Kala duwanaanshaha codka badan |

Kala Duwanaanshaha Codka Badan - qaab muusik oo ku salaysan soo noqnoqoshada fulinta mawduuca leh isbeddelada dabeecadda lidka ku ah. AP a. waxay noqon kartaa muusig madax-bannaan. prod. (ciwaanka to-rogo mararka qaarkood ayaa go'aamiya foomka, tusaale ahaan. "Isbeddellada Canonical ee Heesta Kirismaska" ee I. C. Bach) ama qayb ka mid ah meerto weyn. prod. (Ka soo jeeda fp. quintet g-moll op. 30 Taneyev), dhacdo ku taal cantata, opera (koorus "The Wonderful Heavenly Queen" ee opera "The Legend of the Invisible City of Kitezh iyo Maiden Fevronia" by Rimsky-Korsakov); inta badan P. a. - qayb ka mid ah mid ka weyn, oo ay ku jiraan. non-polyphonic, foomamka (bilawga qaybta dhexe ee dhaqdhaqaaqa 2aad ee Myaskovsky's 5th Symphony); Mararka qaarkood waxay ku jiraan kuwa aan polyphonic ahayn. wareegga kala duwanaanshaha ("Symphonic etudes" by Schumann). K P. a. Dhammaan sifooyinka guud ee qaabka kala duwanaanshuhu waa lagu dabaqi karaa (qaabaynta, u qaybinta adag iyo bilaashka, iwm.); ereygu waa mid baahsan. ar. in owls musicology. AP a. la xidhiidha fikradda polyphony. kala duwanaansho, taas oo ka tarjumaysa contrapuntal. Cusboonaysiinta mawduuca, qaybta qaabka, qayb ka mid ah wareegga (tusaale, bilawga bandhiga, baararka 1-26, iyo reprise, baararka 101-126, ee dhaqdhaqaaqa 2aad ee Beethoven's 1st symphony; chimes II oo leh labanlaab gudaha Bach's Ingiriis Suite No 1; "Chromatic Invention" No. 145 ka "Microcosmos" ee Bartok); Kala duwanaanshiyaha polyphonic waa saldhigga qaabab isku dhafan (tusaale ahaan, P. qarniga, fugue iyo qaabka saddex-qaybood ah ee aria No 3 oo ka socda Bach's cantata No 170). Main waxaa loola jeedaa cod badan. kala duwanaansho: hordhaca ah ee codadka lidka ku ah (oo heerar kala duwan oo madax banaani), oo ay ku jiraan. matalaysa laxan-xanuun. fursadaha aasaasiga ah. Mawduucyada; codsiga weyneynta, rogidda mawduuca, iwm; polyphonization ee bandhigga chord iyo melodicization ee tirooyinka la socda, iyaga oo siinaya dabeecadda ostinato, isticmaalka jilitaanka, canons, fugues iyo noocyo kala duwan; isticmaalka bareeg adag; polyphony qarnigii 20aad. - aleatorics, isbeddellada taxanaha dodecaphone, iwm. Gudaha P. a. (ama ka ballaaran - oo leh polyphonic. kala duwanaansho), caqli-galnimada halabuurka waxaa lagu bixiyaa habab gaar ah, taas oo ay tahay muhiimadda aasaasiga ah in la ilaaliyo mid ka mid ah walxaha muhiimka ah ee mawduuca aan isbeddelin (cf., tusaale ahaan, bandhigga bilowga ah ee baararka 1-3 iyo polyphonically kala duwan ee baararka 37-39 ee minuet ee g-moll symphony Mozart); Mid ka mid ah hababka ugu muhiimsan ee qaabaynta waa ostinato, kaas oo ku jira mitirka. joogtaynta iyo wada noolaanshaha. xasiloonida; midnimada qaabka P. a. inta badan waxaa lagu go'aamiyaa soo noqoshada joogtada ah ee c.-l. nooc bandhiga cod badan ah (tusaale ahaan, ilaa canon), qallafsanaanta tignoolajiyada tartiib tartiib ah, korodhka tirada codadka, iwm. loogu talagalay P. a. dhamaystirka waa wax caadi ah, si-sheed soo koobid cod badan. dhacdooyinka oo soo koob farsamooyinka la isticmaalay; waxay noqon kartaa mid adag ka hor-timaada. xarun (tusaale ee Bach's Goldberg Variations, BWV 988), canon (Largo ka soo jeeda 8-aad, horudhac gis-moll op. 87 No 12 Shostakovich); pl. wareegyada kala duwanaansho (oo ay ku jiraan non-polyphonic, taas oo, si kastaba ha ahaatee, doorka caanka ah waxaa ciyaara polyphonic. farsamooyinka horumarinta) ku dhammaadaan fugue-kala duwanaansho, tusaale ahaan. in op. AP IYO. Tchaikovsky, M. Regera, B. Britt iyo kuwa kale. Sababtoo ah dhawaaqa badan ee farsamada waxa ay inta badan ku xidhan tahay soo bandhigida homophonic (tusaale ahaan, ka wareejinta laxanka codka sare ilaa baska, sida meel toosan oo dhaqaaqi karta), iyo P. a. Waxaa la isticmaalaa hab-homophonic ah oo kala duwanaansho, xuduudaha u dhexeeya polyphonic. iyo kuwa aan polyphonic ahayn. kala duwanaanshuhu waa qaraabo. AP a. waxa loo qaybiyaa ostinato (ay ku jiraan kiisas halka mawduuca soo noqnoqda uu isbedelo, tusaale fp. "Basso ostinato" Shchedrin) iyo neostinato. Kuwa ugu badan ee P. a. bass madax adag. Laxanka soo noqnoqda ayaa lagu hayn karaa cod kasta (tusaale ahaan, sayidyada qaab adag ayaa badanaa ku dhejiya cantus firmus tenor (2)) waxaana laga beddelaa hal cod oo kale (tusaale, seddexda "Ha cabbin, gacaliye" ka opera Glinka "Ivan Susanin" ; Qeexitaanka guud ee kiisaskan waa P. a. laxan joogto ah. Noocyada Ostinate iyo neostinate inta badan way wada nool yihiin, ma jirto soohdin cad oo u dhexeeya. AP a. ka soo Nar. dhaqamada barafka, halkaas oo laxanka leh ku celcelinta laba-geesoodka ah ay hesho cod-badane kala duwan. qurxin Tusaalooyinka hore ee P. a. in prof. muusiga waxaa iska leh nooca ostinato. Tusaalaha sifada leh waa moetkii qarnigii 13aad. nooca galliard (eeg Art. Polyphony), kaas oo ku salaysan 3 khadadka bass ee heesta Gregorian. Foomamka noocaan oo kale ah ayaa ahaa kuwo baahsan (motets "Speravi", "Trop plus est bele - Biauté paree - je ne sui mie" ee G. de Machot). Masters of style adag oo lagu dhaqmo P. a. sheegi doonaa. farsamada badan. carab iwm. farsamada laxan. isbeddellada. Типичен мотет «La mi la sol» X. Izaka: cantus firmus waxaa lagu soo celiyaa tenor 5 jeer iyadoo laxanka uu hoos u dhacayo joomatari. horusocod (xajinta ku xigta oo leh laba jeer oo ka gaaban muddo dheer), dhibcaha ka soo horjeeda ayaa laga soo saaraa kuwa ugu muhiimsan. mawduucyada dhimista (eeg tusaalaha hoose). Mabda'a P. a. mararka qaarkood waxay u adeegi jirtay aasaaska Mass-taariikh ahaan meertogii ugu horreeyay ee weyn. foomamka: cantus firmus, oo loo fuliyay sida ostinato dhammaan qaybaha, ayaa ahaa tiirka taageerada ee wareegga weyn ee isbeddelka (tusaale ahaan, tirada badan ee L'homme armé ee Josquin Despres, Palestrina). Sov. cilmi-baarayaasha V. AT Protopov iyo S. C. Xoqadaha waxaa loo tixgeliyaa polyphonic. kala duwanaansho (on ostinato, sida waafaqsan mabda'a biqilka iyo strophic. nooca) saldhigga foomamka ku dayashada ee qarniyadii 14-16aad. (cm. Polyphony). Markii hore P. a. cantus firmus si gaar ah looma fulin ka hor kala duwanaanshaha; caadadii muujinta dulucda gaarka ah ee kala duwanaanshiyaha waxa lagu diyaariyay cod-bixin (cf. Intonation, VI) - adigoo ku heesaya weedha furitaanka ee chorale ka hor Mass; soo dhawaynta waxa la go'aamiyay wax aan ka horrayn qarnigii 16aad. markii ay soo baxday passacaglia iyo chaconne, kuwaas oo noqday noocyada ugu horreeya ee P.

Dhiirigelin u ah horumarka P. ee qarniga. (oo ay ku jirto neostinata) waxay ahayd qalab wax ku ool ah oo leh suurtogalnimadeeda.

Nooca ugu caansan waa kala duwanaanshiyaha heesaha, kuwaas oo uu tusaale u yahay organ P. v. S. Scheidt ee "Warum betrübst du dich, mein Herz".

Organ P. in. Ya. P. Sweelinka on "Est-ce Mars" - qurxinta (mawduuca waxaa lagu qiyaasaa naqshadeynta oo leh hoos u dhac caadi ah (3)), adag (qaabka mawduuca waa la ilaaliyaa), neostinata - waa noocyo kala duwan oo caan ah 16 -17 qarni. kala duwanaansho on theme song.

Waxaa ka mid ah neostinatny P. in. Qarniyadii 17-18 ee ugu adag waa kuwa xiriir la leh fugue. Haddaba, ilaa P. qarniga. isku xigxiga ee ka-hortagga-soo-gaadhista, tusaale ahaan fugues F-dur iyo g-moll D. Buxtehude.

Halabuurka ayaa aad u adag. G. Frescobaldi: 2 fugue ee hore, ka dibna kala duwanaanshaha fugue 3aad (isku darka mawduucyada fugues hore) iyo kala duwanaanshaha fugue 4aad (oo ku saabsan walxaha 1aad).

Muusigga uu qoray JS Bach - encyclopedia ee farshaxanka P. v. Bach ayaa abuuray wareegyo kala duwanaansho choral, si-heedyo badan. kiisasku waxay ku soo wajahan yihiin lacag la'aan iyadoo ay ugu wacan tahay is-dhex-gelinta is-dhexgalka ee u dhexeeya weedhaha chorale. Nooc isku mid ah waxaa ka mid ah xafladaha "Canical Variations on Song Christmas" (BWV 769) - taxane ah laba-cod canons-kala duwanaansho on cantus firmus (Octave, shanaad, toddobaad iyo octave ee weyneynta; 3rd iyo 4th canons waxay leeyihiin lacag la'aan ah. codadka); kala duwanaanshaha 5-aad ee ugu dambeeya, chorale waa maaddada canons ee wareegga (lixda, saddexaad, labaad, midna) oo leh laba cod oo bilaash ah; dabaaldagyada. Codka lixda cod ah wuxuu isku daraa dhammaan weedhaha chorale. Hantida gaarka ah ee kala duwanaanshaha polyphonic ayaa kala soocaya "Goldberg Variations": wareegga waxaa lagu hayaa bas kala duwan iyo soo noqoshada - sida joojinta - farsamada canon. Canons laba-cod ah oo leh cod bilaash ah ayaa lagu meeleeyaa kala duwanaansho kasta oo seddexaad ah (ma jiro cod bilaash ah oo ku jira kala duwanaanshaha 27aad), muddada u dhaxaysa kanonsku waxay ka sii fidaysaa midnimo ilaa midna (wareegitaanka kala duwanaanshaha 12aad iyo 15aad); kala duwanaansho kale - polyphonic kale. foomamka, oo ay ka mid yihiin fughetta (kala duwanaanshaha 10aad) iyo quadlibet (kala duwanaanshaha 30aad), halkaas oo dhowr mawduucyo heeso dad ah si farxad leh looga soo horjeedo. Xubinta passa-calla ee c-moll (BWV582) waxaa lagu gartaa awoodda aan la barbar dhigi karin ee horumarka joogtada ah ee qaabka, oo lagu daboolay fugue sida isku-darka semantic ee ugu sarreeya. Codsiga hal-abuurka leh ee fikradda wax-ku-oolka ah ee hal-abuurka wareegga iyadoo lagu saleynayo hal mawduuc ayaa tilmaamaya "Farshaxanka Fugue" iyo "Bixinta Muusikada" ee Bach; sida free P. in. cantatas gaar ah ayaa lagu dhisay chorales (tusaale, No 4).

Laga soo bilaabo dabaqa 2aad. Kala duwanaanshiyaha qarnigii 18-aad iyo fara-weyni ayaa xoogaa la kala xadeeyay: cod badan. kala duwanaanshuhu wuxuu u adeegaa si uu u muujiyo dulucda khaniisnimada, ayaa lagu soo daray qadiimiga. qaabka kala duwanaanshaha. Sidaa darteed, L. Beethoven fugue wuxuu u adeegsaday mid ka mid ah kala duwanaanshaha (badanaa firfircoonida, tusaale ahaan, 33 kala duwanaansho op. 120, fugato ee Larghetto oo ka socota symphony 7th) wuxuuna caddeeyay inuu yahay dhamaadka wareegga isbeddelka (tusaale ahaan, kala duwanaanshaha Es-dur op .35). Dhowr P. ee wareegga waxay si fudud u sameeyaan "qaabka qorshaha 2aad" (tusaale ahaan, Brahms' "Variations on a theme of Handel", kala duwanaanshiyaha 6aad-canon wuxuu soo koobayaa horumarkii hore sidaas darteedna wuxuu saadaaliyaa fugue ugu dambeeya ). Natiijo taariikhi ah oo muhiim ah oo ka timid isticmaalka polyphonic. kala duwanaansho - isku dhafan homophonic-polyphonic. foomamka (fiiri qaabka bilaashka ah). Muunadaha caadiga ah - gudaha Op. Mozart, Beethoven; gudaha Op. laxamiistaha waayihii danbe - gabagabada biyaano. afar op. 47 Schumann, dhaqdhaqaaqa 2aad ee heesaha 7aad ee Glazunov (sabandes ee dabeecadda waxaa lagu daraa saddex-dhaqdhaqaaq, foomamka foomamka iyo sonata), dhamaadka heesaha Myaskovsky 27aad (rondo sonata oo leh kala duwanaansho mawduucyada ugu muhiimsan). Koox gaar ah waxay ka kooban tahay shaqooyin halkaas oo P. v. iyo fugue: Sanctus ka Berlioz's Requiem (hordhac iyo fugue soo laabashada leh dhibaatooyin badan oo badan oo cod leh iyo orkestral); bandhiga iyo dariiqyada fugue ee Glinka's Horudhaca opera Ivan Susanin waxaa kala soocay koox heeso ah oo soo bandhigaysa tayada kala duwanaanshiyaha codka badan. qaabka isku dhafan; Hordhaca opera Lohengrin, Wagner wuxuu barbardhigay mawduuca P. v. iyo horudhacyada jawaabta. Ostinatnye P. v. ee muusiga dabaqa 2aad. Qarniyadii 18-19aad si dhif ah ayaa loo isticmaali jiray oo aad u dabacsan. Beethoven wuxuu ku tiirsanaa caadooyinka chaconnes qadiimka ah ee 32 kala duwanaansho ee c-moll, mararka qaarkood wuxuu u fasiray P. v. on basso ostinato oo ah qayb ka mid ah qaab weyn (tusaale ahaan, codadka naxdinta leh ee dhaqdhaqaaqa 1aad ee 9aad ee symphony); Saldhigga dhamaadka geesinimada leh ee riwaayadda 3aad waa P. v. on basso ostinato (mawduuca hore), kaas oo muujinaya sifooyinka rondo (ku celcelinta 2nd, mawduuca ugu muhiimsan), saddex geesood (soo celinta furaha ugu muhiimsan ee fugato 2aad). ) iyo foomamka diirada saaraya. Halabuurkan gaarka ah waxa uu u noqday hage I. Brahms (dhammaadka riwaayaddii 4-aad) iyo fanaaniintii qarnigii 20aad.

Qarnigii 19-aad waxa uu noqday cod-baahiye baahsan. kala duwanaansho on laxan joogta ah; inta badan waa soprano ostinato - qaabka, marka la barbardhigo basso ostinato, waa mid aan isku mid ahayn, laakiin wuxuu leeyahay midab weyn. (tusaale, kala duwanaanshaha 2aad ee Hobolada Faaris ee Glinka's Ruslan iyo Lyudmila) iyo muuqaal (tusaale ahaan, qaybaha heesta Varlaam ee Mussorgsky's Boris Godunov) fursadaha, tan iyo P. v. on soprano ostinato main. xiisaha ayaa diiradda saaraya isbeddelada dhawaaqa badan. (iyo sidoo kale is-waafajinta, orc., iwm.) naqshadeynta laxanka. Mawduucyada inta badan waa heeso (tusaale, Et incarnatus oo ka yimid Schubert's Mass Es-dur, bilawga dhaqdhaqaaqa Lacrimosa ee Verdi's Requiem), sidoo kale casriga ah. muusiga (2aad ee “Saddexda Liturgies” ee Messiaen). La mid ah P. in. ayaa lagu soo daray qaab weyn (tusaale, in Larghetto oo ka soo jeeda Beethoven's 7th symphony) badanaa oo ay la socdaan noocyo kale oo kala duwanaansho ah (tusaale, Glinka's Kamarinskaya, Glazunov's duwanaanshaha piano op. 72, Reger's Variations iyo Fugue on theme of Mozart ). Glinka wuxuu isu keenaa P. qarniga. Laxan joogto ah oo leh qaab isku-dhafan (tusaale, bar-koobeedka toosan ee la dhaqaajin karo ee kala duwanaanshaha lammaane ee saddex-geesoodka ah “Ha xiiqin, gacaliye” opera-ka “Ivan Susanin”; ee canonka “Waa maxay daqiiqad cajiib ah” opera "Ruslan iyo Lyudmila" bay'ada ka-hortagga ah ee galaya rispost sida P. v. on propost). Horumarinta dhaqanka Glinka ayaa horseeday kobcinta qaabka siyaabo badan. op Borodin, Mussorgsky, Rimsky-Korsakov, Lyadov, Tchaikovsky iyo kuwo kale. Waxa loo adeegsaday habaynta bambooyin. heesaha AV Alexandrov (tusaale ahaan, "Ma aha hal waddo garoonka dhexdiisa"), Yukreeniyaan. laxamiistaha ND Leontovich (tusaale ahaan, "Sababtoo ah buurta dhagaxa ah", "Poppy"), Uzbek. laxamiistaha M. Burkhanov ("On a Buur sare"), laxamiistaha Estoniya V. Tormis (halabuurka ostinato kala duwan oo leh isticmaalka farsamooyinka casriga ah iyo polyphonic ee wareegga choral "Hees of St. John's Day") iyo kuwo kale oo badan. kuwa kale

Qarnigii 20aad P.'s qiimihiisu in. (badanaa on basso ostinato) aad buu u kordhay; Awoodda abaabulka ee ostinato waxay dhexdhexaadisaa dabeecadaha burburka ee casriga ah. wada noolaanshaha, iyo isla mar ahaantaana basso ostinato, oo u oggolaanaya wax kasta oo liddi ku ah. iyo lakabyada polytonal-ka, ma farageliyaan harmonic. xorriyadda. Ku soo noqoshada foomamka ostinato, bilicda ayaa door ka ciyaaray. rakibaadda neoclassicism (tusaale ahaan, M. Reger); Xaalado badan oo P. ah. - shay qaabaynta (tusaale ahaan, gunaanadka ballet "Orpheus" ee Stravinsky). In neostinatny P. qarnigii. u janjeera dhaqameed in la isticmaalo farsamada ee canon waa la raadin karaa (tusaale, "Free Variations" No. 140 ka Bartok ee "Microcosmos", final of Webern ee symphony op. 21, "Variazioni poliphonici" ka sona piano ee Shchedrin, "Hymn" ee cello, kataarad iyo timpani waxaa qoray Schnittke) . Gudaha P. in. waxaa la isticmaalaa micnaha polyphony cusub: agabka kala duwan ee dodecaphony, polyphony of layers iyo polyphonic. aleatoric (tusaale ahaan, orchestral op. V. Lutoslavsky), metrical casri ah. iyo laxanka. farsamada (tusaale ahaan, P. v. ee Mesaen's Four Rhythmic Etudes), iwm. Inta badan waxaa lagu daraa cod badan oo dhaqameed. khiyaamo; caadi ahaan waa isticmaalka habab dhaqameed qaababkooda ugu kakan (fiiri, tusaale ahaan, dhismooyinka lidka ku ah dhaqdhaqaaqa 2aad ee Shchedrin's sonata). Casriga ah waxaa jira tusaalooyin badan oo cajiib ah oo muusiga qadiimiga ah ee muusiga; rafcaan u ah waayo-aragnimada Bach iyo Beethoven waxay furaysaa habka farshaxanka macnaha falsafada sare (shaqada P. Hindemith, DD Shostakovich). Sidaas darteed, dhamaadka Shostakovich ee soo daahay (op. 134) violin sonata (ostinato double pianos, halkaas oo counterpoint in gis-moll uu leeyahay macnaha qayb dhinac ah), dhaqanka Beethoven ayaa laga dareemay nidaamka muses qoto dheer. fikradaha, ee isku xigxiga ku daray dhan; kani waa badeeco. - mid ka mid ah caddaynta suurtagalnimada casriga ah. Foomamka P.

Tixraacyo: Protopov Vl., Taariikhda polyphony ee ifafaaleheeda ugu muhiimsan. Muusigga qadiimiga ah ee Ruushka iyo Soofiyeedka, M., 1962; isaga, History of polyphony in ifafaale ay ugu muhiimsan. Classics-ka Galbeedka Yurub ee qarniyadii XVIII-XIX, M., 1965; isaga, Hababka kala duwan ee qaabka muusiga, M., 1967; Asafiev B., Foomka muusiga sida habka, M., 1930, isku mid, buug. 2, M., 1947, (labada qaybood) L., 1963, L., 1971; Skrebkov S., Mabaadi'da farshaxanka ee qaababka muusikada, M., 1973; Zuckerman V., Falanqaynta shaqooyinka muusikada. Foomka isbeddelka, M., 1974.

VP Frayonov