Symphonism

Symphonism wani ra'ayi ne na gabaɗaya wanda aka samo daga kalmar "symphony" (duba Symphony), amma ba a gano shi ba. A mafi faɗin ma'ana, symphonism shine ƙa'idar fasaha ta falsafar fahimtar yare gaba ɗaya na rayuwa a cikin fasahar kiɗan.

Symphony a matsayin kayan ado, ƙa'idar tana da alaƙa da mayar da hankali kan manyan matsalolin rayuwar ɗan adam a cikin ɓarna. al'amurran ( zamantakewa-tarihi, tunanin-psychological, da dai sauransu). A wannan ma'ana, jin daɗin jin daɗi yana da alaƙa da akida da ɓangaren abin da ke cikin kiɗa. A lokaci guda, ma'anar "symphonism" ya haɗa da inganci na musamman na ƙungiyar cikin gida na muses. samarwa, ya dramaturgy, siffata. A wannan yanayin, da kaddarorin symphonism zo a gaba a matsayin hanyar da za a iya musamman warai da kuma yadda ya kamata bayyana matakai na samuwar da girma, gwagwarmayar ka'idojin sabani ta hanyar intonational-thematic. sabani da haɗin kai, dynamism da kwayoyin halitta na muses. ci gaba, halayensa. sakamako.

Ci gaban manufar "symphonism" shine cancantar ilimin kide-kide na Soviet, kuma sama da duka BV Asafiev, wanda ya sanya shi gaba a matsayin nau'in muses. tunani. A karo na farko, Asafiev ya gabatar da ma'anar symphonism a cikin labarin "Hanyoyi zuwa Gaba" (1918), yana bayyana ma'anarsa a matsayin "ci gaba da fahimtar kiɗa, lokacin da babu wani abu da aka yi la'akari da shi ko an gane shi a matsayin mai zaman kanta a tsakanin sauran. ” Daga baya, Asafiev ya ci gaba da tushe na ka'idar symphonism a cikin maganganunsa game da L. Beethoven, yana aiki akan PI Tchaikovsky, MI Glinka, binciken "Form Music a matsayin tsari", yana nuna cewa symphonism shine "babban juyin juya hali a cikin sani da fasaha. na mawaki , … zamanin ci gaba mai zaman kanta ta hanyar kiɗan ra'ayoyi da kuma tunanin ɗan adam "(BV Asafiev, "Glinka", 1947). Asafiev's ra'ayoyin sun kafa tushen don nazarin matsalolin symphonism da wasu owls. marubuta.

Symphonism wani nau'i ne na tarihi wanda ya wuce dogon tsari na samuwar, wanda aka kunna a zamanin wayewa na al'ada dangane da crystallization na sake zagayowar sonata-symphony da sifofinsa na yau da kullun. A cikin wannan tsari, mahimmancin makarantar gargajiya ta Viennese yana da girma musamman. Ƙaddamar da tsayin daka a cikin cin sabuwar hanyar tunani ya faru a farkon ƙarni na 18th da 19th. Samun ƙarfafawa mai ƙarfi a cikin ra'ayoyi da nasarorin Babban Faransanci. juyin juya halin 1789-94, a cikin ci gabansa. Falsafa, wacce ta juya da gaske ga yare (ci gaban tunani na falsafa da na ado daga abubuwan yare a cikin I. Kant zuwa GWF Hegel), S. ya mai da hankali kan aikin Beethoven kuma ya zama tushen fasaharsa. tunani. S. a matsayin hanyar da aka haɓaka sosai a ƙarni na 19 da 20.

S. ra'ayi ne mai nau'i-nau'i, wanda ke da alaƙa da adadin wasu kayan ado na gaba ɗaya. da ka'idodin ka'idoji, kuma sama da duka tare da manufar kiɗa. wasan kwaikwayo. A cikin mafi inganci, abubuwan da aka tattara (alal misali, a cikin Beethoven, Tchaikovsky), S. yana nuna alamun wasan kwaikwayo (saɓani, girma, wucewa cikin mataki na rikici, koli, ƙuduri). Duk da haka, a gaba ɗaya, S. ya fi kai tsaye. Gabaɗayan ra'ayi na "dramatology", wanda ya tsaya sama da wasan kwaikwayo kamar yadda S. a sama da wasan kwaikwayo, yana da alaƙa. Alama. Ana bayyana hanyar ta hanyar wannan ko irin wannan nau'in muses. dramaturgy, watau tsarin mu'amala na hotuna a cikin ci gaban su, concretizing yanayin bambanci da hadin kai, jerin matakai na aiki da sakamakonsa. A lokaci guda, a cikin wasan kwaikwayo na wasan kwaikwayo, inda babu wani makirci na kai tsaye, haruffa-halayen, wannan ƙaddamarwa ya kasance a cikin tsarin tsarin magana mai mahimmanci (idan babu shirin, rubutun magana).

Nau'in kiɗan. wasan kwaikwayo na iya zama daban-daban, amma don kawo kowannensu zuwa matakin wasan kwaikwayo. ana buƙatar hanyoyin. inganci. Alama. ci gaba na iya zama cikin sauri da rikice-rikice ko kuma, akasin haka, sannu a hankali kuma a hankali, amma koyaushe tsari ne na samun sabon sakamako, yana nuna motsin rayuwa kanta.

Ci gaba, wanda shine ainihin S., ya ƙunshi ba kawai tsarin daidaitawa na sabuntawa ba, har ma da mahimmancin halaye. canje-canje na kiɗan asali. tunani (jigogi ko jigogi), kaddarorin da ke cikinsa. Ya bambanta da juxtaposition suite na bambanta jigogi-hotuna, juxtaposition, don karimci. Dramaturgy yana da irin wannan ma'ana (directory), wanda kowane lokaci na gaba - bambanci ko maimaitawa a wani sabon matakin - ya biyo baya daga baya a matsayin "nasa" (Hegel), yana tasowa "a cikin karkace". An halicci "shugabanci na nau'i" mai aiki zuwa sakamakon, sakamakon, ci gaba da samuwarsa, "jawo mu da gajiya daga tsakiya zuwa tsakiya, daga nasara zuwa nasara - zuwa ga ƙarshe" (Igor Glebov, 1922). Daya daga cikin mafi mahimmancin nau'ikan symphony. wasan kwaikwayo ya ta'allaka ne akan karo da haɓaka ƙa'idodin saɓani. Tashin hankali ya tashi, kololuwa da raguwa, saɓani da fahimi, rikici da ƙudurinsa sun zama tsarin dangantaka mai ƙarfi a cikinsa, wanda aka jaddada maƙasudinsa ta hanyar magana. ƙulla-arches, hanyar "wuce" madaidaicin, da sauransu. Tsarin alama. ci gaba a nan shi ne mafi yare, dabarunsa yana ƙarƙashin triad: thesis – antithesis – synthesis. Mahimman bayanin yaren symph. hanyar - fp. sonata No. 23 ta Beethoven, wasan kwaikwayo na sonata, wanda ya cika da ra'ayin jaruntaka. gwagwarmaya. Babban sashi na kashi na farko ya ƙunshi dukkan hotuna masu ban sha'awa, wanda daga baya ya shiga cikin rikici da juna (ka'idar "ka'idar daya"), kuma binciken su ya haifar da yanayin ci gaba na ciki (bayani, ci gaba, ramuwa) karuwa amma tashin hankali, yana haifar da matakin ƙarshe - haɗin ka'idodin rikici a cikin lambar. A sabon matakin, dabaru na wasan kwaikwayo. bambance-bambancen motsi na 1st ya bayyana a cikin abun da ke ciki na sonata gaba ɗaya (haɗin babban Andante mai girma tare da ɓangaren gefen motsi na 1st, guguwa ta ƙarshe tare da ɓangaren ƙarshe). Yaren irin wannan bambance-bambancen asali shine ƙa'idar da ke ƙarƙashin sautin waƙa. tunanin Beethoven. Ya kai ma'auni na musamman a cikin jarumtakar wasan kwaikwayo. Symphonies - 1th da 5th. Mafi bayyanan misalin S. a fagen soyayya. sonatas – Chopin's b-moll sonata, wanda kuma ya dogara akan ci gaban wasan kwaikwayo. rikice-rikice na kashi na 9 a cikin dukan sake zagayowar (duk da haka, tare da jagorancin daban-daban na tsarin ci gaba na gaba ɗaya fiye da na Beethoven - ba zuwa ga ƙarshe na jaruntaka ba - ƙarewa, amma zuwa ga wani ɗan gajeren labari mai ban tsoro).

Kamar yadda kalmar kanta ta nuna, S. ya taƙaita mafi mahimmancin alamu waɗanda suka yi crystallized zuwa sonata-symphony. zagayowar da kuma music. nau'ikan sassansa (wanda, bi da bi, shaye-shaye daban-daban hanyoyin ci gaba da ke ƙunshe a cikin wasu nau'ikan, alal misali, bambance-bambancen, polyphonic), - alama-jigo. maida hankali, sau da yawa a cikin 2 polar spheres, haɗin kai na bambanci da haɗin kai, manufar ci gaba daga bambanci zuwa kira. Duk da haka, tunanin S. ba a rage shi zuwa tsarin sonata ba; alama. hanyar ba ta da iyaka. Na-iri da siffofi, kamar yadda maɗaukakawar kaddarorin kiɗa gabaɗaya a matsayin babban aiki, na ASAAFIZ, wanda ke la'akari da tsari a matsayin tsari, shine nuna alama). S. ya sami bayyanar a cikin mafi bambancin. 'Yan jam'iyya da siffofi - daga Symphony, Opera, Ballet a cikin soyayya ko kananan Enfr. wasan kwaikwayo (misali, soyayyar Tchaikovsky "Sake, kamar yadda ya gabata ..." ko kuma Chopin's prelude a d-moll ana nuna shi ta hanyar karuwa a cikin tashin hankali da tunani, yana kawo shi zuwa koli), daga sonata, babban bambanci zuwa ƙananan strophic. siffofin (misali, waƙar Schubert "Biyu").

Ya ba da gaskiya ya kira etudes-bambance-bambancen sa don wasan kwaikwayo na piano. R. Schumann (daga baya ya kuma ba da sunan bambancinsa na piano da ƙungiyar makaɗa S. Frank). Misalai masu haske na wasan kwaikwayo na nau'i daban-daban dangane da ka'idar ci gaban hotuna masu ƙarfi su ne wasan karshe na wasan kwaikwayo na Beethoven na 3rd da 9th, passacaglia na ƙarshe na Brahms's 4th symphony, Ravel's Bolero, passacaglia a cikin sonata-symphony. hawan keke na DD Shostakovich.

Alama. Hanyar kuma tana bayyana a cikin babban murya-instr. nau'ikan nau'ikan; Saboda haka, ci gaban da ra'ayoyin rayuwa da mutuwa a cikin Bach ta h-moll taro ne symphonic cikin sharuddan maida hankali: antithesis na hotuna ba a za'ayi a nan ta hanyar sonata, duk da haka, da ƙarfi da yanayi na intonational da tonal bambanci iya. a kusantar da sonatas. Ba'a iyakance ga wuce gona da iri ba (a cikin nau'in sonata) na Mozart's S. opera Don Giovanni, wasan kwaikwayo wanda ke cike da tashin hankali mai ban sha'awa na soyayyar rayuwa ta Renaissance na rayuwa da kuma mummunan tasirin dutse, azaba. Deep S. "Sarauniyar Spades" ta Tchaikovsky, wanda ke ci gaba daga antithesis na ƙauna da sha'awar-wasa, "hujja" na tunanin mutum da kuma jagorantar dukan tsarin wasan kwaikwayo. ci gaba zuwa bala'i. zalunci. Wani misali na S., wanda aka bayyana ta hanyar wasan kwaikwayo ba na bicentric ba, amma na tsari guda ɗaya, shine wasan opera na Wagner Tristan da Isolde, tare da ci gaba da tashin hankali mai ban tausayi, wanda kusan ba shi da ƙuduri da koma bayan tattalin arziki. Dukan ci gaba da ci gaba daga farkon ɗorewa - "sprout" an haife shi daga ma'anar kishiyar "Sarauniyar Spades" - ra'ayin da ba makawa Fusion na soyayya da mutuwa. Def. ingancin S., wanda aka bayyana a cikin rare Organic melodic. girma, a cikin ƙaramin wok. nau'i, yana ƙunshe a cikin aria "Casta diva" daga opera "Norma" na Bellini. Don haka, S. a cikin nau'in opera, mafi kyawun misalan abin da ke kunshe a cikin aikin manyan mawallafin wasan kwaikwayo na opera - WA Mozart da MI Glinka, J. Verdi, R. Wagner, PI Tchaikovsky da MP Mussorgsky, SS Prokofiev da DD Shostakovich - ba a rage shi zuwa orc ba. kiɗa. A cikin opera, kamar a cikin simphony. prod., dokokin maida hankali na muses shafi. dramaturgy dangane da wani gagarumin generalizing ra'ayi (misali, da ra'ayin da jama'a-jarumi a cikin Glinka ta Ivan Susanin, da mummunan rabo na mutane a cikin Mussorgsky ta Khovanshchina), da kuzarin kawo cikas na turawa, wanda ya haifar da kullin rikici (musamman). a cikin ensembles) da ƙudurinsu. Ɗaya daga cikin mahimman abubuwan da ke nuna zaman duniya a cikin opera shine aiwatar da ka'idar leitmotif na halitta da daidaito (duba Leitmotif). Wannan ka'ida sau da yawa tana girma zuwa tsarin gaba ɗaya na maimaitawa. gyare-gyare, hulɗar da suke da su da kuma canza su suna nuna ƙarfin motsa jiki na wasan kwaikwayo, zurfin dangantaka da tasiri na waɗannan dakarun (kamar a cikin wasan kwaikwayo). A cikin tsari na musamman da aka haɓaka, symph. An bayyana tsarin wasan kwaikwayo ta hanyar tsarin leitmotif a cikin operas na Wagner.

Bayyanar cututtuka. Hanyar, takamaiman siffofinsa sun bambanta sosai. A samar daban-daban nau'o'i, styles, lstorich. Zamani da makarantun ƙasa a kan tsari na 1 sune waɗannan ko wasu halaye na symph. hanya - rikice-rikice fashewar, kaifin bambance-bambance ko haɓakar kwayoyin halitta, haɗin kai na gaba (ko bambancin haɗin kai), ƙaddamar da tsarin aiki ko tarwatsawa, sannu-sannu. Bambance-bambance a cikin hanyoyin symphony. abubuwan da ke faruwa suna bayyana musamman idan aka kwatanta wasan kwaikwayo na rikici. da monologue na lyric. nau'ikan alama. wasan kwaikwayo. Zana layi tsakanin nau'ikan alamomin tarihi. dramaturgy, II Sollertinsky kira daya daga cikinsu Shakespearean, dialogic (L. Beethoven), da sauran - monologue (F. Schubert). Duk da sanannen al'ada na irin wannan bambance-bambance, ya bayyana muhimman abubuwa guda biyu na al'amarin: S. a matsayin wasan kwaikwayo na rikici. aiki da S. a matsayin waƙa. ko inci. labari. A cikin wani hali, sauye-sauye na bambance-bambance, masu adawa da juna, suna cikin gaba, a cikin ɗayan, haɓakar ciki, haɗin kai na ci gaban tunanin hotuna ko rassan su da yawa (epic S.); a daya - girmamawa a kan ka'idodin sonata dramaturgy, dalili-jigo. ci gaba, tattaunawa da fuskantar ka'idoji masu cin karo da juna (symphonism na Beethoven, Tchaikovsky, Shostakovich), a wani - a kan bambance-bambance, sannu-sannu germination na sabon intonations. formations, kamar yadda, misali, a cikin sonatas da symphonies na Schubert, da kuma da yawa wasu. samfur. I. Brahms, A. Bruckner, SV Rachmaninov, SS Prokofiev.

Bambance-bambancen nau'ikan simphony. Har ila yau, an ƙaddara wasan kwaikwayo ta hanyar ko an mamaye shi da tsauraran dabaru na aiki ko kuma 'yancin ɗan adam na tsarin ci gaba na gabaɗaya (kamar, alal misali, a cikin waƙoƙin wakoki na Liszt, ballads na Chopin da fantasies a cikin f-moll), ko an tura aikin a cikin sonata. - symphony. sake zagayowar ko mayar da hankali a cikin sigar kashi ɗaya (duba, alal misali, manyan ayyukan kashi ɗaya na Liszt). Dangane da abun ciki na alama da fasalin kiɗan. dramaturgy, za mu iya magana game da Dec. nau'ikan S. - ban mamaki, waƙa, almara, nau'i, da sauransu.

Matsayin ƙaddamar da fasahar akida. dabarun samarwa. tare da taimakon kalmar, yanayin haɗin haɗin gwiwar muses. hotuna tare da abubuwan da suka faru na rayuwa suna ƙayyade bambancin S. a cikin shirye-shirye da kuma waɗanda ba a tsara su ba, sau da yawa haɗin kai (symphonism ta Tchaikovsky, Shostakovich, A. Honegger).

A cikin nazarin nau'ikan S., tambayar bayyanar a cikin wasan kwaikwayo yana da mahimmanci. tunanin ka'idar wasan kwaikwayo - ba kawai dangane da dokokin wasan kwaikwayo na gaba ɗaya ba, amma wani lokacin musamman, a cikin wani nau'i na makirci na ciki, "fabularity" na symphonies. ci gaba (alal misali, a cikin ayyukan G. Berlioz da G. Mahler) ko wasan kwaikwayo na wasan kwaikwayo na tsarin siffa (symphonism by Prokofiev, Stravinsky).

Nau'in S. suna bayyana kansu a cikin kusanci da juna. Da, dram. S. a karni na 19. ci gaba a cikin kwatance na jaruntaka-dramatic (Beethoven) da kuma lyrical-dramatic (ƙarshen wannan layi shine Symphonism na Tchaikovsky). A cikin kiɗan Austriya sun ƙirƙira nau'in lyric-epic S., yana fitowa daga wasan kwaikwayo a C-dur na Schubert zuwa aikin. Brahms da kuma Bruckner. Epic da wasan kwaikwayo suna hulɗa a cikin waƙar Mahler. Haɗin almara, nau'i da waƙoƙi suna da halayen Rashanci sosai. classic S. (MI Glinka, AP Borodin, NA Rimsky-Korsakov, AK Glazunov), wanda shi ne saboda Rasha. nat. thematic, melodic element. raira waƙa, sautin hoto. Synthesis decomp. nau'ikan alama. wasan kwaikwayo - yanayin da ke tasowa a cikin sabuwar hanya a cikin karni na 20. Don haka, alal misali Shostakovich na jama'a da falsafar symphonism ya hada kusan dukkanin nau'ikan kade-kade da suka riga shi tarihi. wasan kwaikwayo tare da mai da hankali na musamman kan haɗakar abubuwan ban mamaki da almara. A cikin karni na 20 S. a matsayin ka'idar kiɗa. Ana yin tunani musamman sau da yawa akan kaddarorin wasu nau'ikan fasaha, wanda ke nuna sabbin nau'ikan alaƙa da kalmar, tare da wasan kwaikwayo. aiki, assimilating dabarun cinematography. dramaturgy (wanda sau da yawa take kaiwa zuwa deconcentration, a rage a cikin rabo na symphonic dabaru dace a cikin aikin), da dai sauransu. Ba reducible zuwa wani unmbiguous dabara, S. a matsayin category na muses. Ana bayyana tunani a cikin sabbin abubuwa a cikin kowane zamani na ci gabansa.

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HS Nikolaev