Sonorism-ka
Sonorism, sonorics, sonoristics, farsamo sonoristic
ka lat. sonorus - qaylo badan, buuq badan, buuq badan; Jarmal Klangmusic; Sonorystyka Polish
Nooc ka mid ah farsamada halabuurka casriga ah ee la isticmaalayo Ch. arr. dhawaaqyo midab leh, oo loo arko inay yihiin dherer aan kala sooc lahayn.
Gaar ahaan S. (sida "music of sonorities") waa soo saarista midabka codka, iyo sidoo kale waqtiyada kala guurka hal cod ama mid kale. Iftiin gaar ah (phonism) ayaa had iyo jeer ku dhex jira dhawaaqa muusiga, labadaba polyphonic (midabaynta chords, shibbanayaasha soo baxa marka la barbardhigo iyo sidoo kale waxay kuxirantahay goobta, diiwaanka, timbre, xawaaraha isbeddelada iswaafajinta, sifooyinka qaabdhismeedka), iyo monophonic (midabaynta muddada u dhaxaysa ee la xidhiidha diiwaanka, laxanka, sifooyinka qaabdhismeedka), si kastaba ha ahaatee, kala-bax. Hababka, waxay isu muujisaa (dhammaan madax-bannaani badan) oo aan isku mid ahayn, taas oo ku xiran fikradda guud iyo farshaxanka. jihada muusiga. hal-abuurnimo, qayb ka mid ah nat. asalka ah ee style. Qaybaha tarjumaadda sonorist ee is-waafajinta ayaa lagu soo saaray muusig ilaa qarnigii 19-aad. iyada oo la xidhiidha rabitaanka la taaban karo iyo hubaasha dareenka ee muuska. sawirada, muusikada. maldahan oo si cad ugu muuqday Faransiiska. iyo muusiga Slavic (qaar ka mid ah shuruudaha S. waxaa laga heli karaa instr. muusiga dhaqamo badan oo qaran). Horudhacyada taariikhiga ah ee S. waa midabaynta is-waafajinta (eeg, tusaale ahaan, qaybta Des7> - Des laga bilaabo bar 51 ee Chopin's b-moll nocturne), madadaalada sifooyinka qaarkood ee Nar. muusiga (tusaale ahaan, ku dayashada codka qalabyada dadka reer Caucasian ee qaabka quinchord g - d1 - a1 - e2 ee "Lezginka" ee opera "Ruslan iyo Lyudmila"), xulashada qaab-dhismeed isku mid ah oo isku mid ah marka loo eego dhawaaqa. calaamadaha (tusaale ahaan, chords-ka madoobaadka ee opera "Prince Igor"), tuducyo sawireed midab leh iyo tuducyo cadceed (tusaale ahaan, soo celinta 2aad ee Chopin's Des-dur nocturne; ee Liszt's No. 3 nocturne No. 2), sawirada Dabaylaha, duufaannada dabaysha, duufaannada (tusaale ahaan, "Francesca da Rimini", "The Tempest", muuqaal ka mid ah xeryaha "Queen of Spades" ee Tchaikovsky; "Scheherazade" iyo "Kashchei Immortal" ee Rimsky-Korsakov ), fasiraad gaar ah oo timbre ee shibbanayaasha, ch. arr. markaad la falgalayso timbre durbaanka (tusaale, tritone ee Leshy's leitmotif ee opera "The Snow Maiden"). Tusaale aad u wanaagsan, casriga dhow. nooca S., - goobta gambaleelka oo ka soo jeeda opera "Boris Godunov" (hordhac sawirka XNUMXnd).
S. macnaha dhabta ah ee ereyga waxa looga hadli karaa oo kaliya marka la eego muusiga qarnigii 20aad, taas oo ay ugu wacan tahay caadooyinka muusiga ee ku dhex jira. fikirka, gaar ahaan is-waafajin. luqadda. Suurtagal ma aha in si buuxda oo aan leexleexad lahayn loo kala saaro codka saxda ah (music of tones) iyo sonority (music of sonorities); Inta badan way adagtahay in la kala saaro farsamada sonorist-ka iyo noocyada kale (aan ahayn sonorous) ee farsamada curinta. Sidaa darteed, kala-soocidda S. ilaa xad waa shuruud; waxa ay kala saartaa oo kaliya qodobbada ugu muhiimsan waxa ayna u qaadanaysaa kala-guurka iyo isku darka noocyada la soo koobay. Nidaamka kala-soocidda, noocyada S. ayaa loo habeeyaa si tartiib tartiib ah looga saaro barta bilawga - ifafaalaha farsamada tonal caadiga ah.
Macquul ahaan, marxaladda koowaad ee madax-bannaanida S. waa is-waafajin, halkaas oo isbeddel muuqda laga dareemayo aragtida dhawaaqyada gaamur-kala-duwan ee garashada "dhawaaqyada timbral" ee garoon-kala-duwan. Farsamada isbarbardhigga ee uu sameeyay C. Debussy waxay tusinaysaa horumarka geeddi-socodkan: silsiladda chord waxaa loo arkaa inay tahay isku xigxiga monophonic ee dhawaaqyada midabka timbre (farsamada isbarbar-bar-qabsiga ee jazz waxay la mid tahay farsamadan). Tusaalooyinka wada noolaanshaha midabada leh: Daphnis iyo Chloe ee Ravel (Dawn), Stravinsky's Petrushka (bilawga muuqaalka 4aad), Prokofiev's Cinderella (Saqda dhexe), qayb orchestra ah, op. 6 No 4 Webern, heesta "Seraphite" ee Schoenberg.
HH Sidelnikov. Sheekooyinka cirfiidka Ruushka, qaybta 4aad.
Xaalado kale, tarjumaadda is-waafajinta ee is-waafajinta waxay u shaqeysaa sidii qalliin leh shibbane ujeeddo timbre (“sonoras”). Kani waa bilowga "sonor chord" ee Scriabin's Prometheus, osn. chord ee qaybta Webern op. 10 No 3 ee orchestra, isqabqabsi khilaafsan ka hor inta aan la soo celin hordhaca ballet The Rite of Spring.
Midabaynta sonorant badanaa waxay leedahay shibbane-rucubyo (waxaa shaqeeya G. Cowell iyo kuwa kale). Qoob-ka-cayaaraha kaliya ma noqon karaan kuwo xamaasad leh, laakiin sidoo kale khadadka (fiiri, tusaale ahaan, Shostakovich's Symphony 2aad ilaa lambarka 13). Isku darka xadhkaha dhawaaqa leh iyo xadhkaha waxay abuurtaa lakabyo sonorous ah (inta badan marka la falgalayo lakabyada timbres), tusaale ahaan. qulqulka 12 dhawaaq ee dhamaadka fannaanka 2aad ee Prokofiev (kala duwanaanshiyaha 2aad), ee ku jira heesaha 2aad ee Lutoslavsky, ee "Rings" ee orchestra ee Shchedrin. S. ee sii qotodheeraantu waxay ku xidhan tahay kala soocida kala duwanaanshaha garoonada waxaana lagu muujiyaa, tusaale ahaan, rafcaanka muusikada ee qalabka garaaca (fiiri Prokofiev's Nights Masaarida, Walaaca, dhexda ee goobta 2aad ee ficilka 2aad ee opera The Sanka » Shostakovich). Dhammaadka, S. laga soo bilaabo cod sonoristically turjumaadda waxay keenaysaa dhawaaq sonorist ahaan loo turjumay (Jarmalka: Gerdusch), iyo walxahan waxaa ka mid ah laba decomp. element - muusig. qaylada (neoekmelika) iyo dhawaaqyo dheeri ah oo muusig ah (oo la xidhiidha goobta muusiga la taaban karo ee loogu yeero).
Farsamada ku shaqaynta walxaha la midka ah iyo in badan oo macnahooda qeexan ayaa aad isugu dhow ama isku beegan. Tusaale ahaan, Penderecki's "Tren" wuxuu ku bilaabmaa dhawaaqyo muusiko ah oo xiise leh.
HH Sidelnikov. Sheekooyinka cirfiidka Ruushka, qaybta 4aad.
K. Penderecki. "Baroorta dhibanayaasha Hiroshima".
Sidaa darteed, S. waxay ku shaqeysaa labadaba habab sonorous ah oo ku habboon (qeylada muusiga, lakabyada timbre, midabada midabada leh, dhawaaqyada aan lahayn garoon gaar ah), iyo iyadoo la adeegsanayo qaar ka mid ah noocyada kale ee tignoolajiyada (tonal, modal, serial, aleatory, iwm. ) . Comp. Farsamada S. waxay ku lug leedahay doorashada wax gaar ah. qalabka dhawaaqa (muujinta si toos ah, oo aan ku xidhnayn shuruudo la xidhiidha fikradda farshaxanka ee shaqada), qaybinta qaybaha wax soo saarka. iyadoo lagu salaynayo khadka horumarka ee la doortay, qorshe si gaar ah loo horumariyay oo dhan. Muuse. habka noocan oo kale ah ayaa lala xiriiriyaa rabitaanka horumarinta ujeedo leh ee sonority, sameynta kor u kaca iyo hoos u dhaca joogtada ah ee ka tarjumaya dhaqdhaqaaqa asaasiga nafsiga ah ee asaasiga ah ee muujinta muusikada.
S. si toos ah marka loo eego muusigga dhawaaqa, wuxuu awoodaa inuu abuuro dhammaan noocyada saamaynta midabada leh, gaar ahaan, si uu u muujiyo ifafaalaha dhawaaqa ee adduunka ka baxsan muusikada. Sidaas, dhaqameed ee Ruush. Muusigga qadiimiga ah, sawirka gambaleelka gambaleelka ayaa ka helay jir cusub S.
Faa'iidooyinka Baaxadda S. - mus. Waxay u shaqeysaa taas oo saameynaha midabada leh ay muhiimad weyn leeyihiin: "qulqulaya lafaha buluug-oraniga ah, hillaaca iyo dhaldhalaalka xiddigaha fog, dhalaalka seefo ololaya, orodka meerayaasha turquoise, hadh guduudan iyo wareegga midabka codka" O. Messiaen, "Farsamada luuqadeyda muusiga"). Sidoo kale eeg Fiisinimada.
AG Schnittke. pianissimo.
RK Shchedrin. "Wicitaanada".
Tixraacyo: Asafiev BV, Qaab muusik ahaan habraac ahaan, (buugaagta 1-2), M.-L., 1930-47, 3 (labada buug), L., 1971; Shaltuper Yu., Qaabka Lutoslavsky ee 60-meeyadii, gudaha: Dhibaatooyinka Sayniska Muusiga, vol. 3, M., 1975; Nikolskaya I., "Muusik aaska" by Witold Lutoslavsky iyo dhibaatooyinka abaabulka garoonka ee muusikada qarnigii 10aad, ee: Muusikada iyo Casriga, (arrinta) 1976, M., 1; Messiaen O., Farsamada muusikadda, aayadaha 2-1944, P., 1961; Chominski J., Technika sonorystyczna jako przedmiot systematycznego szkolenia, "Muzyka", 6, rok 3, Maya 1968; isaga, Muzyka Polski Ludowej, Warsz., 1962; Kohoutek C., Novodobé skladebné teorie západoevropske hudby, Praha, 1965.
Yu. N. Kholopov
