Shaqooyinka qallafsan |

Shaqooyinka qallafsan - macnaha dhawaaqyada iyo shibbanayaasha iswaafaqsan (nidaamka sare).

F. l. waxay matalaan muujinta isku xirka muusika-semantic, iyada oo loo marayo macquulnimada iyo isku xirnaanta muusikadu. oo dhan. Dhaqanka qaabka erey-bixinta Ruushka waxaa sida caadiga ah loo fasiraa qayb guud oo la xiriirta dhammaan noocyada nidaamyada garoonnada (laga bilaabo qadiimiga, bariga, hababka dadwaynaha ilaa qaababka kala duwan iyo kakan ee dhismaha muusikada xirfadeed ee qarnigii 20aad). Sidaas awgeed, fikradda F.l. sidoo kale waa kan ugu caansan, oo la xidhiidha burburka ugu badan. noocyada macnayaasha muusik-semantic ee dhawaaqyada iyo shibbanayaasha, in kasta oo ay ogolaadaan qeexitaanka mid ka mid ah noocyada (macnahooda hababka moodeelka - "hababka" gaarka ah ee muusikada qarniyadii 14-15aad, liddi ku ah qiyamka, tusaale ahaan, in tonality harmonic ee qarniyadii 18-19-aad sida nooc gaar ah oo nidaamka modal). Maaddaama qaababka qaab-dhismeedka qaabku ay yihiin kuwo taariikh ahaan isbeddelaya, ka dibna F. l. sida xiriirka dhawaaqa gaarka ah uu u kobcayo taariikh ahaan, iyo u gudubka noocyada ph. ugu dambeyntii waxay ka tarjumaysaa horumarka muusikadu. fekeraya.

Nidaamyada F. l. waxay ku xiran tahay walxaha ururka sare ee sare, kaas oo ka kooban yahay macnayaal gaar ah, iyo qaababka muusikada (codka) muujinta macquulka ah. cilaaqaadka ka dhexeeya walxaha habka modal (sare). Dhammaan walxaha qaabku waxay helayaan muhiimadda nidaamka, labadaba fudud (heerka hoose ee walxaha) iyo isku-dhafka (heerka sare ee isku-dhafka walxaha fudud ee mido badan oo adag). Walxaha fudud - otd. dhawaaqyo ("monads"), dhexda, dhawaaqyo labanlaab ah ("dyads"), triads ("triads"), chords kale sida walxaha nidaamka. Isku-dhafan - dec. nooca "microlads" ee ka kooban qaabka (tusaale ahaan, tetrachords, pentachords, trichords oo ku dhex jira qaabka monodich badan oo mug leh. Hababka; kooxo kooxeedyo gaar ah, nidaam hoosaadyo, xargo leh dhawaaqyo ku xiga ama shibbanayaal, iwm. ee qaababka laba geesoodka ah. ). Qaar ka mid ah F.l. helid, tusaale ahaan, c.-l. Unugyada moodeelka weyn (hal ama mid kale oo la mid ah, nidaamka) marka loo eego kuwa kale ee isku midka ah ee ku jira hal dhan oo weyn (laxanka mawduuca sare waa sida D ee tonic-ga weyn, iwm.). Muz.-macquul ah. cilaaqaadka goobta qaab-dhismeedka waxaa lagu muujiyaa kala qaybinta walxaha modal ee ugu muhiimsan (dhexda) iyo kuwa hoos yimaada (peripheral), ka dibna si faahfaahsan semantic kala duwanaansho ee dambe; markaa doorka aasaasiga ah ee qaybta aasaaska sida F.l dhexe. wax ka beddelkeeda oo kala duwan (eeg Lad). Fahamka saxda ah ee ku filan (maqalka) ee muusiga ayaa ka fikiraya in laga fikiro qaybaha F.l., kuwaas oo ku jira muusiga gaarka ah. nidaamka (tusaale ahaan, adeegsiga nidaamka Galbeedka-Yurub ee waaweyn iyo kuwa yar-yar oo leh cod-gacmeedkooda si loogu habeeyo heesihii hore ee Ruushka, tarjumaadda dhammaan nidaamyada garaafyada marka loo eego is-waafajinta Galbeedka-Yurub ee qarniyadii 18-19aad ee F. l., iwm.).

Asal ahaan waa muhiim F.l. farqiga 2 ugu weyn. noocyada hababka modal (codka) ku xiran tahay qaab-dhismeedka qalabkooda - monophonic ama polyphonic (qarnigii 20aad sidoo kale sonorant). Sidaa darteed qaybta ugu guud ee noocyada F. l. galay monodic iyo chord-harmonic. P.l. qadiimiga kala duwan, qarniyadii dhexe. iyo Nar. monodic hababka (ie, monodic F.l.) typologically wax badan ayay wadaagaan. Si aad u fudud monodich. F. l. (ie, qiyamka qaab-dhismeedka dhawaaqyada iyo shibbanayaasha) ugu horrayn waxaa ku jira qiyamka Ch. Taageerada xanaaqa: xarun. codka (joojinta, dhawaaqa tixraaca, tonic, ujeedadeedu waa inay noqoto mid ka mid ah taageerada moodeelka fekerka muusikada), codka kama dambaysta ah (finalis; xaalado badan waxay ku beegan tahay codka dhexe, kaas oo sidoo kale loo yaqaan finalis), codka labaad ee tixraaca. (wax ka beddelka, laxanka soo noqnoqda, confinalis, lahjadda ugu weyn, xukunka; inta badan lagu lammaaniyo finalka); sidoo kale taageerooyinka maxalliga ah (xarumo maxalli ah, xarumo doorsooma; haddii taageerayaashu ka guuraan dhawaaqyada ugu muhiimsan ee qaabka una guuraan dhinaca), dhawaaqa bilowga ah (initialiis, bilowga; codka 1aad ee laxanka; inta badan waxay ku beegan tahay midka ugu dambeeya). Si loo sameeyo monodich ka kooban. F. l. ku dar qiyamka la go'aamiyay. kacdoonnada melodic, heeso - gabagabada caadiga ah. qaacidooyinka, clauses (xaladaha qaarkood, codadkoodu sidoo kale waxay leeyihiin hawlo dhismeed oo iyaga u gaar ah, tusaale ahaan, ultima, penultima iyo antepenultima; eeg Cadence), leexashada bilawga ah ee caadiga ah (bilawga, bilawga), qaacidooyinka qadiimiga ah ee Ruushka. heeso, laxan Gregorian. Eeg, tusaale ahaan, kala duwanaanshaha F.l. xarunta. codka (as1) iyo codka ugu dambeeya (es1) ee tusaalaha st. Hababka Giriigii hore (column 306), finalis iyo saamaynta - ee Art. Dhiirrigelinta dhexe; eeg isbeddellada taageerooyinka maxalliga ah (e1, d1, e1) ee laxanka "Rabbi waan ooyey" ee St. Habka dhawaaqa (column 447), kala duwanaanshaha F. l. codadka hore iyo kuwa ugu dambeeya ee laxanka "Antarbahis" ee st. Muusiga Hindida (Tiirka 511). Eeg sidoo kale qiyamka qaabka (ie F.l.) heesaha caadiga ah. kacdoonada (tusaale, bilawga, u dambeeya) ee fanka. Hababka dhexe (Tiirka 241), Laxanka (Tiirka 520), Cadence buuxa (column 366), heesta Znamenny (tirarka 466-67), Laxanka (Tiirka 519).

Nidaamyada F. l. ku jira geeso geesle ah, oo isku dhafan walxo fret ah oo ka kooban 2 nooc (hal-madax leh iyo madax badan), waxay leeyihiin dabeecad laba-geesood ah (interdimensional). Codadka laxanka ah, gaar ahaan kuwa ugu muhiimsan (eeg Melody), waxay u muuqdaan monodich. F. l.; waxay la galaan is dhexgalka adag F.l. shibbane toosan (eeg Harmony), abuurista, gaar ahaan, qiyamka xubno ka mid ah lakabka F. l. marka loo eego canaasirta mid kale (tusaale ahaan, dhawaaqyada melodic marka loo eego chords, ama lidka ku ah; "interlayer", phlebotomy interdimensional, oo ka dhasha isdhexgalka monodic iyo chord-harmonic phlebodies). Sidaa awgeed fanka. maal F. l. ee muusiga polyphony horumaray. Saadaasha chord-harmonic. F. l. laxanka waxaa saameeya faafitaanka dhawaaqyada chord (boodboodka), oo loo arko inay yihiin hal-shaqaale (waxay ka soo horjeedaan sida shaqeynta isbarbardhigga "transit" gudbinta iyo dhawaaqyada caawinta), hoos u dhaca qiimaha qodobka asaasiga ah ee xiisadda toosan (ka sarreeya). - aad u daran) oo door bidaaya is-waafajin-shaqo leh (kacsanaanta kobaca marka ay ka baxayso aasaaska, hoos u dhaca - marka lagu soo laabto aasaaska), beddelka basso melodic ah oo leh xariiqda boodhka zigzag basse fondamentale, iwm. Saamaynta monodic F. l. on chord-harmonic waxay ka muuqataa fikradaha ugu muhiimsan. Hawlaha tonal (dhawaaqa dhexe - xudunta dhexe, tonic; falcelinta - xudunta ugu weyn), iyo saamaynta ay ku leeyihiin isku xigxiga xudunta ayaa lagu muujiyaa nidaaminta iyada oo loo marayo ugu weyn. tillaabooyinka dhawaaqa (phonographs-kooda monophonic) ee doorashada iyo macnaha macnaha ereyada iswaafajinta laxanka (tusaale ahaan, caddaynta ugu dambeysa ee heesta "Glory" oo ka socota opera "Ivan Susanin" - qiimaha is-waafajinta laf dhabarta dhawaaqyada taageeraya laxanka:

cf. Nidaamka dhijitaalka ah), marka loo eego. Madax-bannaanida is-waafajinta ee qaababka moodeelka ee heesaha gudaha qaab dhismeedka polyphony (tusaale ahaan, dareenka hufnaanta is-waafajinta ee qaab-dhismeedka mawduuca hal-madaxa ah ee ku dhex jira dharka geesaha leh ee fugue, mararka qaarkood xitaa khilaafsan Ph. l. codad kale). Xidhiidhada shaqo ee dhex dhexaadinta ah waxaa laga helaa xaaladaha ka soo ifbaxa F.l. dhawaaqyada iyo shibbanayaasha nidaamka la siiyay iyadoo ay saamaynayso isdhexgalka kala duwanaansho (monodic iyo chord-harmonic) F.l. Haa, monodic. F. l. laxan ku hoos jira xudunta F. l. D 7, waxaa loo beddelaa ilaa dib-u-rogid buuxda oo cufisjiid (tusaale ahaan, dhawaaqa tillaabada 1aad waxay u cuf-jiidaysaa 7-aad, iwm.); hoos-u-dhac ku yimid F.l. dhawaaqyada melodic waxay sameeyaan, tusaale ahaan, shaqada nuqul ka mid ah (faubourdon, horraantii organum, muusiga qarnigii 20aad, eeg, tusaale ahaan, sidoo kale horudhaca piano ee C. Debussy "The Sunken Cathedral").

Is-waafajinta qaab-dhismeedka qarniyadii dhexe iyo Renaissance (gaar ahaan qarniyadii 15-16aad) waxaa lagu gartaa dheelitirka monodic. iyo chord harmonic. F. l. (sida caadiga ah fikirka toosan-polyphonic); tilmaame waa xeerarka lagu go'aamiyo qaabka iyo F.l. "by tenor", taas oo ah, hal cod midkiiba; sida dhawaqa laxanka shibbane decomp. tillaabooyinka si xor ah isu raacaan, oo qeexaan. ma jiro doorasho cad oo loogu talagalay chords sida kuwa ugu muhiimsan ee iswaafaqsan; ka baxsan cadences, "xidhiidhka tonal waxaa laga yaabaa in gebi ahaanba maqan yahay, iyo chord kasta … waxaa laga yaabaa in ay la socdaan midba midka kale chord" (SI Taneev, 1909; eeg, tusaale ahaan, muunado music by J. Palestrina ee St. Polyphony, tiirarka 347, 348, Josquin Despres - ee maqaalka Canon, tiirka 692).

Wada noolaanshaha tonal (17-19 qarni) waxa lagu asteeyay sarraynta chord-harmonic. F. l. ka sarreeya monodic (eeg tonality Harmonic, Harmonic function, Tonality, Dominant, Subdominant, Tonic, Major, Minor, Modulation, Deviation, Variable functioning, Relationship of Furayaasha). Sida labada-fret "harmonic. tonality "West-Yurub. muusikadu waa synthetic. nidaam modal ah oo ah nooc gaar ah, nooc u gaar ah oo F. l. waxaa jira mid gaar ah. noocooda, oo loo yaqaan "function tonal" (H. Riemann, "Vereinfachte Harmonielehre oder Lehre von den tonalen Funktionen der Akkorde", 1893). Hawlaha caadiga ah (T, D, S) waxay ku shaqeeyaan saldhigga ugu sarreeya ee xiriirka dabiiciga ah - isku xirka quintaalka ee u dhexeeya midka ugu weyn. dhawaaqyada chords ee tillaabooyinka IV-IV - ficil ahaan iyada oo aan loo eegin mid ama mid kale oo ka mid ah sifooyinkooda moodeelka (tusaale ahaan, haddii tonic uu yahay mid weyn ama mid yar); marka waa gaar halkan. ereyga "shaqooyinka tonal" (oo la xidhiidha ereyga "hawlaha moodada"), ee ma aha "F. l.” (labadaba la isku daray). tonality harmonic waxaa lagu gartaa soo jiidasho firfircoon oo xoog leh ee xarunta. chord (tonic), dhex gasha dhammaan qaab dhismeedka murugada, aqoonsiga aadka u kala duwan ee harmonics. hawlaha shibbane kasta iyo otd. dhexda dhawaaqa. Sababo la xiriira awoodda hawlaha tonal, "Tonality mid ka mid ah waax saamayn tonality kale, bilowga gabal saamayn ku gunaanad" (SI Taneev, 1909).

U gudubka muusiga qarniga 20aad waxaa lagu gartaa markii hore iyadoo la cusboonaysiinayo nooca caadiga ah. shaqeynta (oo u adeegaya qaabka ugu muhiimsan ee nidaamyo badan oo cusub oo xiriir shaqo ah), abuurista qaababka dhawaaqa cusub ee dhaqanka. iyo walxaha tonal ee la cusboonaysiiyay. Sidaa darteed, farsamada is-beddelka shaqada ("beddelka" iyo dib-u-dhalashada dheeraadka ah ee cuf-jiidka tonal) waa mid baahsan: jihada dhaqdhaqaaqa laga bilaabo bartamaha ilaa hareeraha (R. Wagner, hordhaca opera "Tristan iyo Isolde"), laga bilaabo istaagga ilaa aan degganayn (NA Rimsky-Korsakov, "Sheekada Magaalada aan la arki karin ee Kitezh iyo gabadha Fevronia", dhammaadka 3-aad .; Skryabin AN, iswaafajinta wax soo saarka op. 40-50), laga bilaabo is-waafajinta iyo, dheeraad ah, u janjeera in laga fogaado shibbane (SV Rachmaninov, Romance "Au!"), Laga soo bilaabo qoob-ka-soo-bax ilaa qaab-dhismeedka aan-koobeedka ahayn (muuqaalka dhawaaqyada dhinaca ee qoob-ka-ciyaarka taas oo ay sabab u tahay hagaajinta dib-u-dhacyada, caawinta iyo dhawaaqyada kale ee aan-koobeedka ahayn. qaab-dhismeedka). Iyadoo dib-u-dhalasho dhaqan. hore F.l. Sidan oo kale, tusaale ahaan, tonality dissonant ayaa soo baxa (Scriabin, sonatas dambe ee pianoforte; A. Berg, Wozzeck, 1st act, 2nd scene, dissonant cis-moll, eeg tusaale muusik ee Art. Accord, column 82, 1st chord - T ), hababka derivative (SS Prokofiev, "Fleeting", No 2, March ka opera "Jacaylka Saddex Oranges" - ka C-dur; DD Shostakovich, 9 symphony, dhaqdhaqaaqa 1st, bilowga qaybta dhinaca ee bandhigga - sida -moll oo ka soo jeeda T oo ka yimid G-dur), qaababka atonic (N. Ya. Myaskovsky, 6th symphony, qaybta 1aad, qaybta ugu muhiimsan ee qaybta dhinaca ; Tonic chord Fis-dur waxay u muuqataa kaliya qaybta ugu dambeysa). Ku salaysan cusub, noocyada kala duwan ee hababka ayaa dib loo soo nooleeyaa; sidaas darteed, noocyada kala duwan ee F. l. (shaqooyinka nidaamka, macnaha dhawaaqyada iyo shibbanayaasha gudaha nidaamka la bixiyay).

Muusigga cusub ee qarnigii 20-aad. oo ay la socdaan noocyada dhaqanka F. l. (monodic-modal; chord-harmonic, gaar ahaan tonal) hawlo kale oo nidaamsan ayaa sidoo kale la soo bandhigay, iyaga oo tilmaamaya macnaha semantic ee walxaha, gaar ahaan farsamada xarunta ("horumarin kala duwanaansho" sida ku celcelinta la doortay si degdeg ah loo hagayo. kooxda dhawaaqa, sida ay ahayd, kala duwanaansho ku yaal). Hawlaha xaruntu waa muhiim. dhererka (sare-sare abutment) oo ah qaabka otd. dhawaaqa (dhawaaqa dhexe, sida uu qabo IF Stravinsky - "tirada"; tusaale ahaan, ciyaarta piano "Calaamadaha Cadaanka", 1974, tone a2 by EV Denisov; sidoo kale eeg tusaale ahaan Farshaxanka. Dodecaphony, tiirka 274, codka dhexe es ), xarun. shibbaneyaal (tusaale polychord Fis-dur + C-dur oo ku salaysan goobta 2aad ee ballet Stravinsky “Petrushka”, eeg tusaale ku jira Art. Polychord, tiirka 329), xarunta. boosaska taxanaha (tusaale, taxanaha booska ge-dis-fis-cis-fdhbca-gis ee A. Webern's vocal cycle op. 25, eeg tusaale maqaalka Pointillism). Marka la isticmaalayo sonorno-harmonic. farsamada, dareenka la hubo ee dulsaarka sare waa la gaari karaa iyada oo aan la muujinin aasaas cad. tones (dhamaadka dhamaadka riwaayadii 2aad ee piano ee RK Shchedrin). Si kastaba ha ahaatee, isticmaalka ereyga "F. l.” marka la eego ifafaale badan oo is-waafajineed qarnigii 20-aad. waxay u muuqataa dhibaato (ama xitaa aan macquul ahayn), qeexitaankoodu wuxuu u baahan yahay horumarinta ereybixin sax ah.

Tixraacyo: hoos ka eeg maqaallada lagu sheegay.

Yu. N. Kholopov