Hoos u dhac |
lat. dhimis; Jarmal dhimis, Verkleinerung; Faransiis iyo Ingiriis. dhimis; Talyaani. dhimis
1) La mid ah dhimista.
2) Hab lagu beddelo laxanka, mawduuca, ujeeddada, laxanka. sawir ama sawir, iyo sidoo kale hakad adigoo ku ciyaaraya codad (hakin) waqti gaaban. Kala saar U. saxda ah, iyada oo aan isbeddello soo saarin osn. laxanka ee saamiga ku habboon (tusaale ahaan, hordhac ka soo opera "Ruslan iyo Lyudmila" by Glinka, tirada 28), khaldan, soo saarida ugu weyn. laxanka (mawduuca) oo leh qaafiyad kala duwan. ama laxan. isbedel (tusaale ahaan, aria ee Swan-Shimbir, No. 11 ka fal 2aad ee Rimsky-Korsakov ee opera Sheekada Tsar Saltan, lambarka 117), iyo laxanka, ama non-mawduuca, la krom melodic. sawirka waxaa la ilaaliyay ama qiyaastii (bilawga hordhaca ah ee opera Sadko by Rimsky-Korsakov), ama aan la ilaalin dhammaan (laxanka qaybta dhinaca ee U. ee horumarinta dhaqdhaqaaqa 1aad ee Shostakovich's 5th symphony).
J. Dunstable. Cantus firmus oo ka socda motet Christe sanctorum decus (cod lid ku ah ayaa laga saaray).
J. Spataro. Motet.
Soo ifbaxa U. (iyo korodhka) oo ah muusiko muujin iyo habayn farsamo macneheedu waxa weeye waxay dib u soo laabanaysaa wakhtiga isticmaalka calaamadaynta caadada waxayna la xidhiidhaa horumarinta dhawaaqa badan. fara badan X. Riemann waxa uu tilmaamayaa in U. kii ugu horeeyay uu isticmaalay monetka I. de Muris kiraystaha. Isorhythmic motet - ugu weyn. Baaxadda U. qarnigii 14aad: soo noqnoqda, oo la mid ah ostinato, samaynta laxanka. tirooyinka ayaa ah saldhigga muusikada. foomamka, iyo U. dhab ahaantii waa muse. Joogteynta ururkeeda (ka duwan inta badan qaababka kale ee lagu qeexay qoraalka muhiimka ah ee arr). In mootooyinka G. de Machaux (Amaro valde, Speravi, Fiat voluntas tua, Ad te suspiramus) laxanka. jaantusku wuxuu ku soo noqnoqda U. mar kasta oo laxan cusub. buuxinta; ee mootooyinka isorhythmic J. Dunstable rhythmic. jaantuska ayaa lagu soo celiyaa (laba jeer, saddex jeer) oo leh laxan cusub, ka dibna wax walba waxaa lagu soo saaraa iyadoo la ilaalinayo laxanka. ku sawiraya hal iyo badh, ka dibna 3-laab U. (eeg tiirka 720). Dhacdo la mid ah ayaa lagu arkay qaybo ka mid ah Nederlaan. contrapuntalists ee qarnigii 15aad, halkaas oo cantus firmus ee qaybaha soo socda lagu qabto U., iyo laxanka loo qaaday cantus firmus dhamaadka shaqada. dhawaaqyada qaabka ay ku jirtay nolol maalmeedka (eeg tusaale ku jira Art. Polyphony, tiirarka 354-55). Masters of style adag waxay adeegsadeen farsamada W. ee waxa loogu yeero. Mensural (qiyaas ahaan) canons, halkaas oo codad isku mid ah qaab ahaan ay ku kala duwan yihiin. saamiga ku meel gaadhka ah (eeg tusaalaha Farshaxanka. Canon, tiirka 692). Si ka duwan kororka, U. wax kuma biirin kara go'doominta guud ee codka. socodka codkaas ee lagu isticmaalo. Si kastaba ha ahaatee, U. si fiican ayuu u demiyaa cod kale haddii ay dhaqaajiyaan dhawaaqyada muddada dheer; Sidaa darteed, tiro badan iyo mootooyinka qarniyadii 15-16aad. waxa ay caado noqotay in ay la socoto muuqaalka cantus firmus ee codka ugu weyn (tenor) iyadoo lagu daynayo codad kale oo ku salaysan U. isla cantus firmus (eeg tiirka 721).
Farsamada ka soo horjeeda hoggaamiyaha iyo codad xamaasad leh oo ka soo horjeeda isaga ayaa la ilaalinayay ilaa inta foomamka ku yaal cantus firmus ay jiraan. Farshaxanku wuxuu gaadhay heerkii ugu sarreeyay ee muusigga JS Bach; eeg, tusaale ahaan, orgkiisa. habaynta chorale "Aus tiefer Not", BWV 686, halkaas oo weedh kasta oo chorale ka horeyso 5-gool. muujinta U., si guud ahaan loo sameeyo strophic. fugue (6 cod, 5 bandhig; eeg tusaalaha Farshaxanka. Fugue). Gudaha Ach Gott und Herr, BWV 693, dhammaan codadka ku dayanaya waa labanlaab iyo afar jibbaaran W. chorale, ie nuxurka oo dhan waa mawduuc:
JS Bach. Habaynta xubnaha choral "Ach Gott und Herr".
Reachercar con. Qarniyadii 16-17aad oo u dhow isaga tiento, khiyaali - aag halkaas oo U. (sida caadiga ah, oo ay weheliso kororka iyo dib u celinta mawduuca) ayaa helay codsi ballaaran. W. waxay gacan ka gaysatay horumarinta dareenka instr saafi ah. Dhaqdhaqaaqa qaabka iyo, lagu dabaqay mawduucyo shakhsi ahaaneed (oo ka duwan mawduuca qaabka adag), waxay u soo baxday inay noqoto farsamo ka kooban fikradda ugu muhiimsan ee horumarinta dhiirigelinta muusikada ee xilliyada soo socda.
Haa P. Sweelinck "Kromatic Fantasy" (qayb ka mid ah qaybta ugu dambeysa; dulucdu waa laba-iyo afar-laab dhimis).
Gaar ahaan muujinta U. farsamo ahaan waa sida in, marka lagu daro isorhythmic. motet iyo qaar op. Qarnigii 20aad ma jiraan qaabab kale oo ay aasaas u noqon lahayd halabuurka. Canon in U. sida madax banaan. ciyaar (AK Lyadov, "Canons", No 22), u jawaab U. in fugue ("Farshaxanka Fugue" ee Bach, Contrapunctus VI; sidoo kale eeg isku-dhafka kala duwan ee U. fugue kama dambaysta ah ee quartet pianoforte, op 20 Taneyev, gaar ahaan lambarada 170, 172, 184) waa ka reebban naadir ah. U. mararka qaarkood waxay ka helaan isticmaalka fugue strettas: tusaale ahaan, cabbirada 26, 28, 30 ee fugue E-dur ee mugga 2aad ee Bach's Well-Tempered Clavier; qiyaasta 117 ee fugue Fis-dur op. 87 No 13 Shostakovich; in bar 70 laga bilaabo dhamaadka riwaayada 2 fp. Stravinsky (ku dayasho sifo ah oo aan sax ahayn oo leh isbeddelka lahjadaha); qiyaas ahaan 63 laga soo bilaabo goobta 1aad ee falkii 3aad ee opera "Wozzeck" ee Berg (eeg tusaalaha maqaalka Strett). W., farsamo dabeecad ahaan polyphonic, waxay ka helaysaa codsi aad u kala duwan oo aan ahayn polyphonic. muusigii qarniyadii 19-aad iyo 20-aad. Dhowr xaaladood, U. waa mid ka mid ah siyaabaha dhiirigelinta abaabulka mawduuca, tusaale ahaan:
SI Taneev. Mawduuca ka soo jeeda dhaqdhaqaaqa 3aad ee fannaanka c-moll.
(Sidoo kale eeg shanta baararka hore ee dhamaadka Beethoven's sonata No. 23 biyaano; Hordhaca orkesteralka ee Ruslan's aria, No. 8 ka yimid Glinka's Ruslan iyo Ludmila; Maya 10, b-moll oo ka socda Fleeting Prokofiev, iwm.). Codka badan ee muusigu waa mid baahsan. dharka iyadoo la kaashanayo U. marka la soo bandhigayo mawduuca (Kooxda "La kala firdhiyey, la nadiifiyey" goobta u dhow Kromy ee Mussorgsky's opera Boris Godunov; farsamada noocan ah waxaa isticmaalay N. A. Rimsky-Korsakov - falkii 1aad ee opera The Legend of the Invisible City Kitezh", lambarada 5 iyo 34, iyo S. V. Rachmaninov - qaybta 1-aad ee gabayga "Gawannada", lambarka 12, kala duwanaanshaha X ee "Rhapsody on a theme of Paganini"), inta lagu guda jiro hawlgalinta (canon yar oo ka mid ah riwaayadaha violin Berg, bar 54; sida mid ka mid ah muujinta hanuuninta neoclassical ee qaabka - U. qaybta 4-aad ee sonata violin ee uu sameeyay K. Karaev, bar 13), meesha ugu sarreysa. kuna soo gunaanado. dhismayaasha (koodka laga soo bilaabo hordhaca opera Ruslan iyo Lyudmila ee Glinka; Qaybta 2aad ee Rachmaninov's The Bells, laba cabbir ilaa 52; Qaybta 4aad ee Taneyev's 6th rubuc, nambar 191 iyo dheeraad ah; dhamaadka ballet "The Firebird" Stravinsky ). U. Sida habka loo beddelo mawduuca waxaa loo isticmaalaa kala duwanaansho (2nd, 3aad kala duwanaanshaha Arietta ee Beethoven's 32nd piano sonata; piano etude "Mazeppa" by Liszt), ee dhismayaasha ku meel gaarka ah (basso ostinato marka loo guurayo code ee finalka symphony ee c- moll Taneyev, lambarka 101), noocyo kala duwan oo isbeddel ah ee opera leitmotifs (dib-u-shaqeynta duufaanka leitmotif ee mawduucyada lyrical ee soo socda ee bilawga ficilka 1aad ee Wagner's opera Valkyrie; ka soocida shimbiraha shimbiraha iyo ujeedooyinka kala duwan ee Maiden Mawduuca gu'ga ee "Baraf Barafka" ee uu qoray Rimsky-Korsakov; qalloocin aad u weyn oo ku saabsan leitmotif Countess ee goobta 2aad ee opera "The Queen of Spades", lambarka 62 iyo wixii ka dambeeya), iyo isbeddellada sawireed ee laga helay U.' Ka qaybgalku wuxuu noqon karaa mid kaardin ah (kireystaha ka soo gelitaanka Tuba mirum ee Mozart's Requiem, cabbirka 18; leitmotif ee codadka kama dambaysta ah ee riwaayadda 3aad ee Rachmaninoff, cabbirka 5aad ka dib lambarka 110; dhaqdhaqaaqa dhexe, lambarka 57, f rom Taneyev's scherzo symphony in c-moll). U. waa hab muhiim ah oo horumarineed ee qaybaha soo koraya ee foomamka iyo horumarinta sonata ee qarniyadii 19aad iyo 20aad. U. Kobcinta dulsaarka Wagner's Nuremberg Mastersingers (bar 122; triple fugato, bar 138) waa jeesjees farxad leh oo waxbarasho aan ujeedo lahayn (si kastaba ha ahaatee, isku darka mawduuca iyo U. ee baararka 158, 166 waxay calaamad u tahay xirfad, xirfad). Horumarinta qaybta 1aad ee fp 2aad. riwaayad Rachmaninov U. Mawduuca xisbiga ugu weyn waxa loo isticmaalaa sidii qalab firfircoon (lambarka 9). Soo saarista D. D. Shostakovich U. Waxa loo istcimaalaa sidii qalab qeexitaan fiiqan (ku daydo dulucda qaybta dhinac ee qaybta 1aad ee riwaayadda 5-aad, tirooyinka 22 iyo 24; isla meel ku taal dhammaadka, lambarka 32; ostinato canon-ka aan dhammaadka lahayn ee dhawaaqa leitmotif ee qaybta 2-aad ee rubucii 8aad, lambarka 23; qaybta 1aad ee riwaayadda 8aad waa khalad U.
HADDII Stravinsky. "Symphony of Sabuurrada", dhaqdhaqaaqa 1aad (bilawga jawaab celinta).
U. waxa uu leeyahay hadal qani ah. oo sawir. fursadaha. "Garaaniga weyn" ee Mussorgsky's "Boris Godunov" (isbeddelka is-waafajinta iyada oo la garaaco, garaac nus, rubuc garaac ah) waxaa lagu kala saaraa firfircooni gaar ah. Sawir muuqaal ah oo ku dhow (Sigmund's Notung, oo ay burburisay dharbaaxo ka dhan ah waranka Wotan) ayaa ka muuqda goobta 5aad ee falkii 2aad ee Wagner's Valkyrie. Kiis naadir ah oo cod-muuqaal ah oo badan waa fugato oo muujinaya kaynta tuulada 3aad ee Rimsky-Korsakov's "The Snow Maiden" (afar nooc oo laxanka ah ee mawduuca, lambarka 253). Farsamo la mid ah ayaa goobta loo adeegsaday Grishka Kuterma oo waalan goobta 2-aad ee falkii 3-aad. "Tales of the Invisible City of Kitezh" (dhaqdhaqaaqa siddeedaad, saddex, lix iyo tobnaad, lambarka 225). In summada koodka gabayga Rachmaninoff ee "Isle of the Dead" wuxuu isku daraa shan nooc oo Dies irae ah (bar 11 ka dib lambarka 22).
Muusigga qarnigii 20aad fikradda W. waxay inta badan u gudubtaa fikradda horumarka sii yaraanaya; Tani waxay khuseeysaa ugu horrayn laxanka. ururka mawduuca. Mabda'a U. ama horumarka shaqooyinka taxanaha ah qaarkood waxa lagu kordhin karaa qaab dhismeedka alaabta oo dhan. ama macnaheedu yahay. qaybo ka mid ah (1st of 6 xabo oo kataarad iyo xadhig, Quartet op. 16 by Ledenev). Isku darka muddada dheer la isticmaalay ee mawduuca iyo luqaddiisa ee shaqooyinkii qarnigii 20aad. waxa loo beddelaa farsamo isku-dhafan tirooyinka la midka ah, marka is-waafajintu ay ka kooban tahay dhawaqa dhawaaq-laxan-xanuuneed la mid ah waqtiyo kala duwan. beddelka (tusaale, "Petrushka" ee Stravinsky, lambarka 3).
Farsamadan waxa loo isticmaalaa qayb ka mid ah aleatoric, halkaas oo hawl-wadeenadu ay ku hagaajiyaan dhawaaqyada la bixiyay, mid walbana xawligiisa (qaar ka mid ah ayaa shaqeeya V. Lutoslavsky). O. Messiaen waxa uu bartay qaababka U. oo uu kordhiyey (eeg buugiisa "Farsamada Luuqadda Muusigayga"; eeg tusaale Farshaxanka. Kordhinta).
Tixraacyo: eeg Art. Kordhiyo.
VP Frayonov
