Kūkākūkā paʻakikī |
Kūlike paʻakikī - he hui polyphonic o nā leo melodically i hoʻomohala ʻia (ʻokoʻa a like paha i ka hoʻohālike), i hoʻolālā ʻia no ka contrapuntal hoʻololi hou ʻia, hana hou me ka hoʻololi ʻana i ka ratio o kēia mau leo (e kū'ē i ka counterpoint maʻalahi - German einfacher Kontrapunkt - polyphonic hui pū ʻana o nā leo i hoʻohana ʻia. i hoʻokahi wale nō o kā lākou hui pū ʻana).
Ma nā ʻāina ʻē, ʻo ka huaʻōlelo "S. i.” ʻaʻole pili; i loko ona. Musicological palapala hoʻohana i ka manaʻo pili mehrfacher Kontrapunkt, denoting wale triple a quadruple vertically movable counterpoint. I ka S. to., ua ʻokoʻa ka pilina kumu (hāʻawi ʻia, kumu) o ka melodic. nā leo a me hoʻokahi a ʻoi aʻe o nā mea hoʻohui kumu - polyphonic. nā koho kumu. Ma muli o ke ʻano o nā hoʻololi, aia, e like me ke aʻo ʻana o SI Taneyev, ʻekolu ʻano nui o ka counterpoint: mobile counterpoint (mahele ʻia i ka vertically mobile, horizontally mobile a me pālua mobile), reversible counterpoint (mahele ʻia i piha a me ka hoʻohuli ʻole ʻia). a me ka counterpoint, kahi e hiki ai ke pālua (kekahi o nā ʻano o ka counterpoint mobile). ʻO kēia mau ʻano a pau o S. i. hui pinepine; no ka laʻana, i loko o ka fugue Credo (No 12) mai ka JS Bach ka nuipa ma ka h-moll, nā hoʻolauna ʻelua o ka pane (ma nā ana 4 a me 6) hana i ka pilina mua - he stretta me kahi mamao komo o 2 ana (i hana hou ʻia ma ana 12-17), i loko o nā kaola 17-21, kani ka pilina derivative ma ke kuʻikuʻi hoʻoneʻe pālua (ʻo ka lōʻihi o ka hoʻolauna ʻana he 11/2 ana me ka hoʻololi kū pololei o ka leo haʻahaʻa o ka pilina kumu i luna e kahi duodecime, ka leo kiʻekiʻe ma lalo o ka hapakolu), ma nā ana 24-29 ua hoʻokumu ʻia kahi hoʻohui derivative mai ka pilina ma nā ana 17-21 ma ke ʻano hoʻoneʻe kū pololei (Iv = – 7 – kuhi pālua o ka octave; hana hou ʻia ma kahi kiʻekiʻe o nā kaola 29 -33), mai ka pahu 33 e hahai ana i kahi stretta ma 4 leo me ka hoʻonui ʻana i ke kumumanaʻo i ka bass: top. ʻO ka lua o nā leo e hōʻike ana i kahi hui i loaʻa mai ka stretta kumu ma ka helu hoʻoneʻe pālua (ka mamao hoʻolauna 1/4 bar; hoʻokani ʻia ma kahi pitch ʻokoʻa i nā pahu 38-41) me ka pālua ʻana i ka luna. nā leo ma ka ono mai lalo (ma ka laʻana, nā leo polyphonic ʻaʻole i hoʻokomo ʻia i loko o nā hui ma luna, a me ka leo 8 e pili pū ana, ua kāpae ʻia). Nānā laʻana see col. 94.
Ma fp. quintet g-moll op. 30 SI Taneeva, hana ʻia ka hana o ka mea mua e ka hoʻopili ʻana i ke kumuhana o ka pāʻina nui me kāna ʻano hoʻohuli i ka hoʻomaka ʻana o ka reprise o ka ʻāpana 1st (2nd ana ma hope o ka helu 72);
Nā Hui Kū'ē Kū'ē ma Credo (No 12) mai Mass ma h-moll na JS Bach.
ʻO ka derivative i ke ʻano o ka canon (helu 78) i hoʻokumu ʻia ma muli o ka hoʻololi ʻana i ka pae ākea a ma ka manawa like e paʻa ana i ka leo kiʻekiʻe i ka hoʻonui; i ka hoʻomaka ʻana o ke coda (ke ana ʻekolu ma hope o ka helu 3) he derivative i loko o ka counterpoint hoʻoneʻe pālua (ʻo ka mamao o ke komo ʻana he 100 ana, ua hoʻoneʻe ʻia ka leo haʻahaʻa e kahi decima, ʻo ka leo luna ma kahi quintdecima i lalo); Hoʻopau ka hoʻololi contrapuntal i ka coda hope, kahi e hoʻololi ai i nā kani canonical. ke kaʻina (helu 1), e hōʻike ana i kahi hoʻopili derivative ma kahi ʻāpana hoʻoneʻe pālua (ka mamao hoʻolauna 219 ana, nā leo ʻelua i ka neʻe pololei); ʻoi aku (ʻo ka pahu 2 ma hope o ka helu 4) ʻo ka pilina derivative he canon me ka neʻe ʻana a me ka neʻe ʻana a i ka manawa like me ka piʻi ʻehā o ka bass (ʻaʻole i waiho ʻia nā leo hoʻohui a me ka pālua i ka laʻana):
ʻO nā hui kūʻē i ka piano quintet g-moll op. 30 SI Taneeva.
Hoʻopau. ʻO ka canon i hoʻohuli ʻia mai ka b-moll fugue mai ka 2nd volume o JS Bach's Well-Tempered Clavier he laʻana o kahi counterpoint hiki ʻole ke hoʻopau ʻia me nā pālua. ʻO ka helu ʻelima mai ka "Musical Offering" ʻo Bach he canon pau ʻole i ke kaʻa ʻana e pili pū ana me kēia leo, kahi e hoʻopili ai ka pilina mua i luna. leo a me ka maʻalahi (P), ka mea hoʻopuka i ka hoʻohuli ʻole ʻia i ka hoʻoneʻe hoʻoneʻe ʻia - ma ka leo like a me ka risposta (R Compound counterpoint):
S. i. – ʻo ka ʻāpana i maopopo loa e pili ana i ka ʻaoʻao noʻonoʻo o ka noʻonoʻo. ke kaʻina hana o ka haku mele, ʻo ia ka mea e hoʻoholo nui ai i nā kiʻi kūpono o nā muses. haiolelo. S. i. - ke kumu o ka hana ʻana i ka polyphony, kekahi o nā mea nui loa o ka polyphonic. hoʻomohala a hoʻololi. Ua ʻike ʻia a hoʻomohala ʻia kāna mau mea e nā haku o ke ʻano koʻikoʻi; i nā manawa o ka hoʻomohala ʻana i ke mele. hoʻokolokolo a i kēia manawa. Hoʻohana nui ʻia ke mele a S. i ka polyphonic. a me nā ʻano homophonic.
ʻO kahi hiʻohiʻona mele mai ka mana o ka hoʻolauna ʻana iā Taneyev's Mobile Counterpoint of Strict Writing.
ʻO ke kūʻokoʻa harmonic o nā mele hou e hiki ai i nā haku mele ke hoʻohana i ka mea paʻakikī loa i ka ʻenehana. e pili ana i ke ano o S. i. a me ko lakou hui ana. No laila, no ka laʻana, ma ka No. 23 mai Shchedrin's Polyphonic Notebook, ʻo ka hui mua ʻana o nā kumuhana ʻelua o ka fugue pālua (paa 1-5) hāʻawi i kahi set (e nānā i nā pahu 9, 14, 19 a me 22, 30, 35., 40. , 45) o nā pūhui derivative hana hou ʻole i ke kuʻekuʻe kuʻekuʻe, ke ākea a me ka hoʻoneʻe pālua (me nā pālua).
ʻO nā ʻano ʻekolu o S. i hōʻike ʻia. Ua noʻonoʻo ʻo SI Taneyev i ka mea nui, akā ʻaʻole wale nā mea hiki. ʻO ka ʻāpana i paʻi ʻia mai ka mana o ka hoʻolauna i ka puke "Mobile counterpoint of strict writing" e hōʻike ana ua komo ʻo Taneyev ma kahi o uXNUMXbuXNUMXbS. k. ʻO ia ʻano hoʻi, kahi i hoʻokumu ʻia ai kahi pūhui derivative ma muli o ka hoʻohana ʻana i kahi neʻe rakish.
Ma kāna mau kākau ʻana, ʻaʻole i manaʻo ʻo SI Taneev he mea hiki ke hoʻohuli ʻia (ʻoiai he ʻāpana kēia o nā hoʻolālā o kāna noiʻi ʻepekema) a i ʻole contrapoint counterpoint (me he mea lā, ʻaʻole i nui ka manaʻo kūpono i kēlā manawa). ʻO ke kumumanaʻo o ka polyphony, e noʻonoʻo ana i nā hiʻohiʻona o kēia manawa. ka hoʻomaʻamaʻa haku mele, hoʻonui i ka manaʻo o S. i. a noʻonoʻo e like me kona mau ʻano kūʻokoʻa he counterpoint rakohodny, a e ʻae pū i ka hoʻonui a i ʻole ka emi ʻana o kahi hui derivative i. mai nā leo mele o ke kumu. No ka laʻana, i ka hopena rondo-shaped o ka symphony 3 o Karaev, ua kākau ʻia ka refrain mua ma ke ʻano he 3-pahuhopu. nā mea hana i hoʻohui ʻia nā leo e hiki mai ana (e like me ke kumuhana) me nā hoʻohui kūʻē mai nā leo o ka moʻo dodecaphone; ʻO ka paʻa 2 o ka refrain (helu 4) he hui derivative i ka counterpoint recoil; i ka 2nd episode, i kākau ʻia ma ke ʻano o ka fugue, ʻo ka reprise stretta (16 ana a hiki i ka helu 10) i hana ʻia i ka lawe ʻana i ke kumuhana i ka neʻe ʻana i mua a me ka ʻaoʻao; i ka hoʻomaka ʻana o ka ʻaoʻao 1 o ka symphony (helu 16), kani ka pahu pahu 3. canon pau ole, aia ka luna. ʻO ka leo he pūʻulu kumuhana ma ka pololei, ʻo ka leo waena ma ka maʻa ʻana, a ʻo ka lalo i ka neʻe ʻana i ka piʻi ʻana.
Counterpoint, e ʻae ana i ka hoʻonui a i ʻole ka emi ʻana i hoʻokahi a i ʻole. leo, theoretically aʻo liʻiliʻi.
HA Rimsky-Korsakov. “The Tale of the Invisible City of Kitezh…”, hana 3, wahi 2.
He nui nā hiʻohiʻona mai nā mele kahiko a me nā mele hou e hōʻike ana i ka hui pū ʻana me ka hoʻonui a i ʻole ka emi ʻana e ala pinepine me ka ʻole o ka helu mua ʻana, me ka ʻike ʻole ʻia (e ʻike i ka hiʻohiʻona ma luna mai Bach's Credo; "Discharges" - ka ʻāpana ʻelua o L. Grabowski's "Little Chamber Music No. 2" - hana ʻia me ke alakaʻi ʻana i kahi kumumanaʻo dodecaphonic, kahi i hoʻohui ʻia ai kāna mau ʻano like ʻole i kahi hōʻemi 1-2-fold). Eia nō naʻe, i kekahi mau hana, ʻo ka loaʻa ʻana o nā hui derivative o kēia ʻano, maopopo, ʻo ia kahi ʻāpana o ka manaʻo kumu o ka haku mele, e hōʻoiaʻiʻo ana i kā lākou kumu no ka wahi o s. Bach; i ka hapa 15 o ka symphony 1 o Glazunov, ua hoʻokumu ʻia ka derivative (helu 1) i ka hui kumu (helu 8) i ka counterpoint reversible incomplete me ka hoʻonui ʻana i kekahi o nā leo; hui pū paʻakikī me ka hoʻonui ʻana i nā kumuhana derivative pūhui ma FP. ʻO ka quintet g-moll a Taneyev (helu 30 a me 31; e ʻike i ka laʻana ma ke kolamu 78).
V. Tormis. "No ke aha lākou e kali ai iā Jaan" (ʻAʻole 4 mai ka pōʻai mele "Songs of Jan's Day").
Hoʻololi ka manaʻo o ka polyphony i kēia manawa i ka wehewehe ʻana o ka counterpoint, kahi e hiki ai ke pālua, mai ka harmonic. nā kūlana mele o ke kenekulia 20. aka, e kaupalena i ka hoohana ana i ke kope i.-l. def. nā waena a i ʻole nā mele. No ka laʻana, ma ka 2nd scene o ka hana 3 o ka opera "The Legend of the Invisible City of Kitezh and the Maiden Fevronia" na Rimsky-Korsakov (helu 210), hōʻike ʻia ka hoʻohālike o ka leitmotif Tatars e nā manaʻo like. nā mele ʻehiku (e nānā i ka laʻana a); ma ke mele "No ke aha lākou e kali ai iā Yaan" (ʻAʻole 4 mai ka hui mele "Songs of Yaan's Day" na V. Tormis), neʻe nā leo i ka pae lima like ("vertically moving harmony", e like me ka wehewehe ʻana e SS Grigoriev; ʻike. laʻana b), ma ka helu 7 o ka pōʻaiapili pālua like he ʻano huipu (e nānā i ka laʻana c);
V. Tormis. “Song of Jan's Day” (No 7 mai ka pōʻai mele “Songs of Jan's Day”).
i loko o ka "Night" mai Prokofiev's "Scythian Suite" nā leo i loko o kahi kūkulu ʻano canon pau ʻole e kope ʻia e nā mele o nā hale like ʻole (e nānā i ka laʻana d, col. 99).
SS Prokofiev. "Scythian Suite", 3rd hapa ("Night").
He papa o nā hui like ʻole o nā ʻano s. i.
E hoʻomaopopo ': Taneev SI, Movable counterpoint of strict writing, Leipzig, 1909, M., 1959; Taneev SI, Mai ka ʻepekema a me ka hoʻoilina hoʻoilina, M., 1967; ʻO Bogatyrev SS, Hoʻihoʻi ʻia ka counterpoint, M., 1960; Korchinsky E., I ka nīnau o ke kumumanaʻo o ka hoʻohālike canonical, L., 1960; Grigoriev SS, Ma ke mele o Rimsky-Korsakov, M., 1961; Yuzhak K., ʻO kekahi mau hiʻohiʻona o ke ʻano o ka fugue e JS Bach, M., 1965; Pustylnik I. Ya., Movable counterpoint and free writing, L., 1967. See also lit. ma lalo o nā ʻatikala Movable counterpoint, Reversible counterpoint, Rakokhodny movement.
VP Frayonov
