Rumor musical |
Ji na kiɗa shine ikon mutum don cikakken fahimtar kiɗa, wani buƙatu mai mahimmanci don tsarawa da aiwatar da ayyuka. Kunnen kiɗa shine tushen kiɗan. tunani da kiɗa. aikin kima. Rubutun C. m. ba a cika ci gaba ba tukuna. Ana iya bambanta da yawa daban-daban. darajar C. m. Tare da kiɗa-physiological. gefe S. m. shine na'urar fahimtar kiɗa. sautuna; shi ne saboda bayanan halitta - abubuwan da ke tattare da tsari da aiki na sashin ji na mutum a matsayin mai nazari na waje na muses. sautuka. C. m. halin da fadi da kewayon, babban ji na fahimtar otd. halayen kiɗa. sautuna - sauti, ƙara, timbre da tsawon lokaci (hangen tsawon lokaci ba takamaiman ba ne. iya kankara). Mafi ƙarancin sautunan da aka fahimta ta hanyar ji suna da mitar kusan. 16 hertz (daga subcontroctave), mafi girma - kimanin. 20 hertz (kimanin es na 000th octave); motsin motsi a waje da wannan kewayon (infrasounds da duban dan tayi) ba a ganin su azaman sauti kwata-kwata. Don canje-canje a cikin sauti, ƙara da timbre C. m. mafi mahimmanci a cikin rajista na tsakiya - daga kimanin 500 zuwa 3000-4000 hertz, a nan mawakan sun bambanta tsakanin 5-6 cents (kimanin. 1/40 na duka sautin), canjin ƙarar decibel 1 (decibel - karɓuwa a cikin kiɗa. acoustics logarithm. naúrar don auna matakin ƙarar sauti; yana bayyana rabon ƙarfin sauti biyu; gwani. babu raka'a don halayen ƙididdiga na katako. A ƙasa da 500 da sama da 3000-4000 hertz, jin daɗin ji, musamman don rarrabe tsakanin ƙananan canje-canje a tsayi, yana raguwa sosai; sama da 4500-5000 hertz, an rasa jin daɗin farar matakin matakin inganci. A al'ada, kowane mutum yana da irin wannan bayanan halitta. A lokaci guda, bambance-bambance tsakanin nisa na kewayon da aka sani da kuma matakin ji na S. m. a wannan matakin, mawaƙa da waɗanda ba mawaƙa ba na iya zama babba, da kuma bambance-bambancen daidaikun mutane a tsakanin mawaƙa. Wadannan halaye, duk da haka, ba su ƙayyade matakin kiɗan ba; high ji na hasashe ne na halitta bayanai, to-rye wajibi ne ga muses. aiki, amma kar a ba da tabbacin nasarar sa. Musamman ma'anar S. m. a wannan matakin kuwa, a gefe guda, Mr. cikakkiyar ji, a daya bangaren, sauraron mai gyara (B. M. Thermal). Cikakkar sauti wani nau'i ne na musamman na ƙwaƙwalwar ajiyar lokaci mai tsawo don farar sauti da timbre: ikon ganewa da tantance ta amfani da sunayen bayanin kula (c, d, e, da sauransu). d.), tsayin sautin waƙar waƙa, koɗa, har ma da sautunan da ba na kiɗa ba, suna haifar da sautin sautin da aka bayar ta hanyar murya ko a kan kayan aiki tare da farar da ba a kayyade ba (violin, da sauransu), ba tare da kwatanta su da wasu ba, filin da aka sani. Wani lokaci ana la'akari da cikakken filin a matsayin abin da ake buƙata don yin nasara a fagen kiɗa, duk da haka, bisa ga bayanan da ake da su, wasu manyan mawaƙa (R. Wagner, A. N. Scriabin da sauransu) ba su mallaki shi ba. Sauraron mai daidaitawa - haɓaka ta wata hanya ta musamman. aiki ikon bambance tsakanin kadan (har zuwa 2 cents) canje-canje a tsayin otd. sautuna ko tazara. Daga kiɗa-psychological. gefe S. m. – wani nau'i na tsari don sarrafa kiɗa na farko. bayanai da bayyana hali zuwa gare shi - bincike da kuma kira na waje acoustic. bayyanuwar, kimantawa ta motsin rai. Ikon ganewa, ayyana, fahimta, wakiltar rushewa. dangantaka, haɗin aiki tsakanin sautuna, dangane da bayanan halitta da aka riga aka ambata, babban matakin ƙungiyar S. m.; a wannan batun, suna magana ne game da ma'anar rhythm, modal ji, melodic, jituwa. da karin nau'ikan ji. Lokacin ganewa, mawaƙin a hankali ko a hankali yana la'akari da mafi bambancin. dangantaka tsakanin sautuka. Don haka, yanayin yanayin, a gefe guda, yana dogara ne akan ikon ji don bambanta tsakanin sauti, ƙara, da tsawon lokaci na sautuna, a gefe guda, ainihinsa yana cikin fahimta, fahimta da kwarewa na tunanin haɗin gwiwar aiki. tsakanin sautunan da suka hada da muses. gaba dayan (kwanciyar hankali, rashin kwanciyar hankali, gravitation, digiri na tsananin sautuka a cikin dalili, magana, tabbatattun kalmomi, ƙayyadaddun ma'auni-motsi na waɗannan dalilai da jimloli, da sauransu). d.). Hakazalika, sauraron sauti yana dogara, a gefe ɗaya, akan hankali ga ƙananan canje-canje a cikin sauti, a daya, akan fahimtar modal, metrorhythmic, jituwa. da sauran haɗin gwiwa, da kuma kimanta su a cikin fasaha-fasaha. da tsare-tsaren motsin rai (nau'in magana - tsabta, ƙarya ko bayyanawa, kwantar da hankali, tashin hankali, da dai sauransu). P.). Musamman ma'anar S. m. su ne irin wannan nau'in ji, to-rye bisa fahimtar alaƙa tsakanin muses. sautuna: ji na dangi, ji na ciki, ma'anar kiɗa. tsari ko gine-gine. ji da dai sauransu. Dangi, ko tazara, ji - ikon ganewa, ƙayyade dangantakar tazara tsakanin sauti, matakan ma'auni, wanda kuma ke bayyana kanta a cikin ikon sake haifar da tazara (dakika, kashi uku, kwata, da sauransu) da sauransu) duka a cikin waƙa da waƙa. cikin jituwa. Ji na ciki - ikon tunani na wakilci tuna) azaman dabam. ingancin kiɗa. sautuna (fiti, timbre, da dai sauransu), da kuma karin waƙa, masu jituwa. jerin, dukan music. taka cikin hadin kan bangarorin su. Ji daɗin kiɗan kiɗa - ikon gane, fahimta da kimanta daidaiton dangantakar ɗan lokaci tsakanin Dec. abubuwan kiɗan. prod., da aikin dabi'u a general (squareness, non-squareness, tripartiteness, exposition, ci gaba, kammala ci gaba, da dai sauransu). Wannan yana ɗaya daga cikin mafi rikitarwa siffofin S. m.; ya riga ya yi iyaka a kan m music. tunani. Mafi mahimmancin kayan aikin S. m. shine kidan gabaɗaya, wanda aka bayyana a cikin jin daɗin rai ga kiɗa. abubuwan mamaki, a cikin haske da ƙarfin takamaiman muses. kwarewa. Kamar yadda aikin ya nuna, ba tare da irin wannan tunanin tunanin mutum ba, mutum bai dace da tsarawa da yin ayyukan ba, da kuma cikakkiyar fahimtar kiɗa. C. m. a cikin bayyanar su daban-daban suna tasowa a cikin tsarin kiɗa. ayyuka - ƙãra hankali don bambanta tsakanin ƙananan canje-canje a cikin sauti, ƙara, timbre, da dai sauransu. Kaddarorin sauti, an haɓaka ra'ayoyin sharadi akan alaƙar sautunan (misali, jin daɗin dangi yana inganta, launin rawaya, jituwa. ji, jin jituwa), jin daɗin rai ga kiɗa yana haɓaka. sabon abu. Banda shi ne cikakken farar, wanda, a fili, ba za a iya samun na musamman ba. motsa jiki; za a iya bunkasa Mr. Ƙarya cikakkar magana (kalmar B. M. Teplov), wanda ke taimakawa wajen ƙayyade filin a kaikaice, alal misali. akan bangaren timbre na sauti. Don haɓaka nau'in S. m.
Ɗaya daga cikin abubuwan da ke nuna alaƙar S. tare da m. tare da sauran iyawa shine abin da ake kira. jin launi, osn. a kan tasowa a ƙarƙashin rinjayar muses. sautuna ko jerin su a cikin wakilcin launi na yanayi na zahiri (synopsia).
Karatu mai zurfi na S. na m ya fara da bene na 2. Ƙarni na 19 G. Helmholtz da K. Stumpf sun ba da cikakken ra'ayi game da aikin sashin ji a matsayin mai nazarin sauti na waje. ƙungiyoyi da kuma game da wasu siffofi na fahimtar kiɗa. sautuna (misali, game da rashin fahimta da rashin fahimta); don haka suka kafa harsashin ilimin psychophysiological. wasan kwaikwayo. NA Rimsky-Korsakov da SM Maykapar suna daga cikin na farko a cikin Rasha. 19- roqo. Karni na 20 ya yi karatu S.m. tare da ilmantarwa. matsayi - a matsayin tushen muses. ayyuka; sun bayyana alamun S. na m, sun fara ci gaban nau'in S. na m; Rimsky-Korsakov, musamman, ya gabatar da manufar "kunne na ciki", wanda BV Asafiev ya haɓaka daga baya. Daga ra'ayi na acoustics na jiki, SN Rzhevkin ya ba da hankali sosai ga nazarin S. m. A cikin 30-50s. Karni na 20 NA Garbuzov ya haɓaka tunanin yanayin yanki na S. m. inuwa mai ƙarfi, rhythmic da raka'o'in ɗan lokaci, abubuwan da suka dace na timbre azaman abubuwan kiɗa. ana bayyana tsarin a cikin tsarin fahimta azaman saitin dec. yawa. dabi'u (duba Yanki). PP Baranovsky da EE Yutsevich sun haɓaka irin wannan ra'ayi game da jin sauti. Yawancin bincike a fagen S. m. a cikin 30s. dakin gwaje-gwaje na C. Seashore a Jami'ar Iowa (Amurka); Muhimmin aiki a kan vibrato. A cikin con. 40s wani muhimmin aikin gama gari na BM Teplov "Psychology of Musical Abilities" ya bayyana, inda a karon farko an ba da cikakken ra'ayi na S. m daga ma'anar ilimin halin dan Adam. A cikin 50-60s. a cikin music dakin gwaje-gwaje acoustics a Moscow. Jami'ar Conservatory ta gudanar da bincike da dama na S. m. - ƙayyadaddun alamun sauti-high-fitting, tempo, da kuma tsauri sun bayyana. zones a art. wasan kwaikwayo na kiɗa, sauti mai sauti da sauti mai ƙarfi (ƙara) ji, an yi nazarin ma'anar lokaci (a cikin ayyukan OE Sakhaltueva, Yu. N. Rags, EV Nazaykinsky). Daga cikin ayyukan 70s. a fagen S.m. - "A kan ilimin halin dan Adam na tsinkayen kiɗa" na EV Nazaykinsky da kuma nazarin sauraron sautin da AA Volodin ya yi. Nazarin S. m. daga mahangar kida. acoustics, Physiology da Psychology na ji suna ba da wadataccen abu don kiɗa. ilmantarwa. Yana wakiltar tushen ayyuka da yawa a fagen hanyoyin ilimin S. m. (alal misali, aikin AL Ostrovsky, EV Davydova). Ilimi game da kayan kida ana amfani da shi sosai wajen ƙirar sabbin kiɗan. kayan kida, musamman electromusical, a cikin fasahar gine-gine, misali. lokacin da ake ƙididdige fasalin sauti na conc. gabatarwa. Ana amfani da su wajen aiwatar da rikodin sauti (gramophone da maganadisu) akan rediyo, talabijin, lokacin cin fim, da sauransu.
References: Maykapar SM, Kunnen kiɗa, ma'anarsa, yanayi, fasali da kuma hanyar haɓaka daidai, M., 1900, P.,. 1915; Rimsky-Korsakov HA, A kan ilimin kiɗa, a cikin littafinsa: Labarun kiɗa da bayanin kula, St. Petersburg, 1911, iri ɗaya, a cikin Cikakken. kull. suke., vol. II, M., 1963; Rzhevkin SN, Ji da magana a cikin hasken bincike na jiki na zamani, M.-L., 1928, 1936; Teplov BM, Psychology na ikon kiɗa, M.-L., 1947; haka, a cikin littafinsa: Matsalolin bambance-bambancen mutum, M., 1961; Garbuzov NA, Yanayin yanki na sauraron sauti, M.-L., 1948; nasa, Yanayin Yanki na lokaci da kari, M., 1950; nasa, Intrazonal intonation saurare da hanyoyin ci gabanta, M.-L., 1951; nasa, Yanayin yanki na ji mai ƙarfi, M., 1955; nasa, Yankin yanayi na sauraron timbre, M., 1956; Ayyukan kiɗa na kiɗa, M., 1954; Baranovsky PP, Yutsevich EV, Binciken Pitch na tsarin kiɗa na kyauta, K., 1956; Laboratory of musical acoustics (zuwa cika shekaru 100 na Moscow Order na Lenin na Jihar Conservatory mai suna bayan PI Tchaikovsky), M., 1966; Volodin AA, Abubuwan ilimin halin dan Adam na fahimtar sautin kiɗa, M., 1972 (diss); Pags Yu., Nazaikinsky E., A kan damar fasaha na haɗakar kiɗa da launi (dangane da nazarin waƙar waƙar "Prometheus" ta AN Scriabin), a cikin: Art Art and Science, vol. 1, M., 1970; Nazaikinsky EV, A kan ilimin halin ɗan adam na fahimtar kiɗa, M., 1972; Heimholt H., Die Lehre von den Tonempfindungen als physiologische Grundlage fur die Theorie der Musik, Braunschweig, 1863, 1913
Yu. H. Parc
