Tsarin sauti |

Greek sustnma, Jamusanci. Tsarin ton

Altitude (tazara) ƙungiyar kiɗa. sauti dangane da c.-l. ka'ida guda ɗaya. A zuciyar Z. tare da. akwai ko da yaushe yana kwance jerin sautuna a cikin tabbataccen ma'auni mai ma'auni. Kalmar Z. Tare da." ana amfani da su a cikin ƙima daban-daban:

1) Tsarin sauti, watau jimillar sautunan da aka yi amfani da su a cikin tazara (sau da yawa a cikin octave, misali, sauti biyar, tsarin sauti goma sha biyu);

2) ƙayyadaddun tsari na abubuwan da ke cikin tsarin (tsarin sauti a matsayin ma'auni; tsarin sauti a matsayin hadaddun ƙungiyoyin sauti, misali, ƙididdiga a cikin tsarin tonal na manya da ƙananan);

3) tsarin dangantaka mai mahimmanci, ma'ana, ayyuka na sautuna, wanda aka samo asali akan wata ƙa'idar haɗin gwiwa a tsakanin su (misali, ma'anar sautunan a cikin nau'i-nau'i, tonality na jituwa);

4) ginawa, lissafi. bayyana dangantaka tsakanin sautunan (tsarin Pythagorean, daidaitaccen yanayin yanayi).

Babban ma'anar manufar Z. tare da. hade da tsarin sauti da tsarinsa. Z. s. yana nuna matakin ci gaba, ma'ana. haɗi da tsari na muses. tunani da tarihi ya samo asali da shi. Juyin Halitta na Z. tare da., a cikin ainihin tarihi. Tsarin, wanda aka yi ta hanyar daɗaɗɗa kuma ya cika da sabani na ciki, a kan gaba ɗaya tabbas yana haifar da gyare-gyare na bambance-bambancen sauti, ƙara yawan sautin da aka haɗa a cikin tsarin, ƙarfafawa da sauƙaƙe haɗin kai tsakanin su, samar da hadaddun tsari. reshen matsayi na haɗin gwiwa dangane da dangin dangi.

Dabarun makirci na ci gaba Z. tare da. kawai kusan yayi daidai da tarihin kankare. tsarin samuwarsa. Z. s. a nashi ma'anar kwayoyin halitta ya riga ya fara haskakawa, ba tare da sautuna daban-daban ba, waɗanda sautunan magana ke fara ficewa.

Waƙar kabilar Kubu (Sumatra) ita ce waƙar soyayya ta wani saurayi. A cewar E. Hornbostel.

Ƙananan nau'i na Z. s wanda ya maye gurbinsa. yana wakiltar rera sautin magana ɗaya, tsaye (), kusa da () sama ko ƙasa.

Barkwancin mutanen Rasha

Kolyadnaya

Sautin da ke kusa ba za a iya daidaita shi ba a wani tsayi ko kuma ya zama kusan tsayi.

Ƙarin haɓakar tsarin yana ƙayyade yiwuwar mataki na gaba, motsi na cantilena na karin waƙa (a ƙarƙashin yanayin tsarin biyar, bakwai ko tsarin sikelin daban-daban) kuma yana tabbatar da haɗin kai gaba ɗaya saboda dogara ga sautunan da suke. a cikin dangantakar mafi girman dangantaka da juna. Saboda haka, mataki na gaba mafi mahimmanci a cikin ci gaban Z. s. - "zamanin kwata-kwata", cike da rata tsakanin sautunan "madaidaicin farko" (quart ya zama sautin da ya kasance mafi ƙarancin nisa daga sautin magana na asali kuma yana da cikakkiyar daidaituwa tare da shi; a matsayin sakamakon haka, yana samun fa'ida akan sauran, har ma da cikakkiyar ma'ana - octave, na biyar) . Cika kwata kwata yana samar da jerin tsarin sauti - trichords marasa semitone da tetrachords da yawa na sassa daban-daban:

TRICHORD

TETRACHORDS

KYAUTA

ABUBAKAR WAKAR

A lokaci guda, kusa da sautunan wucewa suna daidaitawa kuma sun zama masu goyan baya ga sababbin maƙwabta. Dangane da tetrachord, pentachords, hexachords sun tashi:

MASLENICHNA

rawa rawa

Daga haɗuwa da trichords da tetrachords, da kuma pentachords (a cikin hanyar da aka haɗa ko kuma ta daban), an kafa tsarin haɗin gwiwar da suka bambanta da yawan sauti - hexachords, heptachords, octachords, wanda, bi da bi, an haɗa su cikin maɗaukakiyar mahimmanci. , Multi-bangaren sauti tsarin. octave da wadanda ba octave:

PENTATONICA

UKARIN VESNIA

PLYASOVAYA

Znamenny raira waƙa

WAKAR SARAUTA

DON KIRSIMETI NA UWAR ALLAH, ALAMOMIN CHANT

SYSTEM HEXACHORD

Gabaɗaya ka'idar aikin gabatar da sauti a cikin Turai. kiɗa na ƙarshen Tsakiyar Tsakiyar Tsakiyar Tsakiya da Renaissance ("musica ficta"), lokacin da ƙarshen sautin gabaɗaya da sauye-sauyen sautin gabaɗaya sun ƙara maye gurbinsu da tsari ta hanyar rabin sautin (misali, maimakon cd ed bugun jini cis-d da sauransu), wanda aka bayyana a ciki. nau'i na chromatic-enharmonic. Ma'aunin mataki goma sha bakwai (na Prosdochimo de Beldemandis, ƙarshen 14th - farkon ƙarni na 15):

Ci gaban polyphony da samuwar baƙar fata triad a matsayin babban kashi na sautin sauti. ya haifar da cikakkiyar sake tsarawa na ciki - haɗuwa da duk sautunan tsarin da ke kewaye da wannan mahimmanci na asali, wanda ke aiki a matsayin cibiyar, aikin tonic. triads (tonic), kuma a cikin nau'in raye-rayensa akan duk sauran matakan diatonic. gamma:

Matsayin ma'auni mai mahimmanci Z. s. sannu a hankali ya wuce daga ladomelodich. samfura zuwa chord-harmonic; daidai da wannan Z. tare da. fara gabatar da shi ba a cikin sikelin ("matakan sauti" - scala, Tonleiter), amma a cikin nau'i na ƙungiyoyin sauti masu aiki. Kazalika a wasu matakai na ci gaba na Z. tare da ., duk manyan Lines na baya siffofin Z. tare da. suna kuma kasancewa a cikin mafi haɓakar Z. s. melodic makamashi. linearity, microsystems daga ma'anar sautin (sando) da kuma kusa da su, cika na huɗu (da na biyar), multiplication na tetrachords, da dai sauransu Complexes na ga guda tsakiya. rukunonin sauti gabaɗaya — laƙabi a kowane matakai — tare da wasu ma'auni, sun zama sabon nau'in sautin s-harmonics. tonality (duba bayanin kula a sama), kuma haɗin da aka ba da umarnin su ya ƙunshi "tsarin tsarin" na manya da ƙananan maɓalli a kowane matakan chromatic. sikelin. Jimillar ƙarar sautin tsarin a ƙa'idar ta ƙara zuwa marar iyaka, amma an iyakance ta da yuwuwar tsinkayen farar kuma yana da kewayo mai cike da chromatically kama daga kusan A2 zuwa c5. Samuwar tsarin tonal babba-kananan a cikin karni na 16. ya buƙaci maye gurbin tsarin Pythagorean a cikin kashi biyar masu tsarki (misali, f - c - g - d - a - e - h) tare da na biyar-tertian (abin da ake kira mai tsarki, ko na halitta, Fogliani - Zarlino tsarin), ta amfani da biyu ginawa. tazara – na biyar 2:3 da babba na uku 4:5 (misali, F – a – C – e – G – h – D; manyan haruffa suna nuna prima da kashi biyar na triads, ƙananan haruffa suna nuna kashi uku, bisa ga M. Hauptmann). Ci gaban tsarin tonal (musamman al'adar yin amfani da maɓalli daban-daban) ya buƙaci tsarin ɗabi'a iri ɗaya.

Abubuwan hulɗa suna raguwa. tonality yana haifar da kafa haɗin gwiwa a tsakanin su, zuwa ga haɗin kai da kuma kara - haɗuwa. Tare da tsarin ƙididdiga na haɓakar intratonal chromaticity (canzawa), haɗuwa da abubuwa daban-daban na tonal yana haifar da gaskiyar cewa a cikin tonality iri ɗaya kowane tazara, kowane ma'auni da kowane sikelin daga kowane mataki yana yiwuwa. Wannan tsari ya shirya sabon sake tsara tsarin Z. tare da. a cikin aikin da dama composers na 20th karni: duk matakai na chromatic. ma'auninsu ya 'yantar da su, tsarin ya juya zuwa tsarin matakai 12, inda kowane tazara ke fahimtar kai tsaye (ba a kan dangantaka ta biyar ko ta biyar ba); da ainihin rukunin tsarin Z. s. ya zama semitone (ko babban na bakwai) - azaman abin da aka samu na biyar da babba na uku. Wannan ya sa ya yiwu a gina simmetrical (alal misali, terzochromatic) halaye da tsarin, fitowar matakan tonal goma sha biyu, abin da ake kira. "Atonality na kyauta" (duba kiɗan Atonal), ƙungiyar serial (musamman, dodecaphony), da sauransu.

Ba-Turai Z. tare da. (misali, ƙasashe na Asiya, Afirka) wani lokaci suna samar da nau'ikan da ba su da nisa da na Turai. Don haka, ko žasa ko žasa da aka saba da diatonic na kiɗan Indiya an ƙawata shi da sauti. inuwa, a ka'idar da aka bayyana a matsayin sakamakon rarraba octave zuwa sassa 22 (tsarin shruti, kuma ana fassara shi azaman jimillar duk tsayin daka).

A cikin kiɗan Javanese, 5- da 7-mataki “daidai” sassan octave (slendro da pelog) ba su yi daidai da ma'aunin pentatonic na anhemitonic na yau da kullun ko na biyar ko na biyar-tertz diatonic sikelin ba.

References: Serov AH, waƙar jama'a ta Rasha a matsayin batun kimiyya (masifu 3), "Lokacin Kiɗa", 1869-70, No 18, 1870-71, No 6 da 13, an sake buga su. a cikin littafinsa: Zaɓaɓɓun Labarai, vol. 1, M.-L., 1950; Sokalsky PP, kiɗan gargajiya na Rasha? 1888-1901, M., 1, Tyulin Yu. H., Koyarwa game da jituwa, L., 3, M, 1908; Kuznetsov KA, kiɗan Larabci, a cikin: Makala kan tarihi da ka'idar kiɗa, vol. 1937, L., 1966; Ogolevets AS, Gabatarwa ga tunanin kiɗan zamani, M.-L., 2; Ƙwaƙwalwar kiɗa. Tot. Ed. HA Garbuzova, M, 1940; Jami A., Magance Kan Kida. Ed. da sharhi daga VM Belyaev, Tash., 1946; Pereverzev NK, Matsalolin kiɗa na kiɗa, M., 1954; Meshchaninov P., Juyin Halitta na farar masana'anta (tabbacin tsarin-acoustic ...), M., 1960 (rubutun); Kotlyarevsky I., Diatonics da chromatics a matsayin nau'in tunani na kiɗa, Kipv, 1966; Fortlage K., Das musikalische System der Griechen a cikin seiner Urgestalt, Lpz., 1970, Riemann H., Katechismus der Musikgeschichte, Tl 1971, Lpz., 1847, Rus. per. - Catechism na tarihin kiɗa, sashi na 1, M., 1888), nasa, Das chromatische Tonsystem, a cikin littafinsa: Preludien und Studien, Bd I, Lpz., 1.

Yu. H. Kholopov