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daga jigon Girkanci, lit. – menene tushe

Tsarin kiɗan da ke aiki a matsayin tushen aikin kiɗa ko ɓangarensa. Matsayin jagora na jigon a cikin aikin yana tabbatar da mahimmancin hoton kiɗan, ikon haɓaka dalilan da ke tattare da jigon, da kuma saboda maimaitawa (daidai ko bambanta). Taken shine tushen ci gaban kiɗan, jigon samuwar nau'in aikin kiɗan. A yawancin lokuta, jigon ba ya ƙarƙashin ci gaba (jigogi na al'ada; jigogi waɗanda ke wakiltar cikakken aiki).

Ragowar jigo. da kayan da ba na jigogi ba a cikin samarwa. na iya zama daban-daban: daga wajen. yawan thematically tsaka tsaki gine (misali, episodic motifs a ci gaban sassan) har T. gaba daya subjugates duk abubuwa na gaba daya. Samfura na iya zama duhu-duka da duhu-duka, kuma T. suna shiga dangantaka iri-iri da juna: daga dangi na kud-da-kud zuwa ga sabani. Duk hadaddun jigo ne. abubuwan al'ajabi a cikin maƙala sun samar da jigon sa.

Hali da tsarin t. sun dogara sosai akan nau'in da nau'in samarwa. gaba daya (ko sassansa, wanda tushensa shine wannan T.). Mahimmanci sun bambanta, alal misali, dokokin gina T. fugue, T. Ch. sassa na sonata allegro, T. jinkirin ɓangaren sonata-symphony. sake zagayowar, da sauransu. T. homophonically jituwa. an bayyana rumbun ajiya a cikin sigar lokaci, da kuma ta hanyar jumla, a cikin sassauƙan tsari mai kashi 2 ko 3. A wasu lokuta, T. ba shi da ma'ana. rufaffiyar tsari.

Ma'anar "T." jurewa yana nufin. canje-canje a cikin tarihin tarihi. ci gaba. Kalmar ta fara faruwa a cikin karni na 16, aro daga rhetoric, kuma a lokacin sau da yawa ya zo daidai da ma'ana tare da wasu ra'ayoyi: cantus firmus, soggetto, tenor, da dai sauransu X. Glarean ("Dodecachordon", 1547) ya kira T. osn. murya (tenor) ko murya, wanda babban waƙar (cantus firmus) aka ba da amana, G. Tsarlino ("Istitutioni harmoniche", III, 1558) ya kira T., ko passagio, melodic. layin da ake aiwatar da cantus firmus a cikin wani nau'i mai canzawa (wanda ya bambanta da soggetto - muryar da ke gudanar da cantus firmus ba tare da canje-canje ba). Dr. masana ilimin tunani na karni na 16. ƙarfafa wannan bambanci ta hanyar amfani da kalmar inventio tare da kalmar tema da subjectum tare da soggetto. A cikin karni na 17 an kawar da bambanci tsakanin waɗannan ra'ayoyin, sun zama ma'ana; don haka, batun a matsayin ma'ana na T. an kiyaye shi a Yammacin Turai. masanin kida. lita-re har zuwa karni na 20. A cikin bene na 2. 17 – 1st bene. Karni na 18 da kalmar "T." wanda aka keɓe da farko babban kiɗan. tunanin fugu. Saka gaba a cikin ka'idar kiɗa na gargajiya. ka'idodin gina T. fugues sun dogara ne akan Ch. arr. akan nazarin samuwar jigo a fugues na JS Bach. Polyphonic T. yawanci monophonic ne, kai tsaye yana gudana cikin ci gaban kiɗan na gaba.

A cikin bene na 2. Ƙarni na 18 Homophonic tunanin, wanda aka kafa a cikin aikin litattafan Viennese da sauran mawaƙa na wannan lokaci, ya canza halin T. A cikin ayyukansu. T. - cikakken melodic-harmonic. hadaddun; akwai bayyanannen bambanci tsakanin ka'idar da ci gaba (G. Koch ya gabatar da manufar "aikin jigo" a cikin littafin Musicalisches Lexikon, TI 2, Fr./M., 1802). Ma'anar "T." ya shafi kusan dukkanin siffofin luwadi. Homophonic T., da bambanci da polyphonic, yana da ƙarin tabbatacce. iyakoki da bayyanannen ciki. magana, sau da yawa mafi girma tsayi da cikawa. Irin wannan T. wani ɓangare ne na muses wanda ke keɓe zuwa mataki ɗaya ko wani. prod., Wanda "ya haɗa da babban halayensa" (G. Koch), wanda ke nunawa a cikin kalmar Jamusanci Hauptsatz, wanda aka yi amfani da shi daga bene na 2. Karni na 18 tare da kalmar "T." (Hauptsatz kuma yana nufin T. ch. sassa a cikin sonata allegro).

Mawakan Romantic na karni na 19, sun dogara ga dokokin gini da yin amfani da kayan kida da aka haɓaka a cikin ayyukan gargajiyar Viennese, sun faɗaɗa fa'idar fasahar jigo sosai. Mafi mahimmanci kuma mai zaman kansa. motifs da suka hada da sautin sun fara taka rawa (misali, a cikin ayyukan F. Liszt da R. Wagner). Ƙara sha'awar jigo. haɗin kai na dukan samfurin, wanda ya haifar da bayyanar tauhidi (duba kuma Leitmotif). Daidaitawar thematism ya bayyana kansa a cikin haɓakar ƙimar rubutu-rhythm. da halayen timbre.

A cikin karni na 20, an yi amfani da wasu nau'o'in jigo na karni na 19. yana haɗawa da sababbin abubuwan mamaki: roko ga abubuwan da ake amfani da su na polyphonic. thematism (DD Shostakovich, SS Prokofiev, P. Hindemith, A. Honegger, da sauransu), matsawa na jigon zuwa ga guntu manufa gine-gine, wani lokacin biyu- ko uku-tone (IF Stravinsky, K. Orff, na karshe ayyuka da DD Shostakovich ). Duk da haka, ma'anar innation thematism a cikin aikin yawan mawaƙa ya faɗi. Akwai irin waɗannan ka'idoji na tsarawa, dangane da abin da aikace-aikacen tsohon ra'ayi na T. bai zama cikakke cikakke ba.

A cikin lokuta da yawa, matsanancin ƙarfin ci gaba yana sa ba zai yiwu a yi amfani da kayan kida da aka tsara ba, a bayyane (abin da ake kira kiɗan athematic): gabatarwar kayan aiki yana haɗuwa tare da haɓakawa. Duk da haka, abubuwan da ke taka rawa na tushen ci gaba kuma suna kusa da aiki zuwa T ana kiyaye su. Waɗannan wasu takaitattun tazara ne waɗanda ke riƙe duka muses tare. masana'anta (B. Bartok, V. Lutoslavsky), jerin da kuma nau'in nau'in nau'i na abubuwa masu mahimmanci (misali, a cikin dodecaphony), textural-rhythmic, timbre halaye (K. Penderetsky, V. Lutoslavsky, D. Ligeti). Don nazarin irin waɗannan abubuwan mamaki, da dama daga cikin masu ilimin kide-kide suna amfani da manufar "watsewar thematism".

References: Mazel L., Tsarin ayyukan kiɗa, M., 1960; Mazel L., Zukkerman V., Nazarin ayyukan kiɗa, (sashe na 1), Abubuwan kiɗa da hanyoyin bincike na ƙananan nau'i, M., 1967; Sposobin I., Siffar kiɗa, M., 1967; Ruchyevskaya E., Ayyukan jigon kiɗa, L., 1977; Bobrovsky V., Tushen aiki na nau'in kiɗa, M., 1978; Valkova V., Game da batun ra'ayi na "jigon kiɗa", a cikin littafin: Art Music da Kimiyya, vol. 3, M., 1978; Kurth E., Grundlagen des linearen Kontrapunkts. Bachs melodische Polyphonie, Bern, 1917, 1956

VB Valkova