ʻO ke kuʻekuʻe hoʻoneʻe |

Kūʻē kūʻē - kahi ʻano o ka counterpoint paʻakikī, kahi hui polyphonic o nā melodies (ʻokoʻa, a me nā mea like, like, hoʻonohonoho ʻia ma ke ʻano o ka hoʻohālike), e hōʻike ana i ke kūkulu ʻana i hoʻokahi a i ʻole. nā pūhui derivative ma muli o ka hoʻololi ʻana i ka ratio mua ma ka hoʻonohonoho hou ʻana (neʻe, hoʻololi) i kēia mau mele hoʻololi ʻole. Ma muli o ke ʻano o ka hoʻonohonoho hou ʻana, e like me ke aʻo ʻana a SI Taneyev, aia ʻekolu ʻano o P. a .: vertically movable, ma muli o ka hoʻololi ʻana i ke kumu. ka ratio o nā melodies i ke kiʻekiʻe, - kahi pilina derivative (e ʻike i nā hiʻohiʻona mele b, c, d, e) i hoʻokumu ʻia ma ka hoʻoili ʻana i ke mele i hoʻokahi a i ʻole kekahi manawa i luna a i lalo (ʻo ia hoʻi ke kū pololei); hiki ke hoʻoneʻe ʻia, ma muli o ka hoʻololi ʻana i ke komo ʻana o kekahi mele, leo pili i kekahi, - ua hoʻokumu ʻia kahi pilina derivative (e nānā i nā laʻana f, g) mai ka neʻe ʻana o kekahi o ka mele. nā leo no kekahi helu o nā ana (beats of a ana) ma ka ʻākau a hema paha (ie, horizontally);

SI Taneev. Mai ka puke "Mobile counterpoint of strict writing".

palua ka lawe lima, e hui ana i na waiwai o ka mua 2, – ua hookumuia kekahi hui hookui (e nana i na laana h, i, j) ma muli o ka like. hoʻololi i ka ratio kiʻekiʻe a me ka ratio o nā manawa o ke komo ʻana o ka melodic. nā koho pāloka (ʻo ia hoʻi ma ka ʻaoʻao a me ka ʻaoʻao).

I ka aesthetic E pili ana i ka polyphony, e like me ka hoʻololi hou ʻana o ka hui ʻana o nā mea hoʻololi ʻole, ma ke ʻano he hui o ka hoʻohou a me ka hana hou ʻana, kahi e hiki ʻole ai ka hoʻohou i kahi pae o kahi ʻano ʻokoʻa, a hoʻonui ʻia ka hana hou ʻana me ka mea hou. ʻo ia kekahi o nā hōʻike o ke ʻano o ka polyphonic. noʻonoʻo (e nānā i ka Polyphony).

ʻO ka waiwai kūpono a me ka puʻunaue ʻana ʻo vertical-P. i. No laila, ʻenehana ʻo ia. kumu polygonal. nā canons o ka māhele 1 (koe wale nā ​​mea i komo nā leo i ka wā like a ma ke ala like).

No ka laʻana, i ka quadruple. fp. I loko o ka canon o AV Stanchinsky, ua kū mai nā permutations kūwaho, hiki ke hōʻike ʻia ka ʻōnaehana e kēia ʻano hana:

Eia ʻo Rl e pili ana iā R (e ʻike iā Risposta, Proposta) a me R3 e pili ana iā R2 e komo i ka octave luna; Hoʻokomo ʻo R2 i ka hapalima haʻahaʻa e pili ana iā R1; 1 hui mua b + a1, kona mau huahelu a2 + b1 a me b2 + a3, 2 hui mua c + b1, kona mau huahelu b2 + c1, ca + b3; ua hoʻohana ʻia kahi kuhi pālua o ka duodecym (Iv = -11; e ʻike ma lalo). ʻO nā hoʻololi i ka vertical-P. k. – he waiwai o na canon pau ole (koe na canons in I will accept) and canonical. nā kaʻina o ka māhele 1st. No ka laʻana, i ka jubilant-leo ʻelua poʻo. I loko o ka canon pau ʻole i hoʻolauna ʻia e MI Glinka i ka hopena climactic o ka coda mai ka overture i ka opera Ruslan a me Lyudmila, nā leo i hana i kēia mau permutations:

Eia: ka hui mua b + a1 (paa 28-27, 24-23, 20-19 mai ka hopena o ka overture), ka derivative a + b1 (pa 26-25, 22-21); Ua hoʻohana ʻia ka helu helu octave pālua (ʻoi aku ka pololei, ʻelima decimals, Iv = -14). Nā laʻana o ka vertical-P. no ka mea ma ka canon. nā kaʻina: poʻo ʻelua. mea hana a-moll No. 13 A. C. Bach, nā pahu 3-4 (e iho i kekona); ʻO ka mele ikaika loa o ka hapa 3 o ka cantata "John of Damascus" na Taneyev i loaʻa nā hiʻohiʻona kakaikahi o ke kaʻina i nā leo ʻehā: ma ka helu 13 e pili ana i nā mea o ka ulu ʻana o ke kumumanaʻo (he kaʻina e iho ana i ke kolu, ma ʻoiaʻiʻo me ka pālua ʻana o nā leo), ma ka helu 15 ma muli o ke kumu kumu mua o ke kumumanaʻo (paʻakikī e nā neʻe ākea). Kau-P. no ka mea - he ʻano o nā fugues paʻakikī a me nā fugues me kahi kūʻē paʻa. No ka laʻana, ma ka fugue pālua mai Kyrie ma Requiem V. A. ʻO Mozart, ʻelua mau kumumanaʻo like ʻole e hana i kahi pilina mua i nā kaola (abbr. – tt.) 1-4; ʻaneʻane me ka ʻole o nā interludes i loko o nā vols nā pūhui derivative o nā kumuhana. 5-8 (octave permutation), 8-11, 17-20 (ma ka hihia hope e hoʻololi i ka duodecime) a pēlā aku. Concentration contrapuntal. ʻenehana (nā hoʻololi kū pololei o nā kumumanaʻo 3) e hōʻike ana i ka hana hou ʻana o ka fugue triple ma C mai FP. ʻO ka pōʻai "Ludus tonalis" a Hindemith, kahi i hoʻohui mua ai i nā vols. 35-37 a me nā huaʻōlelo ma nā puke. 38-40, 43-45, 46-48. Ma ka Cis-dur fugue mai ka 1st volume o ka Well-Tempered Clavier e I. C. ʻO ke kumuhana a Bach o ka fugue a me ka hoʻopaʻa ʻana i hoʻopaʻa ʻia e hana i ka hui mua ma tt. 5-7, nā huahelu ma nā puke. 10-12, 19-21 a ʻoi aku. ʻO ke kumuhana a me ʻelua mau mea kūʻē i ka fugue e D. D. Shostakovich C-dur (No 1) mai ka piano. ʻO ka pōʻai "24 preludes a me nā fugues" e hana i ka pilina mua ma vols. 19-26, i loaʻa mai ia ma nā puke. 40-47, 48-55, 58-65, 66-73. Kau-P. no ka mea, ʻo ia ke ʻano koʻikoʻi o ka hoʻomohala ʻana a me ka hana ʻana i nā fugues me nā interludes polyphonically varied. No ka laʻana, i ka c-moll fugue mai ka 1st volume o Bach's Well-Tempered Clavier, ka 1st interlude (vol. 5-6) – mua, 4th (tt. 17-18) – derivative (Iv = -11, me ka palua hapa o ka leo haahaa), incl. 19 derivative mai ka hoʻomaka ʻana o ka interlude 4 (Iv = -14, a mai ka interlude 1 Iv = -3); 2nd interlude (vols. 9-10) – mua, 5th interlude (tt. 22-23) he huaʻōlelo me ka hoʻololi ʻana i nā leo o luna. I ka homophonic a me ka homophonic-polyphonic hui. ʻano kū-P. no ka mea hiki ke hoʻohana ʻia ma kekahi ʻano a i ʻole ma kekahi o kā lākou ʻāpana, eg. i ka hoʻokumu ʻana i ke kumumanaʻo i ka hoʻomaka ʻana o ka neʻe mua o ka symphony 1 a Glazunov (5 vols. a hiki i ka helu 2 - mua, 4 t. a hiki i ka helu 2 - derivative). I ka hōʻike ʻana i kahi kumuhana ʻaoʻao i ka neʻe mua o ka symphony 1 e P. A ME. Tchaikovsky (hoʻomaka ka mea kumu ma vol. 122, hoʻohui pū ʻia. 128) ʻO ka hoʻololi kūʻokoʻa kahi ala o ka melodic. hoʻopololei o ka mele. mele. I kekahi manawa, hoʻohana ʻia ka neʻe ʻana o ke kūpaʻa i nā kūkulu waena o nā ʻano maʻalahi (L. Beethoven, fp. sonata op. 2 No 2, Largo appassionato: aia ka mea mua i waenakonu o ka ʻano ʻelua ʻāpana, ʻo ia hoʻi. 9, nā mea hoʻopuka - ma nā puke. 10 a me 11); i ka hoʻomohala ʻana i ka sonata, ʻo ia kekahi o nā mea nui a hoʻohana nui ʻia o ka hoʻomohala ʻana i ka motivic (no ka laʻana, i ka neʻe mua ʻana mai ka quartet Es-dur e V. A. Mozart, K.-V. 428: kumu – puke. 85-86, nā huaʻōlelo - vols. 87-88, 89-90, 91-92). Hoʻohana pinepine ʻia ka polyphonic. ka hana ʻana i nā mea me ke kōkua o nā hoʻololi kū pololei i nā ʻāpana reprise, kahi e hāʻawi ai lākou i ka hoʻohou o ke kani (no ka laʻana, ma ka poem op. 32 No 1 Fis-dur, derivative incl. 25). Hoʻohana pinepine ʻia nā permutations vertical i nā hopena. nā ʻāpana o ke ʻano (no ka laʻana, ma Glinka's Aragonese Jota code: ʻo ke kumu ka helu 24, ʻo ka derivative ʻo 25). Kau-P. no ka mea - kekahi o nā ʻano polyphonic i hoʻohana pinepine ʻia. nā ʻano like ʻole (no ka laʻana, ma ka neʻe ʻekolu mai ka quartet D-dur o Borodin: ʻo ka mua o ka reprise ka helu 3, a i ʻole. 111, derivative - helu 5 a i ʻole. 133; ma No.

ʻOi aku ka palena o ka laulā o ka hoʻoneʻe ʻia ʻana a me ka pālua. T. n. ʻO ka "counterpoint with and without pauses" mai ka P. Mulu's mass (i ʻōlelo ʻia e SI Taneyev ma "Mobile counterpoint" a hoʻopuka hou ʻia ma ka helu 1 o MV Ivanov-Boretsky's Musical-Historical Reader, No 42) ʻo ia wale nō ma kona ʻano iho he kumu hoʻohālike o mele. hana, e pili ana i ka horizontally-P. k.: polipona. hiki ke hana ʻia ka ʻāpana ma nā ʻano 2 - me nā hoʻomaha (kumu) a me ka ʻole o lākou (derivative); ʻO kēia rarity he hōʻailona maikaʻi o nā ʻano hana a nā haku o ke au o ke ʻano austere. ʻOi aku ka maikaʻi o ka ʻenehana o ka pae a me ka pālua-P. k. underlies i kekahi mau canons o ka 2nd waeʻano (no ka laʻana, kani e like me ke kiʻekiʻe o ka ulu ana mai ka 1st hapa o ka 5th symphony o DD Shostakovich, he lua canon, kahi i hui ai na kumu nui a me ka lua, helu 32) a me ka canonical . nā kaʻina o ka 2nd waeʻano (no ka laʻana, ma ka hapa 2 o Myaskovsky's quartet No. 3, vol. 70 et seq.). ʻO ka pinepine o nā ʻano i kuhikuhi ʻia o P. to. hui i loko o nā ʻāpana o nā fugues me nā mamao like ʻole o nā hoʻolauna. No ka laʻana, ʻo ka fugue e like me ka ricercar ma C-dur mai ka 1st volume o Bach's Well-Tempered Clavier i loko maoli o nā strettas paʻakikī; ma Credo (No 12) mai ka Mass ma ka h-moll na JS Bach, ka mea kumu - vols. 4-9, nā huaʻōlelo - vols. 17-21, 34-37. I loko o ka fugue mai Ravel's Tomb of Couperin suite, ʻo nā neʻe paʻakikī loa ma nā strettas e hana i nā leo dissonant palupalu i ke ʻano o kēia haku mele: tt. 35-37 - mua (stretta ma ke kumuhana i ka neʻe pololei me ka mamao komo o ʻelua mau ʻewalu); tt. 39-41 – derivative ma ka vertically reversible counterpoint; TT. 44-46 – ka mea hoʻopuka i loko o ka hoʻopiʻi kūʻokoʻa kūpono ʻole; tt. 48-50 - loaʻa mai ka mea ma mua me ka hoʻokaʻawale ākea (ʻo ka mamao komo ka ʻewalu); tt. 58-60 - he derivative ma ke ʻano he ʻekolu pahuhopu. kikoo papalua-P. i.

Loaʻa nā neʻe ʻākau i kekahi manawa ma nā fugues me kahi counterposition i hoʻopaʻa ʻia (e laʻa, ma ka gis-moll fugues mai vol. 1, As-dur a me H-dur mai ka vol. 2 o Bach's Well-Tempered Clavier; i ka fugue hope loa mai ka concerto no 2 FP Stravinsky).

Waiho. ʻO ka lokomaikaʻi e hoʻokaʻawale i nā neʻe ākea i ka mele o WA ​​Mozart, no ka laʻana. i ka sonata D-dur, K.-V. 576, puke. 28, 63 a me 70 (ʻo ka mamao o ke komo ʻana he hoʻokahi-ʻewalu, ʻeono-ʻewalu a me ʻekolu-ʻewalu me ka hoʻololi kū pololei).

Noi nui. ʻokoʻa-ʻeleʻele hoʻoneʻe pae he mea nui, no ka laʻana. in grand fugue Es-dur for organ by JS Bach, BWV 552, vol. 90 et seq.; i ka 2nd neʻe o Glazunov's 7th symphony, 4 ana a hiki i ka helu 16. Ma ka fugue hope o ka string quintet G-dur op. 14 ʻO Taneyev nā kumumanaʻo o ka fugue pālua i ka pilina derivative e lawe ʻia me ka neʻe ʻana (e 2 tons) a me ka permutation vertical:

Ma kahi like me P. to. Pono e hoʻokomo ʻia i kahi ʻano mea kūʻē paʻakikī - counterpoint e hiki ai ke pālua: hoʻokumu ʻia kahi pūhui derivative ma o ka pālua ʻana i hoʻokahi (e nānā i nā laʻana k, 1) a i ʻole nā ​​​​leo āpau me nā consonance kūpono ʻole (i nā mele o ke kenekulia 20 - aia kekahi nā mea pālua ʻē aʻe a hiki i nā pūʻulu). E like me ke ʻano o ka haku mele ʻana, ʻo ka counterpoint, kahi e hiki ai i ka pālua, kokoke loa i ka vertical-P. i., no ka mea, ʻo ka leo pālua ka hopena o ka hoʻololi kū pololei o ka wā pālua - ke kolu, ke ono, ka decimal. ʻO ka hoʻohana ʻana i ka pālua i nā pūhui derivative e hāʻawi i ka manaʻo o ka compaction, massiveness o ke kani; laʻa i ka prelude a me ka fugue no fp. ʻO Glazunov, op. 101 No 3 ka hoʻopili hou ʻana i nā kumuhana o ka fugue pālua i ka m. ʻO 71 ke kumu, ma ka m. ʻO 93 kahi huaʻōlelo me ka hoʻololi kū pololei octave a me ka pālua o nā leo; i loko o ka Variation VI mai nā Variations on a Theme of Paganini no nā piano ʻelua. Lutoslavsky ma ka mea mua, ne'e ka leo luna me ka papalua tertian, ka mea haahaa me na triads nui, ma ka derivative inexact (v. 6) nee ka leo luna me na triad li'ili'i like, o ka lalo me ka hapakolu.

P. i. a me ka counterpoint, hiki ke hoʻohui ʻia me ka counterpoint reversible (no ka laʻana, i ka hoʻomohala ʻana i ka hope o ka symphony C-dur "Jupiter" na WA Mozart, ka hoʻohālike canonical i ka neʻe pololei ʻana i nā pahu 173-175. ʻo ka mua, ma nā kaola 187-189 - he mea hoʻopuka me ka hoʻohuli ʻana a me ka hoʻololi kūʻokoʻa o nā leo, ma nā kaola 192-194 - he derivative me ka hoʻololi kū pololei a me ka leo hoʻokahi wale nō i hoʻohuli ʻia), i kekahi manawa e hui pū me ia ʻano mele. nā hoʻololi, e like me ka hoʻonui, ka emi ʻana, ka hana ʻana i nā kūkulu paʻakikī loa. No laila, ke ʻano o ka polyphonic. hui pu ana ma ke ano. hoʻoholo ke ana i ke ʻano o ka mele FP. quintet g-moll (op. 30) Taneyev: e nānā, no ka laʻana, nā helu 72 (mua) a me 78 (derivative me ka piʻi a me ka neʻe ʻana i ka pae), 100 (derivative i pālua P. k.), 220 - i ka hopena ( hui pū ʻana o ke kumumanaʻo nui me kāna hoʻonui ʻehā).

ʻO ke kumumanaʻo o ka counterpoint a me ka counterpoint, e hiki ai i ka pālua ʻana, ua hoʻomohala ʻia e SI Taneev i kāna hana kumu "Mobile counterpoint of strict writing". Hoʻokumu ka mea noiʻi i kahi notation e hiki ai i ka makemakika. ma ka hoomaopopo pono ana i ka nee ana o na leo a me ka hooholo ana i na kulana no ke kakau ana i ka P. i. ʻO kekahi o kēia mau inoa a me nā manaʻo: I - leo kiʻekiʻe, II - leo haʻahaʻa ma nā leo ʻelua a me ka waena ma nā leo ʻekolu, III - ka leo haʻahaʻa ma nā leo ʻekolu (ua mālama ʻia kēia mau inoa i nā derivatives); 0 - prima, 1 - lua, 2 - kolu, 3 - quart, etc. h (pōkole no ka lat. horisontalis) – ka neʻe ʻana o ka leo; Ih (pōkole no ka lat. index horisontalis) - he hōʻailona o ka neʻe ʻana i ka pae, hoʻoholo ʻia i nā pōʻai a i ʻole nā ​​kuʻi (e nānā i nā laʻana f, g, h, i, j); v (pōkole no ka lat. verticalis) – ka neʻe kū pololei o ka leo. Ana ʻia ka neʻe ʻana o ka leo kiʻekiʻe i luna a i lalo e ka wā kūpono me ka waiwai maikaʻi, ka neʻe ʻana o ka leo luna i lalo a i lalo i lalo e ka wā me kahi hōʻailona hoʻemi (e laʻa, IIV=2 - ka neʻe ʻana o ka leo luna. piʻi i ka hapakolu, IIV=-7 – ka neʻe ʻana o ka leo haʻahaʻa ma luna o ka octave). Ma ke ku-P. j. he permutation, me ka leo kiʻekiʻe o ka pilina kumu (ke kumu o ka leo kumu i ʻelua leo I + II) paʻa i ke kūlana o ka leo luna ma ka derivative, ua kapa pololei ʻia (e nānā i nā laʻana b, c; he kiʻi e hōʻike ana. he hoʻololi pololei i ʻelua leo:

). ʻO ka hoʻololi ʻana, kahi e noho ai ka leo luna o ka leo kumu i ke kūlana o ka leo haʻahaʻa i loko o ka derivative, ua kapa ʻia ʻo ka ʻaoʻao (e nānā i nā laʻana d, e; kona kiʻi:

).

ʻO ka polyphonic poʻo ʻelua he pūhui e ʻae ai i nā permutations kūwaho (ʻaʻole kūʻē wale nō, akā pū kekahi - i ka hoʻohālikelike ʻana i ka wehewehe pololei ʻole maʻamau - a pololei), i kapa ʻia. kaulua helu (German doppelter Kontrapunkt); no ka laʻana, i loko o kahi Inventions ʻelua E-dur No 6 JS Bach kumu - ma vols. 1-4, derivative - ma vols. 5-8, IV=-14 + II V=-7

). ʻEkolu poʻo. ʻO kahi pilina e hiki ai i nā hui 6 o nā leo (kekahi o nā leo kumu e hiki ke kiʻekiʻe, waena a haʻahaʻa paha i ka pilina derivative) ua kapa ʻia ʻo triple counterpoint (German dreifacher Kontrapunkt, Tripelkontrapunkt). Nā kiʻi e hōʻike ana i ka hoʻololi ʻana i ka triphony:

No ka laʻana, i loko o kahi Inventions ʻekolu pahuhopu f-moll No 9 JS Bach: ke kumu - ma vols. 3-4, nā mea hoʻopuka - ma nā puke. 7-8

ma ka helu 19 mai kā Shchedrin's "Polyphonic Notebook" - he derivative ma v. 9. ʻO ke kumu hoʻokahi ke kumu o ka mea liʻiliʻi. quadruple counterpoint (German vierfacher Kontrapunkt, Quadrupelkontrapunkt), e ʻae ana i nā kūlana leo 24 (e nānā, no ka laʻana, nā helu 5, 6, 7 ma ka hapa mua o ka cantata "John of Damascus"; helu 1, 1, 2, 3 i ka hopena. . ma ka papa mele mele helu 4 o ka cantata "Ma hope o ka heluhelu ʻana i ka Halelu" na Taneyev, a ma ka fugue ma e-moll mai ka pōʻai "9 Preludes and Fugues" no pianoforte Shostakovich - vols 24-15 a me 18 -36). ʻO kahi hiʻohiʻona liʻiliʻi o ʻelima counterpoint - ke code o ka hope o ka symphony C-dur (“Jupiter”) na WA ​​Mozart: ka mea kumu ma vols. 39-384, nā huahelu ma nā puke. 387-387, 391-392, 395-396, 399-399; papa hoʻololi:

Algebraic. ʻo ka huina o nā wā o ka neʻe ʻana o nā leo ʻelua (ma ʻelua leo; ma ʻekolu- a me ka polyphony - no kēlā me kēia pālua o nā leo) ua kapa ʻia ʻo ka hōʻailona o ka neʻe kū pololei a ua hōʻike ʻia e Iv (pōkole no ka Latin index verticalis; e nānā i nā laʻana b , c, d, e). ʻO Iv ka wehewehe nui loa i nā aʻo ʻana o SI Taneev, no ka mea, ʻike ʻo ia i nā ʻano maʻamau no ka hoʻohana ʻana i nā wā i hana ʻia ma waena o nā leo polyphonic. ʻiʻo, a me nā hiʻohiʻona o ke alakaʻi leo. No ka laʻana, i ke kākau ʻana i ka hui mua ma ka helu pālua o ka decimal (ʻo ia Iv = -9), ʻo ka neʻe kūʻē a me ka neʻe ʻole ʻana o nā leo i manaʻo ʻia i loko o ke ʻano o ke kākau koʻikoʻi, a ʻaʻole ʻae ʻia ka paʻa ʻana o kahi kuata e ka leo luna a ʻaʻohe leo haʻahaʻa i mea e pale ai i nā leo i ka derivative. pūhui i pāpā ʻia e nā lula o kēia ʻano. Hiki ke hoʻokō ʻia ka hoʻololi ʻana i kēlā me kēia manawa a no laila, hiki i ka Iv ke loaʻa i kekahi waiwai, akā naʻe, ma ka hoʻomaʻamaʻa, ʻekolu ʻano o ka hoʻololi ʻana he mea maʻamau: pālua helu helu helu (Iv = -9 a i ʻole -16), duodecimes (Iv = - 11 a i ʻole -18) a ʻoi aku ka nui o ka helu octave pālua (Iv = -7 a i ʻole -14). Ua wehewehe ʻia kēia e ka ʻoiaʻiʻo i ka hoʻololi ʻana i ka helu pālua o ka octave, decima a me duodecima, hoʻololi liʻiliʻi ka harmonic i nā derivatives. ʻo ke kumu o ka pilina kumu (ʻoi aku ka nui o nā manawa consonant o ka mea kumu i nā wā consonant ma ka derivative; aia ka hilinaʻi like ma waena o nā dissonances). ʻO ka hiki ke hana i nā permutations vertical ma ka decomp. nā wā āpau (ie hoʻohana i nā ʻano waiwai like ʻole o Iv) i hana kūikawā contrapuntal art. he ala e hiki ai i ka haku mele ke hoʻololi maʻalahi i ka sonority. ʻO kekahi o nā hiʻohiʻona koʻikoʻi ʻo ka g-moll fugue mai ka 2nd volume o Bach's Well-Tempered Clavier: ʻo ke kumumanaʻo a me ke kūʻē ʻana i hoʻopaʻa ʻia i ka hui mua i loko o nā kaola. 5-9; mea hoopuka ma tt. 13-17 (Iv=-14), 28-32 (Iv=-11), 32-36 (Iv=-2) a me 36-40 (Iv=-16); Eia hou, ma tt. 51-55 ma ka derivative ua pāpālua ke kumuhana i ke ono mai luna mai (Iv = +5), ma tt. 59-63 ka hoʻololi ʻana ma Iv=-14 me ka pālua ʻana i ke kumumanaʻo me ka hapakolu mai lalo mai, a me ka hoʻohui ʻana e ka hapakolu mai luna mai (Iv = -2). Ma ke mele ma hope o Bach a hiki i ke kenekulia 20. hoʻohana pinepine ʻia kahi permutation octave maʻalahi; akā naʻe, nā haku mele, i ka ulu ʻana o ka harmonica. hoʻohana nā kuokoa i nā hōʻailona liʻiliʻi i hoʻohana ʻia i ka wā ma mua. ʻO ka mea nui, loaʻa lākou i ka canon. nā kaʻina i hoʻokumu ʻia ai kahi pūhui derivative ma waena o ka risposta a me ka hoʻokomo hou ʻana o ka proposta: no ka laʻana, ma ka neʻe ʻelua o ka quartet D-dur a Mozart, K.-V. 499, puke. 9-12 (Iv = -13); i ka neʻe mua o Glazunov's Symphony No. 8, helu 26, puke. 5-8 (Iv = -15); i ka overture i ka opera "Meistersingers of Nuremberg", vol. 7 (Iv = -15) a me ka vol. 15 (Iv = -13); ma ke kii 1 o ka 3 d. "Tales of the invisible city of Kitezh", helu 156, vols. 5-8 (Iv=-10); i ka neʻe mua o Myaskovsky's Quartet No. 12, puke.

HA Rimsky-Korsakov. "The Tale of the Invisible City of Kitezh and the Maiden Fevronia", act III, 1st scene.

ʻO ka pilina i hoʻokumu ʻia e SI Taneyev me ka canon (ma ka puke "The Doctrine of the Canon") i hiki ke hoʻonohonoho pono a hoʻoholo ʻepekema i nā kumu o ka decomp. canon forms. ʻO ka manaʻo o P. i. ua lilo i kumu no ka hoʻomohala hou ʻana i nā aʻo a Taneyev i nā pueo. musicology (SS Bogatyrev, "Double Canon" a me "Reversible Counterpoint").

E hoʻomaopopo ': Taneev SI, Movable counterpoint of strict writing, Leipzig, 1909, M., 1959; nona iho, Doctrine of the Canon, M., 1929; ʻO Ivanov-Boretsky MV, Helu mele a me ka mōʻaukala, vol. 1, M., 1929; Bogatyrev SS, Kānāwai pālua, M.-L., 1947; kona, Reversible counterpoint, M., 1960; ʻO Dmitriev AN, Polyphony ma ke ʻano he kumu hoʻohālike, L., 1962; Pustylnik I. Ya., Movable counterpoint and free writing, L., 1967; Jadassohn S., Lehrbuch des einfachen, doppelten, drei- und vierfachen Contrapunkts, Lpz., 1884, id., ma kāna Musikalische Kompositionslehre, Tl. 1, Bd 2, Lpz., 1926; Riemann H., Lehrbuch des einfachen, doppelten und imitierenden Kontrapunkts, Lpz., 1888. 1921; Prout, E., Kuhikuʻi pālua a me ka canon, L., 1891, 1893.

VP Frayonov