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mai ka lat. kiʻi - nā outlines waho, kiʻi, kiʻi, ala, ʻano, waiwai

1) He pūʻulu ʻano o nā leo (melodic. F.) a i ʻole rhythmic. kaʻana, nā lōʻihi (rhythm. F.), maʻamau pinepine pinepine ʻia.

2) ʻO ka mea hoʻohālikelike.

3) He ʻāpana i hoʻopau ʻia o ka hula, i kūkulu ʻia ma ka hana hou ʻana o kona ʻano choreographic. F., hele pū ʻia me nā mele me nā wehewehe. puolo F.

4) Kiʻi. ka hōʻike ʻana i nā leo a me nā hoʻomaha o ka notation mensural; Ua paʻa ka manaʻo i ke ʻano o nā hōʻailona mele a hiki i ka papahele 1. Ke kenekulia 18 (e nānā iā Spiess M., 1745).

5) F. muz.-rhetorical - he manaʻo i hoʻohana ʻia e kuhikuhi i kekahi mau muses. nā ʻenehana i ʻike ʻia i ka Middle Ages (a ma mua aʻe), akā ua lilo ia i ʻāpana ʻano o nā muses. huaʻōlelo wale nō ma con. 16 – 1 papahele. ʻO ke kenekulia 17 F. i noʻonoʻo i ke kumumanaʻo o nā mele 17-18 mau kenekulia. i loko o ka ʻōnaehana o nā manaʻo i nā mele maʻamau o ia manawa ma ke ʻano he hoʻohālikelike pololei i ka haʻiʻōlelo. Hoʻopili ʻia kēia me ka hoʻololi ʻana i ke kumumanaʻo o ke mele (ma mua o Kelemania) o nā manaʻo o nā ʻāpana nui o ka classical. rhetoric: ka hana ʻana i nā mea haʻiʻōlelo, kona hoʻonohonoho ʻana a me ka hoʻomohala ʻana, ka hoʻonaninani a me ka hāʻawi ʻana i ka ʻōlelo. ʻO kēlā. ala mai ke mele. ʻōlelo ʻōlelo. Ua hilinaʻi ke aʻo ʻana o F. i ka hapakolu o ka haʻiʻōlelo - decor (de-coratio).

ʻO ka manaʻo o ka mele-rhetoric. Ua like ka F. me ka mea nui. nā manaʻo o ka ʻōlelo. decoratio - i nā ala a me F. (e nānā i nā kuʻikahi a I. Burmeister, A. Kircher, M. Spies, I. Mattheson, a me nā mea ʻē aʻe). Ua hāʻawi ʻo F. i ka wehewehe. ʻenehana (ʻoi aku nā ʻano like ʻole o ka melodic a me ka harmonic turns), "e haʻalele ana mai kahi ʻano mele maʻalahi" (Burmeister) a me ka lawelawe ʻana e hoʻonui i ka hōʻike ʻana o ke mele. Mea maʻamau me ka ʻōlelo. F. ua hoʻomaopopo ʻia ke kumu o ka hoʻokaʻawale ʻana mai ka mea i ʻae ʻia ma nā muses. rhetoric ma nā ʻano like ʻole: ma kekahi hihia, he ʻokoʻa kēia mai ka maʻalahi, "unadorned" ʻano o ka hōʻike ʻana, ma kekahi, mai nā lula o ke kākau koʻikoʻi, ma ke kolu, mai ka Classic. nā loina o ka homophonic harmonic. hale kūʻai. Ma ke aʻo ʻana o ka mele-rhetoric. ʻOi aku ma mua o 80 mau ʻano F. i hoʻopaʻa ʻia (e ʻike i ka papa inoa a me ka wehewehe ʻana o F. i loko o ka puke a ke mele mele Kelemania ʻo GG Unter, 1941). ʻO ka hapa nui o lākou i manaʻo ʻia e ka poʻe theorists o ka wā i hala e like me nā palapala. rhetorical F., kahi i loaa mai ai ka lakou Helene. a me ka lat. nā poʻo inoa. ʻAʻohe wahi ʻōlelo liʻiliʻi o F. prototypes, akā ua pili pū ʻia me ka muz.-rhetoric. hoʻopunipuni. Hoʻokaʻawale ʻo G. Unger i ka ʻōlelo mele. F. ma ka hana ma ka hana. i loko o 3 pūʻulu: pictorial, "wehewehe i ka hua'ōlelo"; affective, "wehewehe i ka hopena"; "grammatical" - nā ʻenehana, kahi e hoʻomaka ai ka constructive, logical. Hoʻomaka. Hōʻike. a pili F. hoʻokumu ʻia i loko o ka wok. mele, kahi i hoʻolālā ʻia e haʻi i ke ʻano o ka ʻōlelo waha. Ua hoʻomaopopo ʻia ka ʻōlelo o ka kikokikona ma ke ʻano he kōkua. ʻo ia hoʻi, kumu mele. "mea hana"; i loko ona. nā kuʻikahi o ke kenekulia 17. (I. Nucius, W. Schonsleder, I. Herbst, D. Shper) i hoonoho i na papa inoa o na huaolelo, kahi e noonoo nui ai ke haku mele.

O. Lasso. Motet "Exsurgat Deus" mai Sat. Magnum Opus Musicum.

Ma ka hana hoʻohiwahiwa i hoʻonohonoho ʻia ma kēia ʻano. Ma ke kaʻina hana, ua hōʻike ʻia ke ʻano o ka hoʻohuli ʻana i ka mea hoʻolohe (mea heluhelu, mea nānā), ke ʻano o ke kiʻi Baroque, i kapa ʻia ʻo ka mea kākau moʻolelo ʻo AA Morozov "rhetorical rationalism".

Hoʻohana ʻia kēia mau pūʻulu F. i ke mele ma ke ʻano o nā mele like ʻole. hoʻopunipuni. Ma lalo iho ko lākou hoʻonohonoho ʻana ma muli o ka hui ʻana o X. Eggebrecht:

a) hōʻike. F., e komo pū ana me anabasis (piʻi) a me catabasis (descent), circulatio (circle), fuga (holo; A. Kircher a me TB Yanovka i hoʻohui i nā huaʻōlelo "ma ke ʻano ʻokoʻa" i kona inoa, e hoʻokaʻawale i kēia F. . , "non-depicting" F. fugue; e nana malalo), tirata, etc.; ke ʻano o kēia mau F. - i ka piʻi ʻana a i ʻole ka iho ʻana, pōʻai a i ʻole "holo" melodic. ka neʻe ʻana e pili ana i nā huaʻōlelo pili o ka kikokikona; no ka laʻana o ka hoʻohana ʻana iā F. fuga, e nānā i ke kolamu 800.

I loko o ka mele mele i wehewehe pū ʻia e F. hypotyposis (kiʻi), e hōʻike ana iā Sec. nā hihia o ke mele figurativeness.

b) Melodious, a i ʻole, e like me ka G. Massenkail, interval, F .: exclamatio (exclamation) a me ka nīnau (ninau; e nānā i ka laʻana ma lalo), e hōʻike ana i nā leo kūpono o ka haʻiʻōlelo; passus a me saltus duriusculus - he hoʻolauna i ke mele chromatic. nā wā a me nā lele.

C. Monteverdi. Orpheus, Act II, Orpheus hapa.

c) F. hoʻomaha: abruptio (hoʻopau i manaʻo ʻole ʻia o ke mele), apocope (pōkole maʻamau o ka lōʻihi o ke kani hope o ke mele), aposiopesis (hoʻomaha nui), suspiratio (ma ka manaʻo mele Lūkini o nā kenekulia 17-18 " suspiria” – pauses – “sighs ”), tmesis (nā hoʻomaha e uhaʻi i ke mele; e nānā i ka laʻana ma lalo).

JS Bach. Cantata BWV 43.

d) F. repetition, e hookomo i 15 melodic repetition techniques. nā kūkulu ʻana ma kahi kaʻina like ʻole, no ka laʻana. anaphora (abac), anadiplosis (abbc), palillogia (ka hana hou pololei), climax (ka hana hou ana i ke kaʻina), etc.

e) F. o ka papa fugue, nona ka hi'ohi'ona. ʻenehana: hypallage (hoʻohālike i ke kū'ē), apocope (hoʻohālike piha ʻole i kekahi o nā leo), metalepsis (fugue ma 2 mau kumuhana), etc.

f) Nā huaʻōlelo F. (Satzfiguren) - he manaʻo i hōʻaiʻē ʻia mai ka ʻōlelo ʻōlelo, i hoʻohana pū ʻia me "F. huaʻōlelo”; ʻO ke kumu o kēia pūʻulu lehulehu a heterogene ʻo F., nāna e hana i ka hōʻike a me ka hōʻike. nā hana; ko lākou hiʻohiʻona hiʻohiʻona - i ka lokahi. ʻO ka ʻōlelo Satzfiguren me dec. nā ʻenehana no ka hoʻohana ʻana i nā dissonance e kūʻē i nā lula koʻikoʻi: catachrese, ellipsis (ka hoʻonā hewa ʻole o ka dissonance a i ʻole ka hoʻonā ʻole), extensio (ʻoi aku ka lōʻihi o ka dissonance ma mua o kona hoʻoholo ʻana), parrhesia (papa inoa, hoʻohana i ka hoʻonui a hoʻemi ʻana i nā manawa, kekahi mau hihia o ka mākaukau ʻole a i hoʻoholo hewa ʻole ʻia. dissonances; e nānā i ka laʻana ma lalo); Hōʻike piha ʻia ka ʻike e pili ana i ka dissonant F. ma nā hana a K. Bernhard.

G. Schutz. Sacred Symphony “Singet dem Herren ein neues Lied” (SWV 342).

Aia pū kēia hui i nā ʻano hana kūikawā o ka hoʻohana ʻana i nā consonances: congeries (ʻo kā lākou "hui" i ka neʻe pololei ʻana o nā leo); noema (ka hoʻokomo ʻana i kahi ʻāpana consonantal homophonic i loko o ka pōʻaiapili polyphonic i mea e hōʻike ai i nā manaʻo CL o kahi kikokikona waha), etc. ʻO nā ʻōlelo Ph. pū kekahi i mea nui loa i ka mele o nā kenekulia 17-18. F. antitheton - kū'ē, hiki ke hōʻikeʻia kahiʻokiʻoki i ke mele, ke kuʻikahi, ke mele, a pēlā aku.

g) Ke ano; ma ka puʻuwai o kēia hui F. he decomp. nā ʻano oli, nā paukū (bombo, groppo, passagio, superjectio, subsumptio, etc.), i loaʻa ma nā ʻano 2: i hoʻopaʻa ʻia ma nā memo a me ka hoʻopaʻa ʻole ʻia, improvised. Ua unuhi pinepine ʻia nā ʻano ma waho o ka pilina pololei me ka ʻōlelo. F.

6) F. – mele. kāhiko, kāhiko. Ma ka hoʻohālikelike ʻana me Manieren, ʻike ʻia ka hoʻonaninani i kēia hihia me ka liʻiliʻi a me ka maopopo ʻole - he ʻano hoʻohui i nā kumu. kikokikona mele. ʻO ke ʻano o kēia mau mea hoʻonaninani i kaupalena ʻia i nā liʻiliʻi, melismas.

7) Ma ʻEnelani-Amer. musicology, ka hua'ōlelo "F." Ua hoʻohana ʻia (heluhelu Pelekane) ma 2 mau manaʻo hou aʻe: a) kumu; b) ka helu helu ʻana i ka bass maʻamau; ʻO ka bass figured ma ʻaneʻi ʻo ia hoʻi ka bass digital. Ma ke kumumanaʻo mele, ua hoʻohana ʻia ka huaʻōlelo "figurative music" (lat. cantus figuralis), i hoʻohana mua ʻia (a hiki i ke kenekulia 17) i nā hana i kākau ʻia ma ka notation mensural a hoʻokaʻawale ʻia e ka rhythm. ʻokoʻa, kūʻē i ka cantus planus, mele ʻaʻahu like ʻole; i nā kenekulia 17-18. ʻo ia hoʻi ke mele. kiʻi kiʻi o chorale a i ʻole ostinato bass.

E hoʻomaopopo ': Nā mea hoʻokani mele o ʻEulopa Komohana i nā kenekulia 1971-1972, comp. VP Shestakov. Moscow, 3. Druskin Ya. S., E pili ana i nā ʻano haʻiʻōlelo i ka mele a JS Bach, Kipv, 1975; Zakharova O., Musical rhetoric of the 4th – first half of the 1980th century, in collection: Problems of Musical Science, vol. 1975, M., 1978; nona iho, Musical rhetoric of the 1606th century and the work of G. Schutz, in collection: From the history of foreign music, vol. 1955, M., 1; Kon Yu., Ma kahi o ʻelua fugues na I. Stravinsky, ma ka hōʻiliʻili: Polyphony, M., 2; Beishlag A., Mea hoonani i ke mele, M., 1650; Burmeister J., Musica poetica. Rostock, 1690, paʻi hou, Kassel, 1970; Kircher A., ​​​​Musurgia universalis, t. 1701-1973, Romae, 1738, 1745, rev. Hildesheim, 1739; Janowka TV, Clavis ad thesaurum magnae artis musicae, Praha, 1954, paʻi hou ʻia. Amst., 1746; Scheibe JA, Der crische Musicus, Hamb., 1, 1788; Mattheson J., Der vollkommene Capellmeister, Hamb., 1967, paʻi hou ʻia. Kassel, 22; Spiess M., Tractatus musicus compositorio -practicus, Augsburg, 1925; Forkel JN, Allgemeine Geschichte der Musik, Bd 1926, Lpz., 1963, paʻi hou ʻia. Graz, 18; Schering A., Bach und das Symbol, in: Bach-Jahrbuch, Jahrg. 1932, Lpz., 33; Bernhard Chr., Ausführlicher Bericht vom Gebrauche der Con- und Dissonantien, in Müller-Blattau J., Die Kompositionslehre H. Schützens in der Fassung seines Schülers Chr. Bernhard, Lpz., 15, Kassel-L.-NY, 7; nona iho, Tractatus compositionis augmentatus QDBV, ibid.; Ziebler K., Zur Aesthetik der Lehre von den musikalischen Figuren im 16. Jahrhundert, "ZfM", 1935/1939, Jahrg. 40, H. 3; Brandes H., Studien zur musikalischen Figurenlehre im 1. Jahrhundert, B., 2; Bukofzer M., Allegory in baroque music, "Journal of the Warburg and Courtauld Institutes", 16/18, v, 1941, No 1969-1950; Unger H, H., Die Beziehungen zwischen Musik und Rhetorik im 1955.-1708. Jahrhundert, Würzburg, 1955, paʻi hou ʻia. Hildesheim, 1959; Schmitz A., Die Bildlichkeit der wortgebundenen Musik JS Bachs, Mainz, 1959; Ruhnke M., J. Burmeister, Kassel-Basel, 1965; Walther JG, Praecepta der Musicalischen Composition, (1967), Lpz., 1972; Eggebrecht HH, Heinrich Schütz. Musicus poeticus, Gött., 16; Rauhe H., Dichtung und Musik im weltlichen Vokalwerk JH Scheins, Hamb., 18 (Diss.); Kloppers J., Die Interpretation und Wiedergabe der Orgelwerke Bachs, Fr./M., 1973; Dammann R., Der Musikbegriff im deutschen Barock, Köln, 5; Polisca CV, Ut oratoria musica. The rhetorical basis of musical mannerism, in The meaning of mannerism, Hannover, 2; Stidron M., Existuje v cesky hudbe XNUMX.-XNUMX. stoletн obdoba hudebne rеtorickych figur?, Opus musicum, XNUMX, r. XNUMX, ʻaʻohe XNUMX.

OI Zakharova