Tsananin salo |

Tsananin salo, tsantsar rubutu

Nem. klassische Vokalpoliphonie, lat. ecclesiastical salon cappella

1) Tarihi. da fasaha da salo. ra'ayi mai alaka da mawaƙa. kiɗan polyphonic na Renaissance (ƙarni na 15-16). A wannan ma'anar, ana amfani da kalmar ta Ch. arr. a cikin gargajiya na Rasha da owls. ilimin kida. Ma'anar S. tare da. ya ƙunshi abubuwa masu yawa kuma ba shi da ƙayyadaddun iyakoki: yana nufin aikin mawaƙa daga ƙasashen Turai daban-daban. makarantu, da farko - zuwa Dutch, Roman, da Venetian, Mutanen Espanya; zuwa yankin shafi na S. ya haɗa da kiɗa daga Faransanci, Jamusanci, Ingilishi, Czech, mawaƙa na Poland. S. s. da ake kira polyphonic style. samfur. don mawaƙa cappella, wanda aka haɓaka a prof. nau'o'in coci (ch. arr. Katolika) da, zuwa ƙarami, kiɗan duniya. Mafi mahimmanci kuma mafi girma a cikin nau'ikan S. s. akwai taro (na farko a cikin kiɗan Turai yana nufin nau'in cyclic) da motet (a kan matani na ruhaniya da na duniya); Ruhaniya da na boko na boko an haɗa su cikin da yawa. waƙoƙi, madrigals (sau da yawa a cikin rubutun waƙa). Epoch S. s. ya gabatar da manyan mashahuran malamai, wadanda Josquin Despres, O. Lasso da Palestrina ke da matsayi na musamman. Ayyukan waɗannan mawaƙan sun taƙaita ƙayatarwa. da kuma tarihi da salo. yanayin kiɗan. fasahar zamaninsu, kuma ana la'akari da abin da suka gada a cikin tarihin kiɗa a matsayin al'adar zamanin S. tare da. Sakamakon ci gaban dukan tarihin tarihi - aikin Josquin Despres, Lasso da Palestrina, ya nuna farkon furen fasahar polyphony (aikin JS Bach shine ƙarshensa na biyu wanda ya riga ya kasance cikin salon kyauta).

Domin tsarin siffa na S. s. Natsuwa da tunani sune na yau da kullun, a nan ana nuna kwararar maɗaukakiyar, har ma da abstract tunani; daga m, tunani interlacing contrapuntal muryoyin, tsantsa da daidaita sauti tasowa, inda bayyana girma girma, wasan kwaikwayo, halayyar art daga baya, ba su sami wuri. sabani da climaxes. Maganar motsin zuciyar mutum ba shi da halayyar S. s.: kiɗan sa yana da ƙarfi da guje wa duk wani abu na wucin gadi, bazuwar, ra'ayi; A cikin kididdigar motsin motsinsa, duniya, wanda aka share daga rayuwar yau da kullun, ya bayyana, yana haɗa duk waɗanda suke wurin liturgy, mahimmanci na duniya, haƙiƙa. A cikin waɗannan iyakoki, wok masters. wa]annan wa]annan wa]annan wa]annan wa]annan wa]ansu, sun nuna bambance-bambancen mutum mai ban mamaki - daga nauyi, kauri mai kauri na kwaikwayar J. Obrecht zuwa ga sanyi-m alherin Palestrina. Wannan siffa babu shakka tana yin galaba, amma baya ware s daga fagen S. wani, abun ciki na duniya. Siffar inuwar waƙa. ji sun kasance a cikin madrigals da yawa; batutuwan da ke kusa da yankin shafin S. sun bambanta. wakokin boko na boko, na wasa ko na bakin ciki. S. s. – wani muhimmin bangare na dan Adam. al'adu na 15th-16th ƙarni; a cikin kiɗa na tsofaffin masters, akwai wurare masu yawa na tuntuɓar fasaha na Renaissance - tare da aikin Petrarch, Ronsard da Raphael.

Kyawawan halayen kidan S. hanyoyin da ake amfani da su a cikinsa sun wadatar. Mawallafan wancan lokacin sun ƙware a cikin abubuwan da ba su dace ba. art-tion, halitta kayayyakin, cikakken tare da mafi hadaddun polyphonic. dabaru, kamar, alal misali, canon mai gefe shida na Josquin Despres, tare da kuma ba tare da tsayawa ba a cikin taron P. Mulu (duba No. 42 in ed. 1 da M. Ivanov-Boretsky's Musical-Historical Reader), da dai sauransu. Don sadaukar da kai ga ma'anar gine-gine, a baya da ƙara da hankali ga fasaha na abun da ke ciki, sha'awar masters a cikin yanayin kayan aiki, gwajin fasaharsa. da bayyana. Dama. Babban nasarar da masanan zamanin S. S., wanda ke da tarihi mai dorewa. ma'ana, - mafi girman matakin kwaikwayo na fasaha-va. Gwaninta na kwaikwayo. dabara, kafa ainihin daidaiton muryoyi a cikin ƙungiyar mawaƙa sabon ingancin kiɗan S. s. idan aka kwatanta da da'awar Farkon Renaissance (ars nova), ko da yake ba kyamar kwaikwayo ba, amma har yanzu ya gabatar da Ch. ar. daban-daban (sau da yawa ostinato) siffofi akan cantus firmus, rhythmic. ƙungiyar wadda ta kasance mai mahimmanci ga sauran muryoyin. Polyphonic 'yancin kai na muryoyin, rashin daidaituwa na gabatarwa a cikin rajista daban-daban na mawaƙa. kewayo, girman halayen sauti - waɗannan abubuwan mamaki sun kasance daidai da buɗewar hangen nesa a zanen. Jagora S. s. ɓullo da kowane nau'i na kwaikwayo da kuma canon na 1st da 2nd Categories (abin da suka hada da aka mamaye stretta gabatarwa, wato, canonical kwaikwayo). A cikin kiɗan prod. sami wuri mai kai biyu. da polygon. canons tare da kuma ba tare da yardar rai contrapunctuating rakiyar muryoyin, kwaikwayo da canons tare da biyu (ko fiye) propostes, canons marasa iyaka, canonical. jeri (misali, “Canonical Mass” na Palestrina), watau kusan dukkan nau’ukan da suka shiga daga baya, a lokacin canjin S. tare da. zamanin rubuce-rubuce na kyauta, a cikin mafi girman kwaikwayo. siffar fugue. Jagora S. s. yayi amfani da duk mahimman hanyoyin don canza polyphonic. jigogi: karuwa, raguwa, wurare dabam dabam, motsi da rushewar su. haduwa. Ɗaya daga cikin muhimman nasarorin da suka samu shi ne haɓaka nau'o'in nau'i daban-daban masu rikitarwa da kuma yin amfani da dokokinsa a cikin canonical. nau'i (misali, a cikin canons masu kusurwa masu yawa tare da hanyoyi daban-daban na shigarwar murya). Sauran abubuwan da aka gano na tsohon masters na polyphony ya kamata sun haɗa da ka'idar complementarity (melodic-rhythmic complementarity na contrapuntal muryoyin), da kuma hanyoyin da za a iya gani, da kuma kaucewa (mafi daidai, masking) na cadences a tsakiyar muses. gini. Music na masters of S. s. yana da nau'i daban-daban na polyphony. jikewa, kuma mawaƙa sun sami damar iya sarrafa sauti cikin fasaha cikin manyan nau'ikan tare da taimakon sassauƙan canji na tsauraran canonical. bayyanuwa tare da sassan bisa kuskuren kwaikwayo, akan muryoyin da ba su dace ba, kuma a ƙarshe tare da sassan da muryoyin da ke samar da polyphonic. rubutu, matsar da bayanin kula daidai tsawon lokaci.

Nau'in masu jituwa. haduwa a cikin waƙar S. tare da. Siffata da cikakken sauti, baƙar fata-trisound. Yin amfani da tazarar rashin daidaituwa kawai ya dogara da masu ba da izini yana ɗaya daga cikin mahimman abubuwan S. s.: a mafi yawan lokuta, rashin fahimta yana tasowa sakamakon amfani da wucewa, sauti ko jinkiri, wanda yawanci ana warwarewa a nan gaba. (waɗanda aka ɗauka da yardar rai har yanzu ba sabon abu ba ne tare da motsi mai laushi na ɗan gajeren lokaci, musamman a cikin cadences). Don haka, a cikin kidan S. s. dissonance koyaushe yana kewaye da haɗin kai. Ƙwayoyin da aka kafa a cikin yadudduka na polyphonic ba su da alaƙa da haɗin aiki, watau kowane maɗaukaki na iya biye da wani a cikin diatonic iri ɗaya. tsarin. Hanyar, da tabbacin gravitation a cikin maye gurbi ya taso ne kawai a cikin cadences (a matakai daban-daban).

Music S. s. dogara ga tsarin yanayin yanayi (duba yanayin). Musanya. ka'idar wancan lokacin ta bambanta a farkon 8, daga baya 12 frets; a aikace, mawaƙa sun yi amfani da hanyoyi 5: Dorian, Phrygian, Mixolydian, da Ionian da Aeolian. Biyu na ƙarshe an daidaita su ta hanyar ka'idar daga baya fiye da sauran (a cikin rubutun "Dodecachordon" na Glarean, 1547), kodayake tasirin su akan sauran hanyoyin ya kasance akai-akai, aiki kuma daga baya ya haifar da haɓakar manyan yanayi da ƙananan yanayi. . An yi amfani da frets a cikin matsayi guda biyu: tashin hankali a matsayi na asali (Dorian d, Phrygian e, Mixolydian G, Ionian C, Aeolian a) kuma tashin hankali ya juya na hudu zuwa sama ko na biyar (Dorian g, Phrygian a, da dai sauransu). ) tare da taimakon lebur a maɓalli - alamar da ake amfani da ita kawai. Bugu da ƙari, a aikace, ƙungiyar mawaƙa, daidai da iyawar ƴan wasan kwaikwayo, sun canza abubuwan da aka tsara ta daƙiƙa ko na uku sama ko ƙasa. Ra'ayi mai yaɗuwa game da diatonicity mara ƙarfi a cikin kiɗan S. s. (wataƙila saboda gaskiyar cewa ba a rubuta hatsarorin bazuwar) ba daidai ba ne: a cikin aikin waƙa, yawancin lokuta na chromatic an halatta su. mataki canje-canje. Don haka, a cikin yanayin ƙananan yanayi, don kwanciyar hankali na sauti, na uku ya ƙare koyaushe ya tashi. igiya; a cikin yanayin Dorian da Mixolydian, digiri na XNUMX ya tashi a cikin kullun, kuma a cikin Aeolian kuma digiri na XNUMX (sautin buɗewa na yanayin Phrygian yawanci bai ƙaru ba, amma digiri na XNUMX ya tashi don isa babban na uku a cikin madaidaicin ƙarshe. a lokacin hawan hawan). Sau da yawa ana canza sautin h zuwa b a cikin motsi na ƙasa, wanda yanayin Dorian da Lydia, inda irin wannan canjin ya kasance na kowa, an canza su da gaske zuwa Aeolian da Ionian; sautin h (ko f), idan yana aiki azaman mataimaki, an maye gurbinsa da sautin b (ko fis) don gujewa sonority tritone maras so a cikin karin waƙa. jerin nau'in f - g - a - h (b) - a ko h - a - g - f (fis) - g. A sakamakon haka, wani abu da ba a saba gani ba na zamani ya tashi cikin sauƙi. jin cakuda manya da ƙananan kashi uku a cikin yanayin Mixolydian, da kuma jeri (musamman a cikin ƙididdiga).

Yawancin samar da S. s. an yi nufin ƙungiyar mawaƙa ta cappella ( ƙungiyar mawaƙa ta maza da maza; Cocin Katolika ba ta yarda mata su shiga cikin ƙungiyar mawaƙa ba). Ƙwaƙwalwar mawaƙa cappella na'ura ce mai yin aiki da ta dace da ainihin ma'anar kiɗan S.. kuma an daidaita shi don gano kowane, ko da mafi hadaddun polyphonic. niyyar mawaki. Masanan zamanin S. tare da. (mafi yawancin, mawaƙa da mawaƙa da kansu) madaidaicin mallake bayyana. hanyoyin mawaka. Fasahar sanya sautuna a cikin ƙwanƙwasa don ƙirƙirar daidaitaccen daidaituwa na musamman da "tsarki" na sauti, ƙwarewar yin amfani da bambance-bambancen ragi na muryoyin daban-daban, dabaru daban-daban na "kunna" da "kashe" muryoyin, fasaha na ƙetare. da bambance-bambancen timbre a lokuta da yawa ana haɗa su tare da kyakkyawan fassarar mawaƙa (misali., a cikin sanannen 8-voice madrigal "Echo" na Lasso) har ma da wakilcin nau'i (misali, a cikin waƙoƙin polyphonic na Lasso). Mawakan S. s. sun shahara saboda iyawarsu ta rubuta waƙoƙin mawaƙa da yawa (shugaban 36 da aka danganta ga J. Okegem har yanzu ya kasance banda); a cikin samar da su sau da yawa ana amfani da murya 5 (yawanci tare da rabuwa da babbar murya a cikin CL daga ƙungiyoyin mawaƙa - ɗan wasa a cikin namiji, soprano, mafi daidaitaccen treble, a cikin ƙungiyar maza). An yi amfani da muryoyin Choral 2- da 3 sau da yawa don inuwa mafi rikitarwa (muryoyi huɗu zuwa takwas) rubuce-rubuce (duba, misali, Benedictus a cikin talakawa). Jagora S. s. (musamman, Yaren mutanen Holland, Venetian) sun yarda da shiga cikin muses. kayan aiki a cikin aikin polygonal. wok. aiki. Yawancin su (Izak, Josquin Despres, Lasso, da sauransu) sun ƙirƙiri kiɗa musamman don instr. taro. Duk da haka, kayan aiki irin wannan yana ɗaya daga cikin manyan nasarorin tarihi a cikin kiɗa na zamanin rubutu na kyauta.

Polyphony S. tare da. dogara ne a kan tsaka tsaki thematism, da kuma ainihin manufar "polyphonic jigo" a matsayin tas, a matsayin taimako karin waƙar da za a ci gaba, ba a sani ba: da individualization na intonations aka samu a cikin aiwatar da polyphonic. ci gaban kiɗa. Melodich. asali S. tare da. - waƙar Gregorian (cf. Gregorian song) - cikin tarihin Ikilisiya. music aka hõre da karfi da tasiri na Nar. waƙa. Amfanin Nar. waƙoƙi a matsayin cantus firmus al'amari ne na kowa, kuma mawaƙa na ƙasashe daban-daban - Italiyanci, Dutch, Czechs, Poles - galibi ana zabar su don sautin murya. sarrafa wakokin mutanensa. Wasu mashahuran waƙoƙin mawaƙa daban-daban sun yi amfani da su akai-akai: alal misali, an rubuta talakawa don waƙar L'homme armé ta Obrecht, G. Dufay, Ockegem, Josquin Despres, Palestrina da sauransu. Takamaiman fasalulluka na waƙar waƙa da metrorhythm a cikin kiɗan S. tare da. akasari an ƙaddara ta yanayin muryarta. Mawaƙa-polyphonists a hankali suna kawar da duk abin da zai iya tsoma baki tare da yanayi. motsin muryar, ci gaba da tura layin waƙoƙi, duk abin da ya yi kama da kaifi, mai iya jawo hankali ga cikakkun bayanai, zuwa cikakkun bayanai. Matsalolin waƙoƙin suna santsi, wani lokacin suna ɗauke da lokacin bayyanawa (misali, sauti mai maimaita sau da yawa a jere). A cikin waƙoƙin waƙa babu tsalle-tsalle a cikin layi zuwa cikin mawuyacin-zuwa-sautin dissonant da faɗin tazara; motsi na ci gaba ya mamaye (ba tare da motsawa zuwa chromatic semitone ba; chromatisms da aka samo, alal misali, a cikin madrigal Solo e pensoso ta L. Marenzio akan waqoqin Petrarch, wanda A. Schering (Schering A., Geschichte der Musik a Beispielen, 1931, 1954), ɗauki wannan aikin fiye da S. c), da tsalle - nan da nan ko a nesa - suna daidaitawa ta motsi a cikin kishiyar shugabanci. nau'in melodic. ƙungiyoyi - tashin hankali, ƙarewar haske ba sabon abu ba ne a gare shi. Ga ƙungiyoyin rhythmic ba yawanci kusa da sautunan da suka bambanta sosai a tsawon lokaci, misali. na takwas da brevis; Domin samun daidaiton sautin rhythmic na bayanin kula guda biyu, na biyu yawanci ko dai daidai yake da na farko ko ya gajarta da shi da rabi (amma ba sau hudu ba). Tsalle cikin waƙa. Lines sun fi kowa a tsakanin bayanin kula na tsawon lokaci (brevis, duka, rabi); bayanin kula na gajeren lokaci (bayanin rubu'i, bayanin kula na takwas) yawanci ana amfani da su a cikin motsi mai santsi. Motsi mai laushi na ƙananan bayanin kula sau da yawa ya ƙare tare da bayanin "fari" a lokaci mai ƙarfi ko "fari", wanda aka ɗauka a cikin daidaitawa (a lokacin rauni). Melodich. an kafa gine-gine (dangane da rubutu) daga jerin jumlolin da aka yanke. tsayi, don haka kiɗa ba a siffanta shi da murabba'i, amma awo. bugun jini ya bayyana a santsi har ma da amorphous (prod. C. tare da. an yi rikodin kuma an buga su ba tare da layi ba kuma ta hanyar muryoyin kawai, ba tare da bayani a cikin maki ba). Ana biya wannan ta hanyar rhythmic. cin gashin kansa na kuri'u, a cikin otd. lokuta na polymetry sun kai matakin (musamman, a cikin rhythmically m Op. Josken Depre). Cikakken bayani game da ɗan lokaci a cikin kiɗan S. tare da. = 60 zuwa MM = 112).

A cikin wakokin S. tare da. rubutu na baka da kwaikwayi sun taka muhimmiyar rawa wajen tsarawa; a kan wannan, an ƙirƙiri jita-jita masu yawa. aiki. A cikin aikin masters S. tare da. daban-daban muses sun ci gaba. siffofin da ba su ba da kansu ga rubutu ba, wanda shine na al'ada, alal misali, don siffofin a cikin kiɗa na makarantar gargajiya ta Viennese. An raba nau'ikan nau'ikan sautin murya a cikin mafi yawan kalmomin gaba ɗaya zuwa waɗanda inda ake amfani da cantus firmus da waɗanda ba a ciki. AT. AT. Protopov yayi la'akari da mafi mahimmanci a cikin tsarin tsarin siffofin S. tare da. ka'ida ta bambanta kuma ta bambanta polyphonic mai zuwa. siffofin: 1) nau'in ostinato, 2) tasowa bisa ga nau'in germination na motifs, 3) strophic. A cikin shari'ar 1st, nau'in yana dogara ne akan maimaitawar cantus firmus (wanda ya samo asali a matsayin polyphonic. sarrafa guda biyu nar. waƙoƙi); Ana ƙara muryoyin da ba su dace ba a cikin waƙar ostinato, waɗanda za a iya maimaita su a tsaye a tsaye, wucewa cikin wurare dabam dabam, raguwa, da sauransu. n (misali Duo don bass da tenor Lasso, Sobr. op., vol. 1). Ayyuka da yawa, waɗanda aka rubuta cikin nau'i na nau'i na 2nd, suna wakiltar ci gaban bambance-bambancen jigo iri ɗaya tare da yawan amfani da kwaikwayi, muryoyin sabani, rikitarwa na rubutu bisa ga makirci: a - a1 - b - a2 - c .... Saboda sauye-sauye na canje-canje (rashin daidaituwa a cikin muryoyi daban-daban, rashin daidaituwa na babba da ƙananan climaxes), iyakoki tsakanin gine-gine daban-daban sukan zama m (misali, Kyrie daga taro "Aeterna Christi munera" Palestrina, Sobr. op., vol. XIV; Kyrie daga taron "Pange linga" na Josquin Despres, duba в кн.: Ambros A., "Tarihin Kiɗa", Vol. 5, Lpz., 1882, 1911, shafi. 80). A cikin nau'i na 3rd irin melodic. kayan suna canzawa dangane da rubutu bisa ga makirci: a – b – c – d … (prop. motet form), wanda ke ba da filaye don ayyana sigar a matsayin strophic. Waƙar sassan yawanci ba su da bambanci, galibi suna da alaƙa, amma tsarinsu da tsarinsu ya bambanta. Sigar jigo mai yawa na motet yana nuna a lokaci guda. da maudu'i. sabuntawa, da alaƙar jigogi masu mahimmanci don ƙirƙirar fasaha ɗaya. Hoton (misali, shahararren madrigal "Mori quasi il mio core" na Palestrina, Sobr. op., vol. XXVIII). Nau'ikan nau'ikan nau'ikan suna yawanci haɗuwa a cikin aiki ɗaya. Ka'idodin ƙungiyarsu sun kasance tushen tushe da haɓakar sautin murya na baya. da siffofin homophonic; don haka, tsarin motet ya shiga cikin instr. kiɗa kuma an yi amfani dashi a cikin canzone kuma daga baya a cikin fugue; pl. Siffofin ostinato siffofin suna aro ta ricercar (wani nau'i ba tare da interludes ba, ta amfani da canje-canje daban-daban na jigon); Maimaituwar sassa a cikin taro (Kyrie bayan Christe eleison, Osanna bayan Benedictus) na iya zama samfuri na nau'i na ramuwa mai kashi uku; waƙoƙin daɗaɗɗen murya tare da tsarin bambance-bambancen ma'aurata suna kusanci tsarin rondo. A cikin Production C. tare da. tsarin bambance-bambancen aiki na sassa ya fara, wanda ya bayyana cikakke a cikin na gargajiya.

Manyan masanan na zamanin tsantsar rubutu sune J. Tinctoris, G. Glarean, N. Vicentipo (1511-1572; duba littafinsa: L'antica musica ridotta alla moderna prattica, 1555), J. Zarlino.

Muhimman nasarorin da malaman S. s. - polyphonic. 'yancin kai na muryoyin, haɗin kai na sabuntawa da maimaitawa a cikin ci gaban kiɗa, babban matakin ci gaba na kwaikwayo da canonical. sifofi, dabarar hadaddun makirce-makirce, amfani da hanyoyi daban-daban na sauya jigo, ƙwaƙƙwaran fasahohin ƙaranci, da sauransu, suna da mahimmanci ga kiɗa. art-va da kuma riƙe (akan wani tushe daban-daban) na mahimmancin mahimmanci ga duk lokuta masu zuwa.

Isar mafi girma flowering a cikin 2nd rabin. Ƙarni na 16, kiɗan rubuce-rubuce mai tsauri ya ba da hanya ga sabuwar fasahar ƙarni na 17. Masters na salon kyauta (J. Frescobaldi, J. Legrenzi, I. Ya. Froberger da sauransu) sun dogara ne akan m. nasarorin da aka samu na tsofaffin masu amfani da murya. An nuna fasahar babbar Renaissance ta zama mai da hankali da girma. JS Bach (misali, 6-ch. org. chorale “Aus tiefer Not”, BWV 686, 7-ch., Tare da 8 muryar bass rakiyar, Credo No 12 daga Mass in h-moll, 8-ch. Motet don mawaƙa a Kapella, BWV 229). WA Mozart ya san al'adun tsohuwar masu hana ruwa gudu, kuma ba tare da la'akari da tasirin al'adun su ba, yana da wuya a tantance irin wannan kusancin S. s. ƙwararrunsa, kamar ƙarshen wasan kwaikwayo na C-dur ("Jupiter"), ƙarshen quartet G-dur, K.-V. 387, Recordare daga Requiem. Halittu. fasali na kiɗan zamanin S. tare da. akan sabon tushe an sake haifuwa cikin kyakkyawan tunani Op. L. Beethoven na ƙarshen zamani (musamman, a cikin Babban Mass). A cikin karni na 19 da yawa mawaƙa sun yi amfani da tsauraran matakai. dabara don ƙirƙirar tsohon launi na musamman, kuma a wasu lokuta - sufi. inuwa; bukukuwan. R. Wagner a Parsifal, A. Bruckner ne ya sake buga sauti da dabarun halayen rubutu mai tsauri. rubuce-rubucen, G. Fauré a cikin Requiem, da dai sauransu. An bayyana bugu na samarwa masu izini. tsofaffin masters (Palestrina, Lasso), bincikensu mai tsanani ya fara (A. Ambros). Daga mawakan Rasha suna da sha'awa ta musamman ga polyphony na S. s. nuna ta MI Glinka, NA Rimsky-Korsakov, GA Larosh; A dukan zamanin a cikin binciken da counterpoint ya ƙunshi ayyukan SI Taneev. A zamanin yau, sha'awar kiɗan farko ya karu sosai; a cikin USSR da kasashen waje, babban adadin wallafe-wallafen da ke dauke da samfurori. tsofaffin mashawartan polyphony; music S. s. ya zama abin nazari a hankali, an haɗa shi a cikin tarihin ƙungiyoyin da suka fi dacewa. Mawakan karni na 20 sun yi amfani da dabarun da mawakan S. s suka samu. (musamman, akan tushen dodecaphone); ana jin tasirin aikin tsofaffin masu hana ruwa gudu, alal misali, a cikin adadin Op. IF Stravinsky na neoclassical da marigayi lokaci ("Symphony na Zabura", "Canticum sacrum"), a wasu mujiya. mawaƙa.

2) Sashin farko na aiki. Polyphony course (German strenger Satz), wanda ya fi dacewa ga aikin mawaƙa na ƙarni na 15-16, ch. arr. akan aikin Palesdinu. Wannan kwas yana koyar da mahimmancin madaidaicin madaidaicin madaidaici, kwaikwayo, canon da fugue. Dangantaka mai salo. hadin kan wakokin zamanin S. tare da. ba ka damar gabatar da kayan yau da kullum na counterpoint a cikin nau'i na in mun gwada da kadan adadin daidaitattun dokoki da dabaru, da kuma sauki na melodic jituwa. da rhythmic. ka'idoji suna sa S. s. tsarin da ya fi dacewa don nazarin ka'idodin polyphony. tunani. Mafi mahimmanci ga ilimin ilmantarwa. Aiki yana da aikin G. Tsarlino "Istitutioni harmoniche", da kuma yawan ayyukan da wasu muses suka yi. theorist na karni na 16. Tsarin tushen tsarin karatun polyphony S. s. I. Fuchs ya bayyana a cikin littafin karatu "Gradus ad Parnassum" (1725). Ana kiyaye tsarin fitar da madaidaicin madaidaicin da Fuchs ya ƙera a cikin duk ayyuka masu amfani na gaba. jagora, misali. a cikin litattafan L. Cherubini, G. Bellerman, a cikin karni na 20. - K. Eppesen (Kph.-Lpz., 1930; ed na ƙarshe. - Lpz., 1971). Babban hankali ga ci gaban ka'idar S. ta shafi. ya ba Rasha. mawaƙa; alal misali, Jagoran Tchaikovsky don Nazarin Aiki na Haɗuwa (1872) ya ƙunshi babin da aka keɓe kan wannan batu. Littafin farko na musamman akan S. s. in Rasha lang. littafi ne na L. Busler, wanda aka buga a fassarar SI Taneyev a cikin 1885. Koyarwar S. ita ce. manyan mawaƙa sun shiga - SI Taneev, AK Lyadov, RM Glier; darajar karatun S. tare da. lura da P. Hindemith, IF Stravinsky da sauran composers. A tsawon lokaci, tsarin Fuchs na fitarwa ya daina saduwa da ra'ayoyin da aka kafa game da yanayin rashin daidaituwa (sakawar da E. Kurt ya ba da shi a cikin littafin "Fundamentals of Linear Counterpoint"), da kuma bayan kimiyya. Karatun Taneyev, buƙatar maye gurbin ta ya zama bayyane. Sabuwar hanyar koyarwa S. s., inda babban. an biya hankali ga nazarin nau'ikan kwaikwayo da kuma hadaddun ƙira a cikin yanayin polyphonic. polyphony, halitta mujiya. masu bincike SS Bogatyrev, Kh. S. Kushnarev, GI Litinsky, VV Protopopov, da SS Skrebkov; rubuta da dama litattafan, nuna soma a cikin Tarayyar Soviet. ku uch. cibiyoyi, al'adar koyar da S. s., wajen gina kwasa-kwasan zuwa-rogo, abubuwa guda biyu sun fito fili: ƙirƙirar ilimin koyarwa na hankali. tsarin da aka yi niyya da farko a aikace. ƙwararrun ƙwarewar ƙira (wakilta, musamman, a cikin litattafan GI Litinsky); wani kwas da ke mai da hankali kan aikace-aikace da na ka'ida. ƙware sosai a rubuce bisa nazarin fasaha. samfurori na kiɗa na ƙarni na 15th-16th. (misali, a cikin litattafan TF Muller da SS Grigoriev, SA Pavlyuchenko).

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VP Frayonov