Dabara |

Jamus Takt, daga lat. tactus - tabawa

Tun daga karni na 17, ainihin naúrar mita a cikin kiɗa, wani yanki na yanki na kiɗa wanda ya fara da ƙaƙƙarfan lafazi na awo. A cikin bayanin kida, T. an bambanta su ta hanyar layi na tsaye da ke tsaye a gaban waɗannan lambobi - layin mashaya. A tarihi, T. ya zo daga rakiyar bunks. kiɗan halayen rawa na nau'ikan bugun ɗaki, tazara tsakanin waɗanda ke kusa da tsaka-tsakin bugun bugun jini na yau da kullun, mafi daidaitattun ƙididdiga da girma ta hanyar tsinkaye kai tsaye. A cikin kiɗan haila, irin wannan tsohuwar “buga T.” ya ba yanayi. ma'auni na tsawon bayanin kula (Latin mensura, saboda haka Misura na Italiyanci da ma'aunin Faransanci, ma'ana T.). A cikin ars antiqua, longa yayi daidai da wannan ma'auni; daga baya dangane da gabatarwar zuwa polyphonic. kiɗan ƙarami na tsawon lokacin bayanin kula, cikakkiyar ƙimar abin da ya karu, rawar ma'aunin ma'aunin ya wuce zuwa brevis; a cikin karni na 16, lokacin da kalmar tactus ta zo cikin amfani, ana daidaita ta da girman al'ada na semibrevis. Tun da karuwa da raguwa ("matsayi") na iya canza tsawon lokacin bayanin kula idan aka kwatanta da ƙimar su ta al'ada (ƙarfin lamba), tare da T. alla semibreve akwai T. alla breve (saboda raguwa, brevis an daidaita shi da ƙimar al'ada ta al'ada). semibrevis) da alla minima (lokacin ninki biyu). A cikin karni na 17, lokacin da aka kafa T. a cikin zamani. hankali, semibrevis, wanda ya zama "dukan bayanin kula", ya kasance naúrar daidai da ƙimar al'ada T.; ƙarin karuwa a cikin tsawon lokacinsa, duk da haka, yana da alaƙa da shimfidawa na T., to-ry yana rasa ƙimar ma'anar. matakan lokaci. Sabbin T. galibi ana raba su ta mafi raunin lafazi zuwa hannun jari (yawanci 4) ko lokutan kirgawa (Zdhlzeiten Jamusanci), a matsakaici, kusan daidai da tsawon lokacin T., amma b. sa'o'i, ana nuna su azaman kwata na duka bayanin kula (= semiminima).

Canji na T. daga rukunin kirga zuwa rukuni na raka'a (Gruppentakt, a cikin ma'anar H. Schunemann) da kuma canjin yanayin haila na zamani ya nuna bullar wani sabon salo, wanda ke da alaƙa da rabuwar kiɗa daga kiɗa. zane-zane masu alaƙa, haɓakar instr. kiɗa da instr. rakiya zuwa wok. kiɗa da canji mai tsauri a cikin kiɗa. harshe. Aure-karni. Tunanin polyphonic ya ba da hanya zuwa chordal, wanda ya samo waje. magana a cikin bayanin martaba a cikin nau'i na maki, wanda aka maye gurbinsa a karni na 17. tsohuwar hanyar rubuta otd. muryoyin, kuma a cikin fitowar a cikin wannan karni na 17th. ci gaba da rakiya - basso continuo. Wannan rakiyar tana bayyana a sarari sifa ta biyu na sabon kiɗan; tare da faɗakarwa na melodic yana bayyana magana cikin sassan da ke cike da ma'anoni. jituwa, wanda ke farawa a lokuta masu ƙarfi, sau da yawa ya zo daidai da ƙarshen sassan waƙar. Sabbin kiɗan ne ke sarrafa waɗannan lafazin. mita - T., wanda ba ya lalata kiɗa, amma, kamar ci gaba da bass, yana bayyana shi. Alamar awo. layin mashaya (wanda aka samo shi a cikin tablature na ƙungiyoyi daga karni na 14, amma ya fara amfani da shi a cikin ƙarni na 17) ba ya nuna tsayawa ko tsayawa (a matsayin iyakar layin aya), amma layin awo ne kawai. lafazi (watau wurin al'ada na lafazin, wanda tare da shi, kamar yadda yake a cikin nau'in lafazin ayoyi, ainihin lafazin ƙila ba zai zo daidai ba). Ba kamar kowane nau'in mitar aya ba (dukansu suna da alaƙa da kiɗa da girman lafazin rabu da ita, inda adadin damuwa koyaushe ke aiki don ƙayyade ma'aunin aya ko layi), a cikin muses na musamman. A cikin mita, al'ada tana nufin ƙarawa ne kawai kuma baya ƙayyade girman jimloli da lokuta. Amma awo. accentuation a music ya fi rikitarwa fiye da a cikin waka: maimakon wani sauki adawa na metrically stressed (karfi) da kuma maras stressed (raunan) syllables, T. aka kafa ta jerin matsalolin da suka bambanta da ƙarfi. A cikin 4-buga T., rabo na 1st yana da matukar damuwa, na 3rd yana da ƙarfi, kuma na 2nd da 4th suna da rauni. Ana iya fahimtar irin wannan jerin matsalolin ba tare da la'akari da ko bugun da aka ɗauka a matsayin daidai yake da gaske ba, ko kuma an keta wannan daidaito ta kowane nau'i na ma'ana. sabawa, accelerations, decelerations, fermats, da dai sauransu Bambance-bambancen da ke tsakanin hannun jari ba a bayyana ba sosai a cikin cikakkiyar murya, amma a cikin jagorancin canje-canjensa: don hannun jari mai karfi, abũbuwan amfãni ne halayyar. farawa mai ƙarfi ya biyo baya tare da raguwa a cikin ƙararrawa, don raunin rauni - akasin haka, karuwa a ƙara (da ƙarfin lantarki).

Tsarin lafazi na T. shine al'ada, wanda dole ne a haɗa ainihin ƙaddamarwa, amma gefen bazai iya gane sauti ba. Ana adana wannan makirci a cikin wakilci ta hanyar sauƙi, musamman, har ma da rarraba darajar bayanin kula. A cikin ma'auni na tushen haila, juxtapositions na ƙimar da ba daidai ba (1: 2) an fi so, sabili da haka ƙimar bayanin kula mafi girma a cikin "cikakkiyar" siffar su daidai da ƙananan 3. Girman mahimmancin rabon bayanin kula na "marasa cikakke" zuwa sassa 2 daidai (farawa daga karni na 14) yana ba mu damar yin la'akari da wannan zamanin a matsayin tsaka-tsakin yanayi daga yanayin yanayi (duba Modus), ko na al'ada a cikin tsattsauran siffarsa, zuwa agogo, inda duk babban. bayanin kula durations an kafa ta hanyar rarraba dukan bayanin kula zuwa halves, kwata, takwas, goma sha shida, da dai sauransu "square" 4-buga tsarin, wanda bariki ke ƙayyade lokacin kiɗa, yana nuna babban. nau'in T., "girman da aka saba" (lokacin gama gari na Ingilishi), nadi-rogo (C) a cikin bayanin haila yana nuna imperfectum tempus (brevis = 2 semibreves, da bambanci ga , yana nuna tempus perfectum) da ƙananan prolatio (rashin digo, akasin haka и , ya nuna cewa semibrevis shine 2, ba 3 minimae ba). Tsayayyen sanda ta hanyar bayanin girman (), yana nuna raguwar duk tsawon lokaci da daidaita brevis zuwa ƙimar al'ada na semibrevis, ya fara zayyana T. alla breve, wanda, tare da rukuni na 4-buga, rukunin tempo ya zama. Kuma ba . Irin wannan naúrar ɗan lokaci shine babba. ba wai kawai alamar “babban alla breve” (4/2) ba, har ma da “kananan alla breve” (2/2), watau 2-lobed T., wanda tsawon lokacin bai kai daidai da brevis ba. amma duk bayanin kula (kamar yadda yake cikin sa hannun lokacin C). Zayyana na sauran masu girma dabam na T. a cikin nau'i na ɓangarorin manyan. Har ila yau, masu girma dabam suna fitowa daga ƙayyadaddun ƙididdiga na haila, waɗanda, duk da haka, sun canza ma'anar su gaba ɗaya. A cikin bayanin haila, ma'auni yana canza tsawon lokacin bayanin kula ba tare da canza darajar lokaci ba, naúrar lokaci; 3/2, alal misali, yana nufin cewa bayanin kula 3 daidai yake a tsawon lokaci zuwa biyu daga cikin bayanin kula iri ɗaya na girman al'ada (a cikin bayanin zamani, ana nuna wannan ta uku-uku -

tare da bambancin cewa nadi na haila ba shi da alaƙa da ƙarawa kuma baya ware bayanin farko na rukuni a matsayin mai ƙarfi). Alamar agogo 1/3 idan aka kwatanta da T. 2/2 () baya canza ƙimar tsawon lokacin bayanin kula, amma yana ƙara T. sau ɗaya da rabi.

A matsayinka na mai mulki, a cikin juzu'in da ke nuna girman T., mai ƙididdigewa yana nuna adadin hannun jari, kuma ma'auni yana nuna darajar kiɗan su, amma akwai halittu daga wannan doka. ware. Dangane da adadin hannun jari, yawanci bambanta T. mai sauƙi tare da ƙaƙƙarfan lokaci ɗaya (2- da 3-part) da hadaddun, wanda ya ƙunshi biyu ko fiye masu sauƙi, tare da Ch. lafazin (ƙarfi mai ƙarfi) a farkonsu da sakandare (dangantaka mai ƙarfi) a cikin sauran. Idan waɗannan sassa daidai suke, T. da ake kira. m (rikitarwa - a cikin kunkuntar hankali), idan ba daidai ba - asymmetrical ko gauraye. Complex (symmetry.) T. sun haɗa da 4-, 6-, 9- da 12-buga, gauraye - 5-, 7-buga, da sauransu. misali. T. 3/3, 1/3, 2/3, 4/3, 8/3 an kasafta su azaman masu girma dabam 16. Bambanci, a fili, ya ta'allaka ne a cikin tsawon lokacin ma'aunin ma'auni (don L. Beethoven, sashin jinkirin a cikin 3/8 lokaci zai iya biyo baya da sauri a cikin 3/4 lokaci, inda duk T. ya fi guntu). fiye da na takwas na lokacin da ya gabata), amma a cikin nauyinsa (ƙananan bayanin kula, mafi sauƙi suna da alama). A cikin karni na 18th zabin darajar bayanin kula don bugun yana yawanci iyakance ga kwata (tempo ordinario) da rabi (tempo alla breve); Dangane da girman tare da ma'auni na 8, ana raba mai ƙididdigewa koyaushe da 3 (3/8, 6/8, 9/8, 12/8) kuma baya nuna adadin tushe. hannun jari wanda ke ƙayyade taki, da ext. raba ta 3 (maimakon al'ada ko da rabo). Bipartiteness na T. 6/8 yana bayyana a sarari a cikin kwatancen (lokaci ɗaya ko na gaba) tare da T. 2/4: yayin kiyaye lokaci guda, yawanci.

; 9/8 da 12/8 sune 3- da 4-beat T. (a cikin kiɗan gargajiya, adadin bugun T. bai wuce 4 ba). A cikin 3/8 lokaci, dukan T. (kamar mensural T.) sau da yawa yana aiki a matsayin na'ura na ɗan lokaci kuma, sabili da haka, dole ne a gane shi a matsayin monolithic (a cikin 3 yawanci ana gudanar da shi a cikin jinkirin lokaci, wanda motsin jagorancin ke yi. bai dace da babban hannun jari ba, amma ga sassan su). Masu ƙididdigewa iri ɗaya tare da ma'auni na 4 na iya nuna rabe-raben uku a cikin tempo alla breve: 6/4 shine bh ba hadaddun T. ba, amma sassa 2 mai sauƙi, nau'i uku. . 3/4 na iya zama duka 3-part da monopart: a cikin L. Beethoven's fast tempos, an gabatar da shari'ar 1st a cikin fugue daga sonata op. 106 ( = 144), na 2nd - a cikin scherzo symphonic ( . = daga 96 zuwa 132). Daidaiton T. 3/4 da a cikin scherzo na Beethoven ta 3rd da 9th symphonies ( ... = = 116) ya nuna cewa T. Hakanan ana iya fahimtar wani lokaci a matsayin monocot. Haka na yi amfani da takardar AP Borodin a cikin sashin II na 2nd symphony; a cikin maki, ed. NA Rimsky-Korsakov da AK Glazunov an maye gurbinsu da 1/1. Monocotyledonous da sauran sauƙaƙan T. galibi ana haɗa su cikin “T. tsari mafi girma” (wani lokaci ana nuna wannan ta maganganun mawaƙa, misali “ritmo a tre battute” a cikin scherzo daga wasan kwaikwayo na Beethoven na 9th; duba Art. Meter).

A cikin zamanin soyayya, zaɓin ƙimar bayanin kula don bugun ya zama mafi bambanta. A cikin sonatas na ƙarshe na Beethoven, zane-zane 13/16 da 9/16 sun nuna cewa bugun ya zama. ., da 6/16 da 12/32 a cikin shari'ar 2nd sun nuna cewa a cikin kashi 3-T., inda bugun ya kasance na takwas, ana maye gurbin kashi uku da maɗaukaki ɗaya (canzawar intralobar pulsation a cikin 4- Za a iya sanya sashin T. a matsayin 8/8 bayan 12/8, misali a cikin Liszt's Preludes). Bambance-bambancen da ke ƙaruwa kuma ya shafi adadin hannun jari, wanda ba ya iyakance ga huɗu. 6/4 na iya zama ainihin hadaddun T., wanda ya ƙunshi duka biyu 3-sassa da uku 2-sassa (tare da ingantacciyar 3rd da 5th sassa; irin T. ana samun su a F. Liszt, SV Rachmaninov, IF Stravinsky). Cakuda (asymmetrical) masu girma dabam kuma suna bayyana: 5/4 (siffar ta uku ita ce 15/8, alal misali, a cikin Bukin Debussy), 7/4, da dai sauransu gauraye masu girma dabam ba su da yawa. Wani lokaci kadaici asymmetrical. T. suna tsaka-tsaki tsakanin masu ma'ana a matsayin faɗaɗa ko raguwa. B. hours gauraye T. wakiltar ƙungiyar 2 T. (ya isa a kwatanta 7/4 a cikin Liszt's Dante Symphony da kuma canji na 3/4 da C a cikin Faust Symphony). Don haka, gauraye T. yakan juya zuwa jimloli, wanda layin mashaya ke aiki azaman nadi na iyakoki, kuma ba mai ƙarfi ba. Ana amfani da irin wannan rarrabuwa zuwa T. sau da yawa lokacin yin rikodin kiɗan na wasu rhythm a cikin tsarin agogo. tsarin, misali. Rashanci nar. Waƙoƙi (“jama’a T.” Sokalsky), a cikin jigogi waɗanda mawaƙa suka aro daga al’adun gargajiya ko kuma an tsara su kamar yadda suke (5/4 na MI Glinka, 11/4 na NA Rimsky-Korsakov, 9/8

yana da shi a cikin Tale of the Invisible City of Kitezh, da dai sauransu). Irin waɗannan T.-jumloli na iya zama daidai a cikin adadin hannun jari zuwa saba mai sauƙi ko hadaddun symmetries. T. (misali, 2/4 a cikin wasan karshe na wasan kwaikwayo na biyu na Tchaikovsky). A waje da kiɗan Rasha, misali shine prelude na Chopin a cikin c-moll, inda kowane T. jumla ce wadda ba za a iya la'akari da kashi na 2 a matsayin lokaci mai ƙarfi ba, kuma na 1 - a matsayin lokaci mai ƙarfi.

References: Agarkov O., A kan cancantar fahimtar mitar kiɗa, a cikin: Musical Art and Science, vol. 1, M., 1970; Kharlap MG, Tsarin agogo a cikin rhythm na kiɗa, a cikin tarin: Matsalolin rhythm na kiɗa, M., 1978; duba kuma kunna. ku Art. Mita, Mita.

MG Harlap