Sonata form |

sonata form – mafi ci gaba wadanda ba cyclic. ciki kiɗa. Yawanci ga sassan farko na sonata-symphony. hawan keke (saboda haka ana yawan amfani da sunan sonata allegro). Yawanci ya ƙunshi bayyanuwa, haɓakawa, ramako da kuma koda. Asalin da ci gaban S. t. an haɗa su tare da amincewa da ka'idodin jituwa-ayyukan. tunani a matsayin manyan dalilai na siffatawa. A hankali tarihi. Samuwar S. f. jagoranci a cikin uku na ƙarshe na karni na 18. don gamawa. crystallization na ta m qagaggun. ka'idoji a cikin ayyukan gargajiya na Viennese - J. Haydn, WA Mozart da L. Beethoven. Abubuwan da suka dace na S. f., waɗanda suka haɓaka a wannan zamanin, an shirya su a cikin kiɗan dec. styles, kuma a cikin post-Bethoven zamani samu ƙarin bambancin ci gaba. Dukkanin tarihin S.t. ana iya la'akari da shi azaman canji mai zuwa na tarihi da salon sa guda uku. zažužžukan. Sunayensu na sharadi: tsoho, na gargajiya da bayan Beethoven S. f. balagagge classic S. f. Yana da alaƙa da haɗin kai na asali guda uku. A tarihi, farkon su shine haɓakawa zuwa tsarin ayyukan tonal wanda yake da girma dangane da lokaci. dangantaka T - D; D - T. Dangane da wannan, wani nau'i na "rhyme" na ƙarewa ya taso, tun lokacin da kayan da aka gabatar a karo na farko a cikin maɓalli mai mahimmanci ko layi daya suna sauti na biyu a cikin babba (D - T; R - T). Ka'ida ta biyu ita ce ci gaba da kiɗa. ci gaba ("tsari mai ƙarfi," a cewar Yu. N. Tyulin; ko da yake ya dangana wannan ma'anar ne kawai ga bayyani na S. f., ana iya fadada shi zuwa ga dukan S. f.); wannan yana nufin cewa kowane m lokaci na muses. ci gaba yana haifar da abin da ya gabata, kamar yadda tasirin ya biyo baya daga dalilin. Ka'ida ta uku ita ce kwatancin aƙalla jigo biyu na alama. Spheres, rabon da zai iya bambanta daga ɗan bambanci zuwa gaba. bambanci. Bayyanar nau'ikan jigogi na biyu dole ne a haɗa shi tare da gabatar da sabon tonality kuma ana aiwatar da shi tare da taimakon canji a hankali. Don haka, ka’ida ta uku tana da alaka ta kut-da-kut da wadancan guda biyu da suka gabata.

Tsohon S. f. A cikin karni na 17 da kashi biyu bisa uku na farkon karni na 18. a hankali crystallization na S. ya faru f. Abun ta. An shirya ƙa'idodin a fugue da tsohuwar sigar kashi biyu. Daga fugue mai tushe irin waɗannan fasalulluka na fugue kamar canzawa zuwa maɓallin mahimmanci a cikin ɓangaren buɗewa, bayyanar sauran maɓallan a tsakiya, da kuma dawo da babban maɓallin zuwa ƙarshe. sassan tsari. Halin ci gaba na interludes na fugue ya shirya ci gaban S. f. Daga tsohuwar sigar kashi biyu, tsohuwar S. f. ta gaji abun da ta yi. kashi biyu tare da tsari na tonal T - (P) D, (P) D - T, da kuma ci gaba da ci gaba da ke fitowa daga sha'awar farko - jigo. kwaya. Halaye don tsohuwar nau'i na nau'i biyu na cadence - akan jituwa mai rinjaye (a cikin ƙananan - a kan rinjaye na layi daya) a ƙarshen ɓangaren farko kuma a kan tonic a ƙarshen na biyu - yayi aiki azaman abun da ke ciki. goyon bayan tsohon S. f.

Bambanci mai mahimmanci tsakanin tsohuwar S. f. daga tsohon kashi biyu shine lokacin da tonality na rinjaye a farkon ɓangaren S. f. wani sabon jigo ya bayyana. abu maimakon janar siffofin motsi - Dec. fasinja ya juya. Dukansu a lokacin crystallization na jigon da kuma a cikin rashi, kashi na farko ya dauki siffar a jere na sassa biyu. Na farkon su shine ch. ƙungiya, saita jigo na farko. abu a ch. tonality, na biyu - gefe da na karshe sassa, kafa wani sabon jigo. abu a cikin babban matsayi na biyu ko (a cikin ƙananan ayyuka) maɓallin layi ɗaya.

Kashi na biyu na tsohon S. f. halitta a cikin nau'i biyu. A cikin farko duk jigogi. An sake maimaita kayan nunin, amma tare da juzu'i na juzu'i - an gabatar da babban sashi a cikin maɓalli mai mahimmanci, da na biyu da na ƙarshe - a cikin babban maɓalli. A cikin bambance-bambancen na biyu, a farkon sashe na biyu, ci gaba ya taso (tare da haɓakar tonal mai yawa ko žasa), wanda aka yi amfani da jigo. kayan fallasa. Ci gaban ya juya ya zama sakewa, wanda ya fara kai tsaye tare da ɓangaren gefe, wanda aka saita a cikin babban maɓalli.

Tsohon S. f. samu a yawancin ayyukan JS Bach da sauran mawaƙa na zamaninsa. Ana amfani dashi ko'ina a cikin sonatas D. Scarlatti don clavier.

A cikin mafi haɓaka sonatas ta Scarlatti, jigogi na manyan, na biyu da na ƙarshe suna gudana daga juna, sassan da ke cikin nunin an tsara su a fili. Wasu daga cikin sonatas na Scarlatti suna kan iyaka da ke raba tsoffin samfuran daga waɗanda mawaƙan Viennese classic suka ƙirƙira. makarantu. Babban bambanci tsakanin na ƙarshe da tsohuwar S. f. ya ta'allaka ne a cikin rarrabuwar ma'anar jigogi daban-daban a sarari. Babban tasiri a kan fitowar wannan classic. thematicism ya kasance ta hanyar opera aria tare da nau'ikansa na yau da kullun.

Na gargajiya S. f. In S. f. Litattafan gargajiya na Viennese (na gargajiya) suna da ɓangarori guda uku a sarari - bayyanuwa, haɓakawa da ramuwa; na karshen yana kusa da koda. Bayanin ya ƙunshi sassa huɗu waɗanda aka haɗe su bibiyu. Wannan shi ne babban da haɗin kai, gefe da na ƙarshe.

Babban sashi shine gabatar da jigon farko a cikin babban maɓalli, wanda ke haifar da motsin farko, wanda ke nufin. digiri na ƙayyade yanayi da jagorancin ci gaba; nau'ikan nau'ikan su ne lokaci ko jimla ta farko. Bangaren haɗin kai yanki ne na tsaka-tsaki wanda ke daidaitawa zuwa rinjaye, layi daya ko wani maɓalli wanda ke maye gurbinsu. Bugu da ƙari, a cikin ɓangaren haɗawa, ana aiwatar da shirye-shiryen innation a hankali na jigo na biyu. A cikin ɓangaren haɗawa, jigo mai zaman kansa, amma mara ƙarewa na iya tasowa; sashe yawanci yana ƙarewa da jagora zuwa ɓangaren gefe. Tun da ɓangaren gefen ya haɗu da ayyuka na ci gaba tare da gabatar da sabon batu, shi ne, a matsayin mai mulkin, rashin kwanciyar hankali dangane da abun da ke ciki da kuma hotuna. Zuwa ƙarshe, wani juyi yana faruwa a cikin ci gabansa, motsi na alama, sau da yawa yana haɗuwa da ci gaba a cikin kalmomin babban ko haɗin haɗin gwiwa. Bangaren gefe azaman ɓangaren baje kolin na iya haɗawa ba jigo ɗaya ba, amma biyu ko fiye. Tsarin su shine preim. lokaci (sau da yawa tsawo). Tun lokacin da aka juya zuwa sabon maɓalli da sabon jigo. Sphere yana haifar da sanannen rashin daidaituwa, DOS. aikin kashi na ƙarshe shine ya jagoranci ci gaba da alaƙa. ma'auni, rage shi kuma kammala tare da tsayawa na ɗan lokaci. Kammala. wani bangare na iya haɗawa da gabatar da sabon jigo, amma kuma yana iya dogara ne akan juyi na ƙarshe na gama gari. An rubuta shi a cikin maɓalli na ɓangaren gefe, wanda haka yake gyarawa. Matsakaicin ma'auni na babban. abubuwa na nunin - manyan da bangarorin gefe na iya zama daban-daban, amma fasaha mai ban sha'awa. yana haifar da wani nau'i na bambanci tsakanin waɗannan "maki" biyu masu fallasa. Mafi na kowa rabo na aiki tasiri (babban jam'iyyar) da kuma lyric. maida hankali (part party). Haɗin waɗannan sassa na alama ya zama gama gari kuma ya sami cikakkiyar furcinsa a ƙarni na 19, alal misali. a cikin symph. aikin PI Tchaikovsky. Bayyana a cikin classic S. f. asali an maimaita su gaba daya kuma ba tare da canje-canje ba, wanda alamun suka nuna ||::||. Beethoven kawai, wanda ya fara da Appassionata sonata (op. 53, 1804), a wasu lokuta ya ƙi maimaita bayyani don ci gaba da ci gaba da wasan kwaikwayo. gaba daya tashin hankali.

Bayanin yana biye da babban sashe na biyu na S. f. - ci gaba. Yana haɓaka jigon rayayye. abu da aka gabatar a cikin nunin - kowane batutuwansa, kowane jigo. juyawa. Ci gaba na iya haɗawa da wani sabon batu, wanda ake kira wani lamari a cikin ci gaba. A wasu lokuta (ch. arr. a cikin ƙarshe na sonata cycles), irin wannan al'amari yana da girma sosai kuma yana iya maye gurbin ci gaba. Siffar gaba ɗaya a cikin waɗannan lokuta ana kiranta sonata tare da wani abu maimakon ci gaba. Muhimmiyar rawa a cikin ci gaba tana taka rawa ta hanyar haɓaka tonal, wanda aka karkata daga babban maɓalli. Matsakaicin ci gaban ci gaba da tsayinsa na iya bambanta sosai. Idan ci gaban Haydn da Mozart yawanci bai wuce bayyani a tsayi ba, to, Beethoven a farkon ɓangaren wasan kwaikwayo na Heroic Symphony (1803) ya haifar da ci gaba da ya fi girma fiye da nunin, wanda aka gudanar da wasan kwaikwayo mai tsauri. ci gaban da ke haifar da cibiya mai ƙarfi. koli. Ci gaban sonata ya ƙunshi sassa uku na tsayin da ba daidai ba - ɗan gajeren ginin gabatarwa, osn. sashe (ci gaba na ainihi) da predicate - gini, shirya dawo da babban maɓalli a cikin sakewa. Ɗaya daga cikin manyan fasahohin da ke cikin predicate - canja wurin yanayin yanayi mai tsanani, yawanci ana halicce shi ta hanyar jituwa, musamman ma mahimmancin sashin jiki. Godiya ga wannan, ana yin sauye-sauye daga ci gaba zuwa ramawa ba tare da tsayawa ba a cikin ƙaddamar da tsari.

Reprise shine babban sashe na uku na S. f. - yana rage bambance-bambancen tonal na nuni ga haɗin kai (a wannan lokacin an gabatar da gefe da sassan ƙarshe a cikin babban maɓalli ko gabatowa). Tunda sashin haɗin dole ne ya kai ga sabon maɓalli, yawanci yana ɗaukar wani nau'in sarrafawa.

Gabaɗaya, duk manyan sassan uku na S. t. - bayyani, haɓakawa da ramuwa - samar da nau'in sashi 3 na nau'in A1BA2.

Baya ga sassan uku da aka kwatanta, galibi ana samun gabatarwa da coda. Za a iya gina gabatarwar a kan jigon kansa, shirya kiɗa na babban ɓangaren, ko dai kai tsaye ko kuma akasin haka. A cikin con. 18- bara. Ƙarni na 19 dalla-dalla gabatarwar ta zama siffa ta al'ada ta wuce gona da iri (don opera, bala'i ko masu zaman kansu). Girman gabatarwar sun bambanta - daga Gine-ginen da aka tura da yawa zuwa taƙaitaccen kwafi, ma'anar wanda shine kira ga hankali. Lambar ta ci gaba da aiwatar da hanawa, wanda ya fara a ƙarshe. reprise sassa. Fara tare da Beethoven, sau da yawa yakan ci gaba sosai, wanda ya ƙunshi sashin haɓakawa da ainihin coda. A cikin shari'o'in sashen (misali, a ɓangaren farko na Beethoven's Appassionata) lambar tana da girma sosai har S. f. ya zama ba 3-, amma 4-bangare.

S. f. ci gaba a matsayin nau'i na kashi na farko na sake zagayowar sonata, kuma wani lokacin ɓangaren ƙarshe na sake zagayowar, wanda saurin lokaci (alegro) ke da alaƙa. Hakanan ana amfani da shi a cikin opera da yawa da kuma wuce gona da iri zuwa wasan kwaikwayo. wasa (Egmont da Beethoven's Coriolanus).

Ana taka rawa ta musamman ta S. f. wanda bai cika ba, wanda ya ƙunshi sassa biyu - bayyanuwa da ramuwa. Irin wannan sonata ba tare da haɓakawa cikin sauri ba ana amfani da shi a cikin opera overtures (misali, a cikin overture zuwa Mozart's Auren Figaro); amma babban filin aikace-aikacensa shine jinkirin (yawanci kashi na biyu) na zagayowar sonata, wanda, duk da haka, ana iya rubuta shi cikin cikakken S. f. (tare da ci gaba). Musamman sau da yawa S. f. a cikin nau'ikan biyu, Mozart ya yi amfani da shi don sassaukan jinkirin sonatas da abubuwan jin daɗi.

Hakanan akwai bambance-bambancen S. f. da madubi reprise, wanda duka biyu main. sassan baje kolin suna biye da tsarin baya - na farko bangaren gefe, sannan babban sashi (Mozart, Sonata don piano a D-dur, K.-V. 311, sashi na 1).

Post-Beethovenskaya S.f. A cikin karni na 19 S. f. ya samo asali sosai. Dangane da fasali na salon, nau'i, kallon duniya na mawaki, yawancin nau'i daban-daban sun tashi. abun da ke ciki zažužžukan. Ka'idojin gina S. f. sha halittu. canje-canje. Adadin tonal sun zama mafi kyauta. Ana kwatanta tonalities mai nisa a cikin baje kolin, wani lokacin babu cikakkiyar haɗin kai a cikin ramawa, watakila ma ƙara yawan bambance-bambancen tonal tsakanin ɓangarorin biyu, wanda aka daidaita shi kawai a ƙarshen ramuwar gayya kuma a cikin koda (AP Borodin). , Bogatyr Symphony, part 1). Ci gaba da bayyanar da nau'i ko dai ya raunana kadan (F. Schubert, E. Grieg) ko kuma, akasin haka, yana ƙaruwa, tare da ƙarfafa rawar da ci gaban ci gaba mai tsanani, shiga cikin dukkan sassan nau'i. Sabanin siffa osn. wanda a wasu lokuta yana ƙaruwa sosai, wanda ke haifar da adawar lokaci da nau'ikan. In S. f. abubuwa na shirye-shirye, wasan kwaikwayo na wasan kwaikwayo suna ratsawa, suna haifar da karuwa a cikin 'yancin kai na alama na sassan sassansa, suna raba su zuwa wasu gine-ginen da aka rufe (R. Schumann, F. Liszt). Dokta yanayin - shigar da waƙar jama'a da raye-rayen jama'a a cikin jigo - an bayyana musamman a cikin aikin mawaƙa na Rasha - MI Glinka, NA Rimsky-Korsakov. Sakamakon tasirin juna na rashin software da instr software. kiɗa, tasirin opera art-va akwai rarrabuwa na al'ada guda ɗaya. S. f. cikin ban mamaki, almara, lyrical da sha'awar nau'i.

S. f. a cikin karni na 19 da aka rabu da siffofin cyclic - da yawa an halicce su da kansu. kayayyakin amfani da abun da ke ciki. ka'idoji.

A cikin karni na 20 a wasu salon S. f. rasa ma'anarsa. Don haka, a cikin kiɗan atonal, saboda bacewar dangantakar tonal, ya zama ba zai yiwu a aiwatar da mahimman ka'idodinsa ba. A cikin wasu nau'o'in, ana kiyaye shi a cikin sharuddan gabaɗaya, amma an haɗa shi tare da wasu ka'idoji na tsarawa.

A cikin aikin manyan mawaƙa na karni na 20. akwai adadin keɓaɓɓun bambance-bambancen S. t. Don haka, wasan kwaikwayo na Mahler suna da girma ta kowane bangare, ciki har da na farko, wanda aka rubuta a cikin S. f. Ayyukan babbar ƙungiya wani lokaci ana yin su ba ta jigo ɗaya ba, amma ta cikakkiyar jigo. hadaddun; Ana iya maimaita baje-kolin daban-daban (wasan kwaikwayo na uku). A cikin ci gaba, yawancin masu zaman kansu sukan tashi. aukuwa. An bambanta wasan kwaikwayo na Honegger ta hanyar shigar da ci gaba zuwa duk sassan S. f. A cikin motsi na 3st na 1rd da kuma na ƙarshe na taruka na 3, gabaɗayan S. f. ya koma ci gaba da tura ayyukan ci gaba, wanda sakamakon hakan ya zama wani yanki na ci gaba na musamman da aka tsara. Za S. f. Prokofiev shine hali na kishiyar yanayin - zuwa ga tsabta da jituwa. A cikin S.f. muhimmiyar rawa tana taka rawa ta bayyana iyakoki tsakanin jigogi. sassan. A cikin baje kolin Shostakovich S. f. yawanci ana samun ci gaba da ci gaba na manyan jam'iyyu da na gefe, bambancin alama tsakanin to-rymi b.ch. santsi. Daure kuma kusa. jam'iyyu suna zaman kansu. yawancin sassan suna ɓacewa. Babban rikici ya taso a cikin ci gaban, ci gaban wanda ya haifar da shela mai karfi na babban jigon babbar jam'iyyar. Bangaren gefe a cikin sautin raddi, bayan raguwar tashin hankali gabaɗaya, kamar a cikin yanayin “bankwana” kuma ya haɗu tare da coda cikin babban gini guda ɗaya.

References: Catuar GL, Siffar Kiɗa, Sashe na 2, M., 1936, p. 26-48; Sposobin IV, Siffar Kiɗa, M.-L., 1947, 1972, p. 189-222; Skrebkov S., Nazarin ayyukan kiɗa, M., 1958, p. 141-91; Mazel LA, Tsarin ayyukan kiɗa, M., 1960, p. 317-84; Berkov VO, Sonata tsari da tsarin tsarin sake zagayowar sonata-symphony, M., 1961; Sigar kiɗa, (ƙarƙashin babban editan Yu. N. Tyulin), M., 1965, p. 233-83; Klimovitsky A., Asalin da haɓaka nau'in sonata a cikin aikin D. Scarlatti, a cikin: Tambayoyi na nau'in kiɗa, vol. 1, M., 1966, shafi. 3-61; Protopopov VV, Ka'idodin tsarin kiɗan Beethoven, M., 1970; Goryukhina HA, Juyin Halitta na sonata, K., 1970, 1973; Sokolov, A kan aiwatar da mutum ɗaya na ka'idar sonata, a cikin: Tambayoyin Ka'idar Kiɗa, vol. 2, M., 1972, shafi. 196-228; Evdokimova Yu., Samar da nau'in sonata a zamanin farko, a cikin tarin: Tambayoyi na nau'in kiɗa, vol. 2, M., 1972, shafi. 98; Bobrovsky VP, Tushen Aiki na sigar kiɗa, M., 1978, p. 164-178; Rrout E., Abubuwan da aka yi amfani da su, L., (1895) Hadow WH, Sonata form, L.-NY, 1910; Goldschmidt H., Die Entwicklung der Sonatenform, “Allgemeine Musikzeitung”, 121, Jahrg. 86; Helfert V., Zur Entwicklungsgeschichte der Sonatenform, “AfMw”, 1896, Jahrg. 1902; Mersmann H., Sonatenformen a cikin der romantischen Kammermusik, a cikin: Festschrift für J. Wolf zu seinem sechszigsten Geburtstag, V., 29; Senn W., Das Hauptthema in der Sonatensätzen Beethovens, “StMw”, 1925, Jahrg. XVI; Larsen JP, Sonaten-Form-Probleme, a cikin: Festschrift Fr. Blume da Kassel, 7.

VP Bobrovsky