Jeri |

Late Lat. jerin, lit. - abin da ke biyo baya, daga lat. sequor - bi

1) Salon karni na tsakiya. monody, waƙar da aka rera a cikin taron jama'a bayan Alleluya kafin karanta Bishara. Asalin kalmar "S." hade da al'ada don faɗaɗa waƙar Alleluia, yana ƙara masa jubilant jubilation (jubelus) akan wasulan a - e - u - i - a (musamman akan ƙarshensu). An ƙara jubilee (sequetur jubilatio), wanda ba shi da rubutu, daga baya aka sa masa suna S. Kasancewa abin sakawa (kamar muryar "cadenza"), S. wani nau'in hanya ne. Ƙayyadaddun S., wanda ya bambanta shi daga hanyar da aka saba, shi ne cewa yana da ɗan gajeren lokaci. sashen da ke yin aikin faɗaɗa waƙar da ta gabata. Ci gaba a cikin ƙarni, jubilation-S. samu daban-daban siffar. Akwai nau'i-nau'i daban-daban guda biyu na S.: 1st mara rubutu (ba a kira shi S.; sharadi - har zuwa karni na 9), 2nd - tare da rubutu (daga karni na 9; ainihin S.). Bayyanar bikin cika shekaru yana nufin kusan karni na 4, lokacin juyin juya halin Kiristanci zuwa wata jiha. addini (a cikin Byzantium karkashin Sarkin sarakuna Constantine); sa'an nan jubili yana da halin farin ciki na murna. A nan, a karon farko, waƙa (kiɗa) sun sami ciki. 'yanci, yana fitowa daga biyayya ga rubutun kalmomi (extramusical factor) da rhythm, wanda ya dogara ne akan rawa. ko tafiya. "Wanda ya yi farin ciki ba ya furta kalmomi: wannan ita ce muryar ruhun da ke narke cikin farin ciki ..." in ji Augustine. Form C. tare da rubutun ya yada zuwa Turai a rabi na biyu. 9 a cikin. karkashin rinjayar Byzantine (da Bulgarian?) mawaƙa (a cewar A. Gastue, 1911, a hannu. C. akwai alamomi: graeca, bulgarica). S., sakamakon maye gurbin rubutu don ranar tunawa. rera waƙa, wanda kuma ya karɓi sunan “prose” (bisa ga ɗayan juzu'in, kalmar “prose” ta fito ne daga rubutun ƙarƙashin taken pro sg = prosequentia, watau. magana). e. "maimakon jeri"; Faransanci pro seprose; duk da haka, wannan bayanin bai cika yarda da magana akai-akai ba: prosa cum sequentia – “prose with a sequentiam”, prosa ad sequentiam, sequentia cum prosa – anan “prose” ana fassara shi azaman rubutu zuwa mai bibiyu). Fadada melisma na jubilee, musamman jaddada waƙa. farkon, an kira longissima melodia. Ɗaya daga cikin dalilan da suka haifar da sauya rubutun don bikin tunawa shine hanya. wahalar tunawa da "waƙar waƙa mafi tsayi". Samar da form C. dangana ga wani sufi daga sufi na St. Gallen (a Switzerland, kusa da Lake Constance) Notker Zaika. A cikin gabatarwar Littafin Waƙoƙi (Liber Ymnorum, c. 860-887), Notker da kansa ya ba da labarin tarihin S. nau'in: wani sufi ya isa St. Gallen daga gidan Jumiege (a kan Seine, kusa da Rouen), wanda ya ba da bayanai game da S. ku St. Gallenians. Bisa shawarar malaminsa, Iso Notker ya sake rubuta abubuwan tunawa bisa ga syllabic. ka'ida (sillable daya a kowace sautin waƙar). Wannan wata hanya ce mai mahimmanci ta fayyace da gyara "mafi tsayin waƙa", watau saboda tsarin waka da ke da rinjaye a lokacin. bayanin bai cika ba. Bayan haka, Notker ya ci gaba da tsara jerin jerin S. "a kwaikwayi" irin wakokin da aka sani da shi. Masanin tarihi. mahimmancin hanyar Notker shine cocin. mawaƙa da mawaƙa a karon farko sun sami damar ƙirƙirar sabon nasu. kiɗa (Nestler, 1962, p. 63).

(Za a iya samun wasu bambance-bambancen tsarin C.)

Samfurin ya dogara ne akan ayoyi biyu (bc, de, fg,…), layin da suke daidai ko kusan daidai da tsayi (bayani ɗaya - maɗaukaki ɗaya), wani lokaci suna da alaƙa cikin abun ciki; nau'i-nau'i na layi sau da yawa suna bambanta. Mafi shahara shine haɗin kai tsakanin duk (ko kusan duka) ƙarshen Muses. layi - ko dai akan sauti iri ɗaya, ko ma kusa da irin waɗannan. juyawa.

Rubutun Notker ba ya magana, wanda shine yanayin farkon lokacin ci gaban S. (ƙarni na 9-10). A zamanin Notker, an riga an yi rera waƙa a cikin ƙungiyar mawaƙa, da kyama (har ila yau tare da sauye-sauyen muryoyin samari da maza) “domin a gani a bayyane yardan kowa cikin ƙauna” (Durandus, ƙarni na 13). Tsarin S. muhimmin mataki ne a cikin ci gaban kiɗan. tunani (duba Nestler, 1962, shafi na 65-66). Tare da liturgical S. kuma ya kasance na ban mamaki. masu zaman kansu (a Latin; wani lokacin tare da instr. rakiya).

Daga baya S. ya kasu kashi 2 iri: yamma (Provence, arewacin Faransa, Ingila) da gabas (Jamus da Italiya); tsakanin samfurori

Hotker. Jeri.

Hakanan ana samun polyphony na farko a cikin S. (S. Rex coeli domine a cikin Musica enchiriadis, karni na tara). S. ya rinjayi ci gaban wasu nau'o'in duniya (estampie, Leich). Rubutun S. ya zama rhymed. Mataki na biyu na juyin halittar S. ya fara a karni na 9. (babban wakilin shi ne marubucin shahararren "prose" Adam daga gidan kurkukun Paris na Saint-Victor). A cikin tsari, irin waɗannan kalmomin suna kusantar waƙar waƙa (ban da syllabics da rhyme, akwai mita a cikin ayar, tsarin lokaci, da kuma ƙayyadaddun kari). Duk da haka, waƙar waƙar ta kasance iri ɗaya ce ga kowane ma'auni, kuma a cikin S. yana da alaƙa da nau'i biyu.

Jigon waƙar yawanci yana da layi 4, kuma S. yana da 3; ba kamar waƙar ba, S. an yi shi ne don taro, ba don ofishi ba. Lokaci na ƙarshe na ci gaban S. (ƙarni na 13-14) ya kasance alama ce ta tasiri mai ƙarfi na rashin liturgical. nau'ikan waƙoƙin jama'a. Dokar Majalisar Trent (1545-63) daga coci. an fitar da sabis daga kusan dukkanin S., ban da hudu: Easter S. "Victimae paschali laudes" (rubutu, kuma mai yiwuwa waƙar - Vipo na Burgundy, 1st rabin karni na 11; K. Parrish, J. Ole, Shafi na 12-13, daga wannan waƙar, mai yiwuwa daga ƙarni na 13, shahararren chorale “Christus ist erstanden” ya samo asali); S. a kan idin Triniti “Veni sancte spiritus”, wanda aka dangana ga S. Langton (d. 1228) ko Paparoma Innocent III; S. domin idin Jikin Ubangiji "Lauda Sion Salvatorem" (rubutu na Thomas Aquinas, c. 1263; waƙar an danganta shi da rubutun wani S. - "Laudes Crucis attolamus", wanda aka dangana ga Adam na St. Victor, wanda P. Hindemith yayi amfani da shi a cikin wasan opera "Mathis Mathis" da kuma a cikin waƙoƙin wannan suna); S. da wuri. 13 c. Doomsday ya mutu irie, ca. 1200? (a matsayin ɓangare na Requiem; bisa ga sura ta 1 na littafin annabi Zafaniya). Daga baya, an shigar da S. na biyar, a ranar idin Bakin Bakwai na Maryamu - Stabat Mater, bene na biyu. 2 c. (Ba a san marubucin rubutu ba: Bonaventure?, Jacopone da Todi?; waƙar D. Josiz - D. Jausions, d. 13 ko 1868).

Duba Notker.

2) A cikin koyaswar S. jituwa (Jamus Sequenze, Faransanci march harmonique, ci gaba, ci gaban Italiyanci, jerin Turanci) - maimaitawa na melodic. dalili ko jituwa. juyawa a wani tsayi daban (daga mataki daban-daban, a cikin maɓalli daban-daban), yana biye da shi nan da nan bayan gudanarwa ta farko azaman ci gaba da sauri. Yawancin lokaci duka jerin naz. S., da sassansa – hanyoyin haɗin gwiwa S. Manufar harmonic S. galibi ya ƙunshi biyu ko fiye. jituwa a cikin ayyuka masu sauƙi. dangantaka. Ana kiran tazarar lokacin da aka fara aikin farko. S. mataki (mafi yawan sauye-sauye na daƙiƙa, na uku, na huɗu zuwa ƙasa ko sama, da yawa ƙasa da sau da yawa ta wasu tazara; mataki na iya zama mai canzawa, misali, na farko da na biyu, sannan ta uku). Saboda rinjaye na ingantattun juyin juya hali a cikin manyan-kananan tsarin tonal, sau da yawa ana samun saukowar S. a cikin dakika, wanda mahaɗin da ke tattare da shi ya ƙunshi nau'i biyu a cikin ƙananan kashi na biyar (sahihin). A cikin irin wannan ingantaccen (bisa ga VO Berkov – “zinariya”) S. yana amfani da duk matakan tonality wajen matsawa ƙasan kashi biyar ( sama da huɗu):

GF Handel. Suite g-moll don harpsichord. Passacaglia.

S. tare da motsi zuwa sama a cikin biyar (plagal) yana da wuya (duba, misali, 18th bambancin Rachmaninov's Rhapsody a kan Jigo na Paganini, sanduna 7-10: V-II, VI-III a Des-dur). Mahimmancin S. shine motsi na linzamin kwamfuta da launin rawaya, a cikin Krom matsananciyar maki yana da ma'anar ƙimar aiki; tsakanin tsakiyar hanyoyin S., ayyuka masu canzawa sun fi rinjaye.

S. yawanci ana rarraba su bisa ka'idoji guda biyu - gwargwadon aikin su a cikin abun da ke ciki (intratonal - modulating) da kuma gwargwadon abin da suke na k.-l. daga nau'in tsarin sauti (diatonic - chromatic): I. Monotonal (ko tonal; Har ila yau, tsarin guda ɗaya) - diatonic da chromatic (tare da ƙetare da masu rinjaye na biyu, da sauran nau'o'in chromatism); II. Modulating (multi-tsarin) - diatonic da chromatic. Sautin chromatic sautin guda ɗaya (tare da sabawa) a cikin wani lokaci ana kiran su azaman daidaitawa (bisa ga maɓallan da ke da alaƙa), wanda ba gaskiya bane (VO Verkov ya lura da kyau cewa "jeri tare da ɓatanci sune jerin tonal"). Samfura daban-daban. nau'ikan S .: diatonic sautin guda ɗaya - "Yuli" daga "Lokaci" na Tchaikovsky (sanduna 7-10); chromatic sautin guda ɗaya - gabatarwar opera "Eugene Onegin" na Tchaikovsky (sanduna 1-2); daidaita diatonic – prelude a d-moll daga juz'i I na Bach's Well-Tempered Clavier (sanduna 2-3); gyare-gyaren chromatic – ci gaban I part of Beethoven's 3rd symphony, sanduna 178-187: c-cis-d; Karin bayani na sashi na 4 na wasan kwaikwayo na 201 na Tchaikovsky, sanduna 211-205: hea, adg. Canjin chromatic na ingantaccen jeri yawanci shine abin da ake kira. "Mafi girman sarkar" (duba, alal misali, Marta's Aria daga aiki na hudu na opera "The Tsar Bride" na Rimsky-Korsakov, lamba 6, sanduna 8-1966), inda taushi nauyi ne diatonic. Ana maye gurbin masu rinjaye na biyu da masu kaifi masu kaifi ("sautin buɗewa na canzawa"; duba Tyulin, 160, shafi 1969; Sposobin, 23, shafi na 139). Babban sarkar na iya tafiya duka a cikin maɓalli ɗaya da aka ba (a cikin wani lokaci; alal misali, a cikin jigon gefen Tchaikovsky's fantasy-overture "Romeo and Juliet"), ko kuma zama mai daidaitawa (ci gaban wasan kwaikwayo na Mozart a g-moll). sanduna 47-126, 32-XNUMX). Baya ga babban ma'auni don rarraba S., wasu kuma suna da mahimmanci, misali. Rabe-raben S. zuwa waƙa. da kuma chordal (musamman, ana iya samun rashin daidaituwa tsakanin nau'ikan waƙoƙin waƙa da maƙarƙashiya S., suna tafiya lokaci guda, alal misali, a cikin gabatarwar C-dur daga Shostakovich's op. chordal – diatonic), zuwa daidai da bambanta.

Hakanan ana amfani da S. a wajen manyan ƙananan tsarin. A cikin yanayin daidaitawa, maimaita maimaitawa yana da mahimmanci musamman, sau da yawa ya zama nau'i na al'ada na gabatar da tsarin tsarin (misali, tsarin S. guda ɗaya a wurin da aka sace Lyudmila daga opera Ruslan da Lyudmila - sautuna.

a cikin solo na Stargazer daga The Golden Cockerel, lamba 6, sanduna 2-9 - mawaƙa

daidaitawa Multi-system S. a cikin aikin 9th. Sonata ta Scriabin, sanduna 15-19). A cikin kiɗa na S. na zamani yana wadatar da sababbin ƙididdiga (alal misali, polyharmonic modulating S. a cikin jigon haɗin haɗin gwiwa na 6st part na 24th piano na Prokofiev's sonata, sanduna 32-XNUMX).

Ka'idar S. na iya bayyana kanta a kan ma'auni daban-daban: a wasu lokuta, S. yana kusantar da daidaitattun waƙoƙin. ko harmonic. juyin juya hali, samar da micro-C. (misali, "Gypsy Song" daga Bizet's opera "Carmen" - melodic. S. an haɗa shi tare da daidaitattun waƙoƙin rakiyar - I-VII-VI-V; Presto a cikin 1st sonata don solo violin ta JS Bach, sanduna 9 - 11: I-IV, VII-III, VI-II, V; Intermezzo op. 119 No 1 a cikin h-moll ta Brahms, sanduna 1-3: I-IV, VII-III; Brahms sun juya zuwa daidaici). A wasu lokuta, ka'idar S. ta ƙara zuwa maimaita manyan gine-gine a cikin maɓalli daban-daban a nesa, suna samar da macro-S. (bisa ga ma'anar BV Asafiev - "daidaitacce conductions").

Babban abun da ke ciki S. maƙasudin shine don ƙirƙirar tasirin ci gaba, musamman a cikin ci gaba, haɗin haɗin gwiwa (a cikin Handel's g-moll passacaglia, S. yana da alaƙa da bass g – f – es – d mai saukowa na nau’in; wannan irin S. kuma ana iya samunsa a wasu ayyukan wannan nau'in).

S. a matsayin hanyar maimaituwa kananan abubuwa. raka'a, a fili, ya kasance koyaushe a cikin kiɗa. A cikin ɗaya daga cikin littafan Girkanci (Bellermann I, ga Najock D., Drei anonyme griechische Trackate über die Musik. Eine kommentierte Neuausgabe des Bellermannschen Anonymus, Göttingen, 1972) waƙa. adadi tare da babban taimako. An bayyana sauti (a fili, don dalilai na ilimi da hanyoyin) a cikin nau'i na hanyoyi guda biyu S. - h1 - cis2 - h1 cis2 - d2 - cis2 (daidai ne a cikin Anonymous III, wanda, kamar S., sauran melodic. adadi. - tashi "hanyar da yawa"). Wani lokaci, ana samun S. a cikin waƙar Gregorian, misali. a cikin abin bayarwa Populum ( sautunan V), v. 2:

Ana amfani da S. wani lokaci a cikin waƙar prof. kiɗa na tsakiyar zamanai da kuma Renaissance. A matsayin nau'i na maimaitawa na musamman, masu kula da makarantar Parisiya suna amfani da sequins (ƙarni na 12 zuwa farkon 13th); a cikin murya uku a hankali "Benedicta" S. a cikin fasaha na musayar murya yana faruwa a kan sashin sashin murya na ƙananan murya mai ɗorewa (Yu. Khominsky, 1975, shafi 147-48). Tare da yaduwar fasahar canonical ya bayyana kuma canonical. S. ("Patrem" na Bertolino na Padua, sanduna 183-91; duba Khominsky Yu., 1975, shafi na 396-397). Ka'idodin tsauraran salon polyphony na ƙarni na 15-16. (musamman a tsakanin Falasdinu) an fi karkata su ne a kan sauƙaƙan maimaitawa da S. (kuma maimaitawa a wani tsayi daban-daban a wannan zamanin shine farkon kwaikwayo); duk da haka, S. yana da yawa a Josquin Despres, J. Obrecht, N. Gombert (S. kuma ana iya samuwa a Orlando Lasso, Palestrina). A cikin ka'idar rubuce-rubucen S. sau da yawa ana ambaton su azaman hanyar tsaka-tsaki na tsari ko don nuna sautin juzu'i na monophonic (ko polyphonic) a matakai daban-daban bisa ga tsohuwar al'adar “hanyoyi”; duba, misali, “Ars cantus mensurabilis” na Franco na Cologne (ƙarni na 13; Gerbert, Scriptores…, t. 3, shafi na 14a), “De musica mensurabili positio” na J. de Garlandia (Coussemaker, Scriptores…, t. 1, shafi na 108), “De cantu mensurabili” na Anonymus III (ibid., shafi 325b, 327a), da sauransu.

S. a cikin sabon ma'ana - kamar yadda jerin waƙoƙi (musamman saukowa cikin kashi biyar) - ya zama tartsatsi tun karni na 17.

References: 1) Kuznetsov KA, Gabatarwa ga tarihin kiɗa, sashi na 1, M. - Pg., 1923; Livanova TN, Tarihin kiɗan Yammacin Turai har zuwa 1789, M.-L., 1940; Gruber RI, Tarihin al'adun kiɗa, vol. 1, sashi na 1. M.-L., 1941; nasa, Janar Tarihin Kiɗa, sashi na 1, M., 1956, 1965; Rosenshild KK, Tarihin kiɗan waje, vol. 1 – Har zuwa tsakiyar karni na 18, M., 1963; Wölf F., Lber mutu Lais, Sequenzen und Leiche, Heidelberg, 1; Schubiger A., ​​Die Sängerschule St. Gallens von 1841. bis 8. Jahrhundert, Einsiedeln-NY, 12; Ambros AW, Geschichte der Musik, Bd 1858, Breslau, 2; Naumann E., Illustrierte Musikgeschichte, Lfg. 1864, Stuttg., 1 (Fassarar Rashanci - Hayman Em., Babban tarihin kiɗan da aka kwatanta, juzu'i 1880, St. Petersburg, 1); Riemann H., Katechismus der Musikgeschichte, Tl 1897, Lpz., 2 Wagner, P., Einführung in die gregorianische Melodien, (Bd 1888), Freiburg, 2, Bd 1897, Lpz., 1928; Gastouy A., L'art grégorien, P., 1; Besseler H., Die Musik des Mittelalters und der Renaissance, Potsdam, 1895-3; Prunières H., Nouvelle histoire de la musique, pt 1921, P., 1911 Johner D., Wort und Ton im Choral, Lpz., 1931, 34; Steinen W. vd, Notker der Dichter und seine geistige Welt, Bd 1-1934, Bern, 1; Rarrish C, Ohl J., Ƙwararrun waƙa kafin 1937, NY, 1940, L., 1953 Tarihin Kiɗa na Oxford, v. 1, L. - Oxf., 2, guda, NY, 1948; Chominski JM, Historia harmonii i kontrapunktu, t. 1 Kr., 1750 (Fassarar Yukren - Khominsky Y., History of Harmony and Counterpoint, vol. 1951, K., 1952); Nestler G., Geschichte der Musik, Gütersloh, 1975; Gagnepain V., La musigue français du moyen shekaru et de la Renaissance, P., 2: Kohoutek C., Hudebni stylyz hlediska skladatele, Praha, 1932. 1973) Tyulin Yu. H., Koyarwa game da jituwa, M. - L. , 1, Moscow, 1958; Sposobin IV, Laccoci a kan tafarkin jituwa, M., 1; Berkov VO, Siffar hanyar jituwa, M., 1975. Duba kuma lit. karkashin labarin Harmony.

Yu. N. Kholopov