Dareenkii dhexe |

Dabeeto dhexe, si ka sii saxan qallafsanaanta kaniisadda, dhawaaqyada kaniisadda

lat. modi, toni, tropi; Jarmal Kirchentöne, Kirchentonarten; Hababka Faransiiska gregoriens, tons ecclesiastiques; Hababka kaniisadda Ingiriisiga

Magaca siddeed (laba iyo toban dhammaadka Renaissance) hababka monodic ee hoosta ka ah xirfadleyda (ch. arr. Kaniisadda) muusikada Galbeedka Yurub. da 'dhexe.

Taariikh ahaan, 3 hab ee magac-u-dhigista S.l.:

1) Qolka uumiga nambaraysan (ka ugu da'da weyn; hababka waxaa lagu muujiyay lambarrada Giriigga ee Laatiinka ah, tusaale ahaan protus - kow, deuterus - labaad, iwm., oo leh laba-labo oo mid kasta loo qaybiyo mid sax ah - mid weyn iyo plagal - sare);

2) nambarada fudud (hababka waxaa lagu muujiyaa nambarada Roomaanka ama tirooyinka Laatiinka - laga bilaabo I ilaa VIII; tusaale ahaan, primus tone ama I, secudus toneus ama II, tertius tone ama III, iwm.);

3) magac ahaan (magacaabid; marka la eego aragtida muusiga Giriigga: Dorian, Hypodorian, Phrygian, Hypophrygian, iwm.). Habka isku-dhafan ee sideed S.l .:

I – дорийский – protus authenticus II – Hypodorian – protus plagalis III – Phrygian – dhab ah deuterus IV – hypophrygian – deuterus plagalis V – лидийский – dhab ah tritus VI – Hypolydian – tritus plagalis VII – tetraxous plagalis VIII – tetraxolys

Qaybaha ugu muhiimsan ee S.l. - finalis (dhawaaqa u dambeeya), ambitus (mugga laxanka) iyo - laxannada la xidhiidha sabuurrada, - falcelinta (sidoo kale tenor, tuba - laxanka soo noqnoqda, sabuurrada); waxaa dheer, laxanka S. l. inta badan waxaa lagu gartaa heeso gaar ah. qaacidooyinka (ka imanaya laxanka Sabuurrada). Saamiga finalis, hamiga iyo falcelinta ayaa ka dhigaysa saldhigga qaab-dhismeedka mid kasta oo S.l .:

Melodich. qaacidooyinka S. l. ee sabuurrada laxanka ah (qaraxyada sabuurrada) - bilaabista (qaabka hore), finalis (u dameeya), dhexdhexaadin (cadaynta dhexe). muunado laxan. qaacidooyinka iyo laxanka S.l.

Heesta "Ave maris Stella."

Bixinta "Waxaan ka qayliyey moolka."

Antiphon "Amarka cusub".

Hallelujah iyo aayadda "Laudate Dominum".

Si tartiib ah "Waxay arkeen".

Kyrie eleison ee Mass "xilliga Paschal".

Mass for Dead, galo nasasho weligeed ah.

Sifada S.l. sidoo kale waxaa ku jira kala duwanaansho (lat. differentiae tonorum, diffinitiones, varietates) - cadence melodic. qaacidooyinka psalmody-ga ka-hortagga ah oo ku dhacaya gabagabo lix-shibbad ah. weedha waxa loo yaqaan. "Doxology yar" ( seculum aamiin - "iyo weligeed iyo weligeedba aamiin"), kaas oo inta badan lagu tilmaamo ka saarida shibbanayaasha: Euouae.

Wanka Ilaah ee Mass "Maalmihii Advent and Leent".

Kala duwanaanshuhu waxay u adeegaan sidii isbeddelka laga soo bilaabo aayadda Sabuurrada oo loo beddelo antiphon-ka xiga. Melodi ahaan, kala duwanaanshiyaha waxaa laga soo amaahday dhammaadka dhawaaqyada sabuurrada (sidaas darteed, dhammaadka dhawaaqyada sabuurrada waxaa sidoo kale loo yaqaan kala duwanaansho, fiiri "Antiphonale monasticum pro diurnis horis...", Tornaci, 1963, p. 1210-18).

Antiphon "Ad Magnificat", VIII G.

In cilmaani iyo dad. Muusigga qarniyadii dhexe (gaar ahaan Renaissance), sida muuqata, had iyo jeer waxaa jiray habab kale (tani waa khaladka ereyga "S.l." - maaha kuwo caadi ah dhammaan muusikada qarniyadii dhexe, laakiin badanaaba muusikada kaniisadda, sidaas darteed, ereyga "qaababka kaniisadda", "Tones kaniisad" ayaa aad u saxsan). Si kastaba ha ahaatee, waa la iska indhatiray xagga muusiga iyo sayniska. suugaanta, taas oo ku hoos jirtay saamaynta kaniisadda. J. de Groheo ("De musica", c. 1300) ayaa tilmaamay in muusiga cilmaaniga ah (cantum civilem) "uusan si fiican ula socon" sharciyada kaniisadda. xanaaqsan; Glarean ("Dodekachordon", 1547) wuxuu rumaysnaa in habka Ionian uu jiro ca. 400 oo sano. Waagii dhexe ee ugu qadiimiga ahaa ee ina soo maray. Heeso cilmaani ah, kuwa aan diintu ahayn ayaa la helaa, tusaale ahaan, pentatonic, qaabka Ionian:

Hees Jarmal ah oo ku saabsan Peter. Con. 9aad c.

Mararka qaarkood, hababka Ionian iyo Aeolian (oo u dhiganta kuwa waaweyn iyo kuwa yaryar) ayaa sidoo kale laga helaa heesta Gregorian, tusaale ahaan. Tirada guud ee monodic "In Festis solemnibus" (Kyrie, Gloria, Sanctus, Agnus Dei, Ite missa est) waxay ku qoran tahay XI, ie Ionian, fret:

Kyrie eleison ee Mass "In ciidaha la ilaaliyo."

Kaliya gudaha Ser. Qarnigii 16aad (eeg "Dodekachordon" Glareana) ee nidaamka S.l. 4 kale ayaa lagu daray (sidaa darteed waxaa jiray 12 frets). Dareen cusub:

At Tsarlino ("Dimostrationi Harmoniche", 1571, "Le Istitutioni Harmoniche", 1573) iyo qaar Faransiis ah. iyo Jarmal. fannaaniintii qarnigii 17aad taxonomy ka duwan oo laba iyo toban S. l. waxaa la bixiyaa marka la barbardhigo Glarean. At Tsarlino (1558):

G. Zarlino. "The Harmonic Institutions", IV, cutubka. 10.

У M. Мерсенна ("Universal Harmony", 1636-37):

Waan ka xumahay - run. Dorian (s-s1), qaabka II - subdorian plagal (g-g1), III fret - sax ah. Phrygian (d-d1), qaabka IV – Plagal sub-Phrygian (Aa), V — sax ah. Lydian (e-e1), VI - Plagal Sublydian (Hh), VII - sax ah. mixolydian (f-f1), VIII - plagal hypomixolydian (c-c1), IX - sax ah. hyperdoric (g-g1), X - plagal Sub-Hyperdorian (d-d1), XI - sax ah. hyperphrygian (a-a1), XII - subhyperphrygian plagal (e-e1).

Mid kasta oo S.l. isaga oo si gaar ah u sheegay. dabeecad. Marka loo eego xeerarka kaniisadda (gaar ahaan qarniyadii dhexe ee hore), muusiggu waa in laga gooyaa wax kasta oo jidhka ah, "adduunyo" sida dembiilayaal oo kor u qaadaya nafaha ruuxa, jannada, Masiixiyiinta. Sidaa darteed, Clement ee Alexandria (c. 150 - c. 215) wuxuu ka soo horjeeday qadiimiga, jaahilka Phrygian, Lydian iyo Dorian "nomes" iyaga oo door biday "laxanka daa'imka ah ee is-waafajinta cusub, magaca Ilaah", oo ka soo horjeeda "heesaha waxtarka leh" iyo " laxanka baroorta”, ku-riixidda “nafta kharribi” oo ku lug yeelata “raynraynta” komos, iyada oo door bidaysa “farxadda ruuxiga ah”, “si loo dhiirrigeliyo oo loo xakameeyo qofka xanaaqiisa.” Waxa uu rumaysnaa in "is-waafajinta (sida hababka) ay tahay in loo qaato si adag oo nadiif ah." Habka Dorian (kaniisadda), tusaale ahaan, waxa inta badan lagu gartaa aragtiyaha sida cibaado, haybad. Guido d'Arezzo waxa uu wax ka qoraa "jacaylka 6aad", "hadalka 7aad". Sharaxaadda qeexitaannada hababka waxaa inta badan lagu bixiyaa si faahfaahsan, midab leh (sifada waxaa lagu bixiyaa buugga: Livanova, 1940, p. 66; Shestakov, 1966, p. 349), taas oo muujinaysa aragtida firfircoon ee innation modal.

Taariikh ahaan S. l. shaki la'aan waxay ka imanaysaa nidaamka frets ee kaniisadda. muusikada Byzantium - waxa loogu yeero. oktoiha (osmosis; Greek oxto - sideed iyo nxos - cod, qaab), halkaas oo ay jiraan 8 habab, oo loo qaybiyay 4 lammaane, oo loo qoondeeyey inay yihiin kuwo sax ah iyo plagal (4ta xaraf ee ugu horreeya ee alifbeetada Giriigga, taas oo u dhiganta amarka: I - II - III - IV), waxaana sidoo kale lagu isticmaalaa Giriigga. Magacyada qaabka (Dorian, Phrygian, Lydian, Mixolydian, Hypodorian, Hypo-Phrygian, Hypolydian, Hypomixolydian). Nidaaminta kaniisadaha Byzantine. frets waxaa loo aaneynayaa Yooxanaa ee Dimishaq (Qaybtii 1aad ee qarnigii 8aad; eeg Osmosis). Su'aasha ah Bilowgii taariikhiga ahaa ee hababka modal ee Byzantium, Dr. Russia iyo Western Europe. S.l., si kastaba ha ahaatee, waxay u baahan tahay cilmi-baaris dheeraad ah. Muuse. Aragtiyahanadii qarniyadii dhexe ee hore (qarnigii 6aad-horraantii 8aad) weli ma xusin hababka cusub (Boethius, Cassiodorus, Isidore of Seville). Markii ugu horreysay waxa lagu sheegay qoraal, qayb ka mid ah oo uu daabacay M. Herbert (Gerbert Scriptores, I, p. 26-27) oo hoos imanaya magaca Flaccus Alcuin (735-804); si kastaba ha ahaatee, qoraageeda shaki ayaa ku jira. Dukumeentiga ugu da'da weyn ee si kalsooni leh uga hadlaya S.l. waa in la tixgeliyo daawaynta Aurelian ee Rheome (qarnigii 9aad) "Musica disciplina" (c. 850; "Gerbert Scriptores", I, p. 28-63); Bilawga cutubkiisa 8aad "De Tonis octo" waxa uu soo saaray ku dhawaad ​​hadal ahaan dhammaan jajabkii Alcunnos. Habka ("tone") ayaa halkan lagu micneeyay sida nooc ka mid ah hab-heeseedka (oo u dhow fikradda modus). Qoraagu ma bixiyo tusaaleyaal muusig iyo qorsheyaal, laakiin waxa uu tixraacayaa laxannada ka-hortagga dhawaaqyada, jawaab-celinta, soo-jeedinta, wada-hadallada. Qoraal qarsoodi ah oo 9aad (?) c. "Alia musica" (oo uu daabacay Herbert - "Gerbert Scriptores", I, p. 125-52) waxay hore u muujinaysaa xadka saxda ah ee mid kasta oo ka mid ah 8 S.l. Marka, feerka ugu horreeya (primus tonus) waxaa loo qoondeeyay inuu yahay "ka ugu hooseeya" (omnium gravissimus), oo qabsanaya octave ilaa mesa (ie Aa), waxaana loo yaqaan "Hypodorian". Midka xiga (octave Hh) waa Hypophrygian, iyo wixii la mid ah. ("Gerbert Scriptores," I, p. 127a). Waxaa gudbiyay Boethius ("De institutione musica", IV, capitula 15) habaynta Giriigga. Miisaanka transpositional ee Ptolemy (transpositional of the "nidaamka saxda ah", kaas oo soo saaray magacyada hababka - Phrygian, Dorian, iwm - laakiin kaliya ee soo horjeeda, amarka kor u kacaya) ee "Alia musica" ayaa lagu qalday nidaamka hababka. Natiijo ahaan, Giriigga magacyada hababka ayaa u soo baxay inay la xiriiraan miisaanyo kale (eeg hababka Giriigga hore). Waad ku mahadsan tahay ilaalinta habaynta wadajirka ah ee miisaanka modal, nidaamka isku xigxiga ee hababka labada nidaam ayaa isku mid ahaa, kaliya jihada isku xigxiga ayaa isbeddelay - gudaha nidaamka laba-octave ee nidaamka Giriigga ee qumman - laga bilaabo A ilaa a2.

Iyadoo ay weheliso horumarinta dheeraadka ah ee octave S. l. iyo faafitaanka Solmization (ilaa qarnigii 11aad), nidaamka hexachords ee Guido d'Arezzo ayaa sidoo kale helay codsi.

Sameynta polyphony Yurub (xilligii dhexe, gaar ahaan xilligii Renaissance) ayaa si weyn u qaabeeyey nidaamka qalabka muusikada. aakhirkiina u horseeday burburkeeda. Qodobbada ugu waaweyn ee sababay burburka S.l. waxay ahaayeen goolal badan. bakhaar, hordhaca dhawaaqa iyo beddelka shibbanaha saddex-geesoodka ah ee saldhigga u ah habka. Polyphony waxay barbar dhigtay muhiimada qaybaha qaarkood ee S.l. - Hamiga, dib-u-celinta, waxay abuurtay suurtogalnimada in hal mar lagu dhammeeyo laba (ama xitaa saddex) decomp. dhawaaqyo (tusaale ahaan, on d iyo a isku mar). Codka hordhaca ah (musiсa falsa, musica ficta, eeg Chromatism) wuxuu jebiyey diatonicism adag ee S.l., hoos u dhac ku yimid oo sameeyay kala duwanaansho aan xad lahayn ee qaabka S.l. isla niyadda, yaraynta faraqa u dhexeeya hababka si ay u qeexaan ugu muhiimsan - weyn ama yar yar. saddex-geesoodka Aqoonsiga shibbanaha saddex meelood meel (ka dibna lixaad) qarnigii 13aad. (laga bilaabo Franco of Cologne, Johannes de Garland) waxay keentay qarniyadii 15-16. isticmaalka joogtada ah ee shibbanayaasha triads (iyo rogaalladooda) oo sidaas loo sii daayo. dib-u-habaynta nidaamka moodeelka, iyada oo lagu dhisayo xargaha waaweyn iyo kuwa yaryar.

S. l. Muusigga geesoodka ah wuxuu u kobcay is-waafajinta moodeelka Renaissance (qarniyadii 15-aad-16aad) iyo in ka sii badan "dhammaan tonality" (is-waafajinta shaqeynta nidaamka waaweyn-yar) ee qarniyadii 17-aad-19aad.

S. l. Muusigga geeslaha badan qarniyadii 15-aad -16aad. waxay leeyihiin midab gaar ah, oo si aan caddayn u xasuusin habka qaab-dhismeedka waaweyn-yar ee isku-dhafan (eeg Major-yar). Caadi ahaan, tusaale ahaan, dhammaadka saddex geesoodka weyn ee gabal u qoran si waafaqsan niyadda yar (D-dur - in Dorian d, E-dur - in Phrygian e). Hawlgalka joogtada ah ee harmonics. walxaha qaab-dhismeed gebi ahaanba ka duwan - chords-natiijooyinka nidaamka moodeelka oo si weyn uga duwan monody asalka ah ee qaabka muusiga qadiimiga ah. Habkan qaab-dhismeedka (is-waafajinta habka dib-u-nooleynta) waa mid madax-bannaan oo ka mid ah nidaamyada kale, oo ay la socdaan sl iyo tonality-yar yar.

Iyada oo la aasaasay xukunka nidaamka-yar-yar (qarnigii 17-19), kii hore ee S.l. si tartiib tartiib ah u lumin muhiimadooda, qayb ahaan ku sii haray Catholic. nolol maalmeedka kaniisadda (inta badan - Protestant, tusaale ahaan, laxanka Dorian ee choral "Mit Fried und Freud ich fahr dahin"). Muunado dhalaalaya oo kala duwan oo S.l. inta badan laga helay dabaqa 1aad. Qarnigii 17-aad kacaannadii astaamihii S.l. ka soo jeeda JS Bach ee habaynta heesaha hore; gabal dhan ayaa lagu sii wadi karaa mid ka mid ah hababkan. Sidaa darteed, laxanka chorale "Herr Gott, dich loben wir" (qoraalkeedu waa tarjumaad Jarmal ah heestii Laatiinka hore, oo lagu sameeyay 1529 M. Luther) ee qaabka Phrygian, oo uu farsameeyo Bach ee heesaha (BWV 16). . formula of this Wed.-qarnigii. codadka.

JS Bach. Hordhac choral ee xubinta.

Haddii canaasiirta S. l. waafaqsan qarnigii 17aad. iyo muusiga xilligii Bach - hadhaaga dhaqankii hore, ka dibna laga bilaabo L. Beethoven (Adagio "In der lydischen Tonart" oo ka soo jeeda quartet op. 132) waxaa jira dib u soo nooleyntii nidaamkii hore ee modal-ka cusub. . Xilligii jaceylka, adeegsiga qaababka wax laga beddelay ee S. l. waxay la xiriirtaa waqtiyada habaynta, soo jiidashada muusigii hore (waxaa qoray F. Liszt, J. Brahms; kala duwanaanshaha 7aad ee kala duwanaanshaha Tchaikovsky ee piano op. 19 No 6 - Habka Phrygian oo leh tonic weyn oo caadi ah dhamaadka) oo ku biira laxamiistaha dareenka sii kordhaya ee hababka muusiga dadweynaha (fiiri hababka dabiiciga ah), gaar ahaan F. Chopin, B. Bartok, curiyeyaasha Ruushka ee qarniyadii 19-20aad.

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Yu. H. Kholopov