misali, zuwa almara). Saboda bambance-bambancen tsayin haruffa, rubutun aya na iya zama “ma’auni” na R. (mita), amma kawai a matsayin jerin gajeru da tsayi; a zahiri R. (“zuwa”) na ayar, rabe-rabenta zuwa jakuna da darajoji da kararrawar da suka kayyade (ba a hade da matsananciyar magana ba) na cikin kade-kade da raye-raye. gefen karar syncretic. Rashin daidaituwar matakan rhythmic (a cikin ƙafa, aya, stanza, da dai sauransu) yana faruwa sau da yawa fiye da daidaito, maimaitawa da murabba'i suna ba da hanya ga gine-gine masu sarƙaƙƙiya, suna tunawa da ma'auni na gine-gine.

Halaye na zamanin da syncretic, amma riga tatsuniyoyi, da prof. art-va quantitative R. akwai, ban da tsoho, a cikin kidan da dama na gabas. kasashe (Indiya, Larabawa, da sauransu), a tsakiyar zamanai. kidan na haila, da kuma a cikin tarihin wasu da dama. jama'a, wanda mutum zai iya ɗaukar tasirin prof. da kerawa (bards, ashugs, troubadours, da dai sauransu). Rawa kidan zamani na bin wannan tatsuniyoyi nau’ukan kididdigar kididdigar da ta kunshi dec. tsawon lokaci a cikin wani tsari, maimaitawa (ko bambancin tsakanin iyakokin iyaka) zuwa-rykh yana siffanta rawa. Amma ga salon dabarar da ake yi a wannan zamani, irin raye-raye irin su waltz sun fi dacewa, inda ba a raba kashi. "Poses" da kuma daidaitattun sassan lokaci na wani lokaci.

Agogon kari, a cikin karni na 17. gaba daya maye gurbin na haila, nasa ne na uku (bayan intonational da adadi) nau'in R. – lafazi, siffa ta matakin lokacin da waƙa da waƙa suka rabu da juna (da raye-raye) kuma kowannensu ya haɓaka salon kansa. Yawanci ga waƙa da kiɗa. R. shi ne cewa su biyun an gina su ba a kan ma'aunin lokaci ba, amma a kan ma'auni na lafazi. Music musamman. Mitar agogo, wanda aka samo ta ta hanyar jujjuyawar ƙarfi (nauyi) da raunana (haske) damuwa, ya bambanta da duk mitoci na aya (duka masu magana da kida da magana zalla) ta ci gaba (rashin rarraba cikin ayoyi, awo. zance); Ma'aunin kamar rakiyar ci gaba ne. Kamar ƙididdigewa a cikin tsarin lafazin (syllabic, syllabo-tonic da tonic), mitar mashaya ta fi talauci kuma ta fi ƙanƙanta fiye da ƙididdiga kuma tana ba da damammaki da yawa don rhythmic. bambancin halitta ta hanyar canza jigo. da syntax. tsarin. A cikin lafazin lafazin, ba ma'auni (biyayya ga mita) ne ke zuwa gaba ba, amma ɓangarorin ƙarfi da motsin rai na R., 'yancinsa da bambancinsa suna daraja sama da daidaito. Ba kamar mita ba, a zahiri R. yawanci ana kiran waɗancan sassan tsarin wucin gadi, to-rye ba a tsara shi ta hanyar awo. makirci. A cikin kiɗa, wannan ƙungiyar ma'auni ne (dubi shafi na. Umarnin Beethoven "R. na 3 bar", "R. daga 4 sanduna"; "rythme ternaire" a cikin Duke's The Sorcerer's Apprentice, da dai sauransu. da sauransu), jimla (tun kiɗan. mita ba ya ba da shawarar rarraba cikin layi ba, kiɗa a wannan yanayin ya fi kusa da magana fiye da magana a aya), yana cika mashaya decomp. tsawon bayanin kula - rhythmic. zane, zuwa Krom shi. da litattafan ka'idar farko na Rasha (a ƙarƙashin rinjayar X. Riman dan G. Konyus) rage manufar R. Don haka R. kuma a wasu lokuta ana bambanta mita a matsayin haɗuwa da tsawon lokaci da ƙararrawa, ko da yake a bayyane yake cewa jeri ɗaya na durations tare da dec. Ba za a iya la'akari da tsari na accent daidai da rhythmically. Saba R. mita yana yiwuwa ne kawai a matsayin ainihin tsarin da aka tsara na makircin da aka tsara, don haka, ainihin accentuation, duka sun yi daidai da agogo, kuma sun saba da shi, suna nufin R. Daidaito na tsawon lokaci a cikin lafazin kari suna rasa yancin kansu. ma'ana kuma ya zama ɗaya daga cikin hanyoyin ƙarawa - tsayin sautunan da aka kwatanta da gajere. Matsayin al'ada na tsawon lokaci mai girma yana kan karfin jujjuyawar ma'auni, cin zarafin wannan doka yana haifar da ra'ayi na daidaitawa (wanda ba shi da halayyar ƙima da raye-rayen da aka samo daga gare ta. mazurka-type formulas). A lokaci guda, ƙirar kiɗa na ƙididdigewa waɗanda ke haifar da rhythmic. zane, nuna ba ainihin durations, amma rarrabuwa na ma'auni, to-rye a cikin music. aikin yana shimfiɗawa da matsawa a cikin mafi girman kewayon. Yiwuwar agogics shine saboda gaskiyar cewa dangantaka ta ainihi ɗaya ce kawai daga cikin hanyoyin bayyana rhythmic. zane, wanda za a iya gane ko da ainihin durations ba su dace da waɗanda aka nuna a cikin bayanin kula. A metronically ko da dan lokaci a cikin bugun bugun ba kawai ba dole ba ne, amma an kauce masa; gabatowa shi yawanci yana nuna motsin motsi (March, rawa), waɗanda aka fi bayyana su a cikin na gargajiya.

Motoci kuma bayyana a cikin murabba'i gine-gine, "daidaitacce" wanda ya ba Riemann da mabiyansa dalilin ganin muses a cikin su. mita, wanda, kamar mita aya, yana ƙayyade rabon lokacin zuwa motifs da jimloli. Koyaya, daidaitaccen abin da ya taso saboda yanayin yanayin psychophysiological, maimakon bin wasu. dokoki, ba za a iya kiransa mita ba. Babu ƙa'idodi don rarraba cikin jimloli a cikin rhythm na mashaya, sabili da haka shi (ko da kuwa kasancewar ko rashi na murabba'i) baya shafi awo. Ba a yarda da kalmomin Riemann ko da a cikinsa ba. ilimin kide-kide (misali, F. Weingartner, nazarin wasan kwaikwayo na Beethoven, ya kira tsarin rhythmic abin da makarantar Riemann ta ayyana a matsayin tsarin awo) kuma ba a karɓa a Burtaniya da Faransa. E. Prout ya kira R. "tsarin bisa ga abin da aka sanya cadenzas a cikin wani yanki na kiɗa" ("Musical Form", Moscow, 1900, shafi na 41). M. Lussy ya bambanta ma'auni (agogo) da lafazin rhythmic - na jimla, kuma a cikin rukunin firamare na farko (“rhythm”, a cikin kalmomin Lussy; ya kira cikakken tunani, lokaci “jumla”) yawanci biyu ne daga cikinsu. Yana da mahimmanci cewa raka'o'in rhythmic, sabanin ma'auni, ba a kafa su ta hanyar ƙarƙashin ch guda ɗaya ba. danniya, amma ta conjugation na daidai, amma daban-daban a cikin aiki, accents (mita nuna su al'ada, ko da yake ba wajibi matsayi; sabili da haka, mafi hankula magana ne biyu-buga). Ana iya gano waɗannan ayyuka tare da babba. lokuttan da ke cikin kowane R. - arsis da kasida.

Musanya. R., kamar aya, yana samuwa ne ta hanyar hulɗar tsarin ma'ana (jigo, syntactic) da kuma mita, wanda ke taka rawa a cikin rhythm na agogo, da kuma a cikin tsarin ayoyi.

Ƙaddamarwa, bayyanawa, da rashin rarraba aikin agogon agogo, wanda ke tsara (ba kamar mita aya ba) kawai ƙararrawa, kuma ba alamar rubutu (caesuras), yana nunawa a cikin rikice-rikice tsakanin rhythmic (ainihin) da awo. accentuation, tsakanin caesuras na ma'ana da ci gaba da canjin awo mai nauyi da haske. lokacin.

A cikin tarihin agogon agogo 17 - farkon. Ƙarni na 20 ana iya bambanta manyan abubuwa uku. zamani An kammala aikin JS Bach da G. f. Zamanin Baroque na Handel ya kafa DOS. ka'idodin sabon rhythm da ke hade da haɗin kai na homophonic. tunani. Farkon zamanin yana da alamar ƙirƙirar bass na gabaɗaya, ko ci gaba da bass (basso continuo), wanda ke aiwatar da jerin jituwa ba tare da caesuras ba, canje-canje wanda yawanci yayi daidai da awo. accentuation, amma yana iya karkata daga gare ta. Melodica, wanda "makamashi na motsi" ya yi nasara akan "rhythmic" (E. Kurt) ko "R. wadanda" a kan "clock R." (A. Schweitzer), ana siffanta shi da ƴancin faɗakarwa (dangane da dabara) da ɗan lokaci, musamman a cikin karantarwa. Ana bayyana ’yancin ɗan lokaci a cikin ɓacin rai daga ƙaƙƙarfan lokaci (K. Monteverdi ya bambanta tempo del'-affetto del animo tare da injin ɗan lokaci de la mano), a ƙarshe. decelerations, game da abin da J. Frescobaldi ya riga ya rubuta, a cikin tempo rubato ("boye tempo"), fahimta a matsayin motsi na karin waƙa dangane da raka. Matsakaicin lokaci ya zama banda, kamar yadda alamu ke nunawa kamar mesurй ta F. Couperin. Ana bayyana keta madaidaicin wasiƙun da ke tsakanin bayanan kiɗan da ainihin tsawon lokaci a cikin jimlar fahimtar ma'anar tsawaitawa: ya danganta da mahallin.

Iya nufin

, da sauransu, a

Ci gaba da kiɗa. an halicci masana'anta (tare da basso continuo) polyphonic. ma'ana - rashin daidaituwar sauti a cikin muryoyi daban-daban (misali, ci gaba da motsi na rakiyar muryoyin a ƙarshen stanzas a cikin shirye-shiryen mawaƙa na Bach), rushewar rhythmic daban-daban. zane a cikin motsi na uniform (gaba ɗaya siffofin motsi), a cikin kai ɗaya. layi ko a cikin karimin kari, cike matsewar murya daya da motsin wasu muryoyin.

da dai sauransu), ta hanyar ɗaure dalilai, duba, alal misali, haɗakar adawar adawa tare da farkon jigon a cikin ƙirƙirar Bach ta 15:

Zamanin classicism yana haskaka rhythmic. makamashi, wanda aka bayyana a cikin haske mai haske, a cikin mafi girman ma'auni na dan lokaci da kuma karuwa a cikin rawar mita, wanda, duk da haka, kawai yana jaddada ƙarfin hali. ainihin ma'auni, wanda ke bambanta shi da mita masu yawa. Duality na tasiri-tushe kuma yana bayyana a cikin gaskiyar cewa lokaci mai karfi na bugun shine al'ada na ƙarshe na muses. Ƙungiyoyin ilimin tauhidi da, a lokaci guda, shigar da sabon jituwa, rubutu, da dai sauransu, wanda ya sa ya zama farkon lokacin sanduna, ƙungiyoyin mashaya da gine-gine. Rage waƙar waƙar (b. Sassan halayen waƙar rawa) an shawo kan su ta hanyar rakiyar, wanda ke haifar da "haɗin gwiwa biyu" da "intruding cadenzas". Sabanin tsarin jumloli da motifs, ma'auni sau da yawa yana ƙayyade canji na ɗan lokaci, ƙarfin hali (f da p a kan layin mashaya), ƙungiyoyin articulation (musamman, wasanni). Halaye sf, yana jaddada ma'auni. pulsation, wanda a cikin irin wannan sashe ta Bach, alal misali, a cikin fantasy daga Chromatic Fantasy da Fugue sake zagayowar) gaba daya ya rufe.

Ƙayyadadden ƙayyadadden mita na lokaci zai iya rarraba tare da nau'in motsi na gaba ɗaya; salo na gargajiya yana da alaƙa da bambance-bambance da haɓaka haɓakar rhythmic. adadi, koyaushe yana da alaƙa, duk da haka, tare da awo. goyon baya. Adadin sautunan da ke tsakanin su baya wuce iyaka na sauƙin ganewa (yawanci 4), canje-canjen rhythmic. rarrabuwa (triplets, quintuplets, da dai sauransu) ƙarfafa maki masu ƙarfi. Kunna awo. Hakanan ana ƙirƙira tallafin ta hanyar daidaitawa, ko da waɗannan tallafin ba su nan a cikin sauti na gaske, kamar yadda a farkon ɗayan sassan wasan ƙarshe na wasan kwaikwayo na Beethoven na 9th, inda rhythmic kuma ba ya nan. inertia, amma fahimtar kiɗa yana buƙatar ext. kirga ma'aunin hasashe. lafazi:

Ko da yake ana danganta fifikon mashaya ko da ɗan lokaci, yana da mahimmanci a bambanta tsakanin waɗannan halaye biyu a cikin kiɗan gargajiya. kari. A WA Mozart, sha'awar daidaito shine awo. raba (kawo rhythm ɗin sa zuwa adadi mai yawa) ya fi bayyana a fili a cikin minuet daga Don Juan, inda a lokaci guda. hade daban-daban masu girma dabam ban da agogych. nuna karfi sau. Beethoven yana da ma'auni mai ƙasƙanci. accentuation yana ba da ƙarin iyaka ga agogics, da metric gradation. matsalolin sau da yawa sun wuce ma'auni, suna samar da sauye-sauye na yau da kullum na matakai masu karfi da rauni; dangane da wannan, aikin Beethoven na murabba'in rhythms yana ƙaruwa, kamar dai "sanduna na tsari mafi girma", wanda zai yiwu syncope. lafazi akan matakan rauni, amma, ba kamar matakan gaske ba, ana iya keta madaidaicin canji, yana ba da damar haɓakawa da raguwa.

A cikin zamanin romanticism (a cikin mafi faɗin ma'ana), siffofin da ke bambanta rhythm na accentual daga ƙididdigewa (ciki har da matsayi na biyu na dangantaka na wucin gadi da mita) an bayyana tare da mafi girma. Int. rabon bugun ya kai irin waɗannan ƙananan dabi'u waɗanda ba kawai tsawon lokacin ind ba. sauti, amma ba a gane adadin su kai tsaye (wanda ya sa ya yiwu a ƙirƙira a cikin hotunan kiɗa na ci gaba da motsi na iska, ruwa, da dai sauransu). Canje-canje a cikin sashin intralobar baya jaddadawa, amma suna sassauta awo. doke: haduwar duols tare da uku-uku (

) ana ganin kusan a matsayin quintuplets. Daidaitawa sau da yawa yana taka rawa iri ɗaya a tsakanin masoya; syncopations da aka kafa ta hanyar jinkirin waƙar (an rubuta rubato a tsohuwar ma'ana) suna da halaye sosai, kamar a ch. sassan Chopin's Fantasy. A cikin waƙar soyayya ta bayyana "manyan" uku, quintuplets, da sauran lokuta na rhythmic na musamman. rarrabuwa daidai da ba ɗaya ba, amma da yawa. awo hannun jari. Goge ma'aunin iyakoki ana bayyanawa ta zane-zane a cikin ɗaure waɗanda ke wucewa ta layin mashaya kyauta. A cikin rikice-rikice na dalili da ma'auni, lafuzzan motsin rai yawanci suna mamaye ma'auni (wannan yana da kama da "waƙar magana") I. Brahms. Fiye da sau da yawa fiye da a cikin classic style, ana rage bugun zuwa wani tunanin pulsation, wanda yawanci kasa aiki fiye da na Beethoven (duba farkon Liszt's Faust symphony). Rashin rauni na bugun jini yana faɗaɗa yiwuwar cin zarafi na daidaituwa; romantic wasan kwaikwayon yana da matsakaicin 'yanci na ɗan lokaci, bugun sanda a tsawon lokaci zai iya wuce jimlar biyu nan da nan bayan bugun. Irin wannan bambance-bambancen tsakanin ainihin lokutan dadewa da bayanan kida ana yiwa alama a cikin aikin Scriabin na kansa. samfur. inda babu alamun canje-canje na ɗan lokaci a cikin bayanin kula. Tun da, a cewar masu zamani, wasan AN Scriabin ya bambanta da "rhythm. tsabta”, a nan an bayyana ainihin yanayin rhythmic. zane. Bayanan kula ba ya nuna tsawon lokaci, amma "nauyi", wanda, tare da tsawon lokaci, ana iya bayyana shi ta wasu hanyoyi. Don haka yuwuwar yin rubutun ra'ayi (musamman a cikin Chopin), lokacin cikin fn. gabatar da sauti ɗaya yana nuni da bayanin kula guda biyu; misali, lokacin da sautunan wata murya suka faɗi akan rubutu na 1 da na 3 na sau uku na murya ɗaya, tare da rubutun “daidai”

yiwu haruffa

. Dr. nau'in rubutun kalmomi masu banƙyama ya ta'allaka ne a cikin gaskiyar cewa tare da canzawar rhythmic. rarraba mawaƙa don kiyaye nauyin nauyi iri ɗaya, sabanin ka'idodin muses. Rubutu, baya canza dabi'un kiɗa (R. Strauss, SV Rachmaninov):

R. Straus. "Don Juan".

Faɗuwar rawar mita har zuwa gazawar ma'aunin a cikin instr. recitatives, cadences, da dai sauransu, suna da alaƙa da haɓaka mahimmancin tsarin kiɗa-semantic da kuma ƙarƙashin R. ga sauran abubuwan kiɗa, halayen kiɗan zamani, musamman kiɗan soyayya. harshe.

Tare da mafi ban sha'awa bayyanar cututtuka na musamman. fasalulluka na rhythm accent a cikin kidan na karni na 19. mutum zai iya gane sha'awa a cikin nau'ikan kari na farko da ke da alaƙa da roko ga al'adun gargajiya (amfani da waƙoƙin jama'a na waƙoƙin jama'a, halayen kiɗan Rasha, ƙididdiga masu ƙididdigewa waɗanda aka adana a cikin tarihin Mutanen Espanya, Hungarian, Yammacin Slavic, yawancin mutanen Gabas) da kuma hasashe sabuntar rhythm a cikin karni na 20

MG Harlap

Idan a cikin 18-19 ƙarni. a cikin prof. Waƙar Turai. orientation R. ya shagaltar da matsayi na ƙasa, sannan a cikin karni na 20. a lamba yana nufin. styles, ya zama ma'anar kashi, mafi mahimmanci. A cikin karni na 20 rhythm a matsayin wani abu na gaba ɗaya a cikin mahimmanci ya fara amsawa tare da irin wannan rhythmic. abubuwan mamaki a tarihin Turai. kiɗa, a matsayin tsakiyar zamanai. yanayin, isorhythm 14-15 ƙarni. A cikin kiɗan zamanin classicism da romanticism, tsarin kari guda ɗaya ne kawai yake kwatankwacinsa a cikin rawar da yake takawa mai ƙarfi ga tsarin kari na karni na 20. - "lokacin bugun jini na yau da kullun", Riemann ya ba da gaskiya. Duk da haka, kiɗan karni na 8 ya bambanta sosai da rhythmic. abubuwan da suka faru a baya: yana da takamaiman matsayin ainihin muses. sabon abu, rashin dogaro da rawa da kiɗa. ko waƙar waƙa. R.; yana nufin. ma'auni yana dogara ne akan ka'idar rashin daidaituwa, asymmetry. Wani sabon aiki na rhythm a cikin kiɗa na karni na 20. bayyana a cikin tsarinsa rawar, a cikin bayyanar rhythmic. thematic, rhythmic polyphony. Dangane da hadadden tsari, ya fara kusantar jituwa, waƙa. Rikicin R. da karuwa a cikin nauyinsa a matsayin kashi ya haifar da tsarin tsarawa da yawa, gami da mutum mai salo, wani sashi wanda marubuta suka daidaita a cikin ka'idar. rubuce-rubucen.

Jagoran kiɗa. R. karni na 20 ka'idar rashin bin ka'ida ta bayyana kanta a cikin daidaituwa na al'ada na sa hannu na lokaci, gauraye masu girma dabam, sabani tsakanin dalili da bugun jini, da nau'in rhythmic iri-iri. zane-zane, rashin daidaituwa, polyrhythms tare da rabon rhythmic. raka'a don kowane adadin ƙananan sassa, polymetry, polychronism na dalilai da jimloli. Wanda ya fara gabatar da kari na yau da kullun a matsayin tsarin shine IDAN Stravinsky, yana haɓaka halayen irin wannan wanda ya fito daga MP Mussorgsky, NA Rimsky-Korsakov, da kuma daga Rashanci. ayar jama'a da kuma maganar Rasha kanta. Jagoranci a cikin karni na 20 Stylistically, fassarar rhythm yana adawa da aikin SS Prokofiev, wanda ya ƙarfafa abubuwa na yau da kullum (rashin daidaituwa na fasaha, squareness, multifaceted na yau da kullum, da dai sauransu) halayyar styles na 18th da 19th ƙarni. . Ƙa'ida kamar ostinato, K. Orff ne ke nomawa na yau da kullum, wanda ba ya ci gaba daga na gargajiya. Prof. hadisai, amma daga ra'ayin sake ƙirƙirar archaic. rawa na shelanta. wasan kwaikwayo na wasan kwaikwayo

Stravinsky's asymmetric rhythm system (a ka'idar, marubucin bai bayyana shi ba) ya dogara ne akan hanyoyin bambance-bambancen lokaci da lafazin da kuma kan motivic polymetry na yadudduka biyu ko uku.

Tsarin rhythmic na O. Messiaen na nau'in nau'in nau'i mai haske (wanda ya bayyana a cikin littafin: "Technique of My Musical Language") ya dogara ne akan mahimmancin sauye-sauye na ma'auni da ma'auni na lokaci-lokaci na matakan gauraye.

A. Schoenberg da A. Berg, da DD Shostakovich, suna da rhythmic. an bayyana rashin bin ka'ida a cikin ka'idar "kiɗa. prose", a cikin hanyoyin da ba su da murabba'i, canjin agogo, "peremetrisation", polyrhythm (makarantar Novovenskaya). Ga A. Webern, daɗaɗɗen dalilai da jimloli, tsaka-tsakin juna na dabara da rhythmic sun zama halaye. zane dangane da girmamawa, a cikin abubuwan samarwa na baya. - rhythmic. canons.

A yawancin sabbin salo, bene na 2. Karni na 20 tsakanin nau'ikan rhythmic. ƙungiyoyi wani fitaccen wuri ya mamaye ta da rhythmic. jerin yawanci hade da jerin sauran sigogi, da farko farar sigogi (na L. Nono, P. Boulez, K. Stockhausen, AG Schnittke, EV Denisov, AA Pyart, da sauransu). Tashi daga tsarin agogo da bambancin rabe-raben rhythmic kyauta. raka'a (ta 2, 3, 4, 5, 6, 7, da dai sauransu) ya haifar da nau'ikan nau'ikan nau'ikan nau'ikan R. guda biyu: sanarwa a cikin sakanni da sanarwa ba tare da tsayayyen lokaci ba. Dangane da nau'in super-polyphony da aleatoric. Harafi (misali, a cikin D. Ligeti, V. Lutoslavsky) ya bayyana a tsaye. R., ba tare da lafazin ƙwanƙwasa da tabbacin ɗan lokaci ba. Rhythmich. fasali na sabbin salo Prof. kiɗan ya bambanta da rhythmic. Properties na taro song, iyali da kuma estr. kiɗa na karni na 20, inda, akasin haka, rhythmic na yau da kullum da kuma jaddadawa, tsarin agogo yana riƙe da dukan muhimmancinsa.

VN Kholopova.

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