Ugu Dambeyntii |

Talyaani. final, laga bilaabo lat. finis - dhamaadka, gunaanad

1) Instr. muusikada - qaybta ugu dambeysa ee wareegga. prod. - sonata-symphony, suite, mararka qaarkood sidoo kale qaybta ugu dambeysa ee wareegga isbeddelka. Iyada oo dhammaan noocyada kala duwan ee nuxurka gaarka ah iyo muusikada. qaababka qaybaha ugu dambeeya, intooda badan sidoo kale waxay leeyihiin sifooyin caadi ah oo gaar ah, tusaale ahaan, xawaaraha degdega ah (badanaa kan ugu dhaqsaha badan wareegga), dhaq-dhaqaaqa dhaq-dhaqaaqa, dabeecadaha hiddaha, fududaanta iyo guud ahaan laxanka iyo laxanka (marka la barbardhigo kuwii hore). qaybo), rondality ee qaab-dhismeedka (ugu yaraan qaab qorshe labaad ama qaab "jilicsan" rondo, ee ereybixinta VV Protopov), taas oo ah, waxa iska leh muusik taariikhi ah horumariyo. farsamooyinka keena dareenka dhamaadka meerto weyn. shaqeeya

In sonata-symphony. meerto, qaybo ka mid ah waa marxaladaha hal-farshaxan fikradeed. fikradda, F., isagoo ah marxaladda natiijada, waxaa la siiyay gaar ah, oo ku shaqeeya gudaha qaabka wareegga oo dhan, shaqada semantic ee dhamaystirka, taas oo go'aamisa xallinta riwaayadaha oo ah hawsha ugu muhiimsan ee macnaha F.. shilalka, iyo gaar ah. . mabaadiida muusikadiisa. ururada ujeedadoodu tahay in ay guudmariyaan muusiga. mawduucyada iyo muusiga. horumarinta wareegga oo dhan. Shaqadan qoraaga gaarka ah waxay ka dhigaysaa sonata-symphony. F. Xiriir aad muhiim u ah wareegga. prod. - isku xirka muujinaya qoto dheer iyo dabeecadda dabiiciga ah ee sonata-symphony oo dhan. fikradaha.

Dhibaatada sonata-symphony. F. had iyo jeer waxay soo jiidataa dareenka fannaaniinta. Baahida loo qabo F. organic ah wareegga oo dhan waxaa si isdaba joog ah u xoojiyay AN Serov, kaasoo aad u qiimeeyay finalka Beethoven. BV Asafiev ayaa u sababeeyay dhibaatada F. tirada ugu muhiimsan ee heesaha. art-ve, gaar ahaan muujinta riwaayadaha iyo dhinacyada wax dhisaya ee ku jira ("marka hore ... sida diiradda loo saaro dhamaadka, marxaladda ugu dambeysa ee riwaayadda, natiijada organic ee waxa la sheegay, iyo, marka labaad, sida loo dhamaystiro oo loo xiro orda fikradaha oo jooji dhaqdhaqaaqa xawligiisa sii kordhaya”.

Sonata-symphony. F. riwaayadiisa ugu weyn. Hawlaha waxaa lagu sameeyay shaqooyinka classics Viennese. Si kastaba ha ahaatee, qaar ka mid ah sifooyinkeeda gaarka ah ayaa lagu soo bandhigay muusiga xilli hore. Sidaa darteed, mar horeba wareegyada sonata ee JS Bach, nooca dabeecadda ah ee tusaalaha ah, mawduuca. iyo xidhiidhka tonal ee F. ee qaybaha hore, gaar ahaan qaybta hore ee wareegga: raacaya gabayga gaabiska ah. qayb, F. waxay soo celisaa waxtarka qaybta hore ("xarunta cuf-jiidka" wareegga wareegga). Marka la barbar dhigo qaybta hore, Bach's motor F. waxaa lagu kala saaraa mawduucyo fudud; ee F. tonity ee qaybta 1aad ayaa dib loo soo celiyay (ka dib markii laga leexdo bartamaha wareegga); F. waxa kale oo ku jiri kara xidhiidhada caalamiga ah ee qaybta 1aad. Waqtigii Bach (iyo ka dib, ilaa horraantii Viennese classicism), sonata-cyclic. F. inta badan waxay la kulmeen saameynta wareegga F. suite - gigi.

Heesaha muusiga ee halabuurayaasha dugsiga Mannheim, kuwaas oo taariikh ahaan la xidhiidha riwaayadaha hawl-wadeennada ee fulinaya hawlaha kor-u-kaca, F. markii ugu horreysay waxay heshay macne gaar ah oo ka mid ah qaybta gaarka ah ee wareegga, kaas oo leh muuqaalkiisa caadiga ah ee caadiga ah. tusmooyin (sawirrada buuqa dabbaaldegga, iwm.) iyo muusigga caadiga ah. mawduuca u dhow mawduuca wok. F. opera buffa iyo gigi. Mannheim F., sida heesaha wakhtigaas, guud ahaan waxay ku dhow yihiin noocyada maalinlaha ah, taas oo saamaysay fududaanta nuxurkooda iyo muuska. foomamka. Fikradda heesta Mannheim. meertada, taas oo nuxurkeedu ahaa in la soo koobo muses-yada waaweyn. state-sawirrada laga helay farshaxanka wakhtigaas, go'aamiyay labadaba nooca F. iyo dabeecadda xidhiidhkeeda semantic ee qaybaha hore, oo u dhow suite.

F. Classics Viennese ayaa si buuxda u muujiyay isbeddelada ka dhacay muuska. art-ve, - rabitaanka shaqsiyeynta ee sonata-symphony. fikradaha, horumarinta is-goysyada iyo riwaayadaha. midnimada wareegga, horumarinta degdega ah iyo ballaarinta arsenal ee muses. maalgelin. Finalka J. Haydn waxay noqonaysaa mid aad iyo aad u qeexan dabeecad ahaan, oo la xidhiidha qaabka guud ee dhaqdhaqaaqa guud (ilaa xad gaar ah oo horeyba u lahaan jiray Mannheim F.), ilaha kaas oo ku yaala muuqaalada ugu dambeeya ee opera buffa. Dadaal lagu doonayo in lagu soo koobo muusigga. Sawirro, Haydn waxa uu miciin biday barnaamij-samaynta (tusaale, "The Tempest" ee F. Symphony No 8), ayaa isticmaalay masraxa. muusiga (F. Symphony No 77, kaas oo hore u ahaa sawirka ugaarsiga ee falkii 3aad. opera-kiisa “Fidelity Abaalmarin”), wuxuu sameeyay Nar. mawduucyada - Croatian, Serbian (F. Symphonies NoNo 103, 104, 97), mararka qaarkood waxay ku keentaa dhagaystayaasha si cad. ururada sawirka (tusaale ahaan, F. Symphony No. 82 - "Bear, oo la hoggaamiyo oo lagu tuso tuulooyinka", taas oo ah sababta heesaha oo dhan loo helay magaca "Bear"). Dhammaystirka Haydn waxa uu u janjeeraa in uu si aad ah iyo in ka badan u qabsado dunida ujeeddada leh iyada oo ay u badan tahay mabda'a-nooc-dhaqameedka. Nooca ugu caansan ee Haydnia F. wuxuu noqdaa rondo (sidoo kale rondo-sonata), oo u baxa Nar. qoob-ka-ciyaarka wareega iyo muujinta fikradda dhaqdhaqaaqa wareegtada. Fiiro gaar ah. Muuqaal ka mid ah rondo sonata oo markii ugu horreysay si sax ah u soo baxday finalka Haydn ayaa ah dareenka. wadaaga qaybaha ay ka kooban tahay (mararka qaarkood waxa loogu yeero. Mr. monothematic ama hal jinni rondo sonata; eeg, tusaale ahaan, symphonies No99, 103). Rondo-qaabku sidoo kale waxa uu ku dhex jiraa kala duwanaanshiyaha labanlaaban ee Haydn uu isticmaalo F. (fp. sonata in E minor, Hob. XVI, No 34). Soo jiidashada qaabka kala duwanaanshuhu waa xaqiiqo muhiim ah marka laga eego aragtida taariikhda sonata-symphony. F., t. sababtoo ah foomkan, sida uu qabo Asafiev, oo aan si guul leh uga yarayn rondo, wuxuu muujinayaa kama dambaysta ah beddelka "milicsiga" hal fikrad ama dareen (oo ku jira qaababka kala duwanaanta muusigga ee preclassical ee F. wareegyada waxay ahaayeen sifada G. F. Handel; cm. Concerto grosso op. 6 No 5). Isticmaalka Hayd ee F. fugue (quartet ama. 20 No 2, 5, 6, op. 50 No 4), oo ka kooban curiyeyaasha rondality (tusaale cajiib ah waa fugue ka soo jeeda quartet op. 20 No 5) iyo kala duwanaansho, waxay soo noolaynaysaa dhaqanka F. jir sonatas da chiesa. Qaar ka mid ah asalka Haydn foomamka kama dambaysta ah waxaa bixiya habka korriinka ee daah-furka muuska. wax, halabuurka asalka ah. helaya (tusaale 3 rogaal celis ah oo ku dhacay fugue of the quartet op. 20 No 5, "Sagootinta" Adagio ee Symphony No 45, halkaas oo qalabka orkestra uu aamuso markooda), ayaa muujin doona. isticmaalka polyphony, ch. arr., Si loo abuuro "wax aan waxba tarayn" kama dambaysta ah, soo noolayn farxad leh (Symphony No. 103), mararka qaarkood kicinta aragtida muuqaal maalinle ah (wax la mid ah "iskudhac waddo" ama "khilaaf ba'an" ee horumarinta F. Symphony No99). T. o., shaqada Haydn F. oo leh habab horumarineed oo gaar ah. Maaddadu waxay kor u kacdaa heerka sonata allegro ee dhaqdhaqaaqa 1aad, abuurista sonata-symphony. isku dheelitirnaanta halabuurka. Dhibaatada sawirka-mawduuca. Midnimada meertada waxa go'aamiya Hayd inta badan dhaqankii kuwii ka horeeyey. Eray ku cusub aaggan waxaa iska leh V. A. Mozart. Mozart F. Soo ogow midnimo semantic ah ee sonatas iyo heeso heeseedyo, naadir waqtigooda. fikradaha, nuxurka maldahan ee meertadu - si xamaasad leh, tusaale ahaan. gudaha g-moll symphony (No 41), murugo ku jirta d-moll quartet (K.-V. 421), oo geesinimo ku leh heesaha "Jupiter". Mawduucyada gabagabada Mozart waxay soo koobayaan oo isku daraan dareennada dhaqdhaqaaqyadii hore. Farsamaynta farsamada Mozart ee codaynta. guud ahaan waa in F. qaybo kala duwan oo melodic ah oo ku kala firidhsan qaybihii hore ayaa la ururiyaa. heeso, cod-bixinno, xoojinaya tillaabooyinka qaabka qaarkood, laxanka. iyo harmonic. leexo, kuwaas oo aan kaliya ee bilowga ah, qaybaha mawduucyada si fudud loo aqoonsan karo, laakiin sidoo kale in ay sii wadaan, ma aha oo kaliya in laxanka ugu weyn. codad, laakiin sidoo kale kuwa la socda - kelmad ahaan, kakan waa mawduuc. curiyayaasha, si-ry, u gudbinta qayb ka mid ah, ayaa go'aamiya lahjadda sifada. muuqaalka shaqadan, midnimada "jawigiisa dhawaaqa" (sida lagu qeexay V.

In dabayaaqadii sonata-symphony. wareegyada Mozart F. waa kuwa u gaar ah sida tarjumaadaha fikradaha guud ee wareegyada, kuwaas oo ay ka tirsan yihiin (marka la eego symphonies ee g-moll iyo C-dur, tusaale ahaan, TN Livanova waxay ogaataa in ay yihiin kuwo aad u gaar ah Qorshayaasha marka loo eego dhammaan heesaha kale ee qarnigii 18aad). Fikradda horumarinta jaantuska, taas oo go'aamisay fikradda cusub ee Mozartian ee wareegga wareegga, ayaa si cad u muuqata qaabka F. Waa la xusi doonaa. astaantu waa soo jiidashada sonata, taas oo ka muuqata labadaba isticmaalka foomka sonata dhabta ah (symphony in g-moll), rondo-sonata (fp. concerto A-dur, K.-V. 488), iyo in "Niyadda sonata" ee gaarka ah ee qaababka nooca aan-sonata ahayn, tusaale. rondo (quartet flute, K.-V. 285). F. wax soo saarka, oo la xidhiidha xilliga dambe ee hal-abuurka, meel weyn ayaa lagu hayaa qaybaha horumarinta, iyo hababka ugu muhiimsan ee muusikada-mawduuca. korriintu waxay noqotaa polyphony, oo ay isticmaasho Mozart oo leh dabeecad aan caadi ahayn (string quintet in g-moll, K.-V. 516, symphony in g-moll, quartet No. 21). Inkastoo fugue uu madax banaan yahay. foomku maaha mid caadi u ah finalka Mozart (quartet F-dur, K.-V. 168), iyaga gaar ah. astaantu waa ka mid noqoshada fugue (sida caadiga ah, qaab kala firidhsan) ee ka kooban foomamka khaniisiinta - sonata, rondo sonata (string quintets D-dur, K.-V. 593, Es-dur, K.- V. 164) ilaa muusiga la sameeyay foom ka samaysanaya sifooyinka fugue iyo sonata (string quartet G-dur No1, K.-V. 387), foom taariikhiyan noqday mid rajo leh (F. fp). Quartet Schumann Es-dur op. 47, Xariggii Reger ee G-dur op.54 No 1). Muuqaal muhiim ah oo ka mid ah foomamka synthetic ee Op. Mozart - ururka codka badan ee kala firdhiyey. dhacdooyin hal xariiq oo horumarineed ah, ku dadaalaya soo afjarid ("qaabka weyn ee polyphonic", ereyga VV Protopov). Tusaalaha ugu sarreeya ee noocaan ah waa F. Symphony "Jupiter", kaas oo qaabka sonata (samaynta qorshaheeda isdhexgalka ee qaybaha) ay ku jiraan nidaam adag oo isku dhafan gudaha ah oo ka dhexeeya polyphonic kala firdhiyey. Dhacdooyinka u kacaya sida horumarinta DOS. mawduucyada qaabka sonata. Mid kasta oo ka mid ah khadadka mawduucyada (mawduucyada 1aad iyo 2aad ee qaybta ugu muhiimsan, isku xirka iyo sare) waxay helayaan polyphonic. horumarinta- lagu fuliyay hab ku dayasho-canonical. fara badan Mawduuca habaysan ee mawduuca iyada oo la adeegsanayo polyphony-ga iska soo horjeeda ayaa ku dhammaatay codadka, halkaas oo dhammaan mawduucyada muhiimka ah lagu daray fugato shan-madow ah. agabka iyo hababka guud ee cod-bixinta. horumarinta (isku darka ku dayashada iyo ka-hortagga-mawduucyada polyphony).

In shaqada Beethoven, riwaayadaha. doorka F. si aan la qiyaasi karin u kordhay; Waxay la socotaa muusigiisa in cilmiga muusiga laga warqabo muhiimada F. ee sonata-symphony. meertada sida "taaj", hadaf, natiijo (A. N. Serov), doorka F. habka hal-abuurka ah ee abuurista wareeg (N. L. Kalluumeysatada, iyada oo ay sabab u tahay daraasadda sawir-gacmeedka 3-aad ee fannaanka, ayaa soo gebogebeeyay in "in badan oo ka mid ah qaybaha ugu horreeya ee Eroica ay ku leeyihiin asalkeeda dhamaadka"), iyo sidoo kale baahida loo qabo aragti. horumarinta mabaadi'da symphony guud. curinta. Op. Beethoven F. si tartiib tartiib ah u noqda "xarunta cuf-jiidka" wareegga wareegga, ugu sarreysa, kaas oo dhammaan horumarinta hore loo hagayo, xaaladaha qaarkood waxay ku xiran tahay qaybta hore (sida waafaqsan mabda'a attacca), iyada oo la samaynaysa qaybta 2aad. ee wareegga qaab ka soo horjeeda-ka kooban. U janjeerta in la balaadhiyo isbarbardhigga ayaa horseedaysa dib-u-habaynta lagu isticmaalo F. foomamka, galleydu waxay noqotaa mawduuc ahaan iyo qaab dhismeed ka monolithic. Marka, tusaale ahaan, qaabka sonata ee finalka Beethoven wuxuu noqday mid lagu garto dareeraha, tirtirka xudduudaha caddaymaha ee u dhexeeya qaybaha ugu muhiimsan iyo dhinaca dhinacooda. isu soo dhawaanshaha (feat. sonata No. 23 “Appassionata”), rondo-gii u dambeeyay mabaadiida qaabdhismeedkii hore ee mugdiga ah oo ay la socdaan is dhexgal ayaa dib loo soo nooleeyay (fp. Sonata No. 22), kala duwanaanshiyaha waxaa jiray sare u kaca nooca joogtada ah, qaabdhismeedka xorta ah ayaa u muuqday, mabaadi'da aan kala duwaneyn ee horumarinta ayaa dhex galay iyaga - horumarinta, fugue (3rd symphony), ee rondo sonatas sareynta foomamka leh horumarka ayaa noqday mid muuqda. , u janjeerta dhinaca isku-dhafka qaybaha ( 6-aad siphony). Shaqooyinka dambe ee Beethoven, mid ka mid ah qaababka caanka ah ee F. noqday fugue (cello sonata op. 102 No 2). Intonac. diyaarinta F. wax soo saarka Beethoven waxaa lagu fuliyaa labadaba iyadoo la kaashanayo melodic-harmonic. isku xirka, iyo xusuusta mawduucyada (fp. sonata No 13), Tawxiid (Semphony 5aad). Muhiimad weyn ayaa ah isku xirka tonal-phonic (mabda'a " resonance tonal ", ereyga V. AT Protopov). organic F. meertada, qaabkeeda macneheedu waa. ugu yaraan iyadoo ay ugu wacan tahay ururinta qaybaha hore ee walxaha kala duwanaanshiyaha, rondo-u ekaanshaha, isticmaalka ujeedada leh ee polyphonic. farsamooyinka go'aamiya gaarnimada qaab-dhismeedka gaarka ah ee falsafada, taas oo ah, e. Joogitaanka ee qaababka qaarkood ee qorshaha 2aad, mid ama mid kale oo ka mid ah mabaadi'da dhismaha qaab-dhismeedka kala duwan, iyo xaaladaha qaarkood - iyo doorashada ugu weyn. foomamka (kala duwanaanshaha heesaha 3aad iyo 9aad). Waxaa xusid mudan in Symphony ee miisaanka horumarka lagu muujiyey Beethoven ma aha oo kaliya in F. symphonies, laakiin sidoo kale F. wareegyada "qolka" - afar-geesood, sonatas (tusaale, F. fp. sonatas No 21 - Rondo weyn oo leh horumar iyo cod, F. fp. sonatas No. 29 - Fugue labanlaab ah oo leh mawduuca ugu daran. horumarinta - "boqoradda fugues", ee erayada F. Buzoni). Mid ka mid ah guulaha ugu sarreeya ee Beethoven - F. Heesta 9aad. Foomamka iyo hababka muuska ee halkan lagu soo bandhigay qaab xoog leh. qaababka sawir-gacmeedyo haybad leh. jubilation - undulation ee firfircoonida samaynta, abuurista korodhka hal dareen, ay u fuulaan apotheosis - fugato double, muujinta ch. fikirka oo la socda (oo leh isbeddel nooca) 2 mawduucyada ugu muhiimsan - "mawduucyada farxadda" iyo "Hug, malaayiin"; kala duwanaansho, kor u kaca ilaa lammaane oo la xidhiidha hirgelinta heesta qaaska ah, oo si xor ah u furfurma, oo ay xoojiyeen mabaadi'da fugue, rondo-like, qaab saddex qaybood ah oo adag; hordhaca hobolada, taas oo hodan ku ah heesaha. u qaabeeya sharciyada halabuurka oratorio; riwaayado gaar ah. fikradda F., oo ay ku jiraan ma aha oo kaliya hadal ku saabsan guusha geesiga. dabeecadaha (sida caadiga ah), laakiin sidoo kale marxaladda raadinta riwaayadaha ah ee ka horeysa iyo helitaanka "football" - muses-yada ugu muhiimsan. Mawduucyada; kaamil ah nidaamka halabuurka. guud ee F., kuwaas oo si adag ugu xidhxidhay innational, is-waafaji, kala duwanaansho, polyphonic, u fidsan xaggiisa iyada oo loo marayo simphony oo dhan. dunta - waxaas oo dhami waxay go'aamiyeen muhiimada saamaynta F. Heesta 9-aad ee muusiga dambe waxaana soo saaray halabuurayaasha jiilalka soo socda. Tan ugu toosan. saamaynta P. Heesta 9-aad - oo ku dhex jira fannaankii G. Berlioz, F. Liiska, A. Bruckner, G.

Farshaxan-Beethoven ka dib, waxaa jira u janjeera dhinaca isku-dhafka muusigga ee suugaanta, masraxa, falsafada, ee ku wajahan dabeecadda muusikyada. sawirada, si shakhsiyeynta fikradaha go'aamiyay kala duwanaansho weyn oo ka kooban content gaar ah iyo qaab-dhismeedka F. Marka la isku daro F. qaybaha hore, oo ay la socdaan mawduucyada. xusuusta, mabaadi'da tawxiidka Liszt iyo leitmotivity operatic ayaa bilaabay inay ciyaaraan door hoggaamineed. Muusigga barnaamijka muusikada Romantic-ga ah, qalabka muusikada ee dabeecadda masraxa ayaa u muuqday, oo la mid ah masraxa opera, kaas oo sidoo kale oggolaaday bandhigyada masraxa. jir-jidhka ("Romeo iyo Julia" by Berlioz), nooc ka mid ah "jinni" F.-grotesque horumaray ("Faust" waa hees-gacan by Liszt). Kobcinta maskaxiyan bilowgii waxay keentay nolosha F. - "ereyga dambe" ee FP gaar ah. sonata b-moll Chopin, naxdin leh. F. Adagio lamentoso oo ku jira riwaayaddii 6-aad ee Tchaikovsky. Foomamka weedhaha shakhsi ahaaneed ee noocan oo kale ah, sida caadiga ah, waa kuwo aan caadi ahayn (ee Tchaikovsky's 6th symphony, tusaale ahaan, dhaqdhaqaaq fudud oo saddex-dhaqdhaqaaq ah oo leh codad soo bandhigaya curiyaha sonata); Qaab dhismeedka software F. mararka qaarkood waa mid gebi ahaanba hoos yimaada in la shido. goob, samaynta foomam lacag la'aan ah oo baaxad weyn (Manfred by Tchaikovsky). Fasiraadda F. sida semantic iyo mid caalami ah. udub dhexaadka meertada, kaas oo la wada jiidayo cilinka guud iyo xalinta riwaayadaha. isku dhac, sifada heesihii G. Mahler, oo loo yaqaan "calaamadaha finalka" (P. Becker). Qaab dhismeedka Mahler's F., oo ka tarjumaysa "miisaanka weyn ee samaynta" (ee ereyada Mahler laftiisa) ee wareegga oo dhan, waxaa go'aamiya "shirqoolkii" muusik gudaha ah oo abaabulan oo ka kooban fannaanka. fikradda Mahler, oo inta badan u horumarta kala duwanaansho-strophic weyn. foomamka.

Macnaha qaybta muhiimka ah ee meertadu waa F. in op. DD Shostakovich. Nuxurka aad u kala duwan (tusaale ahaan, xaqiijinta rabitaanka dagaal ee F. 1aad ee fannaanka, socodkii aaska ee F. 4aad, xaqiijinta aragtida adduun ee yididiilo leh ee F. 5aad), marka la eego qaybaha hore (Xaaladaha qaarkood F., gelitaanka iyada oo aan kala go 'lahayn, sida ku jirta riwaayadda 11aad, waxay u muuqataa inay la socoto dhammaan koorsadii hore ee dhacdooyinka, kuwa kale waxay u muuqataa mid si adag u kala fog, sida 6-aad ee heesaha), oo muujinaya ballaadhka naadirka ah ee goobada muusik la isticmaalo. macneheedu waa (tawxiid - labadaba Beethoven's (symphony 5-aad) iyo nooca Liszt (symphony 1aad), habka xusuusta mawduuca - oo ay ku jiraan "kala duwanaanshaha Ruushka", sida loo adeegsaday PI Tchaikovsky, SI Taneyev, AN Scriabin (coda-apotheosis) oo ku saabsan mawduuca ugu muhiimsan ee la beddelay dhaqdhaqaaqa 1aad ee F. 7th symphony), biqil sifo ah innation, synthesizing mabaadi'da JS Bach iyo Mahler, ee foomamka, hababka labada Halabuurka classical (F. ee symphony 6th) iyo qorshaha barnaamijka ( F., tusaale ahaan, riwaayadda 4-aad, "non-programmed"), Shostakovich's finals waa muujinta Ch.

2) Muusigga opera-ga, waa marxalad is-urursi weyn oo ay ku jiraan dhammaan opera-yada iyo falalkeeda gaarka ah. Opera F. oo ah muusig si degdeg ah u koraya. koox ka tarjumaysa dhammaan wareegyada riwaayadaha. falalka, horumariyo qarnigii 18aad. Talyaaniga. opera buffa; iyada F. waxaa lagu naaneeso "kubado", sababtoo ah waxay xoogga saareen nuxurka ugu muhiimsan ee majaajilada. Sida F., xiisaddu waxay si joogto ah u korodhay sababtoo ah muuqaalka tartiib tartiib ah ee marxaladda jilayaasha cusub, oo adkeynaya dareenka, oo waxay ku timid cambaareyn guud oo duufaan ah iyo xanaaq (ee F. Fal 1st - dhammaadka opera oo dhan, dhaqan ahaan. laba fal), ama diidmo (ee u dambeeya F.). Sidaas awgeed, riwaayad. weji kasta oo cusub ee qorshaha F. waxa la kulmay waqtiyo cusub, tonality, iyo qayb mawduucyo ah. maaddo; Siyaabaha midaynta F. waxaa ka mid ah xidhitaan tonal ah iyo qaab-dhismeedka rondo-sida. Tusaalaha hore ee kooxda firfircoon F. - ee opera "The Governor" ee N. Logroshino (1747); horumarinta dheeraadka ah ee jumlada operatic waxay ku dhacdaa N. Piccinni (Gabadha Wanaagsan, 1760), Paisiello (The Miller's Woman, 1788), iyo D. Cimarosa (The Secret Marriage, 1792). Kaamilada Classic F. waxay kasbatay Mozart's operas, muuska. horumarinta ilaa-rykh, si dabacsanaan leh ula socda riwaayadda. ficil, isla markaana waxay qaadataa qaab muusik dhamaystiran oo habboon. dhismayaasha. Kuwa ugu adag iyo "symbonic" ee muusikadooda. horumarka ugu dambeeya. F. operas ee Mozart – 2aad d. "Guurka Figaro" iyo 1aad d. "Don Giovanni".

Nooc cusub oo ka mid ah jumlada hawl-wadeenka waxaa abuuray MI Glinka cirifka Ivan Susanin; waa muuqaal taariikhi ah, oo ka kooban mabda'a kala duwanaanshiyaha ayaa u badan; hababka horumarinta symphonic waxaa lagu daraa iyada oo ay la socdaan hababka sifo ee soo bandhigidda iyo muuqaalada innational ee Ruush. nar. heeso.

Tixraacyo: Serov AN, Faallo ku saabsan maqaalka "Xusuusin uu qoray mufakir caan ah oo casri ah (oo ka yimid fanaaniinta aan muusikada ahayn) ee Beethoven's symphony sagaalaad", "Era", 1864, No 7, dib loo daabacay. ee lifaaqa fanka. TN Livanova "Beethoven iyo dhaleeceynta muusikada Ruushka ee qarnigii XIX", ee buugga: Beethoven, Sat. st., arrin. 2, M., 1972; isaga u gaar ah, Beethoven ee sagaalaad Symphony, ay qaab-dhismeedka iyo macnaha, "Modern Chronicle", 1868, May 12, No 16, isku mid ah, ee buugga: AN Serov, Maqaallada la xushay, vol. 1, M.-L. , 1950; Asafiev BV, Foomka muusiga sida habka, buug. 1, M., 1930, (buugaagta 1-2), L., 1971; isaga u gaar ah, Symphony, ee buugga: Qoraallada ku saabsan hal-abuurka muusikada Soviet, vol. 1, M.-L., 1947; Livanova T., Taariikhda muusikada Galbeedka Yurub ilaa 1789, M.-L., 1940; iyada u gaar ah, music Western Yurub qarniyadii XVII-XVIII in tiro ka mid ah farshaxanka, M., 1977; Buugga sawir-gacmeedka Beethoven ee 1802-1803, cilmi-baadhis iyo fasiraad uu sameeyay NL Fishman, M., 1962; Protopov Vl., Axdiga Beethoven, "SM", 1963, No 7; kiisa, Taariikhda dhowr-fonida ee ifafaaleheeda ugu muhiimsan, ( cadad 2), M., 1965; isaga u gaar ah, Mabaadi'da Beethoven ee Foomka Muusiga, M., 1970; isaga, Qaabka sonata-cyclic ee shaqooyinka Chopin, ee Sat: Su'aalaha qaabka muusiga, vol. 2, M., 1972; isaga, Foomka Rondo ee Mozart's Instrumental Works, M., 1978; isaga, Sawirro laga soo qaaday taariikhda qaababka qalabaynta ee 1979th - horraantii qarniyadii 1975, M., 130; Barsova I., Symphonies of Gustav Mahler, M., 3; Tsakher I., Dhibaatada finalka ee B-dur quartet op. 1975 Beethoven, gudaha Sat: Dhibaatooyinka Sayniska Muusiga, vol. 1976, M., XNUMX; Sabinina M., Shostakovich-symphonist, M., XNUMX.

TN Dubrovskaya