Qaabka xorta ah |

Qaab bilaash ah, qoraal bilaash ah

maya dhaq-dhaqaaq xor ah, bar-koobeedka harmonic

1) Fikradda isku darsanaysa sheeko-weyn oo taariikhi ah, muusig (eeg Polyphony) kala furfur. tilmaamo hal abuur leh, kaas oo bedelay qaabka adag - polyphony ee Renaissance Sare. In musicology 19-bilawga. Qarnigii 20aad ereyga "S. leh.” cod badan ayaa la go'aamiyay. dacwadda 17 - ser. Qarnigii 18aad; ilaa bilowgii qarnigii 20aad fasiraad ballaadhan oo ereyga "S. s”, taas oo hadda tilmaamaysa dhammaan ifafaalaha cod-baqsiga laga soo bilaabo bilowgii qarnigii 17aad. ilaa hadda.

Ansixinta xeerarka S. oo leh. Qarnigii 17-aad waxa lala xidhiidhiyay isbedel fiiqan oo ku yimid horumarka Yurubta Galbeed oo dhan. dacwad ay sababtay tiro taariikhi ah. sababaha (eeg Baroque, Renaissance). Qaab-dhismeed male-awaaleed oo cusub oo muusik ah ayaa qaabaysanaya: laxan-abuurayaashu waxay ogaadeen fursadaha aan xadka lahayn ee qaabka gudaha. dunida nin. Suurtagal maaha in la bixiyo taariikh taariikheed sax ah. xadka u dhexeeya waayihii S. s. iyo qaab adag. S. s waxaa loo diyaariyay guulihii hore ee wok. polyphony, iyo qaar ka mid ah makhluuqaadkeeda. Tilmaamo (tusaale, sarraynta kuwa waaweyn iyo kuwa yar-yar, xiisaha instr. muusigga) ayaa laga helaa qaar badan. prod. qaab adag. Dhanka kale, sayidyadii S. s. Isticmaal khibrada iyo farsamooyinka kuwii iyaga ka horreeyay (tusaale ahaan, farsamada ku dayashada, bar-bar-dhig adag, hababka beddelka walxaha mawduuca). T. o., S. s. ma baabi'iyo qaabka adag, laakiin wuu nuugaa, wax ka beddelka polyphony ee qarniyadii 15-16aad. sida uu art. hawlaha waqtiga.

S. s soo bandhigay taariikhdeeda. Madaxbanaanida ugu horrayn sida polyphony qalabaysan. Inkastoo in muddo ah instr. prod. ku-tiirsanaanta qaabka adag ee choral ayaa hadhay (la dareemi karo, tusaale ahaan, qaab-dhismeedka xubnaha J. Sweelinka), halabuurayaashu waxay bilaabeen inay adeegsadaan muusigga codka leh ee ay ogaadeen. awoodaha qalabka. Gelin bilaash ah curiyaha ayaa go'aamiya xamaasadda muuska. Khudbadaha J. Frescobaldi ee fugues for cembalos, ayaa go'aamiya dariiqyada afka ee xubinta op. D. Buxtehude, si fudud ayaa loogu qiyaasaa caagagga gaarka ah ee riwaayadaha A. Vivaldi. Meesha ugu sarraysa ee horumarka. instrumentalism 17-18 qarniyo. ku gaadhay shaqooyinka JS Bach - ee uu Op. loogu talagalay violin solo iyo clavier, ee fugues ee Clavier si fiican u xanaaqsan (vol. 1, 1722, vol. 2, 1744), kuwaas oo aad u kala duwan marka loo eego muujinta polyphony, suurtagalnimada qalabka. In shaqada sayidyadii S. s. woq. hababka odhaahda ayaa lagu hodmay iyada oo la adeegsanayo qalabaynta; sidaas darteed qaabka noocaas ah, tusaale ahaan, op. sida Gloria (No 4), Sanctus (No 20) ama Agnus Dei (No 23) ee tirada Bach ee h-moll, halkaas oo wok ah. Xisbiyada, mabda'a ahaan, kama duwana kuwa qalabka, waxaa loo yaqaan 'wok.-qalabka isku dhafan'.

Muuqaalka S. s. ugu horrayn ayaa go'aamisa laxanka. Marka la eego hobolada heesa badan ee qoraallada adag, mugga codka laxanku waxa uu xaddiday inta ay le'eg tahay hobolada. codadka; laxan, hab qaafiyad ahaan loo habeeyey oo ka madax bannaan labajibbaaran, waxay ka koobnaayeen weedho furfuran. dhererka; geyntooda la qiyaasay waxaa u badnaa dhaq-dhaqaaq hufan oo ku socda jaranjarooyinka diatonic. miisaan, marka dhawaaqyadu u muuqdeen inay midba midka kale ku qulqulayaan. Taa lidkeeda, laxankii S. s. (labadaba fugues iyo noocyada kala duwan ee polyphony non-fugue) kala duwanaanta codadka dhab ahaantii ma xaddidna, wax kasta oo isku xigxiga dhexda ayaa loo isticmaali karaa heesaha, oo ay ku jiraan. u boodbooda si aad u-dhawaaqa oo ballaaran oo kala fogaansho ah. Isbarbardhigga tusaalooyinka Op. Palestrina iyo shaqooyinka la xidhiidha S. s. waxay muujinaysaa kala duwanaanshahan:

Falastiin. Benedictus oo ka yimid Mass "O magnum misterium" (codka sare).

C. Monteverdi. "Coronation of Poppea", ficilka 2aad (mawduuca kooxda heesaaga qoyska).

D. Buxtehude. Organ chacona ee C weyn (codka bass).

A. In Stanchinsky. Canon ee fp. (bilawga proposta)

Laxankii S. leh. lagu garto ku tiirsanaanta harmonics. bakhaar, kaas oo inta badan lagu muujiyo jaantus (oo ay ku jiraan qaab-dhismeedka isdabajooga); laxanka, dhaqdhaqaaqa ayaa laga hagayaa harmonica gudaheeda. isku xigxiga:

JS Bach. Suite No 3 ee cello solo. dammaanad

JS Bach. Dulucda Fugue G-dur ee mugga 2aad ee Clavier-Xanaaqa-wanaagsan.

Dhaqdhaqaaqa noocaan ah wuxuu wargelinayaa laxanka S. s. harmonic full sonority: ee laxanka waxa loogu yeero. codadka qarsoon, iyo tibaaxaha is-waafajinta waxay si fudud uga soo baxaan boodada dhawaaqyada xudunta ah. taxanaha.

GF Handel. Trio Sonata g-moll op. 2 Maya 2, final (qaybaha continuo waa laga saaray).

JS Bach. Organ fugue a-moll, dulucda.

Nidaam isku-dhafan ee codka qarsoon ee dulucda xubin fugue a-moll ee JS Bach.

Codadka qarsoon ee "ku qoran" ee laxanku waxay ka soo horjeedaan (iyo tusaalaha hoose), mararka qaarkood waxay qaadanayaan qaabka xariiqda tixraaca metric (sida caadiga ah mawduucyo badan oo Bach's fugues; eeg b) iyo xitaa ku dayasho (c):

JS Bach. Partita No 1 oo loogu talagalay violin solo. dammaanad

JS Bach. Dulucda Fugue Cis-dur ee mugga 1aad ee Clavier-Xanaaqa wanaagsan.

WA Mozart. "Fluut Sixirka", kor u kaca (bilawga Allegro).

Buuxinta codadka qarsoon ayaa saameyn ku yeeshay sameynta 3- iyo 4-cod sida caadada S. oo leh .; haddii xilligii style adag waxay inta badan ku qoreen 5 ama codad ka badan, ka dibna xilligii S. oo leh. 5-cod waa dhif iyo naadir (tusaale ahaan, ka mid ah 48 fugues ee Bach's Well-Tempered Clavier, waxaa jira 2 kaliya oo shan cod ah - cis-moll iyo b-moll oo ka soo jeeda mugga 1aad), iyo codad badan ayaa ku dhow marka laga reebo.

Si ka duwan xarafka adag ee ilk ee muunadaha hore ee S. s. hakadyo si xor ah loo dhigay ayaa la adeegsaday, qurxinta tirooyinka, isku-dubbaridyo kala duwan. S. s ogolaanaya isticmaalka muddo kasta iyo in kasta oo saamiga. Hirgelinta gaarka ah ee qodobkan wuxuu ku xiran yahay metrorhythm. xeerarka muusikada-taariikheedkan. xilli Codka badan ee la dalbaday ee baroque iyo classicism waxa lagu gartaa qaafiyad cad. sawiro leh mitir caadi ah (u dhiganta). Romantic. degdega ah ee bayaanka ku jira sheegashada-ve 19 – hore. Qarnigii 20aad Waxa kale oo lagu muujiyaa xorriyadda meelaynta lahjadaha marka loo eego barline-ka, oo lagu sifeeyo polyphony ee R. Schumann, F. Chopin, R. Wagner. Waayo, polyphony qarnigii 20aad. caadiga ah waa isticmaalka mitirka aan caadiga ahayn (mararka qaarkood isku darka polymetric ugu adag, sida, tusaale ahaan, in music polyphonic ee HADDII Stravinsky), diidmada ee accentuation (tusaale ahaan, in qaar ka mid ah shuqullada polyphonic by laxamiistaha dugsiga cusub ee Viennese) , isticmaalka qaababka gaarka ah ee laxanka iyo polymetry (tusaale, O. Messiaen) iyo metrorhythmic kale. wax cusub.

Mid ka mid ah sifooyinka ugu muhiimsan ee S. s. - xiriir dhow oo uu la leeyahay Nar. noocyada muusikada. Nar. Muusigga sidoo kale waxaa laga helay isticmaalka badanka qoraalka adag (tusaale ahaan, sida cantus firmus), laakiin sayidyadu aad bay uga sii wanagsan yihiin arrintan. Ku Nar. Heesaha waxaa ka hadlay halabuurayaal badan oo qarniyadii 17-aad iyo 18-aad (abuuray, gaar ahaan, kala duwanaanshiyaha cod-bixinta ee mawduucyada dadweynaha). Gaar ahaan qani iyo kala duwan ayaa ah ilaha hiddaha - Jarmal, Talyaani, Slavic - ee ku jira polyphony Bach. Xidhiidhadani waa aasaaska aasaasiga ah ee hubanti sawireed ee dhawaaqa badan. mawduuca S. s., hufnaanta laxankiisa. luqad. Dabaqasho badan oo la taaban karo. kuwa S. iyadoo leh. sidoo kale waxaa lagu go'aamiyay isticmaalka melodic-rhythmic, oo caan ku ah waqtigeeda. tirooyin, "formulas" caalami ah. Ku-tiirsanaanta dhow ee gaarka ah nooca waa sifo kale oo S. s. - horumarinta gudaha qaabkeeda of polyphony ka soo horjeeda. Qaab adag, fursadaha isbarbardhigga polyphony way xaddidnaayeen, gudaha S. s. waa tan ugu muhiimsan, taas oo si cad u kala soocaysa qaabka adag. Polyphony is barbar dhig waa sifada muusiga. Riwaayadda Bach: tusaaleyaal ayaa laga helay org. qabanqaabada chorales, ee aria halkaas oo chorale lagu soo bandhigay, iyo kala duwanaanshaha codadka waxaa lagu xoojin karaa xiriirkooda nooc ee kala duwan (tusaale, gudaha No. 1 laga bilaabo cantata No. 68, laxanka chorale waxaa weheliya orc. mawduuca ku jira dabeecadda Siciliana ee Talyaaniga); riwaayad. Dhacdooyinka, mucaaradka xisbiyadu waxay gaadhaan xadka (tusaale ahaan, gudaha No. 1, qaybta hore ee No. 33 ee jacaylka Matthew). Ka dib, polyphony ka duwan ayaa si weyn loogu isticmaalaa wax soo saarka opera. (tusaale ahaan, qaybaha operas-yada ee W. A. Mozart). Caddaynta muhiimadda ay leedahay polyphony ka duwan ee S. s. waa taas ku dayasho. qaabab, mucaaradku waxay ciyaaraan doorka la socda, cod dhammaystiran. Xilligii qaabka adag, ma jirin fikradda polyphony. Mawduucyada, oo ku urursan hal cod, iyo polyphony waxay ka koobnayd isku xigxig. keenista xad dhexdhexaad ah innation. ku saabsan walxaha. Shakhsi ka badan dhammaan muujinta muusigga S. s. waxay ku salaysan tahay gargaar, mawduuc si fudud loo aqoonsan karo bandhig kasta. Mawduuca ayaa sifo qaran ahaan leh, oo ka kooban waxa ugu muhiimsan. fikirka muusiga, thesis si loo horumariyo, u adeegta sida saldhigga polyphonic. prod. In muusigga curiyeyaasha qarniyadii 17-18aad. (macnaha ugu horrayn fugue) 2 nooc oo mawduucyo ah ayaa soo baxay: isku mid ah, oo ku salaysan horumarinta hal ama in ka badan oo aan is-barbardhigi karin oo xiriir dhow la leh (tusaale ahaan, mawduucyada c-moll fugues ee ka soo baxa 1aad iyo 2aad ee Bach's Well -Clavier xanaaqsan), iyo isbarbardhigga, oo ku saleysan mucaaradka ujeedooyinka kala duwan (tusaale ahaan, mawduuca g-moll fugue oo ka soo jeeda mugga 1aad ee wareegga isku midka ah). Mawduucyada ka soo horjeeda, wuxuu muujin doonaa inta ugu badan. rogan iyo laxanka la dareemi karo. tirooyinka ayaa inta badan ku yaal bilowga, samaynta laxan. mawduuca xudunta u ah. Mawduucyada iska soo horjeeda iyo kuwa isku midka ah macnaheedu waa.

IS Bach. Organ fugue ee C weyn, mawduuca.

Muujinta mawduucyada iyo laxankooda. gargaarka ka mid ah halabuurayaashii qarnigii 17-18aad. inta badan waxay ku xidhan tahay muddooyin aan degganayn (badanaa la dhimay), kuwaas oo ku badan bilowga dhismaha:

JS Bach. Mawduuca A-moll fugue oo ka yimid mugga 2aad ee Clavier-Xanaaqa wanaagsan.

JS Bach. Dulucda Fugue cis-moll ee mugga 1aad ee Clavier-Xanaaqa wanaagsan.

JS Bach. Tirada yar yar, Kyrie, No 3 (mawduuca fugue).

JS Bach. Matthew Passion, No 54 (mawduuca).

Haddii qaab-dhismeed adag oo soo-jeedin ah ay ka adkaadeen, ka dibna curiyeyaasha qarniyadii 17-aad-18aad. Mawduuca ayaa si buuxda loogu sheegay hal cod, oo kaliya ka dib codka ku dayashada ah ayaa soo galaya, bilawgiina wuxuu sii wadaa inuu ka soo horjeedo. Mawduuca hormoodka ah ee semantic waa mid aad u cad haddii ujeedadeedu ay hoosta ka xariiqaan dhammaan walxaha kale ee fugue-ka soo horjeeda, isdhexgalka; meesha ugu badan ee mawduuca S. s. deb by interludes, kuwaas oo ku jira boos hoose marka la barbar dhigo hab dhaqanka mawduuca oo inta badan si toos ah ugu tiirsan.

Dhammaan sifooyinka ugu muhiimsan ee S. s. - sifada laxanka, iswaafajinta, sifooyinka qaabaynta - lasoco nidaamka tonal ee jira, ugu horrayn mid weyn iyo mid yar. Mawduucyada, sida caadiga ah, waxaa lagu kala soocaa hubanti buuxda oo tonal ah; leexashada waxaa lagu muujiyaa melodic-chromatic. is-beddelka harmonic; chromatism-ka gudbinta waxaa laga helaa cod badan oo waqti dambe iyadoo ay saameyn ku leedahay casriga. fikradaha is-waafajinta (tusaale ahaan, piano fugue cis-moll op. 101 No 2 Glazunov). Jihada wax-ka-beddelka ee mawduucyada waxaa xaddidaya kan ugu sarreeya; wax ka beddelka mawduuca oo loo beddelo furayaal fog - guushii qarnigii 20aad. (tusaale ahaan, fugue ka soo baxa horumarinta Myaskovsky's Symphony No. 21, mawduuca wuxuu ka bilaabmaa C yar oo leh tinge Dorian, oo ku dhammaata gis yar). Muujin muhiim ah oo ka mid ah ururka modal ee S. s. waa jawaab-celin tonal ah, mabaadi'da kuwaas oo mar hore lagu go'aamiyay ricercar iyo tusaalooyinka hore ee fugue.

JS Bach. "Farshaxanka Fugue", Contrapunctus I.

JS Bach. Fugue Es-dur oo ka yimid mugga 1aad ee Clavier-Xanaaqa wanaagsan.

Habka moodeelka ee waaweyn iyo kuwa yar-yar ee S. s. ka taliya, laakiin ma aha ka kaliya. Halabuurayaashu kama ay tegin muujinta gaarka ah ee diatonic dabiiciga ah. frets (eeg, tusaale ahaan, Fugue Credo No 12 oo ka soo jeeda Bach's mass ee h-moll, dhaqdhaqaaqa 3aad "in der lydischer Tonart" ee L. Beethoven's quartet No 15, calaamad u ah saamaynta qaab adag). Waxa xiiso gaar ah u leh iyaga waa sayidyadii qarnigii 20aad. (tusaale, fugue ka soo baxay Ravel's suite "The Tomb of Couperin", fugues badan oo uu sameeyay DD Shostakovich). Farsamaynta codka badan waxaa lagu abuuray qaab qaabaysan, sifo decomp. nat. dhaqamada muusiga (tusaale ahaan, qaybo badan oo ka mid ah heesaha muusiga ee xargaha iyo timpani ee EM Mirzoyan ayaa muujinaya midabka qaranka Armenian, biyaano iyo fugues urureed ee GA Muschel waxay ku xidhan yihiin fanka muusiga qaranka Uzbek). Shaqada halabuurayaal badan oo qarnigii 20-aad ah, ururinta waaweyn iyo kuwa yaryar ayaa noqda mid aad u adag, foomamka tonal gaar ah ayaa soo baxa (tusaale ahaan, nidaamka guud ee P. Hindemith), kala duwan ayaa loo isticmaalaa. noocyada poly- iyo atonality.

Hal-abuurayaasha qarniyadii 17-18-aad ee foomamka si ballaaran loo isticmaalo, qayb ahaan dib loo sameeyay xilligii qoraallada adag: motet, kala duwanaansho (oo ay ku jiraan kuwa ku saleysan ostinato), canzona, ricercar, decomp. nooc ka mid ah ku dayashada. qaababka heesaha. Si dhab ah S. leh. waxaa ka mid ah fugue iyo tiro badan. foomamka, kuwaas oo polyphonic. soo jeedintu waxay la falgashaa homophonic-ka. In fugues qarniyadii 17-18aad. oo leh xiriirkooda qaab-shaqaale cad, mid ka mid ah astaamaha ugu muhiimsan ee polyphony-ga S. s. - ku tiirsanaanta dhererka dhaw ee codadka, is-waafajinta. soo jiidashada midba midka kale, rabitaanka in la midoobo galay qoob ka mid ah (nooc ka mid ah dheelitirka u dhexeeya madax-bannaanida polyphonic ee codadka iyo sifooyin toosan oo is waafaqsan, gaar ahaan, qaabka JS Bach). Tani S. s. Qarniyadii 17aad-18aad aad bay uga duwan yihiin laba-phony-ga qoraalka adag (halkaas oo si toos ah u-dhawaaqa dhawaaqa si daciif ah ugu xiran ay ka dhigan tahay isku-darka dhowr lammaane oo codad is-diiddan ah), iyo polyphony-ga cusub ee qarnigii 20-aad.

Isbeddel muhiim ah oo ku saabsan qaabeynta muusikada qarniyadii 17-18aad. - isku xigxiga qaybaha isbarbardhiga. Tani waxay keenaysaa in ay soo baxdo wareeg taariikhi ah oo deggan oo horudhac ah - fugue (mararka qaarkood halkii horudhac - khiyaali, toccata; xaaladaha qaarkood, wareeg saddex qaybood ah ayaa la sameeyaa, tusaale ahaan, org. toccata, Adagio iyo Bach's C-dur fugue ). Dhanka kale, shaqadu waxay soo baxdaa halka qaybaha isbarbardhiga ay isku xidhan yihiin (tusaale ahaan, org. shaqada. Buxtehude, ee shaqooyinka Bach: saddex qaybood org. fantasy G-dur, 5-cod org ah. fugue Es-dur dhab ahaantii waa noocyo kala duwan oo ka kooban qaab ka duwan).

Muusiga classics Viennese, polyphony ee S. s. wuxuu ka ciyaaraa door muhiim ah, iyo shaqada dambe ee Beethoven - door hogaamineed. Haydn, Mozart iyo Beethoven waxay adeegsadan polyphony si ay u muujiyaan nuxurka iyo macnaha dulucda khaniisnimada, waxay ku lug leeyihiin polyphony. lacagta habka loo yaqaan 'syphony'. horumarin; ku dayashada, ka soo horjeeda adag ayaa noqda hababka ugu muhiimsan ee mawduuca. shaqada; Muusiga Beethoven, polyphony-ku waxa uu noqdaa mid ka mid ah hababka ugu awoodda badan ee lagu qasbo riwaayadaha. xiisadda (tusaale, fugato ee "Maarso aaska" oo ka timid riwaayadii 3aad). Muusigga qadiimiga Viennese waxaa lagu gartaa cod-bixin badan oo texture ah, iyo sidoo kale isbarbardhigga homophonic iyo polyphonic. soo bandhigid. Polyphonization wuxuu gaari karaa heer aad u sarreeya oo isku-dhafan homophonic-polyphonic ayaa la sameeyay. nooca muusiga, kaas oo raxan la dareemo lagu qeexo. Qaybaha xadhkaha xadhkaha badan ee codka ah (waxa loogu yeero qaab-weyn oo weyn). Isku-duubnida qaybaha "ku-xidhan" ee isku-xidhka-gacan-wadaagga ah ayaa lagu soo celceliyaa iyadoo la adeegsanayo tonal, contrapuntal, iyo isbeddello kale, oo sidaas awgeed waxay helaan farshaxan. horumarinta qaabdhismeedka guud ahaan sida hal qaab, "ka-hortagga" midka khaniisnimada (tusaalaha caadiga ah waa dhammaadka Mozart's G-dur quartet, K.-V. 387). Nooc weyn oo polyphonic ah oo noocyo badan leh ayaa si weyn loo isticmaalay qarniyadii 19-20. (tusaale, dulsaar ka yimid Wagner's Mastersingers of Nuremberg, Myaskovsky's Symphony No. 21). Shaqada Beethoven ee xilliga dambe, nooc kakan oo ah sonata allegro polyphonized ayaa lagu qeexay, halkaas oo soo jeedinta khaniisiintu ay gebi ahaanba maqan tahay ama aysan saameyn muuqata ku yeelanayn muuska. bakhaar (qaybaha ugu horreeya ee pianoforte sonata No 32, 9th symphony). Dhaqanka Beethovenian wuxuu raacayaa si gooni ah Op. I. Brahms; si buuxda ayay siyaabo badan ugu dhalatay. alaabta ugu adag ee qarnigii 20-aad: ee heesta kama dambaysta ah ee No. 9 ee cantata "Ka dib akhri Sabuurrada" by Taneyev, qaybta 1aad ee heeso "The Artist Mathis" by Hindemith, qaybta 1aad ee heesaha No. 5 by Shostakovich. Foomka badan ee qaabka ayaa sidoo kale saameyn ku yeeshay abaabulka wareegga; finalka ayaa bilaabay in loo arko meel ka mid ah isku-dhafka polyphonic. xubno ka mid ah bandhiggii hore.

Beethoven ka dib, halabuurayaashu dhif bay u isticmaali jireen muusig dhaqameed. cod badan foomamka C. s., laakiin taas waxaa lagu magdhabay adeegsiga hal-abuurka leh ee codka badan. maalgelin. Sidaa darteed, marka la eego isbeddelka guud ee muusikada ee qarnigii 19aad. si la taaban karo tusaale ahaan iyo muuqaal ahaan, fugue iyo fugato u hoggaansamaan hawlaha muses. maldahan (tusaale ahaan, "Dagaalka" ee bilawga riwaayadda "Romeo iyo Juliet" ee Berlioz), ayaa mararka qaarkood loo tarjumay si fantastik ah. (tusaale ahaan, opera The Snow Maiden ee Rimsky-Korsakov, fugato waxa ay muujinaysaa kaynta koraysa; eeg b. nambarka 253), comma. qorshe (majaajillo ah. fugue ee "Muqaal dagaal" laga bilaabo dhamaadka falkii 2aad ee Wagner's "Mastersingers of Nuremberg", fugue grotesque ee dhamaadka Berlioz's "Symphony Fantastic", iwm). Waxaa jira noocyo cusub oo kakan oo sifo ah dabaqa 2aad. 19 gudaha. isku dhafka foomamka: tusaale ahaan, Wagner ee hordhaca ah ee opera Lohengrin wuxuu isku daraa sifooyinka polyphonic. kala duwanaansho iyo fugues; Taneyev wuxuu isku daraa hantida fugue iyo sonata qaybta 1aad ee cantata "John of Dimishaq". Mid ka mid ah guulaha polyphony ee qarnigii 19aad. waxay ahayd calaamad u ah fugue. Mabda'a fugue (tartiib tartiib ah, oo aan lahayn isbarbardhig fiiqan, muujinta muujinta sawirka. nuxurka mawduuca, ee loogu talagalay ansixintiisa) waxaa dib u eegis ku sameeyay Tchaikovsky qaybta 1aad ee qolka No 1. Muusigga Ruushka, dhaqankan waxaa soo saaray Taneyev (eeg, tusaale ahaan, fugue kama dambaysta ah ee cantata "John of Damascus"). Muusiga ku dhex jira. art-wu qarnigii 19aad. rabitaanka gaarka ah, asalka sawirka ayaa horseeday polyphony ee S. iyadoo leh. isticmaalka baahsan ee isku darka mawduucyada isbarbardhiga. Isku dhafka leitmotifs waa qaybta ugu muhiimsan ee muusikada. Riwaayadda Wagner; tusaalooyin badan oo isku dhafan mawduucyo kala duwan ayaa laga heli karaa Op. Hal-abuurka Ruushka (tusaale ahaan, "Polovtsian Dances" oo ka socda opera "Prince Igor" ee Borodin, "Battle at Kerzhents" oo ka socda opera "The Legend of the Invisible City of Kitezh iyo Maiden Fevronia" by Rimsky-Korsakov, "Waltz" "Ballet "Petrushka" by Stravinsky, iwm. ). Hoos u dhigista qiimaha foomamka jilitaanka ee muusiga qarnigii 19-aad. isku dheeli tiran horumarinta dhawaaqa cusub. soo dhawaynta (dhan kasta oo bilaash ah, oo u oggolaanaya in wax laga beddelo tirada codadka). Waxaa ka mid ah - polyphonic. "Laamaha" mawduucyada dabeecadda macaan (tusaale ahaan, etude XI gis-moll ee Schumann's "Symphonic etudes", ee cis-moll op nocturne. 27 No 1 by Chopin); macnahan b. A. Zuckerman wuxuu ka hadlayaa "lyric. polyphony" uu qoray Tchaikovsky, isaga oo tixraacaya melodic. heesta midabaynta. Mawduucyada (tusaale ahaan, qaybta dhinaca ee qaybta 1aad ee riwaayadda 4aad ama inta lagu jiro horumarinta mawduucyada ugu muhiimsan ee dhaqdhaqaaqa gaabis ah ee 5aad); Dhaqanka Tchaikovsky waxaa qaatay Taneyev (tusaale ahaan, qaybaha gaabis ee heesaha heesaha ee c-moll iyo biyaano. quintet g-moll), Rachmaninoff (tusaale, biyaano. horudhac Es-dur, qayb gaabis ah oo ka mid ah gabayga "The Bells"), Glazunov (main. mawduucyada qaybta 1aad ee riwaayadda violin iyo orkestra). Soo dhaweynta cusub ee codka badan waxay sidoo kale ahayd "polyphony of layers", halkaas oo bar-geeska aan kala soocnayn. codad xamaasad leh, laakiin laxan iyo midnimo leh. dhismooyinka (tusaale ahaan, etude II ee Schumann's "Symphonic etudes"). Noocan ah dharka polyphonic ka dib ayaa helay codsiyo kala duwan oo ku saabsan muusikada, raadinta midabka iyo midabka. hawlaha (eeg, tusaale ahaan, fp. horudhac "The Sunken Cathedral" by Debussy), iyo gaar ahaan polyphony ee qarnigii 20aad. Laxankii is-wanaajiyey. codadka asal ahaan kuma cusba C. iyadoo leh. soo dhaweynta, laakiin qarnigii 19aad. waxaa loo adeegsadaa marar badan iyo siyaabo kala duwan. Sidaa darteed, Wagner habkan wuxuu ku gaaraa polyphonic gaar ah - melodic - dhammaystirnaanta gabagabada. dhismaha Ch. Qaybo ka mid ah dulsaarka opera "The Mastersingers of Nuremberg" (cabir 71 iyo seq.). Laxankii is-wanaajiyey. taxanaha waxa laga yaabaa in lala xidhiidhiyo wada noolaanshaha decomp. Ikhtiyaarada codka laxanka ah (tusaale, isku darka rubuc iyo sideedaad ee hordhaca "Ocian-sea blue", isku darka orc. iyo heeso. Kala duwanaanshaha codka sare ee bilowga goobta 4-aad ee opera epic "Sadko" ee Rimsky-Korsakov). Habkani wuxuu la xidhiidhaa "isku-darka tirooyinka la midka ah" - farsamo helay horumarinta quruxda badan ee muusikada con. 19 – dawarsi 20 cc (tus

Casriga ah "ponyphony cusub" wuxuu ka dhex jiraa halganka u dhexeeya bini'aadantinimada, xamaasad leh, fanka iyo fanka ka buuxsamay, kaas oo garaadka dabiiciga ah ee polyphony uu hoos ugu dhaco caqli-galnimada, iyo caqli-galnimada oo u gudubta caqli-galnimada. Polyphony S. s. Qarnigii 20-aad – adduun is burinaya, oo inta badan ifafaale labada dhinacba iska soo horjeeda. Fikradda guud ayaa ah in polyphony qarnigii 20aad. wuxuu noqday nidaamka ugu sarreeya oo xasiloon ee muusik. Fikirka waa run kaliya. Qaar ka mid ah sayidyadii qarnigii 20aad guud ahaan ma dareemaan baahida loo qabo isticmaalka polyphonic. macneheedu waa (tusaale ahaan, K. Orff), halka kuwa kale, lahaanshaha dhammaan isku dhafan, ay ku sii jiraan asal ahaan halabuurayaasha "khaniisnimada" (tusaale, SS Prokofiev); tiro ka mid ah sayidyada (tusaale, P. Hindemith), polyphony waa kan ugu horreeya, laakiin maaha ka kaliya. habka hadalka. Si kastaba ha ahaatee, dhacdooyin badan oo muusiko iyo hal abuur leh ee qarnigii 20aad. kac oo u kobco si waafaqsan polyphony. Marka, tusaale ahaan, riwaayad aan horay loo arag. muujinta heesaha caanka ah ee Shostakovich, "sii daynta" tamarta mitirka ee Stravinsky waxay si dhow ugu xiran tahay polyphonic. dabeecadda muusigooda. Qaar ka mid ah macnaheedu. cod badan Qarnigii 20aad oo la xidhiidha mid ka mid ah meelaha muhiimka ah ee dabaqa 1aad. qarniga - neoclassicism oo ay diiradda saarayso dabeecadda ujeedada muses. nuxurka, amaahashada mabaadi'da qaabeynta iyo farsamooyinka laga soo qaatay polyphonists ee qaab adag iyo baroque hore ("Ludus tonalis" ee Hindemith, tiro ka mid ah shaqooyinka Stravinsky, oo ay ku jiraan "Symphony of Sabuurrada"). Qaar ka mid ah farsamooyinka ka soo baxay beerta polyphony ayaa loo isticmaalaa hab cusub oo dodecaphony ah; pl. sifada muusiga. luqadda qarnigii 20aad macnaheedu waa, sida polytonality, qaababka adag ee polymetry, waxa loogu yeero. Codaynta cajaladdu waa waxyaalaha aan shaki ku jirin ee soo-jiidashada badan.

Muuqaalka ugu muhiimsan ee polyphony ee qarnigii 20aad. - fasiraad cusub oo dissonance, iyo casri ah. Barta ka soo horjeeda sida caadiga ah waa bar-bar-jebin. Habka adagi wuxuu ku salaysan yahay shibbanayaasha shibbanayaasha: is-daawasho ku dhacda kaliya qaabka gudbinta, caawinta ama dhawaaqa dib u dhaca ayaa hubaal ah inay ku wareegsan yihiin shibbanayaasha labada dhinac. Farqiga aasaasiga ah ee u dhexeeya S. iyadoo leh. been in xaqiiqda ah in dissonances si xor ah loo qaatay halkan loo isticmaalo; uma baahna diyaargarow, inkastoo ay daruuri tahay inay helaan hal ama mid kale ogolaansho, ie Kala-tashigu waxa ay ka dhigan tahay shibbane hal dhinac ah - ka dib laftiisa. Iyo, ugu dambeyntii, muusikada pl. laxamiistayaashii qarnigii 20aad waxaa loo adeegsadaa si la mid ah sida shibbane: kuma xidhna shuruudaha diyaarinta oo keliya, laakiin sidoo kale ogolaanshaha, ie. waxay u jirtaa sidii dhacdo madax banaan oo ka madax banaan shibbane. Kala daadsanaanta ilaa xad weyn ama ka yar waxay daciifisaa isku xidhka shaqada ee wada shaqaynta leh waxayna ka hortagtaa "ururinta" ee codka badan. codad gasha, oo si toosan loo maqlo sida midnimo. Isku-daba-marin-shaqayneedku wuxuu joogsadaa inuu hago dhaqdhaqaaqa dulucda. Tani waxay sharraxaysaa xoojinta laxan-laxanka (iyo tonal, haddii muusiggu yahay tonal) madax-bannaanida polyphonic. codadka, dabeecadda toosan ee polyphony ee shaqooyinka kuwa kale oo badan. laxamiistaha casriga ah (taas oo ay fududahay in la arko isbarbardhig leh xilliga qorista adag). Tusaale ahaan, laxanka (horizontal, linear) ee bilawga ah ayaa si aad ah ugu sarreeya qaanuunka labajibbaaran ee ka soo baxa horumarinta dhaqdhaqaaqa 1aad ee riwaayadda 5aad (lambarka 32) ee Shostakovich in dhegtu aysan dareemin is-waafajinta, ie. xiriirka toosan ee ka dhexeeya codadka. Hal-abuurayaashii qarnigii 20-aad waxay adeegsadeen dhaqan. macneheedu waa cod badan. luqadda, si kastaba ha ahaatee, tan looma tixgelin karo sida fudud ee farsamooyinka si fiican loo yaqaan: halkii, waxaan ka hadlaynaa casriga. xoojinta hab-dhaqameedka, taas oo keentay in ay helaan tayo cusub. Tusaale ahaan, heesaha Shostakovich ee aan soo sheegnay, fugato bilowga horumarinta (lambarada 17 iyo 18), sababtoo ah gelitaanka jawaabta octave kordhay, waxay u egtahay mid aan caadi ahayn. Mid ka mid ah hababka ugu caansan ee qarnigii 20aad. wuxuu noqdaa "polyphony of layers", iyo qaab dhismeedka kaydku wuxuu noqon karaa mid aad u adag. Sidaa darteed, lakab ayaa mararka qaarkood laga sameeyaa isbarbardhigga ama dhaqdhaqaaqa ka soo horjeeda ee codad badan (ilaa samaynta kooxo), farsamooyinka aleatoric ayaa loo isticmaalaa (tusaale ahaan, hagaajinta dhawaaqyada taxanaha ah) iyo sonoristics (laxanka. canon, tusaale ahaan, xadhkaha ku ciyaaraya meesha taagan), iwm. Laga yaqaan muusiga-badane-faneedka caadiga ah. Orc mucaaradka. kooxaha ama qalabyada halabuurayaal badan oo qarnigii 20-aad ah ayaa loo beddelaa "polyphony of rhythmic timbres" gaar ah (tusaale ahaan, hordhaca Stravinsky's The Rite of Spring) oo loo keenay macquul. dhamaadka, noqo "polyphony of sonorous effects" (tusaale ahaan, riwaayadaha K. Penderecki). Si la mid ah, isticmaalka muusiga dodecaphonic ee dhaqdhaqaaqa tooska ah iyo dhinaca dhinaceeda ah ee ay la socdaan leexintooda ayaa ka timaadda farsamooyinka qaab adag, laakiin isticmaalka nidaamsan, iyo sidoo kale xisaabinta saxda ah ee ururka oo dhan (ma aha had iyo jeer in ay guushu ku muujin) siin tayo ka duwan. Cod badan Muusigga qarniga 20-aad qaabab dhaqameed ayaa wax laga beddelay oo qaabab cusub ayaa dhashay, astaamaha kuwaas oo si aan kala go 'lahayn ula xiriirin dabeecadda thematism iyo ururka guud ee dhawaaqa (tusaale, mawduuca ugu dambeeya ee op.

Polyphony qarnigii 20aad wuxuu sameeyay qaab asal ahaan cusub. nooc ka baxsan fikradda lagu qeexay ereyga “S. leh." Si cad loo qeexay xadka qaabkan "free-free" ee dabaqa 2aad. Qarnigii 20aad ma haysto, mana jiro erey guud oo la aqbali karo oo qeexitaankeeda weli (mararka qaar qeexitaan "ponyphony cusub ee qarnigii 20aad" ayaa la isticmaalaa).

S. ayaa wax ku baranaysa. muddo dheer daba socday oo kaliya wax ku ool ah. uch. yoolalka (F. Marpurg, I. Kirnberger, iwm.). Khabiir. Cilmi-baaris taariikheed iyo aragtiyeed waxay soo shaacbaxday qarnigii 19-aad. (X. Riemann). Shaqooyinka guud ayaa la sameeyay qarnigii 20aad. (tusaale, "Aasaaska Bar-tilmaameedka Tooska ah" ee E. Kurt), iyo sidoo kale gaar ah. bilicda ayaa ka shaqeysa polyphony casriga ah. Waxaa jira suugaan ballaadhan oo Ruush ah. lang., u go'ay S. cilmi baaris la. BV Asafiev ayaa si isdaba joog ah uga hadlay mawduucan; Laga soo bilaabo shaqooyinka dabeecadda guud, "Mabaadi'da Hababka Farshaxanka" ee SS Skrebkov iyo "Taariikhda Polyphony" ee VV Protopov ayaa taagan. Arrimaha guud ee aragtida polyphony ayaa sidoo kale lagu daboolay kuwo kale oo badan. maqaallo ku saabsan laxamiistaha badan.

2) Qaybta labaad, kama dambaysta ah (ka dib qaabka adag (2)) ee qaybta koorsada polyphony. Muusiga Jaamacadaha USSR, polyphony waxaa lagu bartaa heerka halabuureed ee teoretikal waxaana qaban doona qaar. f-max; dugsiyada sare. machadyada - kaliya on theory-theoretical. waax (waaxaha bandhiga, aqoonta foomamka codka badan ayaa lagu daraa koorsada guud ee falanqaynta shaqooyinka muusikada). Nuxurka koorsada waxaa lagu go'aamiyaa xisaabta. Barnaamijyada ay ansixiyeen Wasaaradda Dhaqanka ee USSR iyo Jamhuuriyadda. min-adiga. koorsada S. ee. ku lug leh hirgelinta leyliga qoran ch. arr. qaabka fugue (canons, ikhtiraacida, passacaglia, kala duwanaansho, noocyo kala duwan oo hordhac ah, ciyaaro fugues, iwm) ayaa sidoo kale ka kooban. Ujeeddooyinka koorsada waxaa ka mid ah falanqaynta cod-badan. Shaqaale ka tirsan halabuurayaasha xilliyo iyo qaabab kala duwan. Waaxyaha curiyaha ee qaar ka mid ah uch. machadyadu waxay ku dhaqmeen horumarinta xirfadaha dhawaaqa badan. hagaajinta (eeg "Dhibaatada Polyphony" ee GI Litinsky); ku saabsan muusiga taariikhiga ah iyo aragtida f-max. Jaamacadaha USSR waxay dejiyeen hab lagu barto dhacdooyinka polyphony ee taariikhda. dhinac. Waayo, habka waxbaridda ee guumaystaha. uch. machadyada waxaa lagu gartaa isku xirka polyphony oo leh maadooyin la xidhiidha - solfeggio (eeg tusaale ahaan, "Ururinta tusaalooyinka suugaanta polyphonic. 2, 3 iyo 4 solfeggio codka "VV Sokolova, M.-L., 1933, "Solfeggio Tusaalooyinka suugaanta codka badan" ee A. Agazhanov iyo D. Blum, Moscow, 1972), taariikhda muusiga, iwm.

Waxbarid badan ayaa leh asal barbaarineed oo soo jireen ah. dhaqamada. Qarniyadii 17-18. Ku dhawaad ​​halabuur kastaa wuxuu ahaa macalin; waxa caado ahayd in khibrada loo gudbiyo fannaaniinta da’da yar ee isku dayaya inay wax curiyaan. S. wax baridda. loo tixgeliyey arrin muhiim ah fannaaniinta ugu weyn. Uch. hogaanka ayaa ka tagay JP Sweelinck, JF Rameau. JS Bach wuxuu abuuray shaqooyin badan oo cajiib ah. - ikhtiraacida, "Clavier-ka si fiican u xanaaqsan", "Farshaxanka Fugue" - sida wax ku ool ah. tilmaamo ku saabsan curinta iyo samaynta cod-bixineed. prod. Waxaa ka mid ahaa dadkii baray S. s. - J. Haydn, S. Frank, J. Bizet, A. Bruckner. Arrimaha badanka-foniga ayaa fiiro gaar ah la siiyay koontada. hagaha P. Hindemith, A. Schoenberg. Horumarinta dhaqanka polyphonic ee Ruushka iyo guumaystaha. muusiga waxaa kor u qaaday waxqabadyada laxamiistayaasha NA Rimsky-Korsakov, AK Lyadov, SI Taneev, RM Glier, AV Aleksandrov, N. Ya. Myaskovsky. Waxa la sameeyay tiro buugaag ah oo soo koobaya waayo-aragnimada wax barida S. s. ee USSR.

Tixraacyo: Tanev S. I., Hordhac, buugiisa: Meesha la dhaqaajin karo ee qoraalka adag, Leipzig, 1909, M., 1959; (Taneev S. I.), Dhowr xaraf oo ku socda S. IYO. Taneyev oo ku saabsan arrimaha muusikada iyo aragtida, buugga: S. IYO. Taneev, Qalabka iyo dukumentiyada, vol. 1, M., 1952; Tanev S. I., Laga soo bilaabo dhaxalka sayniska iyo barbaarinta, M., 1967; Asafiev B. AT (Igor Glebov), Ku saabsan farshaxanka cod badan, oo ku saabsan dhaqanka xubnaha iyo casriga muusigga. L., 1926; isaga u gaar ah, qaabka muusikadda hab ahaan, (buug. 1-2), M.-L., 1930-47, L., 1971; Skrebkov C. S., Falanqaynta cod badan, M.-L., 1940; isaga u gaar ah, Buug-gacmeedka badan, M.-L., 1951, M., 1965; isaga, Mabaadi'da farshaxanka ee qaababka muusiga, M., 1973; Pavlyuchenko S. A., Hagaha Falanqaynta Waxqabadka ee Aasaaska Hal-abuurka Polyphony, M., 1953; Protopov V. V., Taariikhda polyphony ee ifafaaleheeda ugu muhiimsan. (Cad. 1) - Muusigga qadiimiga ah ee Ruushka iyo Soofiyeedka, M., 1962; isaga, History of polyphony in ifafaale ay ugu muhiimsan. (Cad. 2) - Classics-ka Galbeedka Yurub ee qarniyadii XVIII-XIX, M., 1965; Laga soo bilaabo Renaissance ilaa qarnigii labaatanaad. (Sb.), M., 1963; Tyulin Yu. N., Farshaxanka ka-hortagga, M., 1964; Renaissance. Baroque Classicism. Dhibaatada qaababka ee farshaxanka Galbeedka Yurub ee qarniyadii XV-XVII. (Sb.), M., 1966; Hermit I. Ya., Bar-koobeedka dhaqaaqi kara iyo qoraal bilaash ah, L., 1967; Kushnarev X. S., O polyphony, M., 1971; Stepanov A., Chugaev A., Polyphony, M., 1972; Polyphony Sat. Farshaxan., Comp. iyo ed. KU. Yuzhak, M., 1975; Rameau J.-Ph., Traitй de l'harmonie…, P., 1722; Marpurg Fr. W., qormada fugue, vol. 1-2, В., 1753-54, Lpz., 1806; Kirnberger J. Ph., Farshaxanka halabuurka saafiga ah ee muusiga, vols. 1-2, B.-Kцnigsberg, 1771-79; Albrechtsberger J. G., Tilmaamaha dhammaystiran ee halabuurka, Lpz.., 1790, 1818; Dehn S., Aragtida counterpoint, canon iyo fugue, В., 1859, 1883; Garsoore E F. E., Buugaag-barashada fudud iyo laba-jibbaaran, Lpz., 1872 (рус. per - Richter E. F., Buuga-barashada fudud iyo laba-geeska ah, M.-Leipzig, 1903); Bussler L., Kontrapunkt und Fuge im freien modernen Tonsatz, V., 1878, 1912 (rus. per - Bussler L., Qaabka bilaashka ah. Buuga-barashada iyo fugue, M., 1885); Jadasson S., Lehrbuch des einfachen, doppelten, drei- und vierfachen Contrapunkts, Lpz., 1884, hoostiisa ciwaanka: Musikalische Kompositionslehre, Tl 1, Bd 2, 1926; Rout E., Counterpoint, L., 1890; isaga, Double counterpoint iyo canon, L., 1891, 1893; isaga, Fugue, L., 1891 (rus. per - Ducada E., Fuga, M., 1900); isaga u gaar ah, Fugal falanqaynta, L., 1892 (rus. per - Prout E., Falanqaynta fugues, M., 1915); Riemann H. Geschichte der Musiktheorie im IX. - XIX. Qarni, Lpz., 1898, Hildesheim, 1961; Kurth E., Aasaaska toosan counterpoint…, Bern, 1917 (рус. per – Kurt E., Aasaaska bar-bar-jabinta toosan, M., 1931); Hindemith P., Unterweisung im Tonsatz, Bd 1-3, Mainz, 1937-70; Krenek E., Daraasaadka dhanka counterpoint, N.

VP Frayonov