Solmization |

Solmization (daga sunan sautin kida gishiri и E), solfeggio, sulhu

ital. solmisazione, solfeggio, solfeggiare, Faransanci. solmisation, solfege, solfier, ba. Solmisation, solfeggioren, solmisieren, Turanci. solmization, sol-fa

1) A cikin kunkuntar hankali - Tsakanin Zamani. Yammacin Turai al'adar rera waƙoƙi tare da syllables ut, re, mi, fa, sol, la, wanda Guido d'Arezzo ya gabatar don nuna matakai na hexachord; a cikin ma'ana mai faɗi - kowace hanya ta rera waƙoƙin waƙa tare da sunaye. matakai k.-l. sikelin (dangi S.) ko tare da suna. sautunan da suka dace da cikakken sautinsu (cikakkiyar sauti); koyon waƙa daga kiɗa. Tsarukan maɗaukakin maɗaukaki na zamanin da— Sinanci (pentatonic), Indiya (mataki bakwai), Girkanci (tetrachordic), da Guidonian (hexachordic)—sun kasance dangi. Guido ya yi amfani da waƙar St. Yohanna:

Ya yi amfani da kalmomin farko na kowane “layin” na rubutun a matsayin suna. matakai na hexachord. Ma'anar wannan hanyar ita ce haɓaka ƙungiyoyi masu ƙarfi tsakanin sunaye da wakilcin sauraron matakan matakan hexachord. Daga baya, an fara amfani da syllables na Guido a ƙasashe da dama, ciki har da USSR, don nuna cikakkiyar tsayin sauti; a cikin tsarin Guido kansa, sunan syllabic. ba a haɗa shi da ma'anar guda ɗaya ba. tsawo; misali, harafin u yayi aiki azaman suna. Ina matakai da yawa. hexachords: na halitta (c), taushi (f), wuya (g). Dangane da gaskiyar cewa waƙoƙin waƙa ba su cika dacewa da iyakar hexachord ɗaya ba, tare da S. sau da yawa ya zama dole a canza zuwa wani hexachord (maye gurbi). Wannan ya faru ne saboda canjin sunaye. sautuna (misali, sautin a yana da sunan la a cikin hexachord na halitta, da kuma mi a cikin hexachord mai laushi). Da farko, ba a la'akari da maye gurbi a matsayin rashin jin daɗi, tun da syllables mi da fa ko da yaushe suna nuna wurin semitone kuma suna tabbatar da innation ɗin daidai (don haka ma'anar fuka-fuki na tsakiyar zamanai na ka'idar kiɗa: "Mi et fa sunt tota musica" - " Mi da fa duk kiɗa ne”). Gabatar da syllable si don zayyana mataki na bakwai na ma'auni (X. Valrant, Antwerp, kusan 1574) ya sanya maye gurbi a cikin maɓalli ɗaya mafi girma. An yi amfani da “gamma ta hanyar si” mai matakai bakwai “farawa daga sautin kowane nau’in harafi” (E. Lullier, Paris, 1696), wato, a ma’ana. Irin wannan solmization ya zama ake kira. “Mai jujjuyawa”, sabanin tsohon “mutating”.

Haɓaka rawar instr. kiɗa ya jagoranci a Faransa don yin amfani da syllables ut, re, mi, fa, sol, la, si don nuna sautunan c, d, e, f, g, a, h, kuma ta haka zuwa fitowar sabon, cikakkiyar hanyar C., tory ya karɓi sunan. na halitta solfegging ("solfier au naturel"), tun da ba a la'akari da haɗari a ciki (Monteclair, Paris, 1709). A cikin dabi'ar S., hadewar ma'anar mi-fa na iya nufin ba ƙaramin daƙiƙa kawai ba, amma har da babba ko ƙara (ef, e-fis, es-f, es-fis), don haka hanyar Monteclair ta buƙaci nazarin darajar sautin tazara, ba ban da, idan akwai matsaloli, yin amfani da "transposing" S. Natural S. ya zama tartsatsi bayan bayyanar babban aikin babban birnin kasar "Solfeggia don koyarwa a Conservatory of Music a Paris" , wanda L. Cherubini, FJ Gossec, EN Megul da sauransu suka haɗa (1802). Anan, S. cikakke ne kawai aka yi amfani da shi tare da wajibi. ciki rakiyar, iotated a cikin nau'i na bass na dijital. Ƙwararrun basirar rera waƙa daga bayanin kula an yi amfani da su da yawa. darussan horo na nau'i biyu: rhythmic. bambance-bambancen ma'auni da jeri daga tazara, na farko a cikin C-dur, sannan a cikin wasu maɓalli. An sami ingantacciyar magana ta hanyar rera waƙa tare da rakiya.

"Solfeggia" ya taimaka wajen kewaya tsarin maɓalli; sun yi daidai da babban-kananan, ma'ajin aikin tunani na modal wanda ya yi kama da wancan lokacin. Tuni JJ Rousseau ya soki tsarin tsarin dabi'ar halitta saboda ya yi watsi da sunayen matakan modal, bai taimaka wajen fahimtar darajar sautin tazarar ba, da kuma ci gaban ji. "Solfeggia" bai kawar da wadannan kasawa ba. Bugu da ƙari, an yi nufin su don ƙwararrun masu sana'a na gaba kuma an ba su don zaman horo mai cin lokaci sosai. Domin darussan waka na makaranta da horar da mawakan da suka shiga cikin mawakan. mugs, ana buƙatar hanya mai sauƙi. An cika waɗannan buƙatun ta hanyar Galen-Paris-Cheve, wanda aka ƙirƙira bisa tushen tunanin Rousseau. Malamin makaranta na ilimin lissafi da mawaƙa P. Galen a farkon matakin ilimi ya yi amfani da ingantaccen bayanin dijital na Rousseau, wanda aka tsara manyan ma'auni ta lambobi 1, 2, 3, 4, 5, 6, 7, ƙananan ma'auni. ta lambobi 6, 7, 1, 2, 3, 4, 5, haɓaka da raguwar matakai - tare da ketare lambobi (misali bi da bi. и ), tonality - tare da alamar daidai a farkon rikodin (misali, "Ton Fa" yana nufin sautin F-dur). Bayanan kula da lambobi ke nunawa dole ne a rera su tare da kalmomin ut, re, mi, fa, sol, la, si. Galen ya gabatar da gyare-gyaren sillable don nuna sauye-sauye. matakai (yana ƙarewa a cikin wasali kuma a yanayin karuwa da a cikin wasali eu a yanayin raguwa). Duk da haka, ya yi amfani da ƙididdiga na dijital kawai a matsayin shiri don nazarin ƙididdiga mai layi biyar da aka karɓa gabaɗaya. Dalibinsa E. Pari ya wadatar da tsarin rhythmic. syllables ("la langue des durées" - "harshen durations"). E. Sheve, marubucin hanyoyin da dama. littattafai da litattafai, tsawon shekaru 20 ƙungiyar mawaƙa ta jagoranci da'ira. rera waka, inganta tsarin da kuma samun karbuwa. A cikin 1883, an ba da shawarar tsarin Galen-Paris-Cheve bisa hukuma don farawa. makarantu, a 1905 da kuma cf. makarantu a Faransa. A cikin karni na 20 a cikin ɗakunan ajiya na Faransa, ana amfani da S. na halitta; a gamammiyar ilimi. Makarantu suna amfani da rubutu na yau da kullun, amma galibi ana koya musu waƙa ta kunne. A wajajen shekara ta 1540, masanin ra'ayi na Italiya G. Doni ya maye gurbin ut da syllable do a karon farko don saukaka waƙa. A Ingila a rabi na daya. Karni na 1 S. Glover da J. Curwen sun kirkiro abin da ake kira. "Hanyar Tonic Sol-fa" na koyar da kiɗa. Magoya bayan wannan hanyar suna amfani da dangi S. tare da syllables do, re, mi, fa, so, la, ti (doh, ray, me, fah, sol, lah, te) da haruffan haruffa tare da farkon haruffan waɗannan kalmomin: d , r, m, f, s, 19, t. Ana bayyana haɓaka matakai tare da wasali i; raguwa tare da taimakon wasali o a ƙarshen maɗaukaki; sunayen da aka canza a cikin sanarwa. an rubuta shi cikakke. Don ƙayyade tonality, ana kiyaye hadisai. Alamar haruffa (misali, alamar “Key G” tana tsara aiki a cikin G-dur ko e-moll). Da farko, an ƙware halayen halayen halayen a cikin tsari wanda ya dace da ayyukan modal na matakan: mataki na 1 - matakai I, V, III; 1nd - matakai II da VII; 2rd - matakai IV da VI manyan; bayan haka, ana ba da babban ma'auni gaba ɗaya, tazara, gyare-gyare masu sauƙi, nau'in ƙananan ƙananan, canji. Ch. Ayyukan Curwen "Tsarin darussa da motsa jiki a cikin hanyar Tonic Sol-fa na koyar da kiɗa" (3) tsari ne. makarantar mawaƙa. waka. A Jamus, A. Hundegger ya daidaita hanyar Tonic Sol-fa zuwa fasalinsa. harshe, ba shi suna. "Tonic Do" (1858; matakai na halitta: yi, re, mi, fa, so, la, ti, tashe - ƙarewa cikin i, saukarwa - ciki da). Hanyar ta yadu bayan yakin duniya na daya (1897-1) (F. Jode a Jamus da sauransu). Ci gaba da ci gaba bayan yakin duniya na biyu (1914-18) an gudanar da shi a cikin GDR ta A. Stir kuma a cikin Switzerland ta R. Schoch. A Jamus, "Union of Tonic Do" yana aiki.

Baya ga waɗannan mahimman tsarin S., a cikin ƙarni na 16-19. a cikin Netherlands, Belgium, Jamus, Faransa, Italiya, an gabatar da wasu da dama. Daga cikin su - jinsin suna da alaƙa. S. tare da sunayen lambobi: a Jamus - eins, zwei, drei, vier, fünf, sechs, sieb'n (!) (K. Horstig, 1800; B. Natorp, 1813), a Faransa - un, deux, trois , quatr' (!), cinq, shida, sept (G. Boquillon, 1823) ba tare da la'akari da canje-canje ba. matakai. Daga cikin cikakken tsarin, S. yana riƙe ma'anar Clavisieren ko Abecedieren, wato, waƙa tare da sunayen haruffa da ake amfani da su a cikin ƙasashen Jamus. harshe daga karni na 16. Tsarin K. Eitz ("Tonwortmethode", 1891) ya bambanta ta hanyar melodiousness da dabaru, yana nuna duka chromaticity, diatonicity, da anharmonism na Turai. tsarin sauti. A kan wasu ka'idodin Eitz da hanyar Tonic Do, an ƙirƙiri sabon dangi S. "YALE" na R. Münnich (1930), wanda a cikin 1959 aka ba da shawarar a hukumance a cikin GDR don amfani da ilimi gabaɗaya. makarantu. A Hungary, Z. Kodai ya daidaita tsarin "Tonic Sol-fa" - "Tonic Do" zuwa pentatonic. Yanayin Hungarian. nar. waƙoƙi. Shi da dalibansa E. Adam da D. Kerenyi a cikin 1943-44 sun buga littafin wakokin Makaranta, suna rera litattafan karatu don ilimin gaba daya. makarantu, tsari na jagora ga malamai ta hanyar amfani da dangi C. (Hungary syllables: du, rй, mi, fb, szу, lb, ti; an bayyana karuwar matakai ta hanyar ƙarewa "i", raguwa - ta hanyar ƙarewa "a". ") Ci gaban tsarin yana ci gaba da E Sönyi, Y. Gat, L. Agochi, K. Forrai da sauransu. ilimi bisa tsarin Kodaly a cikin Jamhuriyar Jama'ar Hungarian an gabatar da shi a duk matakan Nar. ilimi, farawa da kindergartens kuma ya ƙare da Higher Music. makaranta su. F. Jerin. Yanzu, a ƙasashe da yawa, ana shirya kiɗa. ilimi bisa ka'idodin Kodály, bisa nat. tatsuniyoyi, tare da amfani da dangi S. Cibiyoyin mai suna. Kodai a Amurka (Boston, 1969), Japan (Tokyo, 1970), Kanada (Ottawa, 1976), Australia (1977), Intern. Kodai Society (Budapest, 1975).

Gvidonova S. ya shiga cikin Rasha ta hanyar Poland da Lithuania tare da rubutun layi biyar (littafin waƙa "Waƙoƙin yabon Boskikh", wanda Jan Zaremba, Brest, 1558 ya tattara; J. Lyauksminas, "Ars et praxis musica", Vilnius, 1667 ). Nikolai Diletsky's "Nahawu na Musician Singing" (Smolensk, 1677; Moscow, 1679 da kuma 1681, ed. 1910, 1970, 1979) ya ƙunshi da'ira na hudu da biyar tare da motsi na wannan karin waƙa. juyin juya hali a cikin dukkan manya da kanana maɓalli. A cikin con. Karni na 18 cikakken "solfeggio na halitta" ya zama sananne a Rasha godiya ga Italiyanci. mawaƙa da mawaƙa-malamai da suka yi aiki Ch. arr. a St. Petersburg (A. Sapienza, J. da V. Manfredini, da dai sauransu), kuma ya fara amfani da shi a cikin Pridv. Chapel Chapel, a cikin ɗakin sujada na Count Sheremetev da sauran ƙungiyar mawaƙa na serf, a cikin daraja. cibiyoyi (misali, a cikin Cibiyar Smolny), a cikin kiɗan masu zaman kansu. makarantun da suka taso daga shekarun 1770. Amma coci. an buga littattafan waƙa a ƙarni na 19. a cikin "cepout key" (duba Maɓalli). Tun daga 1860s cikakken S. ana noma shi azaman jigon dole a St. Petersburg. da kuma Mosk. conservatories, amma yana nufin. S., hade da tsarin dijital Galen - Paris - Sheve, a St. Petersburg. Kiɗa kyauta. makaranta da azuzuwan mawaka masu sauki. singing Moscow. sassan RMS. Aikace-aikacen yana nufin. Music ya goyi bayan MA Balakirev, G. Ya. Lomakin, VS Serova, VF Odoevsky, NG Rubinshtein, GA Larosh, KK Albrecht, da sauransu. An buga litattafai na hanya duka a cikin bayanin layi-biyar da cikakken C., da kuma cikin bayanan dijital da alaƙa. C. Tun daga 1905, P. Mironositsky ya inganta hanyar Tonic Sol-fa, wanda ya dace da Rashanci. harshe.

A cikin USSR, na dogon lokaci sun ci gaba da yin amfani da cikakken S. na gargajiya na musamman, duk da haka, a cikin Sov. lokaci, manufar S. ta azuzuwan, music ya canza sosai. abu, hanyoyin koyarwa. Manufar S. ba wai kawai sanin abubuwan kida ba ne, har ma da ƙwararrun dokokin kiɗan. jawabai akan kayan Nar. kuma Prof. kerawa. A 1964 H. Kalyuste (Est. SSR) ya haɓaka tsarin kiɗa. ilimi tare da amfani da dangantaka. S., bisa tsarin Kodai. Dangane da gaskiyar cewa kalmomin suna yin, re, mi, fa, gishiri, la, si hidima a cikin USSR don nuna cikakkiyar tsayin sautuna, Caljuste ya ba da sabon jerin sunayen syllabic. matakai na babban yanayin: JO, LE, MI, NA, SO, RA, DI tare da nadi ƙaramin tonic ta hanyar RA, haɓaka matakan ta hanyar ƙarshen haruffa a cikin wasali i, raguwa ta hanyar ƙarewa cikin wasali i. A duk makarantun est. a cikin darussan kiɗa ana amfani da su. S. (bisa ga littafan H. Kaljuste da R. Päts). In Latv. SSR ta yi irin wannan aikin (marubuta litattafan karatu da jagora akan C sune A. Eidins, E. Silins, A. Krumins). Abubuwan da suka shafi aikace-aikacen. S. tare da syllables Yo, LE, VI, NA, 30, RA, TI ana gudanar da su a cikin RSFSR, Belarus, Ukraine, Armenia, Jojiya, Lithuania, da Moldova. Manufar waɗannan gwaje-gwajen shine don haɓaka hanyoyin da suka fi dacewa don haɓaka muses. ji, mafi kyawun ci gaban al'adun gargajiya na kowace ƙasa, haɓaka matakin kiɗan. karatun dalibai.

2) A karkashin kalmar "S." wani lokacin suna fahimtar karatun bayanin kula ba tare da fahimta ba, sabanin kalmar "solfeggio" - waƙoƙin sauti tare da sunayen da suka dace (a karo na farko na K. Albrecht a cikin littafin "Course of Solfeggio", 1880). Irin wannan fassarar sabani ce, ba ta dace da kowane tarihi ba. ma'ana, ko zamani intl. amfani da kalmar "C".

References: Albrecht KK, Jagoran waƙa bisa ga hanyar Sheve dijital, M., 1868; Miropolsky S., A kan ilimin kiɗa na mutane a Rasha da Yammacin Turai, St. Petersburg, 1881, 1910; Diletsky Nikolai, Mawaƙin Grammar, St. Petersburg, 1910; Livanova TN, Tarihin kiɗan Yammacin Turai har zuwa 1789, M.-L., 1940; Apraksina O., Ilimin kiɗa a makarantar sakandare ta Rasha, M.-L., 1948; Odoevsky VP, Free aji na sauki choral rera waƙa na RMS a Moscow, Den, 1864, No 46, guda, a cikin littafinsa. Gadon kiɗa da adabi, M., 1956; nasa, ABC music, (1861), ibid.; nasa, Wasika zuwa VS Serova mai kwanan wata 11 I 1864, ibid.; Lokshin DL, Choral singing a cikin Rasha pre-juyi da kuma Soviet makaranta, M., 1957; Weiss R., Ƙarfafawa da haɗin kai, a cikin littafin: Tambayoyi na hanyar ilmantar da ji, L., 1967; Maillart R., Les tons, ou Discours bisa ga yanayin musique…, Tournai, 1610; Solfèges pour servir a l'tude dans le Conservatoire de Musique a Pans, par les Citoyens Agus, Catel, Cherubini, Gossec, Langlé, Martini, Méhul et Rey, R., An X (1802); Chevé E., Paris N., Méthode élémentaire de musique vocale, R., 1844; Glover SA, Littafin tsarin Norwich sol-fa, 1845; Curwen J., Ma'auni na darussa da motsa jiki m hanyar tonic sol-fa na koyar da kiɗa, L., 1858; Hundoegger A., ​​Leitfaden der Tonika Do-Lehre, Hannover, 1897; Lange G., Zur Geschichte der Solmisation, “SIMG”, Bd 1, B., 1899-1900; Kodaly Z., Iskolai nekgyjtemny, köt 1-2, Bdpst, 1943; nasa, Visszatekintйs, köt 1-2, Bdpst, 1964; Adam J., Mudszeres nektanitbs, Bdpst, 1944; Szцnyi E., Azenei нrвs-olvasбs mуdszertana, kцt. 1-3, Bdpst, 1954; S'ndor F., Magyarorsz'gon na Zenei nevel, Bdpst, 1964; Stier A., ​​Methodik der Musikerziehung. Nach den Grundsätzen der Tonika Do-Lehre, Lpz., 1958; Handbuch der Musikerziehung, Tl 1-3, Lpz., 1968-69.

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