Murya |
lat. vox, Faransa voix, Italiya. murya, eng. murya, Jamus Stimme
1) Melodic. layi a matsayin ɓangare na kiɗan polyphonic. aiki. Jimlar waɗannan layukan muses ne. duka - nau'in kiɗan. aiki. Yanayin motsin muryoyin yana ƙayyade ɗaya ko wata nau'in muryar jagora. Tsayayyen adadin G. kuma yana danganta su, daidaito shine halayyar polyphonic. kiɗa; a cikin kiɗan homophonic, a matsayin mai mulkin, G. ɗaya, yawanci babba, shine jagora. A cikin yanayin da babban G., musamman ya ci gaba kuma ya bambanta, wanda ake so ya yi ta wani mawaki ko kayan aiki, ana kiran shi solo. Duk sauran G. a cikin kiɗan homophonic suna tare. Duk da haka, su ma ba su daidaita ba. Sau da yawa bambanta tsakanin babban (wajibi) G. (ciki har da jagora), wanda ke watsa babban. abubuwan kiɗa. tunani, da G. gefe, mai dacewa, cikawa, daidaitawa, to-rye yi ƙarin taimako. ayyuka. A cikin al'adar nazarin jituwa a cikin gabatarwar murya mai murya hudu, an bambanta jituwa a matsayin matsananci (na sama da ƙasa, soprano da bass) da tsakiya (alto da tenor).
2) Party otd. kayan aiki, makada ko mawaƙa. rukuni, an rubuta daga makin aikin don koyo da aikin sa.
3) Muradi, waƙar waƙar (saboda haka kalmar "waƙa ga murya" na sanannen waƙa).
4) Sauti iri-iri da aka samu tare da taimakon na'urorin murya da kuma hidima don sadarwa tsakanin rayayyun halittu. A cikin mutane, ana gudanar da wannan sadarwa ta hanyar magana da waƙa.
An bambanta sassa uku a cikin na'urar murya: gabobin numfashi, wanda ke ba da iska ga glottis, larynx, inda aka sanya muryoyin murya (kwayoyin murya), da kuma magana. na'ura mai tsarin resonator cavities, wanda ke aiki don samar da wasulan da baƙaƙe. A cikin tsarin magana da rera waƙa, duk sassan na'urorin muryar murya suna aiki tare. Sauti yana samun kuzari ta hanyar numfashi. A cikin waƙa, al'ada ce don rarrabe nau'ikan numfashi da yawa: ƙirji tare da fifikon ƙirji, ciki (ciki) tare da fifikon diaphragm, da thoracodiaphragmatic (costo-abdominal, gauraye), wanda kirji da diaphragm suka shiga daidai. . Rarraba yana da sharadi, domin a zahiri, numfashi yana haɗuwa koyaushe. Muryar murya tana aiki azaman tushen sauti. Tsawon muryoyin muryoyin yawanci ya dogara da nau'in muryar. Bas folds sune mafi tsayi - 24-25 mm. Don baritone, tsawon folds shine 22-24 mm, don tenor - 18-21 mm, don mezzo-soprano - 18-21 mm, don soprano - 14-19 mm. Kauri na muryoyin muryoyin a cikin yanayin tashin hankali shine 6-8 mm. Rubutun muryar suna iya rufewa, buɗewa, ƙara ƙarfi da mikewa. Tun da ƙwayoyin tsoka na folds suna zuwa raguwa. kwatance, tsokoki na murya na iya yin kwangila a sassa daban-daban. Wannan yana ba da damar sãɓã wa jũna a cikin siffar ninkaya oscillations, watau tasiri overtone abun da ke ciki na ainihin sautin timbre. Za a iya rufe muryoyin muryoyin ba bisa ka'ida ba, a sanya su a matsayin ƙirji ko sautin falsetto, da takura har ya zama dole don samun sautin tsayin da ake so. Koyaya, kowane juzu'i na folds ba za a iya sarrafa shi ba kuma ana aiwatar da girgizar su ta atomatik azaman tsari mai sarrafa kansa.
A sama da makogwaro akwai tsarin cavities da ake kira "tubu mai tsawo": pharyngeal cavity, na baka, hanci, adnexal cavities na hanci. Saboda raɗaɗin waɗannan cavities, timbre na sauti yana canzawa. Kwayoyin paranasal da kogon hanci suna da siffa mai tsayayye don haka suna da ƙarfi akai-akai. Canje-canje na resonance na baka da pharyngeal cavities saboda aikin articulation. na'ura, wanda ya hada da harshe, lebe da kuma laushi mai laushi.
Na'urar muryar tana samar da sautuna biyu waɗanda suke da takamaiman tsayi. - sautunan sauti (wasulan da baƙaƙen murya), da kuma hayaniya (baƙin kurma) waɗanda ba su da shi. Sautin sauti da amo sun bambanta a tsarin samuwar su. Sautin sauti yana samuwa ne sakamakon girgizar muryoyin murya. Saboda rawar murya na pharyngeal da cavities na baka, wani haɓaka yana faruwa. ƙungiyoyi na overtones - samuwar masu tsarawa, bisa ga abin da kunne ya bambanta wasali ɗaya daga wani. Baƙaƙe marasa murya ba su da ma'ana. tsawo kuma yana wakiltar hayaniyar da ke faruwa lokacin da jet ɗin iska ya ratsa ta cikin bambancin. irin cikas da aka samu ta hanyar magana. na'ura. Rubutun murya ba sa shiga cikin samuwar su. Lokacin furta sautin baƙaƙe, duka hanyoyin suna aiki.
Akwai ra'ayoyi guda biyu na ilimin G. a cikin glottis: myoelastic da neurochronaxic. Bisa ga ka'idar myoelastic, matsa lamba subglottic yana tura rufaffiyar muryoyin muryoyin murya, iska ta karye ta cikin rata, sakamakon haka matsa lamba ya ragu kuma jijiyoyin sun sake rufewa saboda elasticity. Sa'an nan kuma sake zagayowar. Vibrats. Ana la'akari da sauyin yanayi a matsayin sakamakon "gwagwarmayar" matsin lamba na subglottic da kuma elasticity na tsokoki na muryar murya. Cibiyar. tsarin mai juyayi, bisa ga wannan ka'idar, kawai yana daidaita karfin matsa lamba da kuma matakin tashin hankali na tsoka. A cikin 1950 R. Yusson (R. Husson) a ka'ida da gwaji ya tabbatar da neurochronaxic. ka'idar samuwar sauti, bisa ga yanke, ana aiwatar da girgizar muryoyin muryoyin murya saboda saurin aiki na filaye na tsokoki na muryoyin murya a ƙarƙashin tasirin volley na motsa jiki masu zuwa tare da mitar sauti tare da motar. . jijiya na makogwaro kai tsaye daga cibiyoyin kwakwalwa. Swing aikin folds wani aiki ne na musamman na makogwaro. Yawan jujjuyawar su baya dogara da numfashi. A cewar ka'idar Yusson, nau'in G. gaba ɗaya an ƙaddara shi ta hanyar haɓakar motsin motar. jijiya na makogwaro kuma baya dogara da tsawon folds, kamar yadda aka zata a baya. Ana bayyana canjin rajista ta hanyar canji a cikin tafiyar da jijiya mai maimaitawa. Neurochronax. Ka'idar ba ta sami karɓuwa gabaɗaya ba. Duka ra'ayoyin biyu ba su bambanta da juna ba. Yana yiwuwa duka biyu myoelastic da neurochronaxic matakai ana aiwatar da su a cikin na'urar murya. hanyoyin samar da sauti.
G. na iya zama magana, waƙa da raɗaɗi. Ana amfani da murya ta hanyoyi daban-daban wajen magana da waƙa. Lokacin magana, G. akan wasula yana zamewa sama ko ƙasa ma'aunin sauti, yana ƙirƙirar nau'in karin waƙar magana, kuma kalmomin suna cin nasara ga juna a matsakaicin gudun 0,2 seconds. Canje-canje a cikin sauti da ƙarfin sauti suna sa magana ta bayyana, ƙirƙirar lafazin da shiga cikin canja wurin ma'ana. A cikin rera waƙa zuwa tsayi, tsayin kowane syllable yana da ƙayyadaddun ƙayyadaddun ƙayyadaddun yanayin, kuma yanayin yana ƙarƙashin ma'anar haɓakar muses. jimloli. Maganar wasuwasi ya bambanta da na yau da kullun da kuma waƙa ta yadda a cikinsa igiyoyin murya ba sa rawar jiki, kuma tushen sauti shi ne hayaniyar da ke faruwa lokacin da iska ke ratsawa ta cikin buɗaɗɗen murya da guntun glottis.
Rarrabe waƙar G. saitin kuma ba saita ba, gida. A karkashin tsarin G. an fahimci tsarin daidaitawa da haɓakawa ga prof. amfani. Isar da muryar tana da haske, kyakkyawa, ƙarfi da kwanciyar hankali na sauti, faffadan kewayo, sassauci, rashin gajiyawa; Mawaƙa, masu fasaha, masu magana, da dai sauransu suna amfani da sautin saitin. mutum zai iya rera abin da ake kira. “gida” G. Duk da haka, mawaƙin. G. yana haduwa ba safai ba. Irin wannan G. ana siffanta shi da halayen waƙa. halaye: takamaiman. timbre, isasshen iko, daidaito da faɗin kewayon. Wadannan halaye na dabi'a sun dogara ne akan ilimin halittar jiki da ilimin halittar jiki. fasali na jiki, musamman daga tsarin maƙogwaro da tsarin tsarin neuro-endocrine. Mawaƙin da ba a kai ba. G. ga prof. amfani yana buƙatar saita, wanda dole ne ya dace da takamaiman ma'anar. Fannin amfani da shi (opera, rera waƙa, waƙa a cikin salon jama'a, fasaha iri-iri, da sauransu). An shirya a opera-conc. yadda prof. ya kamata muryar ta kasance tana da kyakkyawar mawaƙa mai kyau. timbre, santsi biyu-octave kewayon, isasshen iko. Dole ne mawaƙin ya haɓaka fasaha na ƙwarewa da cantilena, cimma sautin yanayi da ma'anar kalmar. A wasu mutane, waɗannan halaye na halitta ne. Irin wannan G. ana kiran su daga yanayi.
Muryar waƙa tana da tsayi, kewayo (ƙararfi), ƙarfi, da timbre (launi). Pitch yana ƙarƙashin rarrabuwar muryoyin. Jimlar ƙarar muryoyin waƙoƙi - kusan octaves 4,5: daga do-re na babban octave (ƙananan bayanan kula na bass octaves - 64-72 Hz) zuwa F-sol na octave na uku (1365-1536 Hz), wani lokacin mafi girma. (babban bayanin kula don coloratura sopranos) . Kewayon G. ya dogara da ilimin lissafi. fasali na na'urar murya. Yana iya zama duka in mun gwada da fadi da kunkuntar. Matsakaicin kewayon waƙar da ba a kai ba. G. babba yana daidai da octave ɗaya da rabi. Domin Prof. aiki yana buƙatar kewayon G. na octaves 2. Ƙarfin G. ya dogara da makamashin sassan iska da ke karyewa ta glottis, watau. bi da bi a kan amplitude na oscillation na iska barbashi. Siffar cavities na oropharyngeal da matakin buɗe baki suna da babban tasiri akan ƙarfin muryar. Yawan buɗe baki, mafi kyawun G. yana haskakawa cikin sararin samaniya. Operatic G. ya kai karfin decibels 120 a nesa na mita 1 daga baki. Haƙiƙanin ikon muryar ya isa sosai ga ƙararta ga kunnen mai sauraro. Ana ganin sautin G. yana da ƙarfi idan ya ƙunshi yawancin sautin sauti na tsari na 3000 Hz - mitoci, wanda kunne ya fi dacewa da su. Don haka, ana haɗa sauti ba kawai tare da ƙarfin sauti ba, har ma tare da katako. Timbre ya dogara da juzu'in sautin muryar. Sautin murya tare da sautin asali yana tasowa a cikin glottis; saitin su ya dogara da nau'in girgizawa da yanayin rufewar muryoyin murya. Sakamakon sautin raɗaɗin raɗaɗɗen raƙuman ruwa, makogwaro, pharynx da baki, wasu daga cikin sautin suna ƙara girma. Wannan yana canza sautin daidai.
Timbre shine ma'anar ingancin waƙa. G. Timbre na mawaƙin kirki. G. yana da haske, ƙarfin hali, ikon yin gaggawa a cikin zauren (tasowa) kuma a lokaci guda zagaye, sautin "nama". Ƙarfafawa da jirgin sama sun kasance saboda kasancewar ingantattun sauti a cikin yankin 2600-3000 Hz, abin da ake kira. babbar waka. masu tsarawa. "Nama" da zagaye suna hade da ƙara yawan sauti a cikin yankin 500 Hz - abin da ake kira. ƙananan waƙa. masu tsarawa. Maraici na mawakin. timbre ya dogara da ikon adana waɗannan tsararru akan duk wasula da kuma cikin kewayon gabaɗaya. Waƙar G. tana jin daɗin kunne lokacin da yake da bugun bugun jini tare da mitar 5-6 oscillation a sakan daya - abin da ake kira vibrato. Vibrato yana gaya wa G. hali mai gudana kuma ana ɗauka a matsayin wani sashe mai mahimmanci na katako.
Ga mawaƙin da ba a horar da shi ba, timbre na G. yana canzawa cikin ma'aunin sauti, saboda. G. yana da tsarin rajista. Ana fahimtar rijistar a matsayin adadin sautuna masu sauti iri ɗaya, to-rye ana yin su ta hanyar ilimin halittar jiki iri ɗaya. inji. Idan aka ce mutum ya rera jerin sautuna masu tasowa, to a wani yanayi zai ji rashin yiwuwar ciro sautuka a cikin irin wannan yanayi. Sai kawai ta hanyar canza yanayin samuwar sauti zuwa falsetto, watau fistula, zai iya ɗaukar wasu ƙarin mafi girma. Namiji G. yana da rajista guda 2: ƙirji da falsetto, da mace 3: ƙirji, tsakiya (matsakaici) da kai. A mahaɗin masu rajistar suna kwance sautunan da ba su da daɗi, abin da ake kira. bayanin canji. Ana ƙayyade masu rajista ta hanyar canjin yanayin aikin igiyoyin murya. Ana ƙara jin sautin rajistar ƙirji a cikin ƙirjin, kuma ana jin sautin rajistar kai a kai (don haka sunayensu). A cikin mawaƙa G. rajista suna taka rawa sosai, suna ba da takamaiman sauti. canza launi. Modern opera conc. rera waƙa na buƙatar madaidaicin sautin murya a duk faɗin. Ana samun wannan ne ta hanyar haɓaka rajistar rajista. An kafa shi a gauraye nau'in aikin sheaves, a Krom kirji da falsetto ƙungiyoyi suna haɗuwa. Wannan. an ƙirƙiri timbre, wanda a ciki ake jin sautin ƙirji da kai lokaci guda. Ga mata G. gauraye (gauraye) sauti na halitta ne a tsakiyar kewayon. Ga yawancin maza G. wannan fasaha ce. rijistar da aka haɓaka akan tushen da sauransu. "rufe" babban ɓangaren kewayon. Ana amfani da cakuɗen murya tare da rinjayen ƙarar ƙirji a sassa na ƙananan muryoyin mata (abin da ake kira bayanan ƙirji). Cakude (gauraye) murya tare da rinjayen falsetto (abin da ake kira leaned falsetto) ana amfani da shi akan matsanancin bayanin kula na namiji G.
Duk tsawon rayuwa G. na mutum yana sha ma'ana. canje-canje. Tun yana da shekaru ɗaya, yaron ya fara fahimtar magana, kuma daga shekaru 2-3, ya sami damar yin waƙa. Kafin balaga, muryoyin yara maza da mata ba sa bambanta. Kewayon G. daga sautuna 2 yana ɗan shekara 2 yana ƙaruwa da shekaru 13 zuwa octaves ɗaya da rabi. Gitarar yara suna da katako na "azurfa" na musamman, suna sauti mai laushi, amma an bambanta su da ƙarfi da wadatar katako. Pevch. G. yara suna amfani da Ch. arr. zuwa ga mawaƙa. Soloists na yara wani abu ne da ba a saba gani ba. Babban yara G. - soprano (a cikin 'yan mata) da treble (a cikin maza). Ƙananan yara G. - viola (a cikin maza). Har zuwa shekaru 10, haɗin gwiwar yara yana sauti daidai a cikin dukan kewayon, kuma daga baya an fara jin bambanci a cikin sauti na babba da ƙananan bayanan kula, hade da samuwar rajista. A lokacin balaga, G. na yara maza yana raguwa ta hanyar octave kuma yana samun launin namiji. Wannan al'amari na maye gurbi yana nufin halayen jima'i na biyu kuma ana haifar da shi ta hanyar sake fasalin jiki a ƙarƙashin rinjayar tsarin endocrine. Idan makogwaron 'yan mata a wannan lokacin ya girma daidai gwargwado a kowane bangare, to, makogwaron samari yana shimfiɗa gaba fiye da sau ɗaya da rabi, yana samar da apple na Adamu. Wannan yana canza sauti sosai da rera waƙa. halaye G. yaro. Domin kiyaye fitattun mawaka. G. yara a Italiya 17-18 ƙarni. an yi amfani da castration. Pevch. Abubuwan G. na 'yan mata sun kasance bayan maye gurbi. Sautin balagagge ba ya canzawa har zuwa shekaru 50-60, lokacin da, saboda bushewar jiki, rauni, talaucin katako, da asarar manyan bayanan kewayon an lura da shi.
G. ana rarraba su bisa ga timbre na sauti da tsayin sautunan da aka yi amfani da su. A cikin ƙarni na rayuwa, Farfesa yana waƙa dangane da rikicewar wok. rarrabuwar jam'iyya G. ya sha hanya. canje-canje. Daga cikin manyan nau'ikan muryoyin guda 4 waɗanda har yanzu suke wanzuwa a cikin ƙungiyoyin mawaƙa (maɗaukakin murya da ƙananan muryoyin mata, manyan muryoyin maza masu girma da ƙaramar murya), muryoyin tsakiya (mezzo-soprano da baritone) sun fito waje, sannan aka samar da mafi kyawun nau'ikan. Bisa ga yarda a halin yanzu. A lokacin rarrabuwa, ana rarrabe muryoyin mata masu zuwa: high - coloratura soprano, lyric-coloratura soprano, lyric. soprano, waƙar soprano mai ban mamaki, soprano mai ban mamaki; tsakiya - mezzo-soprano da ƙananan - contralto. A cikin maza, ana bambance manyan muryoyi - altino tenor, teno na waƙa, mai wasan kwaikwayo mai ban mamaki, da mai ban mamaki; tsakiyar G. - baritone na waƙa, raye-raye- ban mamaki da ban mamaki; low G. - bass yana da girma, ko farin ciki (cantante), kuma ƙasa. A cikin ƙungiyar mawaƙa, an bambanta bass octaves, masu iya ɗaukar duk sautin babban octave. Akwai G., suna mamaye tsaka-tsaki tsakanin waɗanda aka jera a cikin wannan tsarin rarrabawa. Nau'in G. ya dogara da adadin kwayoyin halitta da na jiki. halaye na jiki, a kan girman da kauri daga cikin sautin murya da sauran sassan na'urar murya, akan nau'in tsarin tsarin neuro-endocrine, yana da alaƙa da yanayi. A aikace, nau'in G. an kafa shi ta hanyoyi da dama, wanda manyan su ne: yanayin timbre, kewayon, ikon yin tsayayya da tessitura, wurin da bayanan tsaka-tsaki, da tashin hankali na motsi. . jijiya na makogwaro (chronaxia), anatomical. alamu.
Pevch. G. an fi bayyana shi cikin sautin wasali, wanda a zahiri ake yin waƙa. Koyaya, rera waƙa zuwa sautin wasali ɗaya ba tare da kalmomi ba ana amfani da shi ne kawai a cikin motsa jiki, muryoyin murya da lokacin yin waƙa. wok kayan ado . aiki. A matsayinka na mai mulki, ya kamata a haɗa kiɗa da kalmomi daidai a cikin waƙa. Ƙarfin “magana” a cikin waƙa, watau bin ka’idojin harshe, faɗin waƙa cikin yanci, zalla, kuma a zahiri. rubutu sharadi ne da ba makawa Prof. waka. Fahimtar rubutun yayin waƙa yana ƙayyadaddun haske da aikin furta sautuka, wanda zai katse sautin G. Waƙoƙi na ɗan lokaci. waƙa, dole ne a furta tare da adana waƙa guda ɗaya. timbre, wanda ke ba da sautin muryar wani yanayi na musamman. Ƙwaƙwalwar G., ikonsa na “zubawa” ya dogara da daidaitaccen sautin murya da jagorar murya: ikon yin amfani da dabarar legato, kiyaye yanayin kwanciyar hankali akan kowane sauti. vibrato.
Ƙaddamar da tasiri akan bayyanar da ci gaban waƙa. G. ya sanya abin da ake kira. surutu (damar waƙa) na harshe da waƙa. abu. Bambance tsakanin yarukan murya da mara murya. Don wok. Harsuna suna da nau'o'in wasula masu yawa, waɗanda ake furta su cikakke, a fili, a hankali, ba tare da hanci, kurma, guttural ko zurfin sauti ba; ba sa son yin magana mai tsauri na baƙaƙe, haka nan kuma yawansu, ba su da baƙaƙen makogwaro. Yaren muryar Italiyanci ne. Ana yin waƙar waƙa ta hanyar santsi, rashin tsalle-tsalle, kwantar da hankulan waɗancan, yin amfani da tsakiyar kewayon, motsi a hankali, haɓakar ma'ana, sauƙin fahimtar sauraro.
Pevch. G. ana samun su a Dec. kabilanci ba daidai ba ne. Akan rarraba muryoyin, sai dai sautin harshe da nat. wakoki suna tasiri ne da abubuwa kamar soyayya ga kida da girman wanzuwarta a tsakanin mutane, siffofi na kasa. dabi’un waka, musamman ta hankali. sito da yanayi, rayuwa, da dai sauransu Italiya da Ukraine sun shahara ga G..
References: 1) Mazel L., Ya waƙa, M., 1952; Skrebkov S., Littafin rubutu na polyphony, M., 1965; Tyulin Yu. da Rivano I., Ka'idodin Ka'idojin Harmony, M., 1965; 4) Zhinkin NN, Hanyoyin magana, M., 1958; Fant G., Acoustic ka'idar samuwar magana, trans. daga Turanci, M., 1964; Morozov VP, Asirin maganganun murya, L., 1967; Dmitriev LV, Mahimmancin fasahar murya, M., 1968; Mitrinovich-Modrzeevska A., Pathophysiology na magana, murya da ji, trans. daga Yaren mutanen Poland, Warsaw, 1965; Ermolaev VG, Lebedeva HF, Morozov VP, Jagora ga phoniatrics, L., 1970; Tarneaud J., Seeman M., La voix et la parole, P., 1950; Luchsinger R., Arnold GE, Lehrbuch der Stimme und Sprachheilkunde, W., 1959; Husson R., La voix Chante, P., 1960.
FG Arzamanov, LB Dmitriev
