ʻO ka wā kahiko |

ʻO ka wā kahiko, pololei loa leo pule, leo pule

lat. modi, toni, tropi; Kirchentöne Kelemānia, Kirchentonarten; Nā ʻano ʻano Farani gregoriens, tons ecclesiastiques; Nā ʻano hale pule Pelekane

ʻO ka inoa o ʻewalu (ʻumikūmālua ma ka hopena o ka Renaissance) monodic modes e underlie professional (ch. arr. church) music of Western Europe. makahiki waena.

Ma ka mōʻaukala, 3 ʻōnaehana o ka hoʻopaʻa inoa ʻana o S. l.:

1) lumi mahu helu (ka mea kahiko; ua hōʻike ʻia nā ʻano e nā huahelu Helene Latinized, no ka laʻana protus - mua, deuterus - lua, a me nā mea ʻē aʻe, me ka mahele ʻelua o kēlā me kēia i ka ʻoiaʻiʻo - nui a me ka plagal - lua);

2) helu maʻalahi (hōʻike ʻia nā ʻano e nā helu Roma a i ʻole nā ​​helu Latin - mai I a VIII; no ka laʻana, primus tone a I, secundus tone a i ʻole II, tertius tone a i ʻole III, etc.);

3) nominal (nominative; ma ke ʻano o ka manaʻo mele Helene: Dorian, Hypodorian, Phrygian, Hypophrygian, etc.). Pūnaehana inoa i hui pū ʻia no ʻewalu S. l.:

I – дорийский – protus authenticus II – Hypodorian – protus plagalis III – Phrygian – authentic deuterus IV – hypophrygian – deuterus plagalis V – лидийский – authentic tritus VI – Hypolydian – tritus plagalis VII – Mixolydian – tetradianlydus VIII

Māhele ʻano nui S. l. - finalis (leo hope), ambitus (volume o ke mele) a - ma nā mele e pili ana i ka mele mele, - repercussion (ʻo ia hoʻi tenor, tuba - leo o ka hana hou ʻana, psalmody); Eia kekahi, nā mele ma S. l. ʻike pinepine ʻia e kekahi melodic. formulas (mai ka mele mele). ʻO ka lakio o ka finalis, ambitus a me repercussion ke kumu o ke ʻano o kēlā me kēia S. l.:

Melodich. nā kumu S. l. i ka mele mele (psalm tones) - hoʻomaka (hoʻomaka mua), finalis (hopena), waena (waena waena). melodic samples. nā kumu a me nā mele ma S. l.:

Himeni “Ave maris Stella.”

Offertory "Ua uē au mai loko mai o ka hohonu."

Antipona "Ke kauoha hou".

Haleluia a me ka pauku "Laudate Dominum".

Māmā "Ua ʻike lākou".

Kyrie eleison o ka Mass "Paschal season".

Misa no ka poe make, komo i ka maha mau.

I na ano o S. l. e komo pū me nā ʻokoʻa (lat. differentiae tonorum, diffinitiones, varietates) - cadence melodic. ʻO nā kumu o ka mele mele antiphonal e hāʻule ana ma ka hopena ʻeono. ka olelo i kapaia. "doxology liʻiliʻi" (seculorum amen - "a mau loa a mau loa amen"), ka mea maʻamau i hōʻike ʻia me ka waiho ʻana o nā consonants: Euouae.

Ke Keikihipa a ke Akua o ka Mass "Ma nā lā o ka hiki ʻana mai a me ka Lent".

Hoʻololi nā ʻokoʻa mai ka pauku mele i ka antifon ma hope. Ma ke mele, ua ʻaiʻē ʻia ka ʻokoʻa mai ka hopena o nā leo mele (no laila, ua kapa ʻia nā hopena o nā leo mele he ʻokoʻa, e ʻike iā "Antiphonale monasticum pro diurnis horis ...", Tornaci, 1963, p. 1210-18).

Antiphon "Ad Magnificat", VIII G.

Ma ka honua a me ka lehulehu. ʻO ke mele o ka Middle Ages (ʻoi aku ka Renaissance), ʻoiai, aia mau nā ʻano ʻē aʻe (ʻo ia ka hemahema o ka huaʻōlelo "S. l." - ʻaʻole maʻamau lākou no nā mele o ka Middle Ages, akā no nā mele pule. no laila, ʻoi aku ka pololei o ka huaʻōlelo "mode pule", "nā leo pule". Akā naʻe, ua mālama ʻole ʻia lākou ma ka mele a me ka ʻepekema. na palapala, malalo o ka mana o ka ekalesia. Ua kuhikuhi ʻo J. de Groheo ("De musica", c. 1300) ʻaʻole pili maikaʻi nā mele honua (cantum civilem) me nā kānāwai o ka hale pule. ʻeha; Ua manaʻo ʻo Glarean ("Dodekachordon", 1547) aia ke ʻano Ionian ma ca. 400 makahiki. I loko o ka Middle Ages kahiko loa i iho mai iā mākou. Loaʻa nā mele mele ʻole liturgical, no ka laʻana, pentatonic, Ionian mode:

Mele Kelemānia e pili ana iā Peter. Con. 9th c.

I kekahi manawa, ʻike ʻia nā ʻano Ionian a me Aeolian (e pili ana i ka nui maoli a me ka liʻiliʻi) ma ke mele Gregorian, no ka laʻana. ua kākau ʻia ka nui monodic "In Festis solemnibus" (Kyrie, Gloria, Sanctus, Agnus Dei, Ite missa est) ma XI, ʻo ia hoʻi ʻo Ionian, fret:

ʻO Kyrie eleison o ka Mass "Ma nā ʻahaʻaina nui."

Ma Ser. ʻO ke kenekulia 16 (e nānā iā "Dodekachordon" Glareana) ma ka pūnaewele o S. l. Ua hoʻokomo ʻia he 4 frets (pēlā he 12 frets). Nā mea hou aku:

Ma Tsarlino (“Dimostrationi Harmoniche”, 1571, “Le Istitutioni Harmoniche”, 1573) a me kekahi mau Palani. a me Kelemania. nā mea mele o ke kenekulia 17 he ʻauhau ʻokoʻa o ʻumikūmālua S. l. hāʻawi ʻia e like me Glarean. Ma Tsarlino (1558):

G. Zаrlinо. "The Harmonic Institutions", IV, mokuna. 10.

У М. Мерсенна («Universal Harmony», 1636-37):

Ke hopohopo nei au - ʻoiaʻiʻo. Dorian (s-s1), II mode – plagal subdorian (g-g1), III fret – ʻoiaʻiʻo. Phrygian (d-d1), IV mode – plagal sub-Phrygian (Aa), V — ʻoiaʻiʻo. Lydian (e-e1), VI – Plagal Sublydian (Hh), VII – ʻoiaʻiʻo. mixolydian (f-f1), VIII – plagal hypomixolydian (c-c1), IX – ʻoiaʻiʻo. hyperdoric (g-g1), X – plagal Sub-Hyperdorian (d-d1), XI – ʻoiaʻiʻo. hyperphrygian (a-a1), XII – plagal subhyperphrygian (e-e1).

I kela a me keia o S. l. hoʻopuka i kāna ʻōlelo kikoʻī ponoʻī. ʻano ʻano. Wahi a nā alakaʻi a ka Ekalesia (ʻoi loa i ka wā kahiko o ka Middle Ages), pono e hoʻokaʻawale ʻia nā mele mai nā mea āpau, "ma ke ao" e like me ka hewa a me ka hoʻokiʻekiʻe ʻana i nā ʻuhane i ke akua ʻuhane, lani, Kristiano. No laila, kūʻē ʻo Clement o Alexandria (c. 150 - c. 215) i ka "nomes" kahiko, pagan Phrygian, Lydian a me Dorian i makemake i "ke mele mau loa o kahi hui hou, ka inoa o ke Akua", e kū'ē i nā "effeminate tunes" a me " uē kani", e "hoʻohaumia i ka ʻuhane" a hoʻokomo i loko o ka "leʻaleʻa" komos, no ka "hauʻoli ʻuhane", "no ka hoʻokiʻekiʻe ʻana a me ka hoʻoluhi ʻana i ka huhū." Ua manaʻo ʻo ia ʻo "harmonies (ʻo ia hoʻi nā ʻano) pono e mālama ʻia a maʻemaʻe." ʻO ke ʻano Dorian (church), no ka laʻana, ʻike pinepine ʻia e ka poʻe theorists he ʻano hanohano, hanohano. Ua kākau ʻo Guido d'Arezzo e pili ana i ka "aloha o ka 6th", "kamaʻilio o ka 7th" frets. ʻO ka wehewehe ʻana o ka expressiveness o nā modes e hāʻawi pinepine ʻia i nā kikoʻī, colorfully (nā ʻano i hāʻawi ʻia i loko o ka puke: Livanova, 1940, p. 66; Shestakov, 1966, p. 349), e hōʻike ana i kahi ʻike ola o ka intonation modal.

Ma ka mōʻaukala S. l. me ke kanalua ole mai ke ano o na frets o ka ekalesia. mele o Byzantium - ka mea i kapa ʻia. oktoiha (osmosis; Greek oxto – ʻewalu a me nxos – leo, mode), aia he 8 mau ʻano, i māhele ʻia i 4 mau pālua, i koho ʻia he ʻoiaʻiʻo a me ka plagal (nā hua mua 4 o ka huapalapala Helene, ua like ia me ke kauoha: I - II - III - IV), a hoʻohana pū ʻia ma ka ʻōlelo Helene. nā inoa mode (Dorian, Phrygian, Lydian, Mixolydian, Hypodorian, Hypo-Phrygian, Hypolydian, Hypomixolydian). Systematization o nā hale pule Byzantine. Ua hoʻoili ʻia nā frets iā John o Damaseko (ka hapa mua o ke kenekulia 1; e ʻike iā Osmosis). ʻO ka nīnau o ka Genesis mōʻaukala o nā ʻōnaehana modal o Byzantium, Dr. Russia a me Western Europe. ʻO S. l. naʻe, pono e noiʻi hou. Muses. ʻAʻole i haʻi ka poʻe manaʻo o ka Middle Ages (8th-early 6th century) i nā ʻano hou (Boethius, Cassiodorus, Isidore o Seville). No ka manawa mua i ʻōlelo ʻia ai lākou i loko o kahi moʻolelo, ua paʻi ʻia kahi ʻāpana e M. Herbert (Gerbert Scriptores, I, p. 8-26) ma lalo o ka inoa ʻo Flaccus Alcuin (27-735); aka, kanalua ka mea nana i kakau. ʻO ka palapala kahiko loa i ʻōlelo hilinaʻi iā S. l. pono e noʻonoʻo ʻia ʻo ka treatise a Aurelian mai Rheome (804th century) "Musica disciplina" (c. 9; "Gerbert Scriptores", I, p. 850-28); ʻo ka hoʻomaka ʻana o kāna mokuna 63 "De Tonis octo" e hoʻopuka hou i ka ʻāpana āpau o Alcunnos. Ua unuhi ʻia ke ʻano ("tone") ma ke ʻano o ke ʻano o ke mele (kokoke i ka manaʻo o ka modus). ʻAʻole hāʻawi ka mea kākau i nā hiʻohiʻona mele a me nā hoʻolālā, akā pili i nā mele o nā antiphons, responsories, offertories, communio. Ma kahi palapala inoa ʻole o ka lā 8 (?) c. "Alia musica" (i paʻiʻia e Herbert - "Gerbert Scriptores", I, p. 9-125) ua hōʻike mua i nā palena pololei o kēlā me kēia o ka 52 S. l. No laila, ua kapa ʻia ka fret mua (primus tonus) ʻo "ka haʻahaʻa" (omnium gravissimus), e noho ana i kahi octave i ka mesa (ie Aa), a ua kapa ʻia ʻo "Hypodorian". ʻO ka mea aʻe (octave Hh) ʻo Hypophrygian, a pēlā aku. (“Gerbert Scriptores,” I, p. 8a). Hoʻouna ʻia e Boethius ("De institutione musica", IV, capitula 127) systematization o ka Helene. nā unahi transpositional o Ptolemy (transpositions o ka "pūnaewele maikaʻi", i hoʻopuka hou i nā inoa o nā ʻano - Phrygian, Dorian, etc. - akā wale nō ma ka hope, piʻi i luna) ma "Alia musica" i kuhihewa no ka systematization o nā ʻano. ʻO ka hopena, ʻo ka Helene nā inoa o nā ʻano i pili i nā unahi ʻē aʻe (e nānā i nā ʻano Helene kahiko). Mahalo i ka mālama ʻana i ka hoʻonohonoho like ʻana o nā unahi modal, ua mau ke ʻano o ka holomua o nā ʻano i nā ʻōnaehana ʻelua, ua hoʻololi wale ke kuhikuhi o ka hoʻololi - i loko o ka laulā ʻelua octave o ka ʻōnaehana hemolele Helene - mai A a hiki a15.

Me ka hooulu hou ana o octave S. l. a me ka laha o ka solmization (mai ka 11th kenekulia), ua loaʻa i ka ʻōnaehana o nā hexachords o Guido d'Arezzo ka noi.

ʻO ka hoʻokumu ʻana o ka polyphony ʻEulopa (i ka wā o ka Middle Ages, ʻoi aku hoʻi i ka wā Renaissance) i hoʻololi nui i ka ʻōnaehana o nā mea kani. a ua alakaʻi i kona luku ʻia. ʻO ke kumu nui i kumu i ka decomposition o S. l. he nui nā pahuhopu. hale kūʻai, ka hoʻokomo ʻana o ka leo a me ka hoʻololi ʻana o ka consonant triad i ke kumu o ke ʻano. Ua hoʻonui ka Polyphony i ke koʻikoʻi o kekahi mau māhele o S. l. - ambitus, repercussions, hana i ka hiki ke hoʻopau i ka manawa hoʻokahi ma ʻelua (a ʻekolu paha) decomp. nā kani (no ka laʻana, ma ka d a me ka manawa like). ʻO ka leo hoʻolauna (musiсa falsa, musica fikta, ʻike Chromatism) ua uhaki i ka diatonicism koʻikoʻi o S. l., hoʻemi ʻia a hana i nā ʻokoʻa pau ʻole i ke ʻano o S. l. o ke ano like, e hoemi ana i na like ole ma waena o na modes i ka hiʻona wehewehe nui - nui a i ole ia. triad. Ka ʻike ʻana i ka consonance o ka hapakolu (a laila ʻeono) i ke kenekulia 13. (mai Franco o Cologne, Johannes de Garland) alakaʻi i nā kenekulia 15-16. i ka hoʻohana mau ʻana i nā consonant triads (a me ko lākou hoʻohuli ʻana) a pēlā e ext. ka hoʻonohonoho hou ʻana o ka ʻōnaehana modal, ke kūkulu ʻana iā ia ma nā chord nui a me ka liʻiliʻi.

S. l. Ua ulu ka mele polygonal i ke ʻano o ka Renaissance (15th-16th century) a hiki i ka "harmonic tonality" (functional harmony of the major-minor system) o nā kenekulia 17-19.

S. l. mele polygonal i nā kenekulia 15-16. loaʻa i kahi waihoʻoluʻu kikoʻī, hoʻomanaʻo hoʻomanaʻo ʻole i kahi ʻōnaehana modal nui-ʻuʻuku i hui pū ʻia (e ʻike iā Major-minor). ʻO ka maʻamau, no ka laʻana, ʻo ka hopena me kahi triad nui o kahi ʻāpana i kākau ʻia i ka lokahi o ke ʻano liʻiliʻi (D-dur - ma Dorian d, E-dur - ma Phrygian e). ʻO ka hana mau o nā harmonics. nā mea o kahi ʻano ʻokoʻa ʻokoʻa loa—nā mele—i loko o kahi ʻōnaehana ʻano ʻokoʻa ʻokoʻa mai ka monody kumu o ke ʻano mele kahiko. ʻO kēia ʻōnaehana modal (renaissance modal harmony) he kūʻokoʻa kūʻokoʻa a kū i waena o nā ʻōnaehana ʻē aʻe, me ka sl a me ka tonality major-minor.

Me ka hoʻokumuʻiaʻana o ka mana o ka'ōnaehana nui-liʻiliʻi (17-19 mau kenekulia),ʻo S. l. e emi malie ana ko lakou ano nui, a koe kekahi hapa i ka Katolika. hale pule i kēlā me kēia lā (emi pinepine - ma ka Protestant, no ka laʻana, ke mele Dorian o ka choral "Mit Fried und Freud ich fahr dahin"). E hoʻokaʻawale i nā laʻana mālamalama o S. l. loaʻa nui ma ka papahele 1. ʻO ke kenekulia 17 Nā kipi ʻano o S. l. e ala mai iā JS Bach i ka hana ʻana i nā mele kahiko; hiki ke hoʻomau i kahi ʻāpana holoʻokoʻa i kekahi o kēia mau ʻano. No laila, ʻo ke mele o ka chorale "Herr Gott, dich loben wir" (ʻo kāna kikokikona he unuhi Kelemānia o ka himeni Latin kahiko, i hana ʻia ma 1529 e M. Luther) ma ke ʻano Phrygian, i hana ʻia e Bach no ka papa mele (BWV 16). , 190, 328) a no ka okana (BWV 725), he hana hou ia o ka himeni kahiko “Te deum laudamus” o ka ha leo, a ua malamaia na mea melodic i ka hana a Bach. formulas o keia Wed.-Century. nā kani.

JS Bach. Hoʻomaka mele no ka ʻōkana.

Ina na mea o S. l. i ka lokahi 17th century. a ma ke mele o ka wā Bach - ke koena o kahi kuʻuna kahiko, a laila e hoʻomaka me L. Beethoven (Adagio "In der lydischen Tonart" mai ka quartet op. 132) aia ke ola hou o ka ʻōnaehana modal kahiko ma kahi kumu hou. . I ka wā o ka romanticism, hoʻohana ʻia nā ʻano hoʻololi o S. l. pili me nā manawa o ka stylization, hoʻopiʻi i ke mele o ka wā i hala (na F. Liszt, J. Brahms; i ka 7th hoʻololi mai nā ʻano like ʻole o Tchaikovsky no ka piano op. 19 No 6 - ke ʻano Phrygian me kahi tonic nui maʻamau i ka hopena) a hui pū me ka poʻe haku mele e hoʻonui i ka nānā ʻana i nā ʻano mele o ka poʻe (e nānā i nā ʻano ʻano kūlohelohe), ʻoi aku hoʻi ʻo F. Chopin, B. Bartok, nā haku mele Lūkini o nā kenekulia 19-20.

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ʻO Yu. H. Kholopov