E hoonui |
lat. augmentatio; Hoʻonui Kelemānia, Vergräerung; hoʻonui Farani; ital. no ka hooiaio ana
1) He ala no ka hoʻololi ʻana i ke mele, ke kumuhana, ke kumu, ka ʻāpana mele. huahana, kaha kiʻi rhythmic a kiʻi paha, a me nā hoʻomaha ma ka pāʻani ʻana i nā leo (pause) o ka lōʻihi. Manaʻo ʻo U. i ka hoʻopaʻa pono ʻana o ka puʻupuʻu, i hiki ke hoʻomaikaʻi ʻia i ka notation mensural; ʻO kona hanana ʻana mai ka wā ars nova a pili pū me kahi ʻano i ka rhythmic. kūʻokoʻa polyphonic. nā leo a me ke kumu o ka isorhythmia (e nānā iā Motet). Hoʻohana nui ʻia ʻo U. i nā mele koʻikoʻi, ʻoi aku ka nui o nā contrapuntalists Franco-Flemish - G. Dufay (manaʻo ʻia ka mea kākau o ka canon mua ma U.), J. Okegem (no ka laʻana, ma Missa prolationum), J. Obrecht, Josquin Despres. Hōʻike ʻo U. maʻalahi a hoʻopono no ka lohe ʻana i kahi pilina pōkole ma waena o polyphonic. nā pāloka a me ka lakio pālākiō ma waena o nā ʻāpana o ke ʻano; e like me kekahi mea e hōʻike i ka subordination, nenoaiu, logic o ka hui o na leo, U. he formative waiwai a ma keia manao i ka polyphonic. ʻO ke mele ma kahi pā me ka hoʻohālike, ka counterpoint paʻakikī, ka hoʻololi ʻana a me nā ʻano hana ʻē aʻe o ka hoʻohuli ʻana i ka polyphonic. nā kumuhana (i hui pū me ia i hoʻohana pinepine ʻia). Ka kahiko contrapuntalists practically 'aʻole i hana me ka U. i loko o nā palapala ma ka cantus firmus ma ka nui, motets: maikaʻi-audible chorales ma U. ma ka architectonic. e pili ana i ka hoʻopaʻa ʻana i ka hana i kahi holoʻokoʻa, figuratively - pili maoli (i loko o ka pōʻaiapili o nā ʻano ʻōlelo āpau) me ke ʻano o ka manaʻo nui, objectivity, universality. Ua hui pū ʻia nā haku o ke kākau koʻikoʻi me ka hoʻohālike a me ka canon. Imitation (canon), kahi i hāʻawi ʻia ai kekahi mau risposts ma U., a me ka imitation (canon), kahi e hoʻomaka ai nā leo a pau i ka manawa hoʻokahi, a hele kekahi a i ʻole i U., ua kapa ʻia ʻo imitation (canon) ma U. . Ma ka la'ana ma lalo nei, ua ho'onui 'ia ka hopena o U. ma ka mālama 'ana i ke kuhi ma ka leo ha'aha'a a me luna (e nānā i ke kolamu 666).
Hāʻawi ʻia kahi laʻana o ka canon mensural o Josquin Despres ma Art. Canon (kolu 692) (i kapa ʻia ʻo proportional: kākau ʻia e ka haku mele ma ka laina hoʻokahi a helu ʻia e like me nā kuhikuhi a ka mea kākau). Ma nā ʻano cantus firmus, hoʻopuka pinepine ʻia ka hope ma U. (ma ka holoʻokoʻa a i ʻole ma nā ʻāpana, ʻoi aku ka pololei ʻole, i kekahi manawa me nā memo liʻiliʻi e hoʻopiha ana i nā lele mele; e ʻike i kahi laʻana ma ke kolamu 667).
U. - e like me ka ho'ēmiʻana - hoʻonui, hoʻokahi leo mai ka polyphonic maʻamau. lehulehu, hookiekie ia thematically. koʻikoʻi. Ma keia manao U. ua loaa noi ma ricerkara - he ano ma ka oki i ka alakai kuleana o ka individualized polyphonic ua lohi iki. ʻO nā kumumanaʻo a me nā ʻaoʻao ma mua o ke ʻano koʻikoʻi o ke ʻano manuahi - ka fugue (e nānā i ka laʻana ma ke kolamu 668).
ʻO JS Bach, e hōʻuluʻulu ana i ka ʻike o ʻEulopa. polyphony, hoʻohana pinepine ʻia e W., no ka laʻana. i ka nuipa i h-moll - ma Credo (No 12) a me Confiteor ((No 19), 5-poʻo pālua fugue ma chorale: 2nd theme (ana 17), pili o nā kumuhana (ana 32), pili o nā kumuhana me ka chorale basses (ana 73), ka pilina o nā kumuhana me ka chorale ma U. ma nā tenors (ana 92)). Ma hope o ka loaʻa ʻana o ke kūlana kiʻekiʻe loa ma nā cantatas, nā makemake, nā hoʻololi o ke kino o nā chorales a Bach, nalo maoli nā ʻano o ka cantus firmus mai ka hana haku mele; ma hope mai ua loaʻa iā U. nā noi like ʻole ma ka polyphonic ʻole. mele, ʻoiai e hoʻomau ana i kahi ʻano o ka fugue. ʻO ka ʻae ʻia ʻana o ke kumuhana o ka fugue ma W. -. ʻIke ʻia ʻo U. i kekahi manawa ma ka hōʻike (Contrapunctus VII mai ka Bach's The Art of Fugue; Shchedrin's Fugue Es-dur No. 19).
J. Animuccia. ʻO Christe eleyson mai ka nui o Conditor aime syderum.
Loaʻa pinepine ia i kahi ma ke ala (ma nā ana 62 a me 77 o ka dis-moll fugue mai ka 1st volume o Bach's Well-Tempered Clavier; ma nā ana 62 a me 66 o ka As-dur fugue op. 87 na Shostakovich), e hui pū ana i nā ʻano hana ʻē aʻe o ka hoʻololi ʻana (ma ke ana 14 o ka c-moll fugue mai ka 2nd volume o ka Well-Tempered Clavier, aia ke kumuhana ma U., i ka holo a me ka neʻe maʻamau; ma nā ana 90 a me 96 o ka Des-dur. fugue
Cantus firmus i ka nui o G. Dufay ma L'homme armé. Hāʻawi ʻia ka hoʻomaka ʻana o nā hana, kāpae ʻia nā leo kūʻē: a - ka manaʻo nui; b - hoʻonui me nā kani hou; c, d, e - nā koho hoʻonui; f – hoemi. op. 87 o Shostakovich, ke kumuhana i ka neʻe maʻamau a ma ka manawa like ke kumuhana ma U., ma ke ana 150, ke kumuhana a me kāna pālua a me ka ʻekolu U.). Hoʻonui ʻo W. i ka mea nui. e hōʻike. ʻO ka maikaʻi o ka stretta ʻo ia ka manaʻo o ka thematism, ka waiwai semantic, kahi i ʻike nui ʻia i nā fugues me ka symphony. ka hoʻomohala ʻana (stretta ma ka ʻāpana hoʻomohala o ka symphonic poem "Prometheus" na Liszt; virtuoso stretta mai ka cantata
A. Gabrieli. Reachercar (stretta in magnification).
"Ma hope o ka heluhelu ʻana i ka mele" Taneyev, No 3, helu 6; ʻO ka ana 331 ke kumuhana ma U. a ʻo ke ana ʻo 298 ke kumuhana ma U. me ke kumuhana i ka neʻe maʻamau i ke code o ka hana 2nd. Nā sonata a Myaskovsky; he laʻana o ka hoʻokomo ʻana i kahi kumuhana i loko o U. ma ka culmination - ma waho o ke alahele - he fugue mai ka 1st suite o P. I. Tchaikovsky). Stretta - nui. ʻO ke ʻano o ka canon ma W., ʻoiai ʻike ʻia i kekahi manawa ma waho o ka stretta (ka hoʻomaka ʻana o ka scherzo o ka symphony 1 e Shostakovich; ka hoʻomaka ʻana o ka hapa mua o ka quartet o ka haku mele Latvian R. Kalson; ma ke ʻano he kikoʻī o ke ʻano ma nā kaola 29-30 mai ka No 1 o ka Lunar Pierrot" na Schoenberg), me kahi ʻāpana piha (variation IV mai "Canonical Variations on a Christmas Carol", BWV 769, No 6 ma "Musical Offering. ” a me Canon I ma ka “Art of Fugue” a Bach – nā canons pau ʻole ma U. a i ke kaa ana; ʻAʻole. 21 mai nā Canons a Lyadov; ʻO Stanchinsky's Prelude Ges-dur; ʻAʻole. 14 mai Shchedrin's Polyphonic Notebook). I ka non-polyphonic U. ʻO ke mele ke ʻano o ke mele. hoʻopololei o ka mele. nā kumuhana (ana 62 i ka 5th neʻe o Brahms 'German Requiem; nā kaola 8-10 mai ka helu 9 o Rachmaninov's All-Night Vigil; ma kāna 2nd piano concerto, kahi hana hou o ka ʻaoʻao ʻaoʻao o ka neʻe mua; 1th ana ma hope o ka helu 4 i ka neʻe mua ʻana o ka symphony "The Painter Mathis" a Hindemith; ʻelua pahu i ka helu 9 ma Berg's Violin Concerto). S. S. Ua hoʻohana ʻo Prokofiev iā U. me ka hapa o ka slyness leʻaleʻa (ke mele "Chatterbox" - Allegro As-dur; "Peter a me ka Wolf" - helu 44). Loaʻa ka hopena ʻē aʻe i ke kolu o ka hanana o ke kolu o ka hana ʻo Berg's opera Wozzeck, kahi o ka polka rhythm (ana 3, "invention for one rhythm") ma U. hana ma ke ano he mea hoike no ka hoike ana i ke ano hoopunipuni o ka meʻe (e like me, ana 3 , 122, stretta ma ana 145). U. ʻaʻole i hoʻohana pinepine ʻia ma ke ʻano he mea hana hoʻomohala (nā pahu 187, 180 ma ka ʻāpana 363 o ka symphony 371 a Scriabin; ʻo ka hapa 1 o ka symphony 3 o Myaskovsky, nā helu 4 a me 5, a me ke ana 87 ma mua o ka helu 89 a me 4- ka 15st ana. ma hope o ka helu like i ka neʻe mua ʻana o ka symphony ʻo ia ka "hoʻolohi" o ka hoʻomohala harmonic me ke kōkua o W.; ʻo ka neʻe mua o ka symphony 1 a Shostakovich, helu 1-1; ka hana ʻana o kahi ʻaoʻao i ka hoʻomohala ʻana o ka 5 o ka neʻe ʻana o ka piano. ʻO Sonata No 1 na Prokofiev), maʻamau i nā kiʻekiʻe kūloko a i ʻole maʻamau - solemn (ʻāpana 7 o ka 4th quartet, helu 6 a me 193, 195th hapa o ka quintet piano, helu 4, Taneyev), dramatic (220th hapa o 4 -th symphony. na Shostakovich, helu 1 a me 28) a i ʻole poignantly tragic (34st part of Myaskovsky's 1th symphony, number 6; ibid. helu 48-52 ma ka hapa 53: leitmotif, Za ira, Dies irae, hapa nui 4- th hapa). Ma Lūkini e paʻa ana i nā mele ma W. he mea ia e hoʻokomo ai i ka epic. relics (ʻo ka hapa nui o ka reprise i ʻelua-fold, i ka coda i ʻehā-fold U.
Nā ʻano ʻokoʻa o ka U. Hoʻohana ʻia i nā mele hou o ka 20th Century i hoʻoholo ʻia e kona ʻano maʻamau i ka paʻakikī a me ka helu ʻana. Ma ke mele dodecaphone, hiki iā U ke lilo i manawa hoʻonohonoho i ka hōʻike ʻana i nā mea serial.
A. Webern. Concerto op 24, 1st neʻe. Hoʻonui a hoʻemi i ka holomua o ke kani.
ʻO ke kūʻokoʻa harmonic e hana i nā hui paʻakikī loa me W. hiki, no ka laʻana. hoʻokō pono o ke kumuhana ma U. ma polyphony. I loko o kā Stravinsky's double canon (e pili ana i ke ʻano o ka Venetians G. and A. Gabrieli), ʻo ka 2nd proposte he U. pololei ʻole o ka mua (e nānā i ka laʻana ma nā kolamu 670 a me 671). ʻO ka U. a me ka emi ʻana nā mea nui loa o ka virtuoso rhythmic. ʻenehana o O. Messiaen. Ma ka puke. "ʻO ka ʻenehana o kaʻu ʻōlelo mele" kuhikuhi ʻo ia i kā lākou kuʻuna ʻole. nā ʻano e pili ana i ke ʻano o ka rhythmic. kiʻi a me nā polyrhythms. a me ka ratio polymetric polyphonic. balota (e nānā i ka laʻana ma ke kolamu 671). E pili ana i ka manao o U. ma ka ratio o ka polyphonic. nā leo, ʻimi ʻo Messiaen i ka rhythmic. canons (ʻaʻole i hoʻohālike ʻia ke ʻano melodic), kahi i hoʻololi ʻia ai ka risposta me kahi kiko ma hope o ka memo ("ʻEkolu liturgies liʻiliʻi o ke alo akua", 1st part, risposta i U. hoʻokahi a me ka hapa manawa), a me kahi hui. o nā kiʻi (pinepine ostinato) me nā ʻokoʻa U. a me nā hōʻemi (i kekahi manawa hapa, pololei ʻole, i ka neʻe ʻaoʻao; e ʻike i ka laʻana ma ke kolamu 672).
IF Stravinsky. Canticum sacrum, hapa 3, kaola 219-236. Ua kāpae ʻia nā ʻāpana string e hoʻolike ana i ka papa mele. P, I, R, IR - nā koho moʻo.
O. Mesia. Canon. Ka Laʻana No 56 mai ka ʻāpana ʻelua o ka puke "The Technique of My Musical Language".
2) Ma ka helu kāne kāne, ʻo ka hoʻonui ʻana he hoʻonui i ka lōʻihi o ka memo ma ka hapalua, i hōʻike ʻia e kahi kiko ma hope o ka memo. Ua kapa ʻia ʻo ia he ʻano hoʻopaʻa hoʻopaʻa ʻana e hoʻokani ʻia ai nā memo ma kahi hoʻonui ʻelua a ʻekolu paha o ka lōʻihi: 2/1 (proportio dupla), 3/1 (proportio tripla).
O. Mesia. Epouvante. Ka Laʻana No 50 mai ka ʻāpana ʻelua o ka puke "The Technique of My Musical Language".
E hoʻomaopopo ': ʻO Dmitriev A., Polyphony ma ke ʻano he kumu hoʻohālike, L., 1962; Tyulin Yu., Art of counterpoint, M., 1964; Z Kholopov Yu., Ma nā ʻano ʻē aʻe ʻekolu o ka lokahi, ma: Music and Modernity, vol. 4, M., 1966; Kholopova V., Nā nīnau o ke mele i ka hana a nā haku mele o ka hapa mua o ke kenekulia 1971, M., 1978; ʻO nā ʻike manaʻo no ka mōʻaukala mele, Sat. Art., M., 1978; Nā pilikia o ka puolo mele, Sat. Art., M., 2; Riemann H., Handbuch der Musikgeschichte, Bd 1907, Lpz., 1500; Feininger L., Die Frühgeschichte des Kanons bis Josquin des Prez (um 1937), Emsdetten ma Westf., 1; Messiaen O., Technique de mon langage musical, v. 2-1953, P., XNUMX. See kukui. ma Art. palapala kākau kāne.
VP Frayonov
