Sonorism

Sonorism, sonorics, sonoristics, sonoristic dabara

daga lat. sonorus - m, m, m; Klangmusic na Jamus; Yaren mutanen Poland sonorystyka

Nau'in fasahar haɗaɗɗiyar zamani ta amfani da Ch. arr. sautuna kala-kala, ana ganin tsayin da ba a bambanta ba.

Ƙayyadaddun S. (a matsayin "kiɗa na sonorities") shine a cikin gabatar da launi na sauti, da kuma lokutan sauyawa daga wannan sautin ko haɗin kai zuwa wani. Wani haske mai haske (phonism) koyaushe yana cikin sautin kiɗa, duka biyun (launi na maɗaukaki, abubuwan da ke tasowa idan aka kwatanta su kuma ya dogara da wurin, rajista, timbre, saurin canje-canje masu jituwa, fasali na tsari), da monophonic (canza launin tazara dangane da rajista, kari, fasali na tsari), duk da haka, a cikin decomp. styles, shi bayyana kanta (duk mafi autonomizes) ba har zuwa guda, wanda ya dogara da general akida da kuma art. shugabanci na kiɗa. kerawa, wani bangare daga nat. asali na salo. Abubuwan da ke cikin fassarar sonoristic na jituwa an haɓaka su a cikin kiɗa tun ƙarni na 19. dangane da sha'awar kankare da sha'awar tabbatar da muses. hotuna, zuwa kiɗa. alama kuma ya bayyana kanta a fili a cikin Faransanci. da kiɗan Slavic (wasu abubuwan da ake buƙata don S. ana iya samun su a cikin jama'a instr. kiɗan al'adun ƙasa da yawa). Shirye-shiryen S. na tarihi sune launi na jituwa (duba, misali, episode Des7> - Des daga mashaya 51 a Chopin's b-moll nocturne), wasan kwaikwayo na wasu fasalulluka na Nar. kiɗa (misali, kwaikwayon sauti na kayan kida na Caucasian a cikin nau'i na quinchord g - d1 - a1 - e2 a cikin "Lezginka" daga opera "Ruslan da Lyudmila"), zaɓin nau'i-nau'i masu kama da juna bisa ga phonic. alamomi (alal misali, eclipse chords a cikin opera "Prince Igor"), nassosi masu ban sha'awa masu ban sha'awa da nassoshi (misali, a cikin 2nd reprise na Chopin's Des-dur nocturne; a Liszt's No. 3 nocturne No. 2), hotuna na hotuna. guguwa, gusts na iska, hadari (misali, "Francesca da Rimini", "The Tempest", wani scene a cikin bariki daga "The Queen of Spades" na Tchaikovsky; "Scheherazade" da "Kashchei da Mutuwa" na Rimsky-Korsakov. ), fassarar timbre na musamman na baƙaƙe, ch. arr. Lokacin yin hulɗa tare da timbres na ganga (misali, tritone a cikin Leshy's leitmotif daga opera "The Snow Maiden"). Fitaccen misali, kusa da zamani. nau'in S., - wurin da aka yi kararrawa daga opera "Boris Godunov" (gabatarwa zuwa hoto na XNUMX).

S. a cikin ainihin ma'anar kalmar ana iya magana da shi kawai dangane da kiɗa na karni na 20, wanda ya faru ne saboda ka'idodin kiɗan da suka bunkasa a cikinsa. tunani, musamman jituwa. harshe. Ba shi yiwuwa a bambanta gabaɗaya kuma ba tare da wata shakka ba tsakanin ainihin sautin sauti (Kiɗa na sautunan) da sonority (Kiɗa na sonorities); yana da wahala sau da yawa a raba fasahar sonoristic daga wasu nau'ikan fasahar tsara (marasa sonorous). Saboda haka, rabe-raben S. yana da wani sharadi; yana keɓance mahimman mahimman bayanai kawai kuma yana ɗaukar sauye-sauye da haɗuwa da nau'ikan nau'ikan nau'ikan. A cikin tsarin rarrabawa, ana shirya nau'ikan S. a cikin tsari na cirewa a hankali daga farkon - abubuwan mamaki na fasaha na tonal na yau da kullum.

A hankali, matakin farko na S.'s autonomation an fassara shi cikin sonoristically jituwa, inda akwai gagarumin sauyi a hankali daga fahimtar sautuka daban-daban zuwa fahimtar "sauti na timbral" marasa fa'ida. Dabarar daidaitawa da C. Debussy ya ɓullo da ita tana nuna juyin halitta na wannan tsari: ana ɗaukar sarkar sarƙoƙi a matsayin maye gurbin sautuna masu launin timbre (dabarun toshe-ɓangarorin layi ɗaya a cikin jazz yana kama da wannan fasaha). Misalai na jituwa masu launuka iri-iri: ballets Daphnis da Chloe na Ravel (Dawn), Stravinsky's Petrushka (farkon fage na 4), Prokofiev's Cinderella (Midnight), ƙungiyar makaɗa, op. 6 No 4 Webern, waƙar "Seraphite" na Schoenberg.

HH Sidelnikov. Tatsuniyoyi na Rasha, kashi na 4.

A wasu lokuta, fassarar sonoristic na jituwa yana aiki azaman aiki tare da maƙasudin manufar timbre ("sonoras"). Wannan shine farkon “sonor chord” a cikin Scriabin's Prometheus, osn. ƙwanƙwasa a cikin yanki na Webern op. 10 No 3 don ƙungiyar makaɗa, rashin jituwa tsakanin juna kafin a mayar da martani ga gabatarwar ballet The Rite of Spring.

Launi na Sonorant yawanci yana da gungu-gungu (ayyukan G. Cowell da sauransu). Ba wai kawai waƙoƙi na iya zama masu sonorous ba, har ma da layi (duba, misali, Shostakovich's 2nd symphony har zuwa lamba 13). Haɗuwa da layukan sonorous da layukan suna haifar da yadudduka masu sonorous (mafi yawan lokuta lokacin hulɗa tare da yadudduka na timbres), misali. rafi na sauti 12 a ƙarshen wasan kwaikwayo na 2 na Prokofiev (bambancin na biyu), a cikin kade-kade na biyu na Lutoslavsky, a cikin "Rings" don ƙungiyar makaɗa ta Shchedrin. Ƙarin zurfafawa na S. yana da alaƙa da rabuwa da bambancin sauti kuma yana bayyana, alal misali, a cikin roƙon kiɗa don kayan kida (duba Prokofiev's Misira Nights, Damuwa, tsangwama zuwa 2nd scene na 2nd act of the opera The opera). Hanci » Shostakovich). A ƙarshe, S. daga sautin da aka fassara na sonorist yana kaiwa zuwa ƙarar fassarar sonoristically (Jamus: Gerdusch), kuma wannan abu ya haɗa da decomp guda biyu. kashi - kiɗa. surutai (neoekmelika) da karin surutu na kida (da alaka da fagen abin da ake kira kankare kida).

Dabarar yin aiki da abubuwa iri ɗaya kuma da yawa a cikin ma'anarsu ko dai sun yi kama da juna ko kuma sun yi daidai. Misali, "Tren" na Penderecki yana farawa da sautin kida mai ban sha'awa.

HH Sidelnikov. Tatsuniyoyi na Rasha, kashi na 4.

K. Penderecki. "Makoki ga waɗanda Hiroshima ya shafa".

Don haka, S. yana aiki da duka biyun tare da madaidaicin ma'anar sonorous (ƙarashin kida, yadudduka na timbre, rukunin launuka masu launi, sautuna ba tare da wani takamaiman matakin ba), kuma tare da hanyoyin wasu nau'ikan fasaha (tonal, modal, serial, aleatory, da sauransu. ) . Comp. Dabarar S. ta ƙunshi zaɓin takamaiman. abu mai sauti (bayaninsa yana cikin kai tsaye, kuma ba a cikin yanayin da ake ciki ba tare da ra'ayi na fasaha na aikin), rarraba ta hanyar sassan samarwa. bisa ga zaɓaɓɓen layin ci gaba, tsarin da aka haɓaka daban-daban na duka. Musanya. wani tsari na irin wannan yana da alaƙa da sha'awar ci gaba mai ma'ana na sonority, samar da haɓaka na yau da kullum da ke nuna motsi na tushen tunanin tunanin mutum na maganganun kiɗa.

S. ya fi kai tsaye fiye da kiɗan sauti, yana iya ƙirƙirar kowane nau'i na tasiri masu launi, musamman, don ƙaddamar da abubuwan sauti na waje a cikin kiɗa. Don haka, na gargajiya don Rashanci. kiɗan gargajiya, hoton ƙararrawa ta sami sabon shiga cikin S.

Amfani. Iyalin S. - mus. yana aiki a cikin abin da tasirin sauti mai launi yana da mahimmanci: "gudanar ruwa na shuɗi-orange, walƙiya da walƙiya na taurari masu nisa, walƙiya na takuba mai zafi, gudu na taurarin turquoise, inuwa mai launin shuɗi da kuma zagayowar launin sauti" ( O. Messiaen, "Tsarin yaren kiɗa na"). Duba kuma phonism.

AG Schnittke. pianissimo.

RK Shchedrin. "Kira".

References: Asafiev BV, Tsarin kiɗa a matsayin tsari, (littattafai 1-2), M.-L., 1930-47, 3 (duka littattafai), L., 1971; Shaltuper Yu., A kan salon Lutoslavsky a cikin 60s, a cikin: Matsalolin Kimiyyar Kiɗa, vol. 3, M., 1975; Nikolskaya I., "Jana'izar Music" na Witold Lutoslavsky da matsaloli na farar tsari a cikin kiɗa na karni na 10, a cikin: Music da Modernity, (fitilar) 1976, M., 1; Messiaen O., Technique de mon langage musical, v. 2-1944, P., 1961; Chominski J., Technika sonorystyczna jako przedmiot systematycznego szkolenia, “Muzyka”, 6, rok 3, No 1968; nasa, Muzyka Polski Ludowej, Warsz., 1962; Kohoutek C., Novodobé skladebné teorie západoevropske hudby, Praha, 1965, Novodobé skladebné smery vhudbe, Praha, 1976 (Fassarar Rashanci - Kogoytek Ts., Fasahar Haɗa a cikin kiɗa na karni na XNUMX, M., XNUMX).

Yu. N. Kholopov