ʻO ke ʻano |
Cadence (Italian cadenza, mai Latin cado - hāʻule wau, hoʻopau wau), ka leo kani (Ka leo Palani).
1) harmonic hope. (as melodic) turnover, the final musical. ke kūkulu ʻana a me ka hāʻawi ʻana i ka piha, piha. I ka ʻōnaehana tonal nui-liʻiliʻi o nā kenekulia 17-19. i K. ua hui pinepine ia metrorhythmic. kākoʻo (no ka laʻana, he leo metric ma ka pahu 8 a i ʻole 4 o kahi manawa maʻalahi) a me kahi hoʻomaha ma kekahi o nā harmonies koʻikoʻi loa (ma I, V, emi pinepine ma ka pae IV, i kekahi manawa ma nā mele ʻē aʻe). ʻO ka piha, ʻo ia hoʻi, e pau ana i ka tonic (T), ua māhele ʻia ka haku mele i ʻoiaʻiʻo (VI) a me ka plagal (IV-I). K. kūpono inā ʻike ʻia ʻo T ma ka melodic. ke kūlana o ka prima, ma kahi ana kaumaha, ma hope o ka mana (D) a i ʻole ka subdominant (S) ma ke kumu nui. ano, aole ma ke kaa ana. Inā ʻaʻole kekahi o kēia mau kūlana, ʻo ka. ua manaoia he hemolele. K., e pau ana me D (a i ole S), i kapaia. hapalua (eg, IV, II-V, VI-V, I-IV); he ʻano hapa ʻoiaʻiʻo. K. hiki ke manaoia i kapaia. Phrygian cadence (ʻano huli huli hope IV6-V ma harmonic minor). ʻO kahiʻano kūikawā ka mea i kapaʻia. hoʻopaʻa ʻia (false) K. – violation of authentic. I ka. ma muli o ka tonic pani. triads i nā mele ʻē aʻe (V-VI, V-IV6, V-IV, V-16, etc.).
Kadenza piha
He hapalua cadenza. ʻO ka puʻupuʻu Phrygian
Hoʻopili ʻia nā cadences
Ma ka wahi ma ke mele. ʻano (no ka laʻana, i ka wā) e wehewehe i ka median K. (i loko o ke kūkulu ʻana, ʻoi aku ka nui o ke ʻano IV a i ʻole IV-V), hope (ma ka hopena o ka hapa nui o ke kūkulu ʻana, maʻamau VI) a me nā mea hou aku (pili ʻia ma hope o ka hope K., t ie whorls VI or IV-I).
nā hoʻohālikelike harmonic-K. ma mua o ka mōʻaukala monophonic melodic. nā hopena (ʻo ia hoʻi, ma ke ʻano, K.) i ka ʻōnaehana modal o ka hopena o ka Middle Ages a me ka Renaissance (e ʻike i nā mode Medieval), ka mea i kapa ʻia. nā māhele (mai ka lat. claudere - hoʻopau). Hoʻopili ka paukū i nā kani: antipenultim (antepaenultima; preceding penultimate), penultim (paenultima; penultimate) a me ultima (ultima; hope); ʻO ka mea nui o lākou he penultim a me ka hope. ʻO ka paukū ma ka finalis (finalis) i manaʻo ʻia ʻo K. (clausula perfecta), ma kekahi leo ʻē aʻe - imperfect (clausula imperfecta). Ua helu ʻia nā paukū i ʻike pinepine ʻia ʻo "treble" a i ʻole soprano (VII-I), "alto" (VV), "tenor" (II-I), akā naʻe, ʻaʻole i hāʻawi ʻia i nā leo pili, a mai ser. 15th c. "bass" (VI). ʻO ka hoʻokaʻawale ʻana mai ka pae alakaʻi VII-I, maʻamau no nā frets kahiko, hāʻawi i ka mea i kapa ʻia. “Landino's clause” (a i ʻole “Landino's cadenza”; VII-VI-I). ʻO ka hui like ʻana o kēia mau melodic (a me nā mea like). K. i haku i ka holomua cadence chord progressions:
Nā Paukū
E alakaʻi "ʻO wai ka mea e pono ai ʻoe iā Kristo." 13 c.
G. de Macho. Motet. 14th c.
G. Monk. ʻEkolu ʻāpana mea kani. 15th c.
J. Okegem. Missa sine nomina, Kyrie. 15th c.
E ala mai ana ma ke ano like me ka harmonic. turnover VI ua lilo hou a me ka systematically hoʻohana 'ia ma ka hopena. K. (mai ka hapa 2 o ke kenekulia 15 a me ka oi aku ma ke kenekulia 16, me ka plagal, "ekalesia", K. IV-I). ʻO ka poʻe loea Italia o ke kenekulia 16. ua hoʻokomo i ka huaʻōlelo "K."
E hoʻomaka ana ma kahi o ke kenekulia 17. cadence turnover VI (me kona "inversion" IV-I) ke komo wale i ka hopena o ka pāʻani a i ʻole kāna ʻāpana, akā ʻo kāna mau hana āpau. Ua alakaʻi ʻia kēia i kahi ʻano hou o ke ʻano a me ka lokahi (i kekahi manawa i kapa ʻia ʻo cadence harmonik - Kadenzharmonik).
ʻO ka hōʻoia ʻana o ka manaʻo hohonu o ka ʻōnaehana o ka lokahi ma o ka nānā ʻana o kāna kumu - ʻoiaʻiʻo. K. – na JF Rameau. Ua wehewehe ʻo ia i ka mele-logic. harmony chord relationships K., hilinaʻi ma ke ʻano. nā koi i kau ʻia ma ke ʻano maoli o nā muses. kani: aia ka leo mana i ka haku ʻana o ka leo o ka tonic a, no laila, ua hana ʻia e ia; ʻo ka hoʻololi ʻana o ka mea nui i ka tonic ka hoʻihoʻi ʻana o ka mea i loaʻa (hana ʻia) i kona kumu kumu. Hāʻawi ʻo Rameau i ka hoʻokaʻawale ʻana o nā ʻano K e mau nei i kēia lā: hemolele (parfaite, VI), plagal (e like me Rameau, "hewa" - irregulare, IV-I), hoʻopau ʻia (ʻoiaʻiʻo "haʻi" - rompue, V-VI, V -IV) . ʻO ka hoʻonui ʻana i ka lākiō ʻelima o K. ʻoiaʻiʻo ("triple proportion" - 3: 1) i nā chords ʻē aʻe, me ka VI-IV (no ka laʻana, i ke kaʻina o ke ʻano I-IV-VII-III-VI- II-VI), ʻo Rameau i kapa ʻia ʻo "hoʻohālike o K ." (ka hana hou ʻana o ke ʻano cadence ma nā hui pū: I-IV, VII-III, VI-II).
Ua hōʻike ʻo M. Hauptman a me X. Riemann i ka dialectic o ka ratio o ka mea nui. mele mele kahiko. K. Wahi a Hauptmann, ʻo ka kūʻē kūʻē i loko o ka tonic mua i loko o kāna "bifurcation", no ka mea aia i loko o nā pilina kūʻē i ka subdominant (loaʻa ka leo nui o ka tonic ma ke ʻano he ʻelima) a me ka mea nui (loaʻa ka lima. o ka tonic e like me ka leo nui) . Wahi a Riemann, ʻo ka hoʻololi ʻana o T a me D he ʻōlelo maʻalahi ʻole. hōʻike leo. I ka hoʻololi ʻana mai T a i S (e like me ka hoʻonā ʻana o D i T), aia, me he mea lā, he neʻe pōkole i ke kikowaena o ka umekaumaha. ʻO ka hiʻohiʻona o D a me kāna hoʻonā ʻana ma T e hoʻihoʻi hou i ke kūlana kiʻekiʻe o T a hōʻoia iā ia ma kahi kiʻekiʻe.
Ua wehewehe ʻo BV Asafiev iā K. mai ke ʻano o ka manaʻo o ka intonation. Ua wehewehe ʻo ia iā K. ma ke ʻano he generalization o nā ʻano hiʻohiʻona o ke ʻano, he paʻakikī o nā meloharmonics intonational stylistically. nā papa hana, e kū'ē ana i ka mechanicalness o ka "makaukau-made flourishes" i kuhikuhi 'ia e ke kula theory and theoretical. hoʻokaʻawale.
ʻO ka ulu ʻana o ka lokahi ma con. Ua alakaʻi ʻia nā kenekulia 19 a me 20 i kahi hōʻano hou o nā K. formula. ʻOiai ke hoʻomau nei ʻo K. i ka hoʻokō ʻana i ka loina haku mele like ʻole. e pani i ka hana. ʻO ka huli ʻana, ʻo ke ʻano mua o ka hoʻokō ʻana i kēia hana i kekahi manawa e hoʻololi ʻia e nā poʻe ʻē aʻe, e hilinaʻi ana i nā mea kani kikoʻī o kahi ʻāpana i hāʻawi ʻia (no ka hopena, ʻo ka legitimacy o ka hoʻohana ʻana i ka huaʻōlelo "K." . ʻO ka hopena o ka hopena ma ia mau hihia e hoʻoholo ʻia e ka hilinaʻi o ke ʻano o ka hopena ma ke ʻano holoʻokoʻa o ka hana:
MP Mussorgsky. "Boris Godunov", hana IV.
SS Prokofiev. "Fleeting", No 2.
2) Mai ke kenekulia 16. he hopena virtuoso o ka leo solo (opera aria) a i ʻole nā mele mea kani, i hoʻoponopono ʻia e ka mea hoʻokani a i kākau ʻia e ka mea haku mele. pāʻani. Ma ke kenekulia 18, ua hoʻomohala ʻia kahi ʻano kūikawā o K. like ma instr. ʻahamele. Ma mua o ka hoʻomaka ʻana o ke kenekulia 19, ʻo ia ka mea maʻamau i loko o ka coda, ma waena o ka cadence quarter-sixth chord a me ka D-3th chord, e ʻike ʻia ana he mea hoʻonani o ka mua o kēia mau harmonies. ʻO K., me he mea lā, he moʻopuna virtuoso liʻiliʻi ma nā kumuhana o ka ʻahamele. I ke au o ka Viennese classics, ua hāʻawi ʻia ka haku mele a K. a i ʻole kona hoʻoponopono ʻana i ka wā hana. No laila, i loko o ka kikokikona paʻa paʻa o ka hana, ua hāʻawi ʻia kahi ʻāpana, ʻaʻole i hoʻokumu paʻa ʻia e ka mea kākau a hiki ke haku ʻia (improvised) e kekahi mea mele. Ma hope mai, ua hoʻomaka ka poʻe haku mele e hana i nā kristal (e hoʻomaka ana me L. Beethoven). Mahalo i kēia, hui pū ʻo K. me ke ʻano o nā haku mele holoʻokoʻa. I kekahi manawa, hana ʻo K. i nā hana koʻikoʻi, ʻo ia ka mea nui o ka manaʻo o ka haku mele (no ka laʻana, ma ka concerto ʻekolu o Rachmaninov). I kekahi manawa, loaʻa ʻo K. ma nā ʻano ʻano ʻē aʻe.
E hoʻomaopopo ': 1) Smolensky S., "Music Grammar" na Nikolai Diletsky, (St. Petersburg), 1910; Rimsky-Korsakov HA, Harmony Textbook, St. Petersburg, 1884-85; nona ponoi, Buke Haawina Practical of Harony, St. Petersburg, 1886, pa'i hou ia o na buke elua: Piha. coll. soch., vol. IV, M., 1960; Asafiev BV, Keʻano mele ma keʻano he kaʻina hana, nā māhele 1-2, M. - L., 1930-47, L., 1971; Dubovsky I., Evseev S., Sposobin I., Sokolov V. (ma ka hola 1), Ka papa hana o ka lokahi, hapa 1-2, M., 1934-35; ʻO Tyulin Yu. N., ʻO ke aʻo ʻana o ka lokahi, (L. – M.), 1937, M., 1966; Sposobin IV, Nā haʻi'ōlelo ma ke ala o ka lokahi, M., 1969; Mazel LA, Nā pilikia o ka lokahi kahiko, M., 1972; Zarino G., Le istitutioni harmoniche (Terza parte Cap. 1), Venetia, 51, fax. ed., NY, 1558, Lūkini. per. mokuna "On cadence" e ike ma Sat.: Musical Aesthetics of the Western European Middle Ages and the Renaissance, comp. VP Shestakov, M., 1965, p. 1966-474; Rameau J. Ph., Traité de l'harmonie…, P., 476; nona iho, Génération harmonique, P., 1722; Hauptmann M., Die Natur der Harmonik und der Metrik, Lpz., 1737; Riemann H., Musikalische Syntaxis, Lpz., 1853; nona iho, Systematische Modulationslehre…, Hamburg, 1877; Russian trans.: ʻO ke aʻo ʻōnaehana o ka modulation ma ke ʻano he kumu o ke aʻo ʻana o nā ʻano mele, M. - Leipzig, 1887; ʻo kāna iho, ʻo Vereinfachte Harmonielehre …, V., 1898 (Unuhi ʻōlelo Lūkini – Simplified harmony a i ʻole ke aʻo ʻana o nā hana tonal o nā chords, M., 1893, M. – Leipzig, 1896); Casela A., L'evoluzione della musica a traverso la storia della cadenza perfetta (1901), engl, transl., L., 11; Tenschert R., Die Kadenzbehandlung bei R. Strauss, "ZfMw", VIII, 1919-1923; Hindemith P., Unterweisung im Tonsatz, Tl I, Mainz, 1925; Chominski JM, Historia harmonii i kontrapunktu, t. I-II, Kr., 1926-1937; Stockhausen K., Kadenzrhythmik im Werk Mozarts, ma kāna puke: “Texte…”, Bd 1958, Köln, 1962, S. 2-1964; Homan FW, Nā hiʻohiʻona hope a me loko i ke mele Gregorian, "JAMS", v. XVII, No 170, 206; Dahhaus S., Untersuchungen über die Entstehung der harmonischen Tonalität, Kassel – (ua), 1. See also lit. ma lalo o ka ʻatikala Harmony.
2) Schering A., The Free Cadence in the 18th Century Instrumental Concerto, «Congress of the International Music Society», Basilea, 1906; Knцdt H., Ma ka moʻolelo o ka hoʻomohala ʻana i nā cadences i ka concerto instrumental, «SIMG», XV, 1914, p. 375; Stockhausen R., ʻO nā cadenzas i nā concerto piano o nā mele Viennese, W., 1936; Misch L., Beethoven Studies, В., 1950.
ʻO Yu. H. Kholopov
