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daga lat. temperatio - daidai rabo, rabo

Daidaita dangantakar tazara tsakanin matakan tsarin sauti a cikin kiɗa. tsari. T. halayyar m matakai a cikin ci gaban kowane daga cikin muses. tsarin: don maye gurbin tsarin "na halitta" (misali, Pythagorean, tsarki, watau e. dangane da tazara daga sikelin na halitta), wucin gadi, ma'aunin zafin jiki ya zo - rashin daidaituwa da daidaituwa T. (12-, 24-, 36-, 48-, 53-gudu, da sauransu). Bukatar T. ya taso dangane da bukatun muses. ji, tare da ci gaban sauti-tsayin kiɗa. tsarin, hanyoyin kiɗa. bayyanawa, tare da zuwan sababbin siffofi da nau'o'in kuma, a ƙarshe, tare da haɓakar kiɗa. kayan aiki. Don haka, a cikin Dr. Girka, don neman ingantaccen daidaita tetrachord, Aristoxenus ya ba da shawarar raba kwata zuwa kashi 60 daidai kuma na biyu b. daƙiƙa (a – g, g – f) zaɓi hannun jari 24, kuma don m. dakika (f - e) - 12; a zahiri yana kusa da zamani sosai. 12-gudun uniform T. Mafi yawan bincike a cikin yankin T. na cikin ƙarni na 16-18. e. ta lokacin samuwar homophonic-harmonic. sito, ci gaban manyan nau'ikan kiɗan. samarwa, da samuwar cikakken manyan-kananan tsarin maɓalli. A cikin Pythagorean da aka yi amfani da su a baya da tunings masu tsabta (cf. Stroy) akwai ƙananan bambance-bambancen tsayi tsakanin enharmonic. sauti (cf. Enharmonism), bai dace da juna ba tsawon tsayi, misali, sautin nasa da c, dis da es. Waɗannan bambance-bambancen suna da mahimmanci don bayyanawa. wasan kwaikwayo na kiɗa, amma sun hana ci gaban tonal da jituwa. tsarin; ya zama dole ko dai a ƙirƙira kayan aiki tare da maɓallai dozin da yawa a kowace octave, ko kuma a bar canji zuwa maɓallan nesa. Na farko, rashin daidaituwa T. mawaƙa sun yi ƙoƙarin kiyaye ƙimar b. na ukun sun kasance iri ɗaya da a cikin tsantsar daidaitawa (Temperament A. Shlyka, P. Aron, Midtone T. da sauransu); don wannan, girman wasu kashi biyar ya ɗan canza kaɗan. Duk da haka, dep. Kashi na biyar sun yi sauti sosai (watau Mr. wolf na biyar). A wasu lokuta, misali. in Midtone T., b. na ukun tsantsar tuning an raba shi zuwa duka sautuna guda biyu masu girman iri ɗaya. Hakanan ya sa ba a yi amfani da duk maɓallan ba. A. Werkmeister da kuma I. Neidhardt (con. 17 - ba. 18 ƙarni) watsi b. kashi uku na tsarkakakken tsari kuma ya fara rarraba waƙafi na Pythagorean tsakanin decomp. na biyar. Don haka, kusan sun zo kusa da yunifom mai sauri 12 T. A cikin daidaitawa daidai-mataki-mataki 12, duk tsarkakakkun kashi biyar an rage su idan aka kwatanta da na biyar daga sikelin halitta ta 1/12 na waƙafi na Pythagorean (kimanin cents 2, ko 1/100 na sautin duka); tsarin ya kasance a rufe, an raba octave zuwa 12 daidaitattun semitones, duk tazara na suna iri ɗaya ya zama iri ɗaya a girman. A cikin wannan tsarin, zaku iya amfani da duk maɓallai da maɓalli na mafi yawan lalacewa. Tsarin, ba tare da keta ƙa'idodin da aka kafa don fahimtar tsaka-tsakin lokaci ba kuma ba tare da rikitar da ƙirar kayan aiki tare da ƙayyadaddun sauti na sauti ba (kamar sashin jiki, clavier, garaya). Ɗaya daga cikin ainihin ƙididdiga na farko na 12-gudun T. wanda M. Mersenne (karni na 17); teburin motsi tare da da'irar biyar tare da komawa zuwa wurin farawa an sanya shi a cikin "Music Grammar" na N. Diletsky (1677). Farkon gwaninta mai haske na fasaha. An yi amfani da tsarin zafin jiki ta hanyar I. C. Bach (Clavier mai tsananin fushi, ch. 1, 1722). 12-gudun T. ya kasance mafi kyawun maganin matsalar tsarin. Wannan T. ya haifar da yanayi don ci gaba mai zurfi na modal jituwa. tsarin a cikin 19th da 20th ƙarni. Lokacin waƙa da kunna kayan kida tare da fage mara kyau, mawaƙa suna amfani da abin da ake kira. Mr. zone tsarin, dangane da Krom tempered tsarin ne na musamman hali. Haka kuma, T. Har ila yau yana rinjayar tsarin yanki, yana ƙayyade matsakaicin dabi'u na yankunan mataki. N. ya haɓaka. A. Garbuzov theoretician. ra'ayin yanayin yanki na sauraron sauti (duba. Zone) ya ba da damar gano psychophysiological. tushen 12-gudun T. A lokaci guda, ta gamsu cewa wannan tsarin ba zai iya zama mai kyau ba. Don kare kanka da cin nasara cikin innation. rashin amfani na 12-gudun T. an ɓullo da tuning tare da ɗimbin matakai masu zafi a kowace octave. Mafi ban sha'awa daga cikinsu shine bambance-bambancen tsarin tare da matakai 53 a cikin octave, wanda N. Mercator (karni na 18), Sh. Tanaka, R. Bosanquet (karni na 19); Yana ba ku damar sake haifar da tazara na Pythagorean daidai daidai, mai tsabta da daidaita yanayin yanayi guda 12.

A cikin karni na 20 gwaje-gwaje don haifar da bambanci. zažužžukan T. ci gaba. A cikin Czechoslovakia a cikin 20s A. Khaba ya haɓaka 1/4-tone, 1/3-tone, 1/6-tone da 1/12-tone tsarin. A cikin Sov. Union a lokaci guda, AM Avraamov da GM Rimsky-Korsakov sun gudanar da gwaje-gwaje tare da tsarin sautin kwata-kwata; AS Ogolevets ya ba da shawarar 17- da 29-mataki T. (1941), PP Baranovsky da EE Yutsevich - 21-mataki (1956), EA Murzin - 72-mataki tsarin T. 1960).

References: Khaba A., Harmonic tushen tsarin sautin kwata, "Zuwa sabon tudu", 1923, No 3, Shtein R., kiɗan Quarter-tone, ibid., Rimsky-Korsakov GM, Tabbatar da tsarin kiɗan kwata-kwata, in: Da musisa. Fitar da Vremnik na tarihi da ka'idar kiɗa, vol. 1, L., 1925; Ogolevets AS, Tushen Harshen jituwa, M., 1941; nasa, Gabatarwa ga tunanin kiɗan zamani, M., 1946; Garbuzov NA, Intrazonal intonation saurare da hanyoyin ci gaban ta, M. - L, 1951; Musical Acoustics, ed. HA Garbuzova, M., 1954; Baranovsky PP, Yutsevich EE, Binciken Pitch na tsarin kiɗa na kyauta, K., 1956; Sherman NS, Samar da tsarin yanayin yanayi na uniform, M., 1964; Pereverzev NK, Matsalolin kiɗan kiɗa, M., 1966; Riemann H., Katechismus der Akustik, Lpz., 1891, 1921

Yu. N. Rags