Taxane, taxane ah |

Muusigga Faransiiska Serielle, Jarmal. serielle Musik – taxane, ama taxane, muusig

Mid ka mid ah noocyada tiknoolijiyada taxanaha ah, oo leh taxane kala-bax. xuduudaha, tusaale. garoomo taxane ah iyo laxan ama garoomo, qaafiyad, firfircooni, articulation, agogics iyo tempo. S. waa in laga soocaa polyseries (halkaas oo laba ama in ka badan oo taxane ah, badanaaba sare, cabbirka loo isticmaalo) iyo seriality (taas oo macnaheedu yahay isticmaalka farsamada taxan ee dareenka ballaaran, iyo sidoo kale farsamada kaliya ee sare. -taxane sare). Tusaale ka mid ah noocyada ugu fudud ee farsamada S.: isku xigxiga garoommada waxa nidaamiya taxanayaal uu doortay curiyaha (pitch), muddada codadka waxa lagu nidaamiyaa muddooyin taxane ah oo si xor ah loo doortay ama laga soo qaatay taxane ah (ie, taxane ah halbeeg kale). Haddaba, taxane 12 garoon ah ayaa loo rogi karaa taxane ah 12 durations – 7, 8, 6, 5, 9, 4, 3, 10, 2, 1, 11, 12, iyadoo la malaynayo in nambar kasta uu tilmaamayo tirada lix iyo tobnaad. (sideed, soddon iyo ilbiriqsi) muddada la siiyay:

Marka taxanayaasha garoonku lagu dul sarreeyo mid laxanka ah, ma aha taxane, laakiin maro taxane ah ayaa soo baxda:

AG Schnittke. Concerto No 2 oo loogu talagalay violin iyo orkestra.

S. kacay sida kordhinta mabaadi'da farsamada taxan (taxane sare-sare) in xuduudaha kale ee hadhay oo lacag la'aan ah: duration, diiwaan, articulation, timbre, iwm Isla mar ahaantaana, su'aasha ah xiriirka ka dhexeeya xuduudaha soo baxay a hab cusub: in abaabulka music. maaddada, doorka horumarka tirooyinka, tirada tirooyinka ayaa kordha (tusaale ahaan, qaybta 3aad ee EV Denisov's cantata "The Sun of the Incas", nambarada abaabulka ee loogu yeero waxaa loo isticmaalaa - 6 dhawaaqyo taxane ah, 6 firfircoon. , 6 timbres). Waxaa jira u janjeera dhanka isticmaalka joogtada ah iyo wadarta guud ee isticmaalka dhammaan noocyada kala duwan ee habab kasta oo ka mid ah halbeegyada ama "interchromatic", ie in la isku daro qiyaaso kala duwan - wada noolaanshaha iyo timbre, garoonka iyo muddada (kan dambe waxaa loo maleynayaa in uu yahay waraaqo ahaan. ee qaab-dhismeedka tirada, saamiga; eeg tusaalaha sare) . K. Stockhausen wuxuu soo bandhigay fikradda ku biirista 2 qaybood oo muusik ah. waqti - microtime, oo ay matalaan garoonkii codka, iyo macrotime, oo ay matalaan muddada, oo sidaas awgeed labadoodaba waxay u kala fidiyeen hal xariiq, iyaga oo u qaybinaya aagga muddada "octaves dheer" la xidhiidha sida 2: 1, ku sii wad octaves dheer, halkaas oo muddadu ay si isku mid ah ula xiriiraan). U gudubka cutubyada waqti ka sii weyn waxay tilmaamaysaa cilaaqaadka u kobcaya muuska. qaabka (halkaasoo muujinta saamiga 2:1 uu yahay saamiga labajibbaaran). Kordhinta mabda'a taxanaha ah ee dhammaan xuduudaha muusikada waxaa loo yaqaan 'syphony total' (tusaale ahaan symphony-ga kala duwan waa Stockhausen's Groups for Three Orchestras, 1957). Si kastaba ha ahaatee, ficilka xitaa taxane isku mid ah ee xuduudaha kala duwan looma aqoonsana inay isku mid yihiin, sidaas darteed xiriirka xuduudaha midba midka kale bh wuxuu u soo baxaa inuu noqdo khayaali, iyo ururinta sii kordheysa ee xuduudaha, gaar ahaan wadarta S., in Xaqiiqdu waxay ka dhigan tahay khatarta sii kordheysa ee isku xirnaan la'aanta iyo qalalaasaha, automatism ee habka halabuurka, iyo lumitaanka xakamaynta maqalka ee curiyaha ee shaqadiisa. P. Boulez wuxuu ka digay "in shaqada lagu beddelo urur." Wadarta S. macnaheedu waa dhamaadka fikradda asalka ah ee taxanaha iyo taxanaha, waxay u horseedaa isbeddel muuqda oo lama filaan ah oo loo galo beerta muusikada bilaashka ah, dareenka leh, waxay u furtaa jidka aleatorics iyo elektiroonigga (muusikada farsamada; eeg muusig elektaroonik ah).

Mid ka mid ah waayo-aragnimadii ugu horreysay ee S. ayaa loo tixgelin karaa xadhig. trio E. Golyshev (oo la daabacay 1925), halkaas oo, marka lagu daro dhismooyinka 12-tone, laxanka ayaa la isticmaalay. saf. A. Webern wuxuu u yimid fikradda S., kaas oo, si kastaba ha ahaatee, ma ahayn taxane ah macnaha saxda ah ee ereyga; tiro shaqo oo taxane ah. waxa uu isticmaalaa dhamaystirka. habaynta macneheedu waa - iska diwaangeli (tusaale ahaan, qaybta 1aad ee riwaayadda op. 21), dynamic- articulatory ("Variations" for piano op. 27, 2nd part), laxanka (quasi-taxane ee laxanka 2, 2, 1, 2 ee "Variations" ee orchestra, op.30). Si miyir leh oo joogto ah S. wuxuu O. Messiaen ku dabaqay "4 daraasaadka laxanka" ee biyaano. (tusaale, gudaha Fire Island II, No 4, 1950). Dheeraad ah, Boulez wuxuu u soo jeestay S. ("Polyphony X" ee qalabka 18, 1951, "Structures", 1a, for 2 fp., 1952), Stockhausen ("Cross Play" ee qalabyada qalabka, 1952; "Barnaamijyada" Isku-dhafka qalabka, 1953; Kooxaha saddexda orchestras, 1957), L. Nono (Kulamadii 24 ee qalabyada, 1955, cantata Interrupted Song, 1956), A. Pusser (Webern Memory Quintet, 1955), iyo kuwo kale. in guumaystaha wax soo saarka. halabuurayaal, tusaale ahaan. by Denisov (No 4 oo ka socda wareegga codka "Heesaha Talyaaniga", 1964, No 3 ee "5 Sheekooyin ku saabsan Mr. Keuner" ee codka iyo isku-dhafka qalabka, 1966), AA Pyart (2 qaybood oo ka mid ah 1 iyo 2th symphony, 1963) , 1966), AG Schnittke ("Music for chamber orchestra", 1964; "Muusik for piano iyo kooxda orchestra", 1964; "Pianissimo" ee orchestra, 1968).

Tixraacyo: Denisov EV, Dodecaphony iyo dhibaatooyinka farsamada curinta casriga ah, ee: Muusikada iyo Casriga, vol. 6, M., 1969; Shneerson GM, Serialism iyo aleatorics - "aqoonsiga kuwa ka soo horjeeda", "SM", 1971; maya 1; Stockhausen K., Weberns Konzert für 9 Instrumente op. 24, "Melos", 1953, Jahrg. 20, H. 12, isla, buugiisa: Texte…, Bd l, Köln, (1963); isaga u gaar ah, Musik im Raum, buuga: Darmstädter Beiträge zur neuen Musik, Mainz, 1959, (H.) 2; Isaga u gaar ah, Kadenzrhythmik bei Mozart, ibid., 1961, (H.) 4 (Turjumaada Yukreeniyaan – Stockhausen K., Rhythmichni kadansi ee Mozart, ee ururinta: Muusigga Yukreeniyaan, v. 10, Kipv, 1975, p. 220 -71 ; isaga u gaar ah, Arbeitsbericht 1952/53: Orientierung, ee buugiisa: Texte…, Bd 1, 1963; Gredinger P., Das Serielle, ee Die Reihe, 1955, (H.) 1; Pousseur H., Zur Methodik, ibid., 1957, (H.) 3; Krenek E., Miyuu ahaa "Reihenmusik"? "NZfM", 1958, Jahrg. 119, H. 5, 8; isaga u gaar ah, Bericht über Versuche in total determinierter Musik, "Darmstädter Beiträge", 1958, (H.) 1; isaga, Baaxadda iyo xadka farsamooyinka taxanaha "MQ", 1960, v. 46, No 2. Ligeti G., Pierre Boulez: Entscheidung und Automatik in der Structure Ia, in Die Reihe, 1958, (N.) 4 ee isku mid ah. , Wandlungen der musikalischen Form, ibid., 1960, (H. ) 7; Nono L., Die Entwicklung der Reihentechnik, "Darmstädter Beiträge", 1958, (H.) 1; Schnebel D., Karlheinz Stockhausen, ee Die Reihe, 1958, (H.) 4; Eimert H., Die zweite Entwicklungsphase der Neuen Musik, Melos, 1960, Jahrg. 27, H. 12; Zeller HR, Mallarmé und das serielle Denken, gudaha Die Reihe, 11, (H.) 1960; Wolff Chr., Form Ber, ibid., 6, (H.) 1960; Buyez P., Die Musikdenken heute 7, Mainz – L. – P. – NY, (1); Kohoutek C., Novodobé skladebné teorie zbpadoevropské hudby, Praha, 1. ; Stuckenschmidt HH, Zeitgenössische Techniken in der Musik, "SMz", 1963, Jahrg. 1962; Westergaard P., Webern iyo "Ururka Guud": falanqaynta dhaqdhaqaaqa labaad ee Piano Variations, op. 1965, "Muuqaalka muusiga cusub", NY - Princeton, 1976 (v. 1963, No 103); Heinemann R., Unterschungen zur Rezeption der seriellen Musik, Regensburg, 27; Deppert H., Studien zur Kompositionstechnik im instrumentalen Spätwerk Anton Weberns, (Darmstadt, 1963); Stephan R., Bber Schwierigkeiten der Bewertung und der Analyze neuester Musik, "Musica", 1, Jahrg 2, H. 1966; Vogt H., Neue Musik seit 1972, Stuttg., (1972); Fuhrmann R., Pierre Boulez (26), Qaab-dhismeedka 3 (1945), ee Perspektiven neuer Musik, Mainz. (1972); Karkoschka E., Hat Webern seriell komponiert?, TsMz, 1925, H. 1; Oesch H., Pioniere der Zwölftontechnik, gudaha Forum musicologicum, Bern, (1952).

Yu. H. Kholopov