Habaynta |

Habaynta (Jarmal Stilisierung, stylisation Faransiis, laga bilaabo stylus Laatiinka, stulos Greek - usha wax lagu qoro on kiniiniyada wax shubay, qoraal, shibbane) - madadaalada ula kac ah ee gaar ah. sifooyinka muusiga k.-l. dadka, waagii hal-abuurka, fanka. jihooyin, in ka yar inta badan qaabka halabuuraha shaqsi ee shuqullada, ka tirsan yihiin lakabka kale ee qaranka ama ku meel gaar ah, ka tirsan hal-abuurka. shakhsiyada leh fanka kale. goobaha. S. maaha mid la mid ah soo jiidashada dhaqanka, marka farshaxanka la aasaasay. caadooyinka waxaa loo wareejiyaa xaaladaha la xiriira iyo kuwa dabiiciga ah iyaga (tusaale ahaan, sii wadida caadooyinka Beethoven ee shaqada I. Brahms), iyo sidoo kale ku dayasho, taas oo ah nuqul ka maqan tayada cusub (tusaale ahaan, halabuurka ee classical. nooca F. Lachner) oo si fudud ugu beddelaya ku dayasho. Si ka duwan iyaga, S. waxay u maleyneysaa in laga saaro qaabka la doortay iyo isbeddelka muunaddan oo loo beddelo shay muuqaal ah, shay lagu daydo (tusaale ahaan, qolka qaabkii hore " From Times of Holberg" op. 40 Grieg). Qoraaga S. wuxuu u eg yahay inuu ula dhaqmo sida wax dibadda u jiifa, oo soo jiidanaya wax aan caadi ahayn, laakiin weli ku sii jira fogaan - ku meel gaar ah, qaran, shakhsi ahaaneed; S. waxay kaga duwan tahay raacitaanka dhaqanka ma aha isticmaalka, laakiin soo saarista wixii hore loo helay, ma aha si dabiici ah. xiriir la leh, laakiin dib-u-soo-nooleynta ka baxsan dabeecadda dhashay. deegaanka; nuxurka S. wuxuu ku jiraa dabeecadiisa labaad (maadaama S. aan macquul ahayn iyada oo aan loo jeedin qaabab hore u jiray). Inta lagu jiro nidaamka S. ifafaale stylized waxay noqdaan kuwo aan xad lahayn. ilaa xad kayar oo shuruudi ku xidhan tahay, taas oo ah, qiimo maahan naftooda, laakiin sida sidayaal macne maldahan ah. Soo ifbaxa saameyntan farshaxanimada, daqiiqad ah "qalafsanaan" ayaa lagama maarmaan ah (ereyga VB Shklovsky, oo tilmaamaya shuruudaha ku xad-gudba "automatism ee aragtida" oo ka dhigaya mid wax ka eegaya aragti aan caadi ahayn), taas oo caddaynaysa dib-u-dhiska, dabeecadda labaad ee C.

Daqiiqad daciif ah oo noocan oo kale ah waxay noqon kartaa buunbuunin sifooyinka asalka ah (tusaale ahaan, No 4 iyo No 7 ee Ravel's Noble and Sentimental Waltses, waxaa jira soo jiidasho badan oo Viennese ah marka loo eego asalka Viennese, iyo Debussy's Evening ee Grenada ayaa ka sarreeya Isbaanishka dhabta ah. fiirsashada midabka Isbaanishka. Muusigga), soo bandhigida qaab-dhismeedka aan caadi ahayn iyaga. walxaha (tusaale ahaan, is-waafajinta casriga casriga ah ee soo noolaynta aria jir ee qaybta 2aad ee sonata ee piano by Stravinsky) iyo xitaa macnaha guud (taas oo, tusaale ahaan, kaliya doorka riwaayadaha ah ee qoob ka ciyaarka Taneyev's Minuet ayaa shaaca ka qaaday) , iyo xaaladaha taranka saxda ah - cinwaanka (fp. ee riwaayadda "In the manner of … Borodin, Chabrier" ee Ravel, "Tribute to Ravel" by Honegger). Meel ka baxsan magac-la'aanta, S. waxay luminaysaa gaarnimadiisa. tayada iyo - ku xiran waxqabadka xirfada leh - waxay soo wajahdaa asalka (soo saarista dhammaan khiyaamooyinka heesaha dadweynaha ee "Chorus of the Villages" ee ka soo jeeda falkii 4aad ee opera "Prince Igor" ee Borodin; Heesta Lyubasha ee ficilka 1aad ee opera "Aroosadda Tsar" ee Rimsky-Korsakov).

S. waxay ku jirtaa meel muhiim ah nidaamka guud ee muusigga. lacagaha. Waxay xoojisaa fanka waqtigeeda iyo waddankeeda muusik. daahfurka waayihii iyo quruumaha kale. Dabeecadda dib-u-fiirinta ee semantics iyo la'aanta cusub ee asalka ah waxaa lagu magdhabaa semantics la aasaasay oo qani ku ah associity. Intaa waxaa dheer, S. waxay u baahan tahay dhaqan sare labadaba abuurayaashiisa (haddii kale S. kama kacdo heerka eclecticism) iyo dhegeystaha, kaas oo ah inuu diyaar u yahay inuu qadariyo "muusikada ku saabsan muusikada." Ku-tiirsanaanta ururinta dhaqameedku waa labadaba xoog iyo daciifnimo S.: oo lagu wajaho garaadka iyo dhadhanka horumaray, S. had iyo jeer waxay ka timaadaa aqoonta, laakiin sidaas oo kale waxay si lama huraan ah u hurtaa dareenka degdega ah waxayna halis u tahay inay noqoto mid caqli-gal ah.

Shayga S. wuxuu noqon karaa wax kasta oo muusig ah. Inta badan guryaha ugu yaabka badan ee taariikhda muusiga oo dhan ayaa la qaabeeyey. waayaha ama dhaqanka muusiga qaranka (dhawaaqa dheeli tiran ee sifada heesta polyphony ee qoraalka adag ee Wagner's Parsifal; Concerto Ruush Lalo ee violin iyo orchestra). Muusyada hore u soo maray iyagana inta badan waa la qaabeeyey. noocyada (Gavotte iyo Rigaudon oo ka socda Prokofiev's Toban Qaybood ee biyaano, op. 12; Hindemith's madrigals for choir cappella), mararka qaarkood waxay sameeyaan (qaab ku dhawaad ​​Haydnian sonata in Prokofiev's Classical Symphony) iyo halabuurka. Farsamooyinka (sifada mawduucyada cod-bixinta ee xilligii Baroque, mawduuca mawduuca, si isdaba-joog ah u kobcaya iyo qaybaha gabagabada ee mawduuca 1aad ee fugue ee Stravinsky's Symphony of Sabuurrada). Astaamaha qaabka laxamiistaha shakhsi ahaaneed ayaa la soo saaraa marar badan (Mozart's improvisation ee opera Mozart iyo Salieri ee Rimsky-Korsakov; Paganini's "pizzicato shaydaan" ee kala duwanaanshaha 19-aad ee Rachmaninov's Rhapsody ee mawduuca Paganini; Fantasies in theme of Paganini; waxay ku baahdeen muusigga elektaroonigga ah). Xaalado badan, k.-l. loo qaabeeyey. element music. luqadda: harmonic qallafsan. caadooyinka (xusuustay heesta diatonic modal "Ronsard - ilaa naftiisa" ee Ravel), qaafiyad. iyo tafaasiisha naqshadaynta qoraalka ah (dhibcaha cidhiidhiga ah ee cidhiidhiga ah ee ruuxa JB Lully's overtures ee "24 Violins of the King" ee hordhaca ah ee Stravinsky's Apollo Musagete; la socoshada "jaceylka" ee la socoshada Natasha iyo Sonya ee goobta 1aad ee opera "Dagaalka iyo Adduunka" ee Prokofiev), shaqaalaha waxqabadka (qalab qadiimi ah oo ku jira buundada ballet "Agon" ee Stravinsky) iyo qaabka wax qabad ("Heesta ashug" ee qaab mugham ah oo la hagaajin karo oo ka socda opera "Almast" " by Spendiarov), timbre ee qalabka (dhawaaqa sabuurrada oo ay soo saareen isku dhafka kataarad iyo biyaano ee hordhaca ah ee opera "Ruslan iyo Lyudmila", gitaarka - iyadoo la isku darayo kataarad iyo violin ugu horeysay ee ugu weyn. qayb ka mid ah Glinka's "Jota of Aragon"). Ugu dambeyntii, S. wuxuu u hoggaansamaa wax aad u badan oo guud - midab ama xaalad maskaxeed oo ka sii jira matalaad jaceyl ah marka loo eego lahaanshiyaha dhabta ah (qaabka shuruudaha bari ee ciyaaraha Shiinaha iyo Carabiga laga bilaabo ballet The Nutcracker by Tchaikovsky; Old Castle "Sawirada Bandhiga" ee Mussorgsky; si xushmad leh u fiirsashada dabeecadda qarniyadii dhexe ee ascetic ee "Epic Song" oo ka yimid "Saddexda Heesood ee Don Quixote ilaa Dulcinea" ee codka piano Ravel). Sidaa darteed, ereyga "S". waxay leedahay habab badan, oo kala duwanaanshaheeda semantic waa mid aad u ballaaran oo xuduudda saxda ah ee fikradda S. waa la tirtiraa: muujinteeda xad dhaafka ah, S. ama waxay noqotaa mid aan la kala saari karin qaabka loo habeeyey, ama hawlaheeda waxay noqdaan kuwo aan kala sooc lahayn hawlaha muusig kasta.

S. taariikh ahaan shuruud bay ku xidhan tahay. Ma ahayn mana noqon karto preclassic. muddada taariikhda muusigga: fannaaniinta qarniyadii dhexe, iyo qayb ka mid ah Renaissance, ma garanayn ama mahad shakhsi qoraaga, lifaaqa muhiimadda ugu weyn ee xirfadda waxqabadka iyo waraaqaha music in ay liturgical. ballan. Intaa waxaa dheer, muusigga guud. asaaska dhaqamadan, kor u kaca Ch. arr. heesta Gregorian, ayaa meesha ka saartay suurtagalnimada "stylistic" la dareemi karo. dhibco." Xitaa shaqada JS Bach, oo lagu calaamadiyay shakhsiyad xoog leh, fugues u dhow muusikada qaab adag, tusaale ahaan. laqabsiga heesta ee "Durch Adams Fall ist ganz verderbt", ma aha S., laakiin waa abaal marinta dhaqan qadiimiga ah, laakiin aan ahayn dhaqan dhintay ( heeso Protestant). Classics Viennese, si weyn u xoojinaya doorka stylistic shakhsi ahaaneed. bilow, isla markaana mashquulay hal-abuur aad u firfircoon. booska lagu xaddido C: ma aha qaab, laakiin hal abuur dib u fikiray Nar. motifs nooca uu qoray J. Haydn, farsamooyinka talyaaniga. bel canto waxaa qoray WA Mozart, heesaha muusiga ee Faransiiska Weyn. kacaankii L. Beethoven. Marka la eego saamiga S. waa inay dib u abuuraan dibadda. Sifooyinka bariga. muusiga (laga yaabo inay sabab u tahay xiisaha Bariga ee saamaynta dhacdooyinka siyaasadeed ee ajnabiga ah ee wakhtigaas), inta badan ciyaar ("Drum Turkish" ee rondo alla turca ee sonata ee piano A-dur, K.-V. 331, Mozart ; "Chorus Janissaries" ee Mozart's opera "Afduubkii Seraglio"; sawiro majaajillo ah "marti Constantinople" ee opera "Farmashiistaha" ee Haydn, iwm.). dhif ayaa lagu arkay Yurub. muusig ka hor ("Gllant India" ee Rameau), bari. qalaad muddo dheer ku hadhay dhaqan. shayga shuruuda S. ee muusiga opera (CM Weber, J. Wiese, G. Verdi, L. Delibes, G. Puccini). Romanticism, iyada oo fiiro gaar ah u leh qaabka shakhsi ahaaneed, midabka maxaliga ah, iyo jawiga waaga, ayaa waddada u furay faafitaanka S., si kastaba ha ahaatee, halabuurayaasha jacaylka, kuwaas oo u jeestay dhibaatooyinka shakhsi ahaaneed, ayaa ka tagay waxoogaa yar, inkastoo tusaalayaal cajiib ah oo S. (tusaale ahaan, Chopin), "Paganini", "German Waltz" oo ka socda "Carnival" ee pianoforte Schumann). Khafiifka S. waxaa laga helaa Ruush. Qorayaasha (tusaale ahaan, duet ee Lisa iyo Polina, dhexda "Daacadnimada Shepherdess" ee opera "The Queen of Spades" by Tchaikovsky; heesaha martida ajnabiga ah ee opera "Sadko" by Rimsky-Korsakov: heesaha oo ka mid ah martida Vedenets, sida laga soo xigtay VA Tsukkerman, S. polyphony ee qaabka adag ayaa tilmaamaya wakhtiga, iyo nooca barcarolle - goobta ficilka). Ruus Inta badan, muusikada ku saabsan Bariga si dhib leh ayaa loogu yeeri karaa S., sidaas darteed qoto dheer waxay ahayd fahamka Ruushka ee ruuxa juqraafi ahaan iyo taariikh ahaan bari dhow (inkasta oo si caadi ah loo fahmay, oo aan lahayn ethnography, saxsanaanta). Si kastaba ha ahaatee, si la yaab leh ayaa loo xoojiyay, boggaga "oriental xad-dhaaf ah" ee opera The Cockerel Golden ee Rimsky-Korsakov waxaa loo tirin karaa S..

S. waxay si gaar ah u heshay horumar ballaadhan qarnigii 20aad kaas oo ay sabab u tahay dabeecadaha guud ee casriga ah ee nek-ry. muusik. Mid ka mid ah tayada ugu muhiimsan (iyo guud ahaan tayada farshaxanka casriga ah) waa universalism, ie xiisaha dhaqamada muusikada ee ku dhawaad ​​dhammaan waayihii iyo dadyowga. Xiisaha helitaanka ruuxiga ah ee qarniyadii dhexe ma aha oo kaliya waxqabadka G. de Machaux's Play of Robin iyo Marion, laakiin sidoo kale abuurista Respighi's Gregorian Violin Concerto; laga sifeeyey foolxumada ganacsiga. Jazz Wakiilka C. Negro. muusikada fp. Hordhac Debussy, Op. M. Ravel. Si la mid ah, muusikada caqli-galnimada casriga ah ayaa ah goob taranta horumarinta isbeddellada stylistic, gaar ahaan muhiim u ah muusikada neoclassicism. Neoclassicism waxay raadineysaa taageero ka mid ah xasilloonida guud ee casriga ah. nolosha ee taranka sheekooyinka, foomamka, farsamooyinka soo istaagay imtixaanka waqtiga, taas oo ka dhigaysa S. (in dhammaan grades) sifo of this fanka qabow ujeedada. Ugu dambeyntii, kororka fiiqan ee qiimaha majaajilada ee casriga ah. farshaxanku wuxuu abuuraa baahi degdeg ah oo loo qabo S., oo si dabiici ah loogu deeqay tayada ugu muhiimsan ee majaajilada - awoodda lagu matalo sifooyinka muuqaalka muuqaalka leh ee qaabka la buunbuuniyay. Sidaa darteed, hab majaajillo ah, qaybtu waxay muujin doontaa. fursadaha muusiga. S. aad buu u ballaadhan yahay: kaftan khiyaano ah oo ku jira xoogaa xad dhaaf ah "In ku dayan Albeniz" ee FP. Shchedrin, FP khiyaano leh. waxaa horudhac u ah Cuban A. Taño ("For Impressionist Composers", "Laxamiistayaasha Qaranka", "Laxanka Farshaxanka", "Laxamiistaha Farshaxanka"), Farxad farxad leh oo ah qaababka opera ee Prokofiev's The Love for Three Oranges, ka dabeecad wanaagsan, laakiin stylistically impeccable "Mavra" by Stravinsky, xoogaa caricatured "Saddex Nicmo" by Slonimsky for biyaano. ("Botticelli" waa mawduuc uu matalo "muusiga qoob-ka-ciyaarka ee dib-u-dhiska", "Rodin" waa kala duwanaanshiyaha 2aad ee qaabka Ravel, "Picasso" waa kala duwanaanshaha 2aad "hoosta Stravinsky"). Muusigga casriga ah ee S. wuxuu sii ahaanayaa shaqo hal abuur oo muhiim ah. soo dhawayn. Sidaa darteed, S. (inta badan dabeecadda concerti grossi qadiimiga ah) waxaa lagu daraa kolajyada (tusaale ahaan, mawduuca loo qaabeeyey "ka dib Vivaldi" ee dhaqdhaqaaqa 1aad ee A. Schnittke's symphony wuxuu xambaarsan yahay culeysyo isku mid ah sida odhaahyada lagu soo bandhigay muusikada) . Sanadihii 70aadkii. isbeddelka qaabka "retro" ayaa qaabeeyay, taas oo ka soo horjeeda isku-darka hore ee isdaba-joogga ah, waxay u egtahay soo noqoshada qaababka ugu fudud; S. halkan waxay ku milmaysaa racfaan mabaadi'da aasaasiga ah ee muuska. luqadda - si "tonality saafi ah", triad.

Tixraacyo: Troitsky V. Yu., Stylization, ee buugga: Erayga iyo Sawirka, M., 1964; Savenko S., Su'aasha ku saabsan midnimada qaabka Stravinsky, ee ururinta: HADDII Stravinsky, M., 1973; Kon Yu., Qiyaastii laba fugues oo uu qoray I. Stravinsky, ururinta: Polyphony, M., 1975.

TS Kyuregyan