Chorale |

Choral Jarmal, Late Lat. cantus choralis - heesta choral

Magaca guud ee heesaha monophonic ee dhaqanka (kanonized) ee Kaniisadda Galbeedka Masiixiyiinta (mararka qaarkood sidoo kale habayntooda cod badan). Si ka duwan noocyada kala duwan ee heesaha ruuxiga ah, X. waxaa lagu qabtaa kaniisadda waana qayb muhiim ah oo ka mid ah adeegga, taas oo go'aamisa bilicda. tayada X. Waxaa jira 2 waaweyn. nooca X. - Gregorian (eeg heesta Gregorian), kaas oo qaabeeyay qarniyadii ugu horreeyay ee jiritaanka Katooliga. Kaniisadaha (Gregorianischer Choral Jarmal, Ingiriisi gregorian, hees cad, hees cad, faransiis grégorien, heeso cad, Talyaani gregoriano, kanto piano Isbaanish ah), iyo heeso Protestant ah oo la sameeyay xilligii dib-u-habaynta ( Choral Jarmal, chorale Ingiriisi, heeso , Hobolada Faransiiska, Coral Talyaani, Isbaanishka shacaa'ibka protestante). Erayga "X." waxa uu noqday mid aad u faafay wax badan ka dib muuqaalka ifafaalaha lagu qeexay. Bilowgii (laga bilaabo qiyaastii qarnigii 14aad) tani waa kaliya sifo tilmaamaysa hawl-wadeenka. halabuurka (choral - choral). Si tartiib tartiib ah, ereyga wuxuu noqdaa mid caalami ah, laga bilaabo qarnigii 15aad. Talyaaniga iyo Jarmalka, ereyga cantus choralis ayaa laga helaa, taas oo macnaheedu yahay hal-madax. Muusig aan miir lahayn oo ka soo horjeeda geeso badan. mensural (musica mensurabilis, cantus mensurabilis), oo sidoo kale loo yaqaan figurative (cantus figuratus). Si kastaba ha ahaatee, iyada oo la socota, si kastaba ha ahaatee, qeexitaannada hore ayaa sidoo kale la ilaaliyaa: musica plana, cantus planus, cantus gregorianus, cantus firmus. Waxa lagu dabaqay habaynta laba geesoodka ee Gregorian X. ereyga waxa la isticmaalayey ilaa qarnigii 16aad. (tusaale, choralis Constantinus X. Isaac). Hogaamiyaashii ugu horreeyay ee dib-u-habaynta ma aysan magacaabin heesaha Protestant X. (Luther wuxuu u yaqaannaa korrekt canticum, psalmus, heeso Jarmal ah; wadamada kale magacyada ecclésiastique, Calvin cantique, iwm. ayaa caan ku ahaa); marka loo eego heesta Protestant-ka, ereyga waxa loo adeegsaday con. Qarnigii 16aad (Osiander, 1586); leh con. Qarnigii 17aad ee X. waxa loo yaqaannaa geeso badan. qabanqaabada heesaha Protestant.

Doorka taariikhiga ah ee X. waa mid aad u weyn: oo leh X. iyo habaynta heesaha ee celceliska. ugu yar ee la xidhiidha horumarka Yurub. fanka laxamiistaha, oo ay ku jiraan kobaca hab-dhaqanka, soo ifbaxa iyo horumarinta bar-tilmaanta, wada noolaanshaha, muusiga. foomamka. Gregorian X. wuu nuugay ama dib loogu celiyay asalka taariikh ahaan u dhow iyo ifafaale la xidhiidha bilicda: Heesaha Ambrosian, Mozarabic (waxaa la aqbalay ka hor qarnigii 11aad ee Spain; isha badbaadada - Leon antiphonary ee qarnigii 10aad laguma qeexi karo muusig) iyo Gallican heesta , muunado yar oo la akhriyey ayaa ka marag kacaya xoriyada muusiga ee qoraalka, taas oo ay door bideen sifooyin gaar ah oo ka mid ah liturgy Gallican. Gregorian X. waxaa lagu kala soocaa ujeedadiisa xad dhaafka ah, dabeecad aan shaqsi ahayn (si la mid ah lama huraan u ah bulshada diinta oo dhan). Sida laga soo xigtay waxbarista kaniisadda Katooliga, "runta rabbaaniga ah" ee aan la arki karin ayaa lagu muujiyay "aragti ruuxi ah", taas oo muujinaysa maqnaanshaha X. ee mawduuc kasta, shakhsiyadda aadanaha; waxay isu muujisaa “ereyga Eebbe”, sidaa darteed laxanka X. wuxuu ka hooseeyaa qoraalka suugaanta, iyo X. waxay u taagan tahay si la mid ah “si aan kala go 'lahayn mar Eebbe u sheegay ereyga. X. - dacwad monodic ah ("Runtu waa mid"), loogu talagalay in lagu go'doomiyo qofka xaqiiqda maalinlaha ah, si loo baabi'iyo dareenka tamarta dhaqdhaqaaqa "muruqa", oo ka muuqda rhythmic. joogtaynta.

Laxanka Gregorian X. marka hore waa khilaafsan yahay: dareeraha, sii wadida heesaha oo dhan waxay la midoobaan qaraabada. madax-bannaanida dhawaaqyada ka kooban laxanka; X. waa ifafaale toosan: dhawaaq kasta (sii socda, isku filan wakhtigan) "buuxayaa" iyada oo aan raad lahayn mid kale, oo si macquul ah u shaqeeya. ku-tiirsanaanta iyaga ka dhexeeya ayaa lagu muujiyaa oo keliya dhammaan heesaha; eeg Tenor (1), Tuba (4), Repercussion (2), Medianta (2), Finalis. Isla mar ahaantaana, midnimada joojinta (laxanku wuxuu ka kooban yahay dhawaaqyo-joojin) iyo sii wadida (dirista xariiqda "horizontally") waa saldhigga dabiiciga ah ee X. ee u-soo-jeedinta polyphony, haddii loo fahmo sida aan la kala saari karin. laxan. mawjadaha ("horizontal") iyo harmonic. buuxinta ("toos"). Iyada oo aan la dhimin asalka hal-abuurka badan ee dhaqanka heesaha, waxaa lagu doodi karaa in X. uu yahay nuxurka prof. bar-kulan. Baahida loo qabo xoojinta, isku ururinta codka X. maaha in lagu daro dugsiga hoose (tusaale ahaan, xoojinta dhaqdhaqaaqa), laakiin si ka sii xagjirsan - isku dhufashada (laba jibbaaran, saddex-laabasho hal dhex-dhexaad ah ama mid kale), waxay keenaysaa in laga gudbo xadka monody eeg Organum, Gimel, Faubourdon). Rabitaanka in la kordhiyo mugga booska codka X. waxay lagama maarmaan ka dhigaysaa lakabka laxanka. khadadka (fiiri barta counter), soo bandhig tusaalooyin (la mid ah aragtida rinjiyeynta). Taariikh ahaan, midowgii qarniyadii hore ee X. iyo farshaxanka polyphony ayaa horumaray, isaga oo muujinaya ma aha oo kaliya qaab qaabaynta heesaha kala duwan, laakiin sidoo kale (dareen aad u ballaadhan) oo ah qaab bakhaar gaar ah oo muusik ah. fikirka: in badan. muusikada (oo ay ku jiraan muusiga aan la xiriirin X.), samaynta sawirku waa habka dib u cusboonaysiinta ee aan u horseedin tayada cusub ( ifafaale ayaa weli isku mid ah laftiisa, maaddaama geyntu ay ku lug leedahay tarjumaadda qoraalka, laakiin maaha diidmadeeda. ). Sida X. uu uga samaysan yahay kala duwanaansho gaar ah. jaantusyada laxanka ah, foomamka codbaxa (oo ay ku jiraan fugue dambe) sidoo kale waxay leeyihiin saldhig kala duwanaansho iyo kala duwanaansho. Natiijadii ka soo baxday muusiga Zap ayaa ah mid aan loo malayn karin oo ka baxsan jawiga X.. Gregorian Yurub X.

Dhacdooyinka ku cusub dhanka X. waxaa sabab u ahaa curashada dib u habeynta, oo hal darajo ama mid kale ku soo koobtay dhammaan dalalka reer galbeedka. Yurub. Boostada Protestantism aad ayey uga duwan tahay kuwa Katooliga, tanina waxay si toos ah ula xiriirtaa waxyaabaha gaarka ah ee Protestanka X. luqadda iyo miyir-qabka firfircoon ee laxanka heesaha dadweynaha (eeg Luther M.) waxay si aan qiyaas lahayn u xoojisay dareenka iyo dareenka shakhsi ahaaneed ee X. (Bulshadu si toos ah, iyada oo aan wadaad dhexdhexaadin ah lahayn, ayaa Ilaah u barya). Suugaanta. mabda'a ururka, kaas oo uu ku jiro hal cod halkii shibbane, xaaladaha ku-meel-gaadhka ah ee qoraallada gabayada, waxay go'aamiyeen joogtaynta mitirka iyo kala-soocidda tibaaxaha. Iyada oo ay saameyn ku leedahay muusikada maalinlaha ah, halkaas oo ka hor iyo ka firfircoonida muusikada xirfadlaha ah, dhawaaqyada homophonic-harmonic ayaa soo muuqday. u janjeera, laxanka choral helay design chord fudud. Rakibaadda waxqabadka X. ee dhammaan bulshada, marka laga reebo polyphonic adag. soo bandhigidda, ayaa door biday xaqiijinta awooddan: dhaqanka 4-gool ayaa si weyn loo faafiyay. iswaafajinta X., taas oo gacan ka geysatey abuuritaanka khaniisnimada. Tani ma aysan meesha ka saarin codsiga Protestant X. ee waayo-aragnimada ballaaran ee cod-bixineedka. farsamaynta, oo la ururiyay waagii hore, ee qaababka la horumariyay ee muusiga Protestant (hordhac choral, cantata, "hamaatada"). Protestan X. wuxuu noqday saldhigga nat. Prof. art-va Germany, Czech Republic (Habeenkii Protestant X. waxay ahaayeen heeso Hussite), ka qaybqaatay horumarinta muusigga. dhaqamada Netherlands, Switzerland, France, Great Britain, Poland, Hungary iyo dalal kale.

Laga bilaabo ser. Qarnigii 18-aad ee sayidyadii waaweynaa waxay ku dhawaadeen inaysan u jeedin X., iyo haddii loo adeegsaday, ka dibna, sida caadiga ah, caadooyinka. noocyada (tusaale ahaan, codsiga Mozart). Sababta (marka laga reebo xaqiiqda si fiican loo yaqaan ee JS Bach keenay farshaxanka farsamaynta X. si ay u qummanaato) waa in bilicda X. (asal ahaan, aragtida adduunka ee lagu muujiyay X.) ay noqotay mid duugowday. Lahaanshaha bulshooyin qoto dheer. xididdada isbeddelka ka dhacay muusiga dhexda. Qarnigii 18-aad (eeg Baroque, Classicism), qaabka guud ee ugu caansan ayaa isu muujiyay awoodda fikradda horumarinta. Horumarinta mawduuca sida xadgudubka daacadnimadeeda (ie, symphonic-horumarin, oo aan ahayn choral-kala duwanaansho), kartida tayada. isbeddelka sawirka asalka ah ( ifafaale ma aha mid isku mid ah laftiisa) - guryahani waxay kala soocaan muusikada cusub waxayna meesha ka saarayaan habka fekerka ee ku jira farshaxanka wakhti hore oo ugu horrayn ku jira fekerka, metaphysical X. Muusiga qarnigii 19aad. racfaanka X., sida caadiga ah, waxaa go'aamiyay barnaamijka ("Reformation Symphony" by Mendelssohn) ama qaab-dhismeedka (opera "Huguenots" by Meyerbeer). Xigashooyinka choral, ugu horrayn taxanaha Gregorian Dies irae, ayaa loo adeegsaday calaamad ahaan semantics si wanaagsan loo aasaasay; X. marar badan iyo siyaabo kala duwan ayaa loo isticmaali jiray sidii shayga habaynta (bilawga falkii 1aad ee opera The Nuremberg Mastersingers by Wagner). Fikradda chorality waa la sameeyay, taas oo soo koobtay sifooyinka nooca X. - bakhaarka chordal, aan degdegin, dhaqdhaqaaqa la qiyaasay, iyo khatarta dabeecadda. Isla mar ahaantaana, nuxurka qaaska ah ayaa si weyn u kala duwanaa: chorality waxay u adeegtay shakhsi ahaanta dhagaxa (khayaaliga-khayaaliga ah "Romeo iyo Juliet" ee Tchaikovsky), oo ah hab lagu dhejiyo sublime (fp. Prelude, chorale iyo fugue by Frank ) ama xaalad murugo leh (qaybta 2aad ee heesaha No 4 Bruckner), mararka qaarkood, isagoo ah muujinta ruuxiga ah, quduusnimada, ayaa ka soo horjeeda dareenka, dembiga, dib u abuurista siyaabo kale, samaynta jacayl la jecel yahay. antithesis (operas Tannhäuser, Parsifal by Wagner), mararka qaarkood waxay noqdeen saldhigga sawirada quruxda badan - jaceylka (dhammaadka Berlioz's Fantastic Symphony) ama satirical (heesiga Jesuits ee "Scene under Kromy" ee Mussorgsky's "Boris Godunov") . Jaceylismku waxa uu furay suurta gal weyn oo muujin kara marka la isku daro X. oo leh calaamadaha decomp. noocyada (X. iyo fanfare ee qaybta dhinaca ee sonata Liszt ee h-moll, X. iyo lullaby ee g-moll nocturne op. 15 No 3 by Chopin, iwm.).

Muusigga qarnigii 20-aad ee X. iyo heestu waxay sii ahaanaysaa hab lagu tarjumo Ch. arr. asceticism aad u daran (Ruuxa Gregorian, dhaqdhaqaaqa 1aad ee Stravinsky's Symphony of Sabuurrada), ruuxiyan (horumarka ugu habboon ee gabagabada ka ah Mahler's 8th symphony) iyo fekerka ("Es sungen drei Engel" ee dhaqdhaqaaqa 1aad iyo"Lauda Sion Salvatorem" gudaha Dhammaadkii heestii Hindemith ee "Ranjiye Mathis" madmadowga X., ee lagu qeexay suudhka jacaylka, wuxuu isu beddelaa qarniga 20aad ee guud ahaan semantic: X. oo ah sifo dahsoon oo midab leh oo lagu garto wakhtiga iyo goobta waxqabadka. (fp. horudhac "The Sunken Cathedral" by Debussy), X. oo ah saldhigga muusikada. sawir muujinaya naxariis darada, naxariis la'aanta ("Crusaders in Pskov" ee cantata "Alexander Nevsky" ee Prokofiev) X. wuxuu noqon karaa shayga parody (Ka duwanaanshiyaha 4aad ee gabayga symphonic "Don Quixote" ee R. Strauss; "Sheekada Askariga" ee Stravinsky), oo lagu daray Op. sida collage (X. "Es ist genung, Herr, wenn es dir gefällt” oo ka socda Bach's Cantata No. 60 ee dhamaadka riwaayada Berg's Violin o)

Tixraacyo: eeg Art. Heesta Ambrosiyaanka, heesta Gregorian, heesta Protestant.

TS Kyuregyan