Ke ano mele |
Helene morpn, lat. forma - helehelena, kiʻi, outlines, helehelena, nani; ʻAno Kelemānia, ʻano Farani, ital. form, eng. kino, kino
maʻiʻo
I. Ke ano o ka huaolelo. Etymology II. ʻAno a me ka ʻike. Nā loina maʻamau o ke kālai ʻana III. Nā ʻano mele ma mua o 1600 IV. Nā ʻano mele polyphonic V. Nā ʻano mele Homophonic o kēia manawa VI. Nā ʻano mele o ke kenekulia 20 VII. Nā aʻo e pili ana i nā ʻano mele
I. Ke ano o ka huaolelo. Etymology. ʻO ka huaʻōlelo F. m.” hoʻohana ʻia ma nā ʻano he nui. nā waiwai: 1) ʻano haku mele; def. hoʻolālā haku mele (ʻoi aku ka pololei, "form-scheme", e like me BV Asafiev) muses. nā hana ("ke ʻano o ka haku mele", e like me ka PI Tchaikovsky; no ka laʻana, rundo, fugue, motet, ballata; pili kekahi i ka manaʻo o ke ʻano, ʻo ia hoʻi, ke ʻano mele); 2) mele. ke ʻano o ka ʻike (kahi hui holoʻokoʻa o nā kumu melodic, harmoni, mika, polyphonic fabric, timbres, a me nā mea ʻē aʻe o ke mele). Ma waho aʻe o kēia mau manaʻo nui ʻelua o ka huaʻōlelo "F. m.” (musical and aesthetic-philosophical) aia kekahi; 3) ke kiʻi kani kū hoʻokahi o nā muses. kahi ʻāpana (kahi hoʻomaopopo leo kikoʻī o kona manaʻo i loaʻa i loko o kēia hana wale nō; kahi mea e hoʻokaʻawale ai, no ka laʻana, hoʻokahi ʻano sonata mai nā mea ʻē aʻe; ʻokoʻa i ke ʻano-type, ua hoʻokō ʻia e kahi kumu kumuhana ʻaʻole i hana hou ʻia i loko. nā hana ʻē aʻe a me kona hoʻomohala ʻana i kēlā me kēia, ma waho o nā ʻepekema ʻepekema, ma ke mele ola aia wale nō ka F. m.); 4) nani. hoʻonohonoho i nā mele mele ("harmony" o kāna mau ʻāpana a me nā ʻāpana), hāʻawi i ka nani. ka hanohano o ke mele. nā haku mele (ke ʻano waiwai o kona ʻano hoʻohui; "ʻo ia hoʻi ka nani ...", e like me MI Glinka); ka waiwai waiwai maikaʻi o ka manaʻo o F. m. loaʻa i ka kū'ē: "form" - "formlessness" ("deformation" - kahi distortion o ke ʻano; ʻo ka mea ʻaʻohe ʻano he aesthetically flawed, ʻino); 5) kekahi o nā mea nui ʻekolu. nā māhele o ka mele-theoretical i hoʻohana ʻia. ʻepekema (me ke kuʻikahi a me ka counterpoint), ʻo ia ke kumuhana o ke aʻo ʻana o F. m. I kekahi manawa mele. kapa ʻia ke ʻano: ke ʻano o nā muses. prod. (kona hale), ʻoi aku ka liʻiliʻi ma mua o nā huahana āpau, nā ʻāpana mele piha piha. ʻO nā haku mele he mau māhele o ke ʻano a i ʻole nā ʻāpana mele. op., a me ko lakou mau hiʻohiʻona ma ke ano holoʻokoʻa, hale (no ka laʻana, ka hoʻokumu ʻana o ke ʻano, nā cadences, nā hoʻomohala - "ke ʻano o kahi ʻōlelo", kahi manawa ma ke ʻano he "ʻano"; "nā ʻano hui like ʻole" - PI Tchaikovsky; "kekahi he ʻano, e ʻōlelo kākou, he ʻano cadence” – GA Laroche; “Ma kekahi mau ʻano mele o kēia wā” – VV Stasov). Etymologically, Latin form - lexical. ka pepa huli mai Greek morgn, me, koe wale no ka mea nui. ʻO ke ʻano o ka "hiʻohiʻona", ka manaʻo o kahi hiʻohiʻona "nani" (ma Euripides eris morpas; - he hoʻopaʻapaʻa ma waena o nā akua wahine e pili ana i kahi hiʻohiʻona nani). Lat. ka hua'ōlelo forma - helehelena, kiʻi, kiʻi, hiʻohiʻona, helehelena, nani (no ka laʻana, ma Cicero, forma muliebris - nani wahine). Nā huaʻōlelo pili: formose – slender, graceful, beautiful; formosulos - nani; rama. frumos a me Pukiki. formoso - nani, nani (He "formosum anni tempus" ʻo Ovid - "kau nani", ʻo ia hoʻi, puna). (E nānā iā Stolovich LN, 1966.)
II. ʻAno a me ka ʻike. Nā loina maʻamau o ka hana ʻana. ʻO ka manaʻo o ka "form" hiki ke hoʻopili i ka decomp. pair: ʻano a me mea, ʻano a me nā mea (e pili ana i ke mele, i ka wehewehe hoʻokahi, ʻo ka mea i kona ʻaoʻao kino, ʻo ke ʻano ka pilina ma waena o nā mea kani, a me nā mea a pau i kūkulu ʻia mai ia mau mea; ma kekahi wehewehe ʻana, ʻO ka mea waiwai nā ʻāpana o ka haku mele - melodic, harmonic formations, timbre finds, etc., a me ke ʻano - ke ʻano like ʻole o nā mea i kūkulu ʻia mai kēia mea), ke ʻano a me ka ʻike, ke ʻano a me ke ʻano ʻole. ʻO nā hua'ōlelo nui. he lua o ke ano - maʻiʻo (ma keʻano heʻano philosophical waeʻano, ka manaʻo o ka "maʻiʻo" i hoʻolaunaʻia e GVF Hegel, ka mea i unuhi ia i loko o ka pōʻaiapili o ka interdependence o ka mea a me ke ano, a me ka maʻiʻo ma ke ano o ka waeʻano ua komo ia mau mea, ma ka wehe ʻia ke ʻano Hegel, 1971, pp. 83-84). Ma ka Marxist theory of art, ʻike ʻia ke ʻano (me ka F. m.) i loko o kēia mau ʻāpana, kahi i hoʻomaopopo ʻia ai ka ʻike ma ke ʻano he hōʻike o ka ʻoiaʻiʻo.
ʻO ka ʻike o ka mele - ext. ka uhane o ka hana; ka mea a ke mele e hoike mai ai. Waena. manaʻo mele. maʻiʻo - mele. manaʻo (sensually embodied musical thought), muz. he kiʻi (he ʻano hōʻike holoʻokoʻa e wehe pololei ana i ka manaʻo mele, e like me ke "kiʻi", he kiʻi, a me kahi hōʻike mele o nā manaʻo a me nā kūlana noʻonoʻo). Hoʻokomo ʻia ka ʻike o ka hoʻopiʻi me ka makemake no ka poʻe kiʻekiʻe, ka mea nui ("He mea pena kiʻi ... pono e hoʻoikaika a puhi i nā pahuhopu nui ākea," he leka mai PI Tchaikovsky iā AI Alferaki i hoʻopaʻa ʻia ma ʻAukake 1, 8). ʻO ka hiʻohiʻona nui o ka ʻike mele - nani, nani, nani. kūpono, ʻāpana callistic o ke mele ma ke ʻano he aesthetic. phenomena. Ma ka Marxist aesthetics, ua unuhi ʻia ka nani mai ke ʻano o nā hui. hana kanaka e like me ka nani. ʻO ka mea maikaʻi he kiʻi i noʻonoʻo nui ʻia o ka ʻike āpau o ke kūʻokoʻa o ke kanaka (LN Stolovich, 1891; S. Goldentricht, 1956, p. 1967; a me Yu. B. Borev, 362, p. 1975-47). Eia kekahi, ka haku mele ʻana o nā muses. hiki ke komo i loko o nā kiʻi mele ʻole, a me kekahi mau ʻano mele. ʻO nā hana me nā mele mele ʻole. nā mea - nā kiʻi kikokikona ma wok. mele (kokoke i nā ʻano like ʻole, me ka opera), ke kahua. nā hana i hoʻokomo ʻia i loko o ka hale keaka. mele. No ka piha ʻana o ke kiʻi. pono ka hoʻomohala ʻana o nā ʻaoʻao ʻelua no kahi hana - he ʻike manaʻo hoihoi, hoihoi, a me kahi kiʻi i kūkulu ʻia. palapala. ʻO ka nele o kekahi a i ʻole kekahi e hoʻopilikia i ka nani. ka pono o ka hana.
ʻO ke ʻano i ke mele (ma ke ʻano aesthetic a me ka noʻonoʻo) ʻo ia ka ʻike leo o ka ʻike me ke kōkua o kahi ʻōnaehana o nā mea kani, ʻano, nā pilina, ʻo ia hoʻi, pehea (a me ka mea) i hōʻike ʻia ka ʻike o ke mele. ʻOi aku ka pololei, F. m. (ma kēia ʻano) he stylistic. a me kahi ʻano paʻakikī o nā mea mele (no ka laʻana, no ka himeni - i hoʻolālā ʻia no ka manaʻo nui o nā hoʻolauleʻa; ka maʻalahi a me ka lapidarity o kahi mele mele i manaʻo ʻia e hoʻokani ʻia e kahi papa mele me ke kākoʻo o kahi orchestra). wehewehe. kā lākou hui pū ʻana a me ka launa pū ʻana (ke ʻano i koho ʻia o ka neʻe ʻana o ka rhythmic, nā lole tonal-harmonious, dynamics of shaping, etc.), holistic organization, i wehewehe ʻia. ʻenehana mele. haku mele (ʻo ke kumu nui o ka ʻenehana ka hoʻokumu ʻana i ka "coherence", hemolele, nani i ka haku mele). E hōʻikeʻia nā mea a pau. ʻO ke ʻano o ke mele, i uhi ʻia e nā manaʻo laulā o "style" a me "technique", i hoʻolālā ʻia i kahi hanana holoʻokoʻa - kahi mele kikoʻī. haku mele, ma F. m.
Aia ke ʻano a me ka ʻike i loko o kahi lokahi hiki ʻole ke hoʻokaʻawale ʻia. ʻAʻohe mea liʻiliʻi loa o nā muses. maʻiʻo, ʻaʻole pono e hōʻike ʻia e kekahi a i ʻole hui pū ʻana o nā mea hōʻike. ʻo ia (no ka laʻana, ʻo nā huaʻōlelo maʻalahi a hiki ʻole ke haʻi ʻia e hōʻike i ke aka o ke kani o kahi chord, e pili ana i kahi kikoʻī o kona mau leo a i ʻole nā timbres i koho ʻia no kēlā me kēia o lākou). A ʻo ka hope, ʻaʻohe mea like, ʻo ka ʻenehana "abstract" loa. 'ano, 'a'ole ia e 'ike i ka c.-l, mai nā māhele o ka ma'i'o (no ka la'ana, ka hopena o ka ho'onui 'ana o ka wā canon i kēlā me kēia ho'ololi, 'a'ole i 'ike pono 'ia e ka pepeiao i kēlā me kēia ho'ololi, ka helu. ʻO ia ka mea hiki ke puʻunaue ʻia e ʻekolu me ke koena ʻole, ma ka "Goldberg Variations" ʻaʻole wale ʻo JS Bach e hoʻonohonoho i ke ʻano holoʻokoʻa holoʻokoʻa, akā komo pū i ka manaʻo o ka ʻaoʻao ʻuhane o ka hana). ʻIke maopopo ʻia ka hiki ʻole ke hoʻokaʻawale ʻia o ke ʻano a me ka ʻike i ka mele i ka hoʻohālikelike ʻana i nā hoʻonohonoho o ka mele hoʻokahi e nā haku mele like ʻole (cf., no ka laʻana, The Persian Choir from the opera Ruslan and Lyudmila by Glinka and I. Strauss's march i kākau ʻia i ka mele hoʻokahi- theme) a i ʻole ma nā ʻano like ʻole (no ka laʻana, nā ʻano hoʻololi piano B-dur a I. Brahms, nona ke kumuhana no GF Handel, a me nā kani mele a Brahms i ka hoʻololi mua). I ka manawa like, i ka lokahi o ke ʻano a me ka ʻike, ʻo ka ʻikepili ke alakaʻi, dynamically mobile factor; He kuleana koʻikoʻi kāna ma kēia lokahi. I ka hoʻokō ʻana i ka ʻike hou, hiki ke kū mai kahi ʻokoʻa ʻokoʻa ma waena o ke ʻano a me ka ʻike, ke hiki ʻole ke hoʻomohala piha ka ʻike hou i loko o ke ʻano o ka ʻano kahiko (ua hoʻokumu ʻia kēlā ʻano kūʻē, no ka laʻana, i ka wā o ka hoʻohana ʻana i nā ʻenehana baroque rhythmic a me polyphonic. e hoʻomohala i kahi mele mele 12-leo i nā mele o kēia wā). Hoʻoholo ʻia ka kūʻē ʻana ma ka lawe ʻana i ke ʻano me ka ʻike hou, ʻoiai e wehewehe ana. pau nā mea o ke ʻano kahiko. O ka lokahi o F. m. a ʻo ka ʻike e hiki ai i ka manaʻo o kekahi mea hoʻokani pila; akā naʻe, ʻo ia hoʻololi pinepine ʻana o nā waiwai o ka maʻiʻo e hoʻokumu (a i ʻole ka hope), pili i ka hiki i ka mea ʻike ke "heluhelu" i nā ʻike kiʻi i loko o ka hui ʻana o nā mea o ke ʻano a noʻonoʻo iā ia ma ke ʻano o F. m. , ʻaʻole ia he ʻike o ke ʻano a me ka ʻike.
Nā mele. ka hihia, e like me nā mea ʻē aʻe. ʻano o ka art-va, he hōʻike o ka ʻoiaʻiʻo i loko o kāna mau papa hana a pau, ma muli o ka evolution. nā pae o kona ulu ʻana mai nā ʻano haʻahaʻa haʻahaʻa a hiki i nā ʻano kiʻekiʻe. No ka mea ʻo ka mele ka lokahi o ka ʻike a me ke ʻano, ʻike ʻia ka ʻoiaʻiʻo e kona ʻike a me kona ʻano. I loko o ke mele-nani e like me ka "ʻoiaʻiʻo" o ke mele, hoʻohui ʻia nā ʻano waiwai aesthetic a me nā inorganic. honua (ana, proportionality, proportionality, symmetry o nā ʻāpana, ma ka laulā, ka pilina a me ka lokahi o nā pilina; cosmological. ʻO ka manaʻo o ka noʻonoʻo ʻana i ka ʻoiaʻiʻo e ka mele ka mea kahiko loa, mai ka Pythagoreans a me Plato ma o Boethius, J. Carlino, I. ʻO Kepler lāua ʻo M. Mersenne a hiki i kēia manawa; knm. Kayser H., 1938, 1943, 1950; ʻO Losev A. F., 1963-80; Losev, Shestakov V. P., 1965), a me ka honua o nā mea ola ("hanu" a me ka mahanahana o ka intonation ola, ka manaʻo o ka hoʻohālikelike ʻana i ke ola o nā muses. hoʻomohala ma ke ʻano o ka hānau ʻana o ke mele. manaʻo, kona ulu ʻana, piʻi, a hiki i luna a hoʻopau, kēlā me kēia. ka wehewehe ʻana i ka manawa mele e like me ka manawa o ka "poe ola" o ke mele. “mea ola”; ka manaʻo o ka maʻiʻo ma ke ʻano he kiʻi a me ke ʻano he mea ola, integral organism), a me ke kanaka - mōʻaukala. a me ka pilikanaka - ka honua uhane (i ka hoʻopili ʻana o ka subtext associative-spiritual e hoʻolalelale ana i nā hale kani, ka hoʻonohonoho ʻana i ka pono. aesthetic ideal, ka embodiment o ke kuokoa uhane o ke kanaka, mōʻaukala. a me ka manaʻo hoʻoholo kaiapili o ka ʻike a me ka manaʻo o ka mele, a me F. m.; "ʻO ke ʻano mele ma ke ʻano he mea i hoʻoholo ʻia i ka nohona ka mea mua i ʻike ʻia he ʻano ... o ka ʻike ʻana i ka nohona o nā mele i ke kaʻina o ka leo." - Asafiev B. V., 1963, p. 21). ʻO ka hoʻohui ʻana i hoʻokahi ʻano o ka nani, nā ʻāpana āpau o ka hana maʻiʻo, ʻo ia hoʻi o., e like me ka hoʻohālikelike ʻana i ka ʻoiaʻiʻo ma ke ʻano o ka hoʻouna ʻana i kahi lua, ʻano "humanized". Musical Op., E hoʻomanaʻo ana i ka mōʻaukala. a me ka pilikanaka hoʻoholo maoli ma o ka maikaʻi o ka nani ma ke ʻano he hōʻailona no kona nani. ka loiloi ʻana, a no laila ua lilo i ke ala a mākou i ʻike ai - "objectified" nani, he hana noʻonoʻo. Eia naʻe, ʻo ka noʻonoʻo ʻana o ka ʻoiaʻiʻo i nā ʻano o ke ʻano a me ka ʻike, ʻaʻole ia ka hoʻololi wale ʻana o ka ʻoiaʻiʻo i hāʻawi ʻia i loko o ke mele (ʻo ka noʻonoʻo ʻana o ka ʻoiaʻiʻo i loko o ke kiʻi e lilo wale i kope o ka mea i loaʻa me ka ʻole). ʻOiai ʻo ka ʻike kanaka "ʻaʻole e hōʻike wale i ka honua pahuhopu, akā hana pū kekahi ia" (Lenin V. I., PSS, 5 ed., t. 29, p. 194), a me ka hana noʻeau, ʻo ke mele ke ʻano hoʻololi a hoʻomohala. hana kanaka, kahi o ka hana ʻana i nā mea hou (spiritual, aesthetic, artistic. nā waiwai) ʻaʻole i loko o ka mea i hōʻike ʻia ma kēia ʻike. No laila ke koʻikoʻi o ka noʻonoʻo (ma ke ʻano o ka noʻonoʻo ʻana i ka ʻoiaʻiʻo) o nā manaʻo e like me ke akamai, talent, creativity, a me ka hakakā ʻana i nā ʻano kahiko, hope, no ka hana ʻana i nā mea hou, i hōʻike ʻia i loko o ka ʻike. mele a ma F. m No laila ʻo F. m manaʻo mau e. he sila. ʻike honua), ʻoiai b. h ua hoike ia me ka olelo pololei ole politico-ideological. nā hoʻolālā, a ma ka papahana non-program instr. mele - maʻamau me ka ʻole o k.-l. logical-conceptual forms. Ka noʻonoʻo ʻana i ke mele socio-historical. pili ka hoʻomaʻamaʻa ʻana me ka hoʻoponopono radical o ka mea i hōʻike ʻia. He mea koʻikoʻi ka hoʻololi ʻana ʻaʻole hiki ke ʻike ʻia ka ʻike mele-figurative a i ʻole F. m ʻaʻole paha e like me nā mea i ʻike ʻia. ʻO ka manaʻo maʻamau ma ka hana a Stravinsky, kekahi o nā mea hoʻolaha kaulana loa o kēia manawa. ʻoiaʻiʻo i loko o kāna mau kū'ē, ʻaʻole i loaʻa i ka noʻonoʻo akaka o ka ʻoiaʻiʻo o ke kenekulia 20, ua hoʻokumu ʻia ma ka naturalistic, mechanical. ka hoʻomaopopo ʻana i ke ʻano o ka "noʻonoʻo", no ka hoʻomaopopo ʻole ʻana i ka hana ma ka hana noʻeau. e hōʻike ana i ke kumu hoʻololi. ʻIkepili o ka hoʻololi ʻana o ka mea i ʻike ʻia i ke kaʻina hana o ka hana kiʻi. nā hana i hāʻawi ʻia e V.
ʻO nā loina maʻamau o ke kūkulu ʻana i ke ʻano, e pili ana i kekahi ʻano (a ʻaʻole i kahi kaila maʻamau, no ka laʻana, ʻo ka Viennese classics o ka wā Baroque), ke ʻano o F. m. e like me kekahi ʻano a, ma ke ʻano maoli, no laila ua laulā nui ʻia. ʻO ia mau loina maʻamau o kekahi F. m. hōʻike i ke ʻano hohonu o ke mele ma ke ʻano o ka noʻonoʻo (ma nā kiʻi kani). No laila ke ʻano like ʻole me nā ʻano noʻonoʻo ʻē aʻe (ʻo ka mea mua, ʻo ka manaʻo noʻonoʻo, me he mea lā he mea ʻē loa e pili ana i ke kiʻi, mele). ʻO ke kau ʻana o ka nīnau o kēia mau kumu nui loa o F. m. ʻO ka moʻomeheu mele ʻEulopa o ke kenekulia 20 (ʻAʻole hiki ke noho ʻia kēlā kūlana ma ka Honua Kahiko, i ka wā i hāpai ʻia ai nā mele - "melos" - i hui pū ʻia me ka pauku a me ka hula, a i ʻole ma nā mele ʻEulopa Komohana a hiki i 1600, ʻo ia hoʻi a hiki i ka instr. mele. he manaʻo mele noʻonoʻo kūʻokoʻa, a no ka noʻonoʻo ʻana o ke kenekulia 20 i hiki ʻole ke hoʻopaʻa iā mākou iho i ka nīnau o ke kūkulu ʻana i kahi manawa i hāʻawi ʻia wale nō).
ʻO nā kumu nui o kekahi F. m. e hōʻike i loko o kēlā me kēia moʻomeheu i ke kūlana o kekahi a i ʻole kekahi ʻano ʻike ma ke ʻano o nā muses. hoʻopiʻi ma ka laulā, kāna istorich. determinism e pili ana i kahi kuleana pilikanaka, kuʻuna, lāhui a me ka lāhui. kumu maoli. Kekahi F. m. he hōʻike no nā muses. nā manaʻo; no laila ka pilina kumu ma waena o F. m. a me nā ʻano mele. ʻōlelo ʻōlelo (e ʻike hou aʻe ma ka pauku V; e ʻike pū i ke Melody). Hiki i ka noʻonoʻo ke lilo i mele kūʻokoʻa (ʻoi aku ka nui o nā mele ʻEulopa o kēia au), a i ʻole pili ʻia me ka kikokikona, ka hula. (a i ʻole ka hele ʻana) neʻe. Kekahi mele. hōʻike ʻia ka manaʻo i loko o ke ʻano o ka wehewehe. hale leo kani, hōʻike mele. mea kani (rhythmic, pitch, timbre, etc.). E lilo i mea hōʻike mele. manaʻo, ka leo Hoʻonohonoho mua ʻia ka mea o FM ma ke kumu o kahi ʻokoʻa haʻahaʻa: ʻo ka repetition versus non-repetition (ma kēia ʻano, ʻo FM ma ke ʻano he hoʻonohonoho hoʻoholo o nā mea kani i ka wehe ʻana i ke kino o ka noʻonoʻo he mele kokoke); ʻokoʻa F. m. ma kēia ʻano - nā ʻano hana hou. ʻO ka hope loa, ʻo F. m. (ʻoiai ma kahi ʻano like ʻole) ʻo ia ka hoʻomaʻemaʻe, ka maikaʻi o ka hōʻike ʻana o nā muses. nā manaʻo (ʻano nani o F. m.).
III. Nā ʻano mele ma mua o 1600. ʻO ka pilikia o ke aʻo ʻana i ka mōʻaukala mua o nā mele mele he paʻakikī e ka ulu ʻana o ke ʻano o ka hanana i hōʻike ʻia e ka manaʻo o ke mele. ʻO ke mele ma ke ʻano o ka ʻoihana a L. Beethoven, F. Chopin, PI Tchaikovsky, AN Scriabin, me kona ʻano F. m., ʻaʻole loa i ola ma ka honua Kahiko; i ka 4th c. i loko o ka puke kuʻikahi a Augustine "De musica libri sex" bh wehewehe ʻana i ke mele, i wehewehe ʻia ʻo scientia bene modulandi – lit. "ka ʻepekema o ka hoʻololi maikaʻi ʻana" a i ʻole "ka ʻike o ka hoʻokumu pololei ʻana" ʻo ia ka wehewehe ʻana i ke aʻo ʻana o ka mika, rhythm, pauku, kū a me nā helu (F. m. i ka manaʻo hou ʻaʻole i kūkākūkā ʻia ma aneʻi).
Initial Ke kumu o F. m. ʻO ka mea nui ma ke mele ("I ka hoʻomaka ʻana he mele" - X. Bülow), e kū mai ana ma ke kumu o ka mika maʻamau, hoʻoili pololei ʻia i ke mele mai nā ʻano hanana ola like ʻole - pulse, hanu, kaʻanuʻu, ka puʻupuʻu o nā kaʻina. , nā hana hana, nā pāʻani, a me nā mea'ē aʻe (e nānā iā Ivanov-Boretsky MV, 1925; Kharlap MG, 1972), a ma ka hoʻonaniʻana i nā mele "kūlohelohe". Mai ka mea mua mai ka pilina ma waena o ka haʻiʻōlelo a me ka hīmeni ʻana ("ʻO ka ʻōlelo a me ka hīmeni ʻana ma ka mua hoʻokahi mea" - Lvov HA, 1955, p. 38) ka F. m. ("F. m. helu ʻekahi") - he mele, he ʻano mele i hui pū ʻia kekahi ʻano mele mele. ʻO nā hiʻohiʻona nui o ke ʻano mele: kahi pili (a i ʻole koena) me ka pauku, stanza, ʻano like ʻole. (mai nā wāwae) ke kumu o ka laina, ka hui ʻana o nā laina i nā stanzas, ka ʻōnaehana o nā rhyme-cadences, ke ʻano i ke kaulike o nā kūkulu nui (ʻo ia hoʻi - i ka squareness o ke ʻano 4 + 4); Eia kekahi, pinepine (ma ka mele fm i hoʻomohala hou ʻia) ka hele ʻana ma fm o ʻelua mau pae - outlining a hoʻomohala-hoʻopau. Muses. ʻO kahi laʻana o kekahi o nā hiʻohiʻona kahiko loa o nā mele mele ʻo ia ka Papa Seikila (ke kenekulia mua AD (?)), ʻike Art. Nā ʻano Helene kahiko, kolamu 1; see koho kohola. melody (306 millennium BC (?)):
ʻAʻole kānalua, ke kumu a me ke kumu. ka ulu ʻana o ke ʻano mele i ka moʻolelo o nā lāhui a pau. ʻO ka ʻokoʻa ma waena o P. m. hele mai nā mele mai nā kūlana like ʻole o ke ʻano o ke ʻano (e like me ke kumu ola o ke mele) a me nā ʻano metric., Rhythmic. a me nā hiʻohiʻona hoʻolālā o ka poem, rhythmic. nā papa hana ma nā ʻano hula (ma hope mai, 120 mau mele mele na ka mea hoʻokalakupua ʻo Sharngadeva o India o ka makahiki 13). Hoʻopili ʻia me kēia ka manaʻo nui o ka "genre rhythm" ma ke ʻano he kumu mua i ka hoʻohua ʻana—ʻano. hōʻailona hōʻailona. ʻano ʻano (ʻoi loa ka hula, ka hele wāwae), ka puʻupuʻu puʻupuʻu. nā ʻōhua e like me quasi-thematic. (kumu) kumu F. m.
Weed-century. ʻEulopa F. m. ua māhele ʻia i ʻelua pūʻulu nui i ʻokoʻa ma nā ʻano he nui - monodic fm a me polyphonic (ka nui o ka polyphonic; e ʻike i ka pauku IV).
ʻO F. m. Hoʻohālikelike ʻia nā monodies e ka mele Gregorian (e nānā i ke mele Gregorian). Hoʻopili ʻia kona mau hiʻohiʻona me kahi hoʻomana, me ke ʻano wehewehe o ka kikokikona a me kahi kumu kikoʻī. Mele liturgical. ʻokoʻa ke ola o kēlā me kēia lā mai ke mele ma hope o ʻEulopa. sense applied (“functional”) character. Muses. ʻO ke ʻano o ka mea i ʻike ʻole ʻia (hiki ke hoʻololi ʻia nā mele mele mai kekahi mele a i kekahi; ʻo ka nele o ka mea kākau o nā mele ke hōʻike ʻia). E like me nā hoʻonohonoho ideological o ka hale pule no monodich. ʻO F. m. ʻano maʻamau o ka mana o nā huaʻōlelo ma luna o ke mele. Hoʻoholo kēia i ke kūʻokoʻa o ka mika a me ke kani, e pili ana i ka express. ʻO ka haʻi ʻana o ka kikokikona, a me ke ʻano "māmā" o nā contours o FM, me he mea lā ʻaʻohe o ke kikowaena o ka umekaumaha, kona hoʻohaʻahaʻa ʻana i ke ʻano o ka ʻōlelo waha, e pili ana i nā manaʻo o FM a me nā ʻano e pili ana i ka monodic. . pili loa ke ano o ke mele. ʻO ka monodic kahiko loa. ʻO F. m. no ka hoomaka ana. 1 millennium. Ma waena o nā mea kani Byzantine (genres), ʻo ka mea nui ka ode (mele), ka himeni, troparion, himeni, kontakion, a me ka canon (e nānā i nā mele Byzantine). Hōʻike ʻia lākou e ka wehewehe ʻana (e like me nā ʻano like ʻē aʻe, e hōʻike ana i kahi moʻomeheu haku mele i hoʻomohala ʻia). Laʻana o Byzantine F. m.:
inoa ʻole. Canon 19, Ode 9 (III plagal mode).
Ma hope mai, ʻo kēia Byzantine F. m. loaa ka inoa. “paa”.
ʻO ke kumu o ka huaʻōlelo monodic Western European he psalmodia, kahi hana recitative o nā mele e pili ana i nā leo mele. Ma ke ʻano he mele mele ma kahi o ke kenekulia 4. ʻekolu mele nui i hoʻopaʻa ʻia. ʻO F. m. - pane (ʻoi aku ka maikaʻi ma hope o ka heluhelu ʻana), antiphon a me ka mele ponoʻī (psalmus in directum; me ka ʻole o ka responsor a me nā ʻano antiphonal). No ka la'ana o ka Halelu F. m., e nana Art. ʻO ka wā kahiko. Psalmodic. ʻO F. m. hōʻike i kahi ʻano like ʻole, akā naʻe mamao, me ka manawa o ʻelua mau ʻōlelo (e ʻike i ka cadence piha). ʻO ia monodic. F. m., e like me ka litany, himeni, versicule, magnificat, a me ka sequence, prosa, and tropes, i ala mai mahope. Kekahi mau F. m. he hapa o ka officium (ekalesia. na lawelawe o ka la, ma waho o ka nuipa) - he himeni, he himeni me ka antiphon, he responsor, he magnificat (koko o lakou, ua komo na vespers, invitatorium, nocturne, canticle me ka antifon) ma ka luna. E nana Gagnepain B., 1968, 10; see also art. Mele Ekalesia.
Higher, monumental monodich. ʻO F. m. – ka nui (mass). Hoʻokumu ʻia ka FM o ka Mass i kēia manawa i kahi pōʻai nui, i hoʻokumu ʻia ma ke ʻano o nā ʻāpana o ka maʻamau (ordinarium missae - kahi hui o nā mele mau o ka Mass, kūʻokoʻa i ka lā o ka makahiki pule) a me propria (proprium missae. - nā mea hoʻololi) i hoʻoponopono pono ʻia e ke kumu moʻomeheu i kēlā me kēia lā. himeni i hoolaaia i keia la o ka makahiki).
ʻO ka hoʻolālā maʻamau o ke ʻano o ka Mass Roma (hōʻike nā helu Roma i ka mahele kuʻuna o ke ʻano o ka Mass i 4 mau ʻāpana nui)
Ua hoʻomau ka manaʻo noʻonoʻo i ka Gregorian Mass kahiko i ko lākou ʻano koʻikoʻi ma kekahi ʻano a i ʻole kekahi no nā manawa ma hope, a hiki i ke kenekulia 20. Nā ʻano o nā ʻāpana o ka mea maʻamau: ʻO Kyrie eleison he ʻekolu ʻāpana (he manaʻo hōʻailona kona), a ua hana ʻia kēlā me kēia leo i ʻekolu manawa (ʻo aaabbbece a i ʻole aaa bbb a 1 a1 a1; aba ede efe1; aba cbc dae) . Huki liʻiliʻi P. m. Hoʻohana mau ʻo Gloria i kekahi o nā kumu koʻikoʻi o ka motive-thematic. nā hale: ka hana hou ʻana o nā huaʻōlelo – ka hana hou ʻana o ke mele (ma nā ʻāpana 18 o Gloria ka hoʻopaʻi hou ʻana i nā huaʻōlelo Domine, Qui tollis, tu solus). P. m. Gloria (ma kekahi o nā koho):
Ma hope mai (i ka makahiki 1014), ua kūkulu ʻia ʻo Credo, ka mea i lilo i ʻāpana o ka Mass Roma, ma ke ʻano he F. m. haʻahaʻa, e like me Gloria. P. m. Hoʻokumu pū ʻia ʻo Sanestus e like me ka kikokikona - he 2 mau ʻāpana, ʻo ka lua o lākou ka mea pinepine - ut supra (= da capo), e like me ka hana hou ʻana o nā huaʻōlelo Hosana m excelsis. ʻO Agnus Dei, ma muli o ke ʻano o ka kikokikona, he tripartite: aab, abc a i ʻole aaa. He laʻana o F. m. monodich. no ka Gregorian Mass, e nānā i ke kolamu 883.
ʻO F. m. ʻO nā mele Gregorian - ʻaʻole abstract, hoʻokaʻawale ʻia mai ke ʻano mele maʻemaʻe. kūkulu ʻia, akā ʻo ke ʻano i hoʻoholo ʻia e ka kikokikona a me ke ʻano (ke ʻano kikokikona-mele).
Typological like me F. m. Komohana-ʻEulopa. monodic ekalesia. mele - ʻē aʻe Lūkini. ʻO F. m. ʻO ka hoʻohālikelike ma waena o lākou e pili ana i ka aesthetic. nā mea e pono ai no F. m., nā mea like i ke ʻano a me ka ʻike, a me ke mele. nā mea (nā mele, nā laina melodic, ka pilina ma waena o nā kikokikona a me nā mele). ʻO nā laʻana decipherable i iho mai iā mākou mai nā Lūkini ʻē aʻe. Aia nā mele i loko o nā manuscript o nā kenekulia 17 a me 18, akā ʻo kāna mau mea kani no ke kumu kahiko loa. ʻO ka ʻaoʻao ʻano o kēia mau F. m. ua hoʻoholo ʻia e ka manaʻo hoʻomana o Op. a me ka kikokikona. ʻO ka māhele nui loa o nā ʻano a me F. m. e like me nā ʻano lawelawe: Mass, Matins, Vespers; Compline, Keena Aumoe, Hora; ʻO ka All-Night Vigil ka hui ʻana o nā Vespers Nui me Matins (akā naʻe, ʻo ka hoʻomaka mele ʻole ke kumu hoʻopaʻa o F. m. maanei). Nā ʻano kikokikona a me nā manaʻo hoʻopaʻa ʻia—stichera, troparion, kontakion, antifon, theotokion (dogmatist), litanies—hōʻike i nā ʻano like ʻole me nā manaʻo like ʻo Byzantine; ka mea hui F. m. he canon kekahi (e nana Canon (2)). Ma waho aʻe o lākou, ua hana ʻia kahi hui kūikawā i nā ʻano kikoʻī-textual (a, like, fm): hoʻomaikaʻi ʻia, "ʻO kēlā me kēia hanu", "Pono e ʻai", "Kuhi mālie", sedate, Cherubic. He mau ʻano kumu a me F. m., e like me nā kikokikona-genres-forms ma Western Europe. mele – Kyrie, Gloria, Te Deum, Magnificat. ʻO ka hui ʻana o ka manaʻo o P. m. me ka kikokikona (a me ke ano) kekahi o na ano. nā loina o ka F. m. kahiko; ʻo ka kikokikona, ʻo ia hoʻi kona ʻano, ua hoʻokomo ʻia i ka manaʻo o FM (FM ma hope o ka mahele ʻana o ka kikokikona i nā laina).
Gregorian Mass din Feriis per annum” (hōʻike ʻia nā frets ma nā helu Roma).
I nā manawa he nui, ke kumu (mea) F. m. oli (e nana i ka Metallov V., 1899, pp. 50-92), a o ke ano o ko lakou hoohana ana he anoano like ole (ma ke ano kuokoa o ke ano oli o na mele Lūkini e ae, kekahi o na mea like ole ma waena o ko lakou F. m. European chorale. , no ka mea, he ʻano ʻano ke ʻano o ka hoʻoponopono ʻana i ka hoʻolālā kūpono). He kumuhana ka paʻakikī o nā mele. ke kumu o ka haku mele nui o F. m. I loko o nā haku mele nui, ʻo nā contours maʻamau o F. m. haku mele (non-musical): hoomaka – waena – hope. ʻO nā ʻano like ʻole o F. m. hui ʻia a puni ka mea nui. ʻano like ʻole o F. m. - mele a ma o. Mele F. m. Hoʻokumu ʻia i ka hoʻohana like ʻole o ka pālua: pauku - pale (hiki ke hōʻano hou ʻia nā refrains). ʻO kahi hiʻohiʻona o kahi ʻano refrain (ʻekolu, ʻo ia hoʻi, me ʻekolu mau ʻāpana ʻokoʻa) ʻo ia ke mele o kahi mele znamenny nui "Hoʻomaikaʻi, e kuʻu ʻuhane, ka Haku" (Obikhod, ʻāpana 1, Vespers). ʻO F. m. aia i ke kaʻina "laina - chorus" (SP, SP, SP, a me nā mea'ē aʻe) me ka pilina o ka hana hou a me ka hana houʻole i ka kikokikona, nā hua'ōlelo a me ka hana houʻole i ka mele. Oki kea F. m. i kekahi manawa i hōʻike ʻia e ka makemake maopopo e pale aku i ka typical Western European. mele o nā ʻano hana noʻonoʻo no ke kūkulu ʻana i nā mea kani, nā hana hou pololei, a me nā hana hou; ma ka F, m. ʻO kēia ʻano, he asymmetric ka hoʻolālā (ma ke kumu o ka radical non-squareness), lanakila ka nui o ka piʻi ʻana; ka loina o F. m. ʻaʻohe palena. laina laina. ʻO ke kumu kūkulu o F. m. in through forms ʻo ia ka māhele ʻana i kekahi mau ʻāpana-laina e pili ana i ka kikokikona. He 11 mau gospel sticheras na Fyodor Krestyanin (ke kenekulia 16) na laana o na ano oki kea nui. No nā kānana o kā lākou F. m., i hana ʻia e MV Brazhnikov, e ʻike i kāna puke: "Fyodor Krestyanin", 1974, p. 156-221. E nānā pū i ka "Analysis of Musical Works", 1977, p. 84-94.
Ua hoʻomohala nā mele honua o ka Middle Ages a me ka Renaissance i kekahi mau ʻano a me nā mea kani, i hoʻokumu pū ʻia i ka pilina o ka huaʻōlelo a me ke mele. ʻO kēia nā ʻano mele a me nā hula. F. m .: ballad, ballata, villancico, virele, canzo (canzo), la, rondo, rotrueng, estampi, etc. (see Davison A., Apel W., 1974, NoNo 18-24). He poetic maikaʻi kekahi o lākou. ʻano, he mea nui ia o F. m., ma waho o ka mele. kikokiko, nalowale kona kinona. ʻO ke ʻano o ia F. m. aia i loko o ka launa pū ʻana o ke kikokikona a me ka hoʻokani pila. No ka laʻana, ke ʻano rondo (eia 8 laina):
Diagram of a 8-line rondo: Helu laina: 1 2 3 4 5 6 7 8 Poems (rondo): AB c A de AB (A, B are refrains) Mele (a me nā mele): abaaabab
G. de Macho. 1st rondo "Doulz viaire".
Hoʻomau ka hilinaʻi o P. m. mua i ka huaʻōlelo a me ka neʻe ʻana a hiki i ka 16th a me 17th mau kenekulia, akā ʻo ke kaʻina o kā lākou hoʻokuʻu mālie ʻana, ka crystallization o nā ʻano haku mele i wehewehe ʻia, ua ʻike ʻia mai ka hopena o ka Middle Ages, ka mea mua ma nā ʻano honua. , a laila ma nā ʻano pule (e like me ka hoʻohālike a me ka canonical F. m. i nā lehulehu, nā motets o nā kenekulia 15-16).
ʻO kahi kumu ikaika hou o ka hana ʻana ʻo ka puka ʻana a me ka piʻi ʻana o ka polyphony ma ke ʻano he ʻano muses piha. hōʻike (e nānā i ka Organum). Me ka hoʻokumu ʻia ʻana o ka polyphony ma Fm, ua hānau ʻia kahi ʻano mele hou-ʻo ka ʻano "vertical" i lohe mua ʻole ʻia o Fm.
Ma hope o ka hoʻokumu ʻana iā ia iho i ka mele ʻEulopa i ke kenekulia 9, ua lilo ka polyphony i mea nui. ʻano lole mele, e hōʻailona ana i ka hoʻololi ʻana o nā muses. noʻonoʻo i kahi pae hou. I loko o ke ʻano o ka polyphony, ua ʻike ʻia kahi mea hou, polyphonic. ka leka, ma lalo o ka hōʻailona i hoʻokumu ʻia ai ka hapa nui o ka Renaissance fm (e nānā i ka pauku IV). polyphony and polyphony. ʻO ke kākau ʻana i hoʻokumu i ka waiwai o nā ʻano mele (a me nā ʻano) o ka hopena o ka Middle Ages a me ka Renaissance, ka nui o ka mass, motet, a me madrigal, a me nā ʻano mele like me ka hui, clause, conduct, goket, nā ʻano mele like ʻole. a me nā ʻano hula, nā ʻokoʻa (a me nā fm hoʻololi ʻē aʻe), quadlibet (a me nā ʻano like ʻole), canzona instrumental, ricercar, fantasy, capriccio, tiento, instrumental prelude fm - preamble, intonation (VI), toccata (pl. mai ka inoa F. .m., e nānā iā Davison A., Apel W., 1974). Me ka mālie, akā e hoʻomaikaʻi mau ana i ke kiʻi F. m. – G. Dufay, Josquin Despres, A. Willart, O. Lasso, Palestrina. ʻO kekahi o lākou (no ka laʻana, Palestrina) e hoʻohana i ke kumu o ka hoʻomohala ʻana i ke kūkulu ʻana o F. m., i hōʻike ʻia i ka ulu ʻana o ka paʻakikī paʻakikī ma ka hopena o ka hana. (akā ʻaʻohe hopena dynamic). No ka laʻana, ua kūkulu ʻia ka madrigal o Palestrina "Amor" (ma ka hōʻiliʻili "Palestrina. Choral Music", L., 15) i ke ʻano e huki ʻia ai ka laina 16 ma ke ʻano he fugato pololei, i loko o nā ʻelima e hiki mai ana. ʻoi aku ka manuahi, mālama ʻia ka 1973th i kahi hale kūʻai chordal, a me ka canonically e hoʻomaka ana i ka mea hope loa me kāna hoʻohālike e like me ka reprise structural. Nā manaʻo like o F. m. hana mau ʻia ma nā motets o Palestrina (i ka multi-choir F. m., ʻo ke mele o nā hoʻolauna antiphonal e hoʻolohe pū i ke kumu o ka hoʻomohala ʻana i ka hana).
IV. nā ʻano mele polyphonic. Polyphonic F. m. ʻike ʻia e ka hoʻohui ʻana i nā mea nui ʻekolu. nā ʻano o F. m. (ʻano, kikokikona - i ka wok. mele a me ka paepae) hoʻokahi - kū pololei (ka pilina a me ka ʻōnaehana o ka hana hou ʻana ma waena o nā leo like ʻole, kani like). ʻIke ʻia, ua noho ka polyphony i nā manawa a pau (“… i ka wā e hoʻokuʻu ai nā kaula i hoʻokahi mele, a haku ka haku mele i kahi mele ʻē aʻe, i ka wā e loaʻa ai nā consonances a me nā kani kūʻē …” – Plato, “Laws”, 812d; cf. also Pseudo-Plutarch, "Ma ke mele ", 19), akā ʻaʻole ia he kumu o nā muses. ka noʻonoʻo a me ke ʻano. He kuleana koʻikoʻi i ka hoʻomohala ʻana o ka F. m. ma muli o ia no ka Western European polyphony (mai ka 9th century), ka mea i hāʻawi i ka hiʻohiʻona kūpaʻa i ka waiwai o nā kuleana like me ka radical horizontal (e nānā i ka Polyphony), i alakaʻi ai i ke kūkulu ʻana i kahi ʻano hou kūikawā F. m. – polyphonic. Aesthetically a psychologically polyphonic. ʻO F. m. ma ke kani hui ʻana o ʻelua (a i ʻole) mau ʻāpana mele. manaʻo a koi aku i nā leka. ʻike. No laila, hiki mai ka polyphonic. ʻO F. m. hōʻike i ka hoʻomohala ʻana i kahi ʻano mele hou. Mahalo i kēia mele. Ua loaʻa i ka hoʻopiʻi nā aesthetics hou. waiwai, inā ʻaʻole hiki ke loaʻa kāna mau hana nui, me ka Op. homoph. hale kūʻai (i ka mele o Palestrina, JS Bach, BA Mozart, L. Beethoven, PI Tchaikovsky, SS Prokofiev). See homophony.
ʻO nā ala nui o ka hoʻokumu ʻana a me ka ulu ʻana o ka polyphonic. ʻO F. m. Hoʻonohonoho ʻia e ka hoʻomohala ʻana i kahi polyphonic kikoʻī. kākau ʻenehana a hele i ke ala o ka puka ʻana a me ka hoʻoikaika ʻana i ke kūʻokoʻa a me ka ʻokoʻa o nā leo, kā lākou kumuhana. elaboration (thematic differentiation, thematic development not only horizontally, but also vertically, tendencies towards through thematization), ka hoʻohui o polyphonic kiko'ī. ʻO F. m. (ʻaʻole hiki ke hoʻemi ʻia i ke ʻano o ka polyphonically expounded general F. m. - mele, hula, etc.). Mai nā hoʻomaka like ʻole o ka polyphonic. ʻO F. m. a polygonal. nā leka (bourdon, nā ʻano like ʻole o ka heterophony, duplication-seconds, ostinato, imitation and canonical, responsorial and antiphonal structures) ma ka mōʻaukala, ʻo ka hoʻomaka ʻana o kā lākou haku mele he paraphony, ke ʻano like o ka leo counterpunctuated, e hoʻolike like i ka mea nui i hāʻawi ʻia - vox (cantus) principalis (see . Organum), cantus firmus ("statutory melody"). ʻO ka mea mua, ʻo ia ka mua o nā ʻano organum - ka mea i kapa ʻia. like (9th-10th century), a me ka hope gimel, foburdon. Aspect polyphonic. ʻO F. m. eia ka mahele hana o Ch. leo (ma hope hua'ōlelo soggetto, "Subjectum oder Thema" - Walther JG, 1955, S. 183, "theme") a me ka mea kū'ē kū'ē ia, a me ka manaʻo o ka pilina ma waena o lākou i ka manawa like anticipates i ka vertical hiʻona o polyphonic. . ʻO F. m. (ʻike nui ʻia ia ma ka bourdon a me ka ʻole, a laila ma ka organum "free", ma ke ʻano "note against note", ma hope i kapa ʻia ʻo contrapunctus simplex a i ʻole aequalis), no ka laʻana, ma nā kuʻikahi o ke kenekulia 9. “Musica enchiriadis”, “Scholia enchiriadis”. ʻO ke kūpono, pili ka pae o ka hoʻomohala ʻana me ka hoʻokumu ʻana i ka polyphonic maoli. nā hale ma ke ʻano o kahi kūʻē kūʻē i ka manawa like o ʻelua a ʻoi aku paha. nā leo (i loko o kahi melismatic organum), me ka hoʻohana ʻana i ke kumu o ka bourdon, i kekahi mau ʻano polyphonic. nā hoʻonohonoho a me nā ʻano like ʻole ma ka cantus firmus, ma ke ʻano maʻalahi o nā paukū a me nā motets mua o ke Kula ʻo Paris, ma nā mele hale pule polyphonic. a me nā ʻano honua, etc.
Ua wehe ka metrization o polyphony i nā mea hou no ka rhythmic. nā ʻokoʻa o nā leo a, no laila, hāʻawi i kahi hiʻohiʻona hou i ka polyphonic. F. m E hoʻomaka ana me ka hoʻonohonoho pono o ka metrorhythm (modal rhythm, mensural rhythm; ʻike. Modus, notation Mensural) F. m loaʻa mālie ka kikoʻī. no ka mea, ʻo ke mele ʻEulopa he hui pū ʻana o ka pono (ʻoi aku ka paʻakikī) noʻonoʻo. constructiveness me sublime uhane a me ka hohonu emotionality. ʻO kahi kuleana nui i ka hoʻomohala ʻana i ka F. m no ke kula o Parisa, a laila kekahi. Palani. nā haku mele o nā kenekulia 12-14. Koke. 1200, i loko o nā māhele o ke Kula ʻo Paris, ke kumu o ka hoʻoponopono ʻana i ka ostinato rhythmically o ka mele mele, ʻo ia ke kumu o F. m (me ke kōkua o nā ʻōlelo hoʻohālikelike pōkole, e kali ana i ka isorhythmic. talea, e nana Motet; laʻana: nā māhele (Benedicamusl Domino, cf. Davison A., Apel W., v. 1, p. 24-25). Ua lilo ka ʻenehana like i kumu no nā motet ʻelua a ʻekolu ʻāpana o ke kenekulia 13. (laʻana: nā motets o ke kula Paris Domino fidelium – Domino a me Dominator – Esce – Domino, ca. 1225, ibid., p. 25-26). I nā motets o ke kenekulia 13. wehe i ke kaʻina hana o ka thematization o nā kū'ē ma o Dec. ʻano hana hou ʻana o nā laina, pitches, rhythmic. kiʻi, ʻoiai hoʻāʻo i ka manawa like. ʻokoʻa nā pilina. nā mele (cf. мотет «En non Diu! – Quant voi larose espanie – Ejus in oriente “o ke kula o Parisa; Parrish K., Ole J., 1975, p. 25-26). Ma hope mai, hiki i nā ʻokoʻa rhythmic ikaika ke alakaʻi i ka polymetry koi (Rondo B. Cordier "Amans ames", ca. 1400, e nana Davison A., Apel W., v. 1, p. 51). Ma hope o nā ʻano like ʻole, aia kahi ʻokoʻa i ka lōʻihi o ka decomp huaʻōlelo. nā leo (ke kumu kumu o nā hale kūʻē); ʻO ke kūʻokoʻa o nā leo ke koʻikoʻi ʻia e ko lākou ʻokoʻa o nā kikokikona (eia kekahi, hiki i nā kikokikona ma nā ʻōlelo like ʻole, no ka laʻana. ʻO ka Latin ma ka tenor a me ka motetus, ka Farani ma ka triplum, e nānā i ka Polyphony, e nānā i ka laʻana ma ke kolamu 351). ʻOi aku ma mua o hoʻokahi hana hou ʻana o kahi mele tenor ma ke ʻano he ostinato theme ma ka counterpoint me ka hoʻololi ʻana i ke kūʻē ʻana e ala mai i kekahi o ka polyphonic koʻikoʻi. F. m - nā ʻano like ʻole ma basso ostinato (no ka laʻana, ma ka ʻōlelo Palani. mote 13 c. "Aloha e ka wahine puʻupaʻa hanohano - ka ʻōlelo a ke Akua - ka ʻoiaʻiʻo", cm. Wolf J., 1926, S. 6-8). ʻO ka hoʻohana ʻana i nā ʻano rhythmostinatal i alakaʻi ai i ka manaʻo o ka hoʻokaʻawale ʻana a me ke kūʻokoʻa o nā ʻāpana o ka pitch a me ke kani (ma ka ʻāpana 1 o ka motet tenor i haʻi ʻia "Ejus in oriente", nā pahu 1-7 a me 7-13; ma ka instrumental tenor motet "In seculum" ma ka pilina like o ka retrization o ka laina pitch i ka manawa o ka ostinato rhythmic i ke kumu o ka 1st ordo o ka 2nd mode, he elua mau mahele o ke ano elua; cm. Davison A., Apel W., v. 1, p. 34-35). ʻO ka piko o kēia hoʻomohala ʻana he isorhythmic. F. m ʻO nā kenekulia 14-15 (Philippe de Vitry, G. de Macho, Y. Kikonia, G. Dufay a me nā mea ʻē aʻe). Me ka hoʻonui ʻana i ka waiwai o ka puʻupuʻu puʻupuʻu mai kahi huaʻōlelo i kahi mele i lōʻihi, e kū mai kekahi ʻano ʻano mele i ka tenor. ʻo talea ke kumuhana. Hāʻawi kāna hana ostinato i ka tenor iā F. m isorhythmic. (T. e. isorhythm.) hale (isorhythm – repetition in melodic. leo hoʻolele wale ʻia i ka rhythmic. formulas, ka maʻiʻo kiʻekiʻe e hoʻololi). Hiki ke hoʻohui ʻia i ka ostinato repetitions – i ka manawa like – repetitions o nā kiʻekiʻe i kū like ʻole me lākou – kala (kala; e pili ana i ka isorhythmic. F. m ike Saponov M. A., 1978, p. 23-35, 42-43). Ma hope o ke kenekulia 16 (A. Willart) isorhythmic. F. m nalo a loaʻa ke ola hou i ke kenekulia 20. ma ke ʻano ʻano mele mele o O. Messiaen (kanona proportional ma No. 5 o “Twenty Views …”, kona hoomaka ana, e nana p.
I ka hoʻomohala ʻana i ka ʻaoʻao kūpaʻa o ka polyphonic. ʻO F. m. e kāpae ʻia. ʻO ka hoʻomohala ʻana i ka hana hou ʻana ma ke ʻano o ka ʻenehana hoʻohālikelike a me ka canon, a me ka counterpoint mobile, he mea nui. Ma hope o ke keʻena nui a ʻano like ʻole o ka ʻenehana kākau a me ke ʻano, ua lilo ka hoʻohālike (a me ka canon) i kumu o ka polyphonic kikoʻī loa. ʻO F. m. ʻO ka mōʻaukala, nā hoʻohālike mua loa. kanolika F. m. pili pū me ka ostinato - ka hoʻohana ʻana i ka mea i kapa ʻia. ʻO ka hoʻololi ʻana o nā leo, ʻo ia ka hana hou ʻana o kahi hana ʻelua a ʻekolu paha, akā ʻo nā mele mele wale nō e hoʻoili ʻia mai kahi leo i kekahi (e like me ka English rondelle "Nunc sancte nobis spiritus", 2nd half o ke kenekulia 12, e nana “Musik in Geschichte und Gegenwart”, Bd XI, Sp. 885, e nana hoi i ka rondelle “Ave mater domini” mai Odington's De speculatione musice, ma kahi o 1300 a i ole 1320, ma Coussemaker, “Scriptorum… “, t 1, p. 247a). ʻO ka haku o ke kula Paris Perotin (ʻo ia hoʻi e hoʻohana ana i ke ʻano o ka hoʻololi ʻana i nā leo) i ka Kalikimaka quadruple Viderunt (c. 1200), maopopo, ua hoʻohana mua i ka hoʻohālikelike mau - ka canon (kahi ʻāpana e hāʻule i ka huaʻōlelo "ante" ma tenor). ʻO ke kumu o kēia mau ʻano hoʻohālike. hōʻailona ka ʻenehana i ka haʻalele ʻana mai ka ʻoʻoleʻa o ostinato F. m. Ma kēia kumu, canonical wale nō. nā ʻano - he hui (13-14 mau kenekulia; kahi hui o kahi hui canon a me kahi rondel-hoʻololi leo i hōʻike ʻia e ka Pelekane kaulana "Summer Canon", 13 a i ʻole 14 mau kenekulia), Italia. kachcha ("hunt", me ka hahai holoholona a aloha paha, ma ke ano - he lua-leo canon me ka cont. 3rd leo) a me ka Farani. shas (ʻo ia hoʻi ka "hunting" - he kani leo ʻekolu i hui pū ʻia). Loaʻa ke ʻano o ka canon ma nā ʻano ʻano ʻē aʻe (Machot's 17th ballad, in the form of shas; Machaud's 14th rondo “Ma fin est mon commencement”, malia paha ma ka mōʻaukala ʻo ia ka laʻana mua o ka canon canon, ʻaʻole pili me ka manaʻo o ʻO ka kikokikona: "ʻO koʻu hopena koʻu hoʻomaka"; ʻo ka 1th le Machaux he pōʻaiapuni o 17 mau kani kani leo ʻekolu); pela ka canon he polyphonic kūikawā. ʻO F. m. ua hoʻokaʻawale ʻia mai nā ʻano ʻē aʻe a me P. m. ʻO ka helu o nā leo ma ka F. m. nui loa nā hihia; Hāʻawi ʻia ʻo Okegem me ka 12-leo canon-monster "Deo gratias" (ʻoiai, ʻaʻole i ʻoi aku ka nui o nā leo maoli ma mua o 36); ʻo ka canon polyphonic loa (me nā leo maoli 18) no Josquin Despres (ma ka motet "Qui habitat in adjutorio"). P. m. ʻAʻole i hoʻokumu ʻia ka canon ma luna o ka hoʻohālikelike pololei maʻalahi (ma ka motet a Dufay "Inclita maris", c. 24-1420, ʻike ʻia, ka canon proportional mua; ma kāna mele "Bien veignes vous", c. 26-1420, ʻo ia paha ka canon. canon mua i ka hoonui). OK. 26 hoʻohālike F. m. i hala, ma o kachcha paha, i loko o ka motet - ma Ciconia, Dufay; ma kahi o F. m. ʻāpana o ka nui, ma ke mele mele; i ka papahele 1400. 2th c. ka hoʻokumuʻana i ke kumumanaʻo o ka hoʻohālike hope loa e like me ke kumu o F. m.
ʻO ka huaʻōlelo "canon" (canon), akā naʻe, aia i nā kenekulia 15-16. manaʻo kūikawā. ʻO ka ʻōlelo a ka mea kākau (Inscriptio), maʻamau me ka noʻonoʻo ʻana, puʻupuʻu, ua kapa ʻia ʻo canon ("he lula e hōʻike ana i ka makemake o ka mea haku mele ma lalo o ka uhi o kekahi pōʻeleʻele", J. Tinktoris, "Diffinitorium musicae"; Coussemaker, "Scriptorum …”, t. 4, 179 b ), e hōʻike ana pehea e loaʻa ai ʻelua mai ka leo hoʻokahi i ʻike ʻia (a ʻoi aku paha, no ka laʻana, ka nui o nā leo ʻehā o P. de la Rue – “Missa o salutaris nostra” – ʻo ia. i loaʻa mai hoʻokahi leo i kākau ʻia); see kaona huna. No laila, ʻo nā huahana a pau me kahi canon-inscription ʻo F. m. me nā leo hiki ke unuhi ʻia (kūkulu ʻia nā F. m. ʻē aʻe a pau, ma ke ʻano he kānāwai, ʻaʻole lākou e ʻae i ka hoʻopili ʻana, ʻo ia hoʻi, ʻaʻole lākou i hoʻokumu ʻia ma ka ʻike maoli ʻia ʻo "ke kumu o ka ʻike"; ka huaʻōlelo BV Asafiev ). Wahi a L. Feininger, ʻo nā ʻano o nā canon Dutch: maʻalahi (hoʻokahi-pouli) pololei; paʻakikī, a i ʻole hui (multi-dark) pololei; kaulike (mensural); laina laina (laina hoʻokahi; Formalkanon); hoohuli; elision (Reservatkanon). No nā mea hou aku e pili ana i kēia, e ʻike i ka puke: Feininger LK, 1937. Loaʻa nā "inscriptions" like ma hope ma S. Scheidt ("Tabulatura nova", I, 1624), ma JS Bach ("Musikalisches Opfer", 1747).
Ma ka hana a kekahi mau haku o nā kenekulia 15-16. (Dufay, Okeghem, Obrecht, Josquin Despres, Palestrina, Lasso, etc.) hōʻike i nā ʻano polyphonic. ʻO F. m. (ka palapala ikaika), DOS. ma nā loina o ka hoʻohālike a me ka ʻokoʻa, hoʻomohala kumu, kūʻokoʻa o nā leo mele, counterpoint o nā huaʻōlelo a me nā laina pauku, ʻoi aku ka palupalu a me ka nani o ka lokahi (ʻoi loa i nā ʻano wok o ka nui a me ka motet).
ʻO ka hoʻohui o Ch. ʻO nā ʻano polyphonic - fugues - ua hōʻailona pū ʻia e ka ʻokoʻa ma waena o ka hoʻomohala ʻana o Samui F. m. a ma kekahi ʻaoʻao, ka manaʻo a me ka huaʻōlelo. Ma ka manaʻo o ka manaʻo, pili ka huaʻōlelo "fugue" ("holo"; Italian consequenza) i nā huaʻōlelo "hunting", "race", a ma mua (mai ke kenekulia 14) ua hoʻohana ʻia ka huaʻōlelo ma kahi ʻano like, e hōʻike ana i ka canon (ma nā canons i kākau ʻia: "fuga in diatessaron" a me nā mea ʻē aʻe). Ua wehewehe ʻo Tinctoris i ka fugue ma ke ʻano he "ʻike o nā leo". Ua hoʻomau ka hoʻohana ʻana i ka huaʻōlelo "fugue" ma ke ʻano o "canon" a hiki i nā kenekulia 17 a me 18; Hiki ke noʻonoʻo ʻia kahi koena o kēia hana i ka huaʻōlelo "fuga canonica" - "canonical. fugue”. He laʻana o ka fugue ma ke ʻano he canon mai kekahi mau keʻena ma instr. mele - "Fuge" no nā mea kani 4 ("violins") mai "Musica Teusch" na X. Gerle (1532, e nānā iā Wasielewski WJ v., 1878, Musikbeilage, S. 41-42). ʻO nā R. 16th century (Tsarlino, 1558), ua māheleʻia ka manaʻo o ka fugue i fuga legate ("coherent fugue", canon; hope fuga totalis) a me fuga sciolta ("divided fugue"; later fuga partialis; succession of imitation- nā ʻāpana canonical, no ka laʻana, abсd, etc. P.); ka P. m hope loa. ʻo ia kekahi o nā ʻano mua o ka fugue - kahi kaulahao o fugato e like me ke ʻano: abcd; kapaia. ʻano motet, kahi o ka ʻokoʻa o nā kumuhana (a, b, c, etc.) ma muli o ka hoʻololi ʻana i ka kikokikona. ʻO ka ʻokoʻa koʻikoʻi ma waena o ia ʻano "liʻiliʻi" F. m. a ʻo ka fugue paʻakikī ka nele o ka hui pū ʻana o nā kumuhana. I ke kenekulia 17, ua lilo ka fuga sciolta (partialis) i loko o ka fugue maoli (Fuga totalis, legata hoʻi, ua ʻike ʻia ʻo integra i ka canon i nā kenekulia 17-18). He helu o nā ʻano ʻē aʻe a me F. m. 16 kenekulia. ua ulu aʻe i ke ʻano o ka puka ʻana o ke ʻano fugue - motet (fugue), ricercar (kahi i hoʻoili ʻia ai ke kumu motet o kekahi mau hana hoʻohālike; ʻo ka fugue kokoke loa paha i F. m.), fantasy, Spanish. tiento, imitative-polyphonic canzone. E hoʻohui i ka fugue ma instr. mele (inā ʻaʻohe kumu hoʻohui mua, ʻo ia hoʻi ka hui ʻana o ka kikokikona), he mea nui ka manaʻo i ke kumuhana. centralization, ʻo ia hoʻi, i ke kiʻekiʻe o hoʻokahi melodic. nā kumuhana (e kū'ē i nā leo. multi-dark) - A. Gabrieli, J. Gabrieli, JP Sweelinck (no ka poʻe mua o ka fugue, e nānā i ka puke: Protopopov VV, 1979, p. 3-64).
Ma ke kenekulia 17 i hoʻokumu ʻia ka mea nui e pili ana i kēia lā polyphonic. ʻO F. m. - fugue (o nā ʻano hana like ʻole a me nā ʻano), canon, polyphonic variations (ma ke ʻano, nā ʻano like ʻole ma basso ostinato), polyphonic. (e like me, chorale) hoʻonohonoho (no ka laʻana, i kahi cantus firmus i hāʻawi ʻia), polyphonic. cycles, polyphonic preludes, etc. He mana koʻikoʻi i ka hoʻomohala ʻana o ka polyphonic F. o kēia manawa i hoʻokō ʻia e kahi ʻōnaehana harmonic nui-liʻiliʻi hou (ka hoʻonui ʻana i ke kumumanaʻo, koho i ka tonal-modulating factor e like me ke kumu alakaʻi i FM; ka hoʻomohala ʻana. o ke ano homophonic-harmonic o ka palapala a me ka F . m.). ʻO ka mea nui, ua ulu ka fugue (a me ka polyphonic fm like) mai ke ʻano ʻano nui o ke kenekulia 17. (ma kahi modulation ʻaʻole ia ke kumu o polyphonic F. m.; no ka laʻana, ma Scheidt's Tabulatura nova, II, Fuga contraria a 4 Voc.; I, Fantasia a 4 Voc. super lo son ferit o lasso, Fuga quadruplici ) i ke ʻano tonal ("Bach") me ka ʻokoʻa tonal ma ke ʻano cf. ʻāpana (pinepine i ke ʻano parallel). Waiho. koʻikoʻi i ka mōʻaukala o polyphony. ʻO F. m. Ua loaʻa iā JS Bach ka hana, nāna i hāʻawi i ke ola hou iā lākou no ka hoʻokumu ʻana i ka pono o nā kumuwaiwai o ka ʻōnaehana tonal nui-liʻiliʻi no ka thematism, thematic. hoʻomohala a me ke kaʻina hana. Hāʻawi ʻo Bach i ka polyphonic F. m. hou kahiko. helehelena, ma ia mea, e like me ka mea nui. ʻano, ʻo ka polyphony ma hope mai me ka ʻike a ʻike ʻole paha (a hiki i P. Hindemith, DD Shostakovich, RK Shchedrin). Ma ka noʻonoʻo ʻana i nā ʻano maʻamau o ka manawa a me nā ʻenehana hou i ʻike ʻia e kona mau mua, ua ʻoi loa ʻo ia ma mua o kona mau wā (me ka GF Handel nani) i ka laulā, ikaika a me ka hoʻohuli ʻana i nā loina hou o nā mele polyphonic. ʻO F. m.
Ma hope o JS Bach, ua noho ʻia ke kūlana mana e ka homophonic F. m. (e nana. Homophony). ʻO ka polyphonic maoli. ʻO F. m. Hoʻohana ʻia i kekahi manawa i kahi hana hou, i kekahi manawa ʻokoʻa (ʻo ka fughetta o nā kiaʻi i ka papa mele "Sweeter than Honey" mai ka 1st act of Rimsky-Korsakov's opera "The Tsar's Bride"), loaʻa nā kumu dramaturgical. ʻano; ʻōlelo ka poʻe haku mele iā lākou he ʻōlelo kūikawā. ʻo ia hoʻi. I ka laulā nui, he ʻano kēia o ka polyphonic. ʻO F. m. ma Rusia. mele (nā hiʻohiʻona: MI Glinka, "Ruslan a me Lyudmila", canon i ke kahua o ka stupor mai ka 1st hana; contrasting polyphony ma ka pāʻani "In Central Asia" na Borodin a ma ka pāʻani "ʻElua Iudaio" mai "Pictures at an Exhibition "Mussorgsky; ka canon "Enemies" mai ka 5th scene o ka opera "Eugene Onegin" na Tchaikovsky, etc.).
V. Nā ʻano mele Homophonic o kēia au. ʻO ka hoʻomaka ʻana o ke au o ka mea i kapa ʻia. ʻO ka manawa hou (17-19 mau kenekulia) i hōʻailona i kahi huli nui i ka hoʻomohala ʻana i nā muses. manao a me F. m. (ka puka ʻana o nā ʻano hou, ke koʻikoʻi koʻikoʻi o ke mele honua, ka mana o ka ʻōnaehana tonal major-minor). I loko o ka ideological a me ka aesthetic sphere holomua nā ʻano hana kiʻi hou. noʻonoʻo - he hoʻopiʻi i nā mele honua. maʻiʻo, ka ʻōlelo ʻana o ke kumu o ka individualism ma ke ʻano he alakaʻi, ka hōʻike ʻana o loko. ka honua o kahi kanaka ("ua lilo ka soloist i mea nui", "hoʻokahi o ka manaʻo a me ka manaʻo o ke kanaka" - Asafiev BV, 1963, p. 321). ʻO ka piʻi ʻana o ka opera i ke koʻikoʻi o ke mele kikowaena. genre, a ma instr. mele -ʻo ka'ōlelo o ke kumumanaʻo o ka concertation (baroque - ke au o ka "concert style", ma nā'ōlelo a J. Gandshin) pili pono loa. ka hoʻoili ʻana o ke kiʻi o kekahi kanaka i loko o lākou a hōʻike i ka manaʻo o ka aesthetic. ʻO nā manaʻo o ke au hou (he aria i ka opera, kahi mele ma ka concerto, he mele i loko o ka lole homophonic, he ana kaumaha i ka mika, he tonic i ke kī, he kumuhana i ka haku mele, a me ke kikowaena o nā mele mele. - nā hiʻohiʻona nui a me ka ulu ʻana o ka "soloness", "singularity", ka mana o kekahi ma luna o nā mea ʻē aʻe ma nā ʻano like ʻole o ka noʻonoʻo mele). ʻO ka manaʻo i hōʻike mua ʻia iā ia iho ma mua (no ka laʻana, i ka motet iso-rhythmic o nā kenekulia 14-15) i ke kūʻokoʻa o nā kumu mele mele o ka hoʻohua ʻana i nā kenekulia 16-17. alakaʻi i nā ʻano. lele - ko lākou kūʻokoʻa, i hōʻike pololei ʻia i ka hoʻokumu ʻana o autonomous instr. mele. ʻO nā loina o ke mele maʻemaʻe. shaping, ka mea i lilo (no ka manawa mua ma ka honua mōʻaukala o ke mele) kūʻokoʻa i ka huaʻōlelo a me ka neʻe ʻana, hana instr. mele ma mua e like me ka pono me ka leo mele (i loko o ka 17th kenekulia - ma instrumental canzones, sonatas, concertos), a laila, oi aku, shaping ua hookomoia i loko o ka wok. nā ʻano ma muli o ke mele kūʻokoʻa. na kanawai o F. m. (mai JS Bach, Viennese classics, haku mele o ke kenekulia 19). ʻIke ʻana i nā mele maʻemaʻe. na kanawai o F. m. ʻo ia kekahi o nā hana kiʻekiʻe o nā mele honua. nā moʻomeheu i ʻike i nā waiwai aesthetic a me nā waiwai ʻuhane i ʻike mua ʻole ʻia ma ke mele.
E pili ana i fm Ua māhele ʻia ke au o ka manawa hou i ʻelua mau manawa: 1600-1750 (conditionally - baroque, ka mana o ka bass general) a me 1750-1900 (Viennese classics and romanticism).
Nā loina o ka hoʻohua ʻana ma F. m. Baroque: i loko o kahi ʻāpana hoʻokahi b. mau hola, mālama ʻia ka hōʻike ʻana o kekahi hopena, no laila F. m. ʻike ʻia e ka predominance o ka thematicism homogeneous a me ka ʻole o ka derivative contrast, ʻo ia hoʻi, ka derivation o kekahi kumuhana mai kēia. ʻO nā waiwai i ka mele o Bach a me Handel, pili ka hanohano me ka paʻa i hele mai mai ʻaneʻi, ka nui o nā ʻāpana o ke ʻano. Hoʻoholo kēia i ka "terraced" dynamics o VF m., me ka hoʻohana ʻana i ka dynamics. nā ʻokoʻa, nele i ka crescendo maʻalahi a me ka ikaika; ʻAʻole i ulu nui ka manaʻo o ka hana ʻana e like me ka wehe ʻana, me he mea lā e hele ana i nā pae i koho mua ʻia. I ka pili ana i ka thematic mea pili i ka ikaika ikaika o polyphonic. nā leka a me nā ʻano polyphonic. ʻO ka ʻōnaehana tonal nui-liʻiliʻi e hōʻike hou aʻe i kāna mau waiwai formative (ʻoi loa i ka manawa o Bach). Hāʻawi ka hoʻololi ʻana i nā mele a me nā tonal i nā mana hou. ke ano o ka nee ana iloko o F. m. ʻO ka hiki ke hana hou i nā mea ma nā kī ʻē aʻe a me kahi manaʻo holoʻokoʻa o ka neʻe ʻana ma ka wehewehe. ʻo ka pōʻai o nā tonality e hana i kahi loina hou o nā ʻano tonal (ma kēia ʻano, ʻo ke tonality ke kumu o ka F. m. o ka manawa hou). Ma Arensky's “Guidelines…” (1914, pp. 4 and 53), ua pani ʻia ka huaʻōlelo “homophonic forms” ma ke ʻano he synonym e ka huaʻōlelo “harmonic. forms", a ma ke ʻano o ka harmoni, ke ʻōlelo nei mākou i ka harmoni tonal. Hāʻawi ka baroque fm (me ka ʻole o ka derivative figurative a me thematic contrast) i ke ʻano maʻalahi o ka hana ʻana o fm no laila ke ʻano o ka "poʻai"), e hele ana ma nā cadenzas ma nā ʻanuʻu ʻē aʻe o ke tonality, no ka laʻana:
ma ka nui: I — V; VI – III – IV – I in minor: I – V; III - VII - VI - IV -ʻO wau me ka manaʻo i ka hana houʻole o nā kī ma waena o ka tonic i ka hoʻomaka a me ka hopena, e like me ke kumu T-DS-T.
No ka laʻana, ma ke ʻano ʻaha mele (i hoʻokani ʻia ma nā sonatas a me nā ʻaha mele baroque, ʻoi aku me A. Vivaldi, JS Bach, Handel, kahi hana e like me ke ʻano o ke ʻano sonata i nā pōʻai mea kani o nā mele kahiko-romantic):
Kumuhana — A — Kumuhana — A — Kumuhana — A — Kumuhana T — D — S — T (I – interlude, – modulation; examples – Bach, 1st movement of the Brandenburg Concertos).
ʻO nā mea kani laha loa o ka Baroque he homophonic (ʻoi aku ka pololei, non-fugued) a me ka polyphonic (e nānā i ka Pauku IV). Homophonic nui F. m. baroka:
1) nā ʻano o ma o ka hoʻomohala ʻana (ma ka instr. music, ʻo ke ʻano nui he prelude, ma wok. - recitative); nā laʻana - J. Frescobaldi, preambles no ke kino; Handel, clavier suite in d-moll, prelude; Bach, organ toccata in d minor, BWV 565, neʻe mua, ma mua o ka fugue;
2) nā ʻano liʻiliʻi (maʻalahi) - bar (reprise and non-reprise; no ka laʻana, ʻo ka mele a F. Nicolai "Wie schön leuchtet der Morgenstern" ("Nani ka nani o ka hōkū kakahiaka", kāna hana ʻana e Bach i ka cantata 1 a ma 'ē aʻe. op.)), ʻelua-, ʻekolu- a me nā ʻāpana he nui (he laʻana o ka hope ʻo Bach, Mass in h-moll, No14); wok. ʻike pinepine nā mele i ke ʻano da capo;
3) nā ʻano hui (complex) (hui pū ʻana o nā mea liʻiliʻi) - paʻakikī ʻelua-, ʻekolu- a me ka hapa nui; contrast-composite (no ka laʻana, nā ʻāpana mua o ka orchestral overtures e JS Bach), ʻo ke ʻano da capo he mea koʻikoʻi loa (ʻo ia hoʻi, ma Bach);
4) nā ʻano like ʻole a me nā hoʻololi mele;
5) rondo (i ka hoʻohālikelike ʻana me ka rondo o nā kenekulia 13-15 - kahi mea hana hou o F. m. ma lalo o ka inoa hoʻokahi);
6) ʻano sonata kahiko, hoʻokahi-ʻeleʻele a (i ka embryo, hoʻomohala) ʻelua-ʻeleʻele; ʻaʻole piha kēlā me kēia o lākou (ʻelua hapa) a i ʻole piha (ʻekolu hapa); no ka laʻana, ma nā sonata a D. Scarlatti; piha piha hoʻokahi-pouli sonata - Bach, Matthew Passion, No 47;
7) ʻano ʻaha mele (kekahi o nā kumu nui o ke ʻano sonata maʻamau e hiki mai ana);
8) nā ʻano woks like ʻole. a instr. cyclic forms (ʻo ia kekahi mau mele mele) - Passion, mass (me ka okana), oratorio, cantata, concerto, sonata, suite, prelude and fugue, overture, nā ʻano ʻano kūikawā (Bach, "Musical Offering", "The Art o ka Fugue"), "nā kaʻina holoʻokoʻa" (Bach, "The Well-Tempered Clavier", French suites);
9) opera. (E nānā i ka "Analysis of Musical Works", 1977.)
ʻO F. m. kuʻuna-aloha. manawa, ua ʻike ʻia ka manaʻo o to-rykh i ka pae mua o ka humanistic. Nā manaʻo ʻEulopa. Enlightenment and rationalism, a ma ke kenekulia 19. individualistic nā manaʻo o ka romanticism ("ʻO Romanticism he mea wale nō ka apotheosis o ke kanaka" - IS Turgenev), autonomization a me ka aestheticization o ke mele, uaʻikeʻia e ka hōʻike kiʻekiʻe loa o nā muses autonomous. nā kānāwai o ka hoʻohālikelike ʻana, ka primacy o nā loina o ka hui pū ʻana a me ka ikaika, ka palena ʻokoʻa o ka semantic o F. m., a me ka hōʻoluʻolu o ka hoʻomohala ʻana o kāna mau ʻāpana. No ke aloha maʻamau ʻO ka manaʻo o F. m. 'ano ma'amau no ke koho 'ana i ka helu ha'aha'a o nā 'ano kūpono o F. m. (me nā ʻokoʻa i ʻōlelo ʻia ma waena o lākou) me ka hoʻokō ʻana i nā ʻano hana like ʻole (ke kumu o ka ʻokoʻa i ka lokahi), e like me ka maikaʻi o nā ʻāpana ʻē aʻe F. m. (no ka laʻana, he koho koʻikoʻi o nā ʻano o nā kaʻina harmonic, nā ʻano o ka hoʻolālā tonal, nā kiʻi kikoʻī kikoʻī, nā haku mele ʻoi aku ka maikaʻi, nā hale metric gravitating to squareness, nā ʻano o ka hoʻomohala hoʻoikaika ʻana), kahi manaʻo ikaika loa o ka ʻike ʻana i ke mele. ka manawa, ka helu maalea a me ka pololei o ka manawa. (ʻOiaʻiʻo, i loko o ka hoʻolālā o ka wā mōʻaukala 150-makahiki, ʻo nā ʻokoʻa ma waena o nā manaʻo Viennese-classical a me nā manaʻo aloha o F. m. he mea nui hoʻi.) Ma kekahi mau mea, hiki ke hoʻokumu i ke ʻano dialectical o ka laulā. manaʻo hoʻomohala ma F. m. (Ke ʻano sonata a Beethoven) . ʻO F. m. hoʻohui i ka ʻōlelo o nā manaʻo noʻeau kiʻekiʻe, aesthetic, philosophical me ke ʻano "honua" momona o nā muses. figurativeness (pēia mea thematic mea e lawe i ka imprint o ka poʻe i kela la i keia mele, me kona typical hiʻona o ka mea mele; pili keia i ka arr. F. m. o ke kenekulia 19).
ʻO nā loina hoʻohiwahiwa maʻamau maʻamau. ʻO F. m. he ʻano koʻikoʻi a waiwai hoʻi o nā loina o kēlā me kēia manaʻo ma ke kahua mele, i hōʻike ʻia ma nā wehewehe. nā hana semantic o nā māhele o F. m. E like me ka noʻonoʻo ʻana, he manaʻo ko ka mele mele, kona ʻano mea (ma ke ʻano metaphorical, a theme). Hōʻike ʻia ka noʻonoʻo ma ke mele-logical. "kūkākūkā o ke kumuhana" ("ʻO keʻano mele ka hopena o ka "kūkākūkā logical" o nā mea mele" - Stravinsky IF, 1971, p. 227), ma muli o keʻano kino a me ka noʻonoʻoʻole o ke mele ma keʻano he kiʻi. , mahele ia F. m. i loko o ʻelua keʻena logical - hōʻike mele. manaʻo a me kona hoʻomohala ʻana ("kūkākūkā"). Ma ka huli, hoʻomohala mele logical. ʻO ka manaʻo e pili ana i kāna "noʻonoʻo" a me ka "hopena" aʻe; no laila ka hoʻomohala ʻana ma ke ʻano he pae logical. ʻO ka hoʻomohala ʻana o F. m. ua māhele ʻia i ʻelua ʻāpana - ka hoʻomohala maoli a me ka hoʻopau ʻana. Ma muli o ka hoʻomohala ʻana o ka F. m. ʻike i ʻekolu mea nui. nā hana o nā māhele (e pili ana i ka Asafiev triad initium - motus - terminus, e nānā iā Asafiev BV, 1963, pp. 83-84; Bobrovsky VP, 1978, pp. 21-25) - exposition (exposition of thought), e hoʻomohala ana (ʻoiaʻiʻo. hoʻomohala) a me ka hope (ka ʻōlelo o ka manaʻo), pili paʻakikī kekahi i kekahi:
(No ka laʻana, ma kahi ʻano ʻekolu hapa maʻalahi, ma ke ʻano sonata.) Ma ka F. m. i hoʻokaʻawale maikaʻi ʻia, me ka hoʻohui ʻana i nā kumu kumu ʻekolu. Hoʻomaka nā hana kōkua o nā ʻāpana - hoʻomaka (ka hana o nā lālā mai ka hōʻike mua ʻana o ke kumuhana), ka hoʻololi a me ka hopena (ka lālā mai ka hana o ka hoʻopau ʻana a no laila e hoʻokaʻawale iā ia i ʻelua - hōʻoia a me ka hopena o ka manaʻo). No laila, ʻo nā ʻāpana o F. m. ʻeono wale nō hana (cf. Sposobin IV, 1947, p. 26).
He hōʻike ia o nā kānāwai maʻamau o ka noʻonoʻo kanaka, ka paʻakikī o nā hana o nā ʻāpana o F. m. hōʻike i kekahi mea maʻamau me nā hana o nā māhele o ka hōʻike ʻana i ka manaʻo ma ke ʻano o ka noʻonoʻo-logical sphere o ka noʻonoʻo, nā kānāwai pili i wehewehe ʻia i loko o ka ʻōlelo aʻo kahiko o ka haʻiʻōlelo (oratory). Nā hana o nā ʻāpana ʻeono o ka maʻamau. rhetoric (Exordium – introduction, Narratio – narration, Propositio – kūlana nui, Confutatio – challenging, Confirmatio – statement, Conclusio – conclusion) aneane like loa i ka haku mele ana a me ke kaʻina me nā hana o nā māhele o F. m. (ʻike ʻia nā hana nui o FM. m.):
Exordium - intro Propositio - hōʻike (kumu nui) Narratio - hoʻomohala ma ke ʻano he hoʻololi Confutatio - ʻāpana ʻokoʻa (ka hoʻomohala ʻana, ka manaʻo hoʻohālikelike) Hōʻoia - reprise Conclusio - code (hoʻohui)
Hiki i nā hana rhetoric ke hōʻike iā lākou iho ma nā ʻano like ʻole. pae (no ka laʻana, uhi lākou i ka hōʻike sonata a me ke ʻano sonata holoʻokoʻa holoʻokoʻa). ʻO ka lōʻihi lōʻihi o nā hana o nā māhele ma ka'ōlelo a me nā māhele o F. m. hōʻike i ka lōkahi hohonu o ka decomp. a me he mea lā mamao loa mai kekahi ʻano manaʻo.
Misc. nā mea hau (nā kani, timbres, rhythms, chords” melodic. ka leo kani, ka laina melodic, dynamic. nuances, tempo, agogics, tonal functions, cadences, structure of texture, etc. n.) he muses. nā mea. K F. m (ma ke ano ākea) no ka mele. ka hoʻonohonoho ʻana o ka mea, i noʻonoʻo ʻia mai ka ʻaoʻao o ka hōʻike ʻana o muses. maʻiʻo. I loko o ka ʻōnaehana o nā hui mele ʻaʻole nā mea āpau o ke mele. ʻano koʻikoʻi like nā mea. ʻO nā hiʻohiʻona o nā hiʻohiʻona kahiko-romantic. F. m - tonality ke kumu o ka hoʻolālā o F. m (cm. Tonality, Mode, Melody), mika, hoʻolālā kumu (e nānā. Motif, Homophony), counterpoint basic. laina (ma ka homof. F. m maʻa mau t. Mr. contour, a i ʻole kumu, ʻelua leo: melody + bass), thematicism a me ka ʻoluʻolu. ʻO ka manaʻo formative o ka tonality aia (ma ka hoʻohui ʻana i luna) i ka hui ʻana o kahi kumuhana tonal-stable e ka huki maʻamau i kahi tonic hoʻokahi (e ʻike. kiʻi A ma ka laʻana ma lalo). ʻO ka manaʻo formative o ka mika ka hana ʻana i kahi pilina (metric. symmetry) o nā ʻāpana liʻiliʻi F. m (mokuna. Kumukānāwai: pane ka pōʻai 2 i ka pōʻaiapuni 1 a hana i ka pōʻai ʻelua, pane ka pōʻai ʻelua i ka 2 a hana i ka pōʻai ʻehā, pane ka pōʻai ʻehā i ka 1 a hana i ka pōʻai ʻewalu; no laila ke koʻikoʻi nui o ka squareness no ka classical-romantic. F. m.), a laila e hana ana i nā hale liʻiliʻi o F. m - nā huaʻōlelo, nā ʻōlelo, nā manawa, nā ʻāpana like o nā waena a me nā reprises i loko o nā kumumanaʻo; maʻamau ka mika no ka hoʻoholo ʻana i kahi o nā cadences o kekahi ʻano a i ʻole ka ikaika o kā lākou hana hope (semi-conclusion ma ka pau ʻana o kahi ʻōlelo, hopena piha ma ka hopena o kahi manawa). ʻO ke koʻikoʻi formative o ke kumu (ma ke ʻano nui, ʻo ia hoʻi ke kumuhana) ka hoʻomohala ʻana ma ka ʻoiaʻiʻo o ka mus nui. ʻO ka manaʻo i loaʻa mai kona kumu. semantic core (ʻo ka maʻamau ʻo ia ka pūʻulu hoʻoikaika mua a i ʻole, ʻoi aku ka kakaikahi, ke kumu kumu mua) ma o ka hoʻololi hou ʻana o kāna mau ʻāpana (hoʻoulu hou ʻana mai nā leo chord ʻē aʻe, mai nā poʻe ʻē aʻe. ʻanuʻu, etc. ʻO ka lokahi, me ka hoʻololi ʻana i ka laina, ka hoʻololi ʻana i ke kani, i ka hoʻonui a i ʻole ka emi ʻana, i ke kahe ʻana, me ka fragmentation - kahi ala ikaika o ka hoʻomohala ʻana i ka motivic, nā mea hiki ke hoʻonui i ka hoʻololi ʻana o ka kumu mua i nā mea ʻē aʻe. nā kumu). E ʻike iā Arensky A. C, 1900, p. 57-67; Sopin I. V., 1947, p. 47-51. Hoʻokani ka hoʻoulu ʻana i ka homophonic F. m e pili ana i ka hana like me ka hana hou ʻana o ke kumumanaʻo a me kāna mau ʻāpana i ka polyphonic. F. m (ea ma fugue). ʻO ka waiwai hoʻohālikelike o ka counterpoint ma ka homophonic F. m hōʻike iā ia iho i ka hana ʻana i kā lākou ʻaoʻao kūpaʻa. Aneane homophonic F. m i loko o ia mea (ma ka liʻiliʻi loa) he hui ʻelua ʻāpana i ke ʻano o nā leo koʻikoʻi, e hoʻolohe ana i nā kuʻuna o ka polyphony o kēia ʻano (ʻoi aku ka nui o ka hana o ka polyphony). He laʻana o ka contour leo ʻelua - V. A. Mozart, symphony ma g-moll No 40, minuet, ch. kumuhana. Hōʻike ʻia ka manaʻo nui o ka thematism a me ka lokahi i nā ʻano like ʻole o nā ʻāpana pili pili o ka hōʻike ʻana o nā kumumanaʻo a me ka hoʻomohala ʻana i ka thematically unstable developmental, connecting, running constructions o kekahi ʻano a i ʻole. ), nā ʻāpana tonally paʻa a hoʻololi; no ka hoʻohālikelike ʻana i nā hana monolithic structurally o nā kumumanaʻo nui a ʻoi aku ka "loose" kiʻekiʻe (no ka laʻana, i nā ʻano sonata), i kēlā me kēia, i ka hoʻohālikelike ʻana i nā ʻano like ʻole o ke kūpaʻa tonal (no ka laʻana, ka ikaika o nā pili tonal i hui pū ʻia me ka mobility o lokahi ma Ch. ʻāpana, ʻoiaʻiʻo a me ka hui ʻana o ka tonality i hui pū ʻia me kona ʻano palupalu ma ka ʻaoʻao, hoʻemi i ka tonic i ka coda). Inā hana ka mita i ka F.
No nā kiʻi kiʻi o kekahi o nā mea kani koʻikoʻi-romantic (mai ka ʻike o nā kumu kiʻekiʻe o ko lākou hale; ʻo T, D, p nā kuhikuhi hana o nā kī, he modulation; ʻo nā laina pololei ke kūkulu paʻa, nā laina curved. unstable) e nānā i ke kolamu 894.
ʻO ka hopena kumulative o ka mea nui i helu ʻia. nā kumu o ka romanticism kahiko. ʻO F. m. hōʻike ʻia ma ka laʻana o Andante cantabile o Tchaikovsky's 5th symphony.
Papahana A: ka holoʻokoʻa ch. ʻO ke kumuhana o ka hapa 1 o Andante e pili ana i ka tonic D-dur, ʻo ka hana mua o ke kumuhana lua-hoʻohui i ka tonic Fis-dur, a laila ua hoʻoponopono ʻia ʻelua e ka tonic D-dur. Ka Papahana B (kumukumu mokuna, cf. me ka manao C): pane kekahi pa hookahi i ka pa hookahi, o ka hana mau ana o na pahu elua e pane ana i ka hopena elua-pa, a pane eha pahu olelo i paniia e ka cadence. kekahi mea like me ka cadence paʻa. Papahana B: ma muli o ke ana. nā hoʻolālā (Scheme B) hoʻomohala motivic (hōʻike ʻia kahi ʻāpana) mai kahi kumu hoʻokahi pahu a hoʻokō ʻia ma ka hana hou ʻana i nā mea like ʻole, me ka hoʻololi ʻana i ka melodic. laina (a1) a me ke kani metro (a2, a3).
Papahana G: contrapuntal. ke kumu o ka F. m., ka pili pono 2-leo ma muli o nā ʻae i consoner. ka waena a me ka ʻokoʻa i ka neʻe ʻana o nā leo. Papahana D: ka launa pū ʻana me ke kumuhana. a me ka harmonic. nā kumu i hoʻokumu i ka F. m. o ka hana holoʻokoʻa (ʻo ke ʻano he ʻano ʻekolu ʻāpana paʻakikī me kahi ʻāpana, me nā "ʻokoʻa" mai ke ʻano kuʻuna kuʻuna i ka hoʻonui i loko o kahi hapa 1 nui).
I mea no na mahele o F. m. e hana i kā lākou mau hana hoʻolālā, pono e kūkulu ʻia e like me ia. No ka laʻana, ʻike ʻia ke kumuhana ʻelua o ka Gavotte o Prokofiev's "Classical Symphony" ma waho o ka pōʻaiapili ma ke ʻano he trio maʻamau o kahi ʻano ʻekolu ʻāpana paʻakikī; ʻelua mau kumuhana nui o ka hōʻike ʻana o ka 8th fp. ʻAʻole hiki ke hōʻike ʻia nā sonatas a Beethoven ma ke ʻano hoʻohuli - ʻo ka mea nui ma ke ʻano he ʻaoʻao, a ʻo ka ʻaoʻao ka mea nui. Nā hiʻohiʻona o ke ʻano o nā ʻāpana o F. m., e hōʻike ana i kā lākou hana hoʻolālā, i kapa ʻia. ʻano hōʻike mele. mea (ka manaʻo o Sposobina, 1947, pp. 27-39). Ch. ʻEkolu ʻano o ka hōʻike ʻana - exposition, middle and final. ʻO ka hōʻailona alakaʻi o ka exposition ka paʻa i ka hui pū ʻana me ka hana o ka neʻe ʻana, i hōʻike ʻia ma ka thematic. hui (ka hoʻomohala ʻana o hoʻokahi a i ʻole kekahi mau kumu), hui pū ʻana (hoʻokahi kī me nā deviations; modulation liʻiliʻi ma ka hopena, ʻaʻole e hoʻohaʻahaʻa i ka paʻa o ka holoʻokoʻa), hui pū ʻana (nā huaʻōlelo, nā manawa, nā cadences maʻamau, ka hale 4 + 4, 2 + 2 + 1 + 1 + 2 a me nā mea like ma lalo o ke kūlana o ka harmonic stability); e nana i ke Kii B, na pahu 9-16. ʻO kahi hōʻailona o ke ʻano waena (hoʻomohala hoʻi) ʻo ka instability, fluidity, hoʻokō harmonically. instability (ʻaʻole hilinaʻi ma T, akā ma nā hana ʻē aʻe, no ka laʻana D; ʻaʻole me T ka hoʻomaka ʻana, pale a hoʻokuʻi i ka tonic, modulation), thematic. fragmentation (koho i nā ʻāpana o ka hana nui, nā ʻāpana liʻiliʻi ma mua o ka ʻāpana nui), ke ʻano o ka paʻa ʻole (ka nele o nā huaʻōlelo a me nā manawa, ka hoʻonohonoho ʻana, ka nele o nā cadences paʻa). Hoʻopau. ʻO ke ʻano o ka hōʻike ʻana e hōʻoia i ka tonic i loaʻa i nā cadences hou, nā hoʻohui cadence, kahi wahi okana ma T, nā haʻalele ʻana iā S, a me ka hoʻopau ʻana o ke kumuhana. ka hoʻomohala ʻana, ka hoʻokaʻawale ʻana o nā kūkulu, ka hoʻemi ʻana o ka hoʻomohala ʻana i ka mālama ʻana a i ʻole ka hana hou ʻana i ka tonic. chord (laʻana: Mussorgsky, code chorus "Glory to you, the creator of the Almighty" from the opera "Boris Godunov"). Ka hilinai ia F. m. mele ʻōiwi ma ke ʻano he nani. ka hoʻokomoʻana i ke mele o ka manawa hou, i hui pūʻia me ke kūlana kiʻekiʻe o ka hoʻomohalaʻana i nā hana hoʻolālā o ka F. m. a me nā ʻano hōʻike mele e pili ana iā lākou. Hoʻonohonoho ʻia ka mea i loko o kahi ʻōnaehana paʻa o nā mea kani, ʻo nā mea koʻikoʻi ʻo ia ke mele (ma muli o ka mana o nā pilina metric) a me ke ʻano sonata (e pili ana i ka hoʻomohala kumuhana a me ke tonal). Nā ʻōnaehana maʻamau o ka mea nui. nā ʻano kuʻuna-romantic. F. m.:
1) ʻO ka hoʻomaka ʻana o ka ʻōnaehana o nā mea kani (ʻaʻole like, no ka laʻana, nā mea kani rhythmic kiʻekiʻe o ka Renaissance) ʻo ia ke ʻano mele i hoʻoili pololei ʻia mai nā mele o kēlā me kēia lā (ʻo nā ʻano kumu nui o ka hoʻolālā ʻelua ʻāpana a maʻalahi ʻekolu- ʻano hapa ab, aba; ʻoi aku ma nā kiʻi A), ʻaʻole maʻamau i ka wok wale nō. nā genres, akā i hōʻike ʻia ma instr. nā mea liʻiliʻi (preludes, etudes na Chopin, Scriabin, nā ʻāpana piano liʻiliʻi na Rachmaninov, Prokofiev). ʻO ka ulu hou a me ka pilikia o F. m., e puka mai ana mai ke ʻano o ka couplet nar. nā mele, hana ʻia ma ʻekolu mau ala: ma ka hana hou ʻana (hoʻololi) i ke kumuhana like, hoʻokomo i kahi kumuhana ʻē aʻe, a me ka hoʻopili ʻana i nā ʻāpana i loko (ka ulu ʻana o ka manawa i kahi ʻano "kiʻekiʻe", e hoʻokaʻawale i ka waena i kahi hale: neʻe - theme- embryo - hoʻi ka neʻe, autonomization o nā hoʻohui i ke kuleana theme-embryos). Ma kēia mau ʻano, piʻi aʻe ke ʻano mele i nā ʻano kiʻekiʻe.
2) Couplet (AAA…) and variational (А А1 А2…) forms, osn. ma kahi hou o ke kumuhana.
3) ʻokoʻa. ʻano o nā ʻano hui ʻelua a me nā manaʻo nui ("paʻakikī") a me ka rondo. ʻO ka mea nui loa o ka F. m. ʻO ia ka paʻakikī ʻekolu ʻāpana ABA (ʻo nā ʻano ʻē aʻe ka paʻakikī ʻelua ʻāpana AB, arched a concentric ABBCBA, ABCDCBA; ʻo nā ʻano ʻē aʻe he ABC, ABCD, ABCDA). No ka rondo (AVASA, AVASAVA, ABACADA) ke ʻano o nā ʻāpana hoʻololi ma waena o nā kumuhana; Hiki i ka rondo ke hoʻokomo i nā mea sonata (e ʻike iā Rondo sonata).
4) Ke ano Sonata. ʻO kekahi o nā kumu ʻo kāna "germination" mai kahi ʻano maʻalahi ʻelua a ʻekolu paha ʻāpana (e nānā, no ka laʻana, ka f-moll prelude mai ka lua o ka puke o Sakha's Well-Tempered Clavier, ka minuet mai ka Mozart Quartet Es-dur. , K.-V 2; ʻo ke ʻano sonata me ka ʻole o ka hoʻomohala ʻana ma ka ʻāpana 428 o Andante cantabile o Tchaikovsky's 1th symphony he pilina genetic me ka thematic contrasting simple 5-movement form).
5) Ma ke kumu o ka like ole o ka manawa, ano, a me (pinepine) mika, e pili ana i ka lokahi o ka hapai ana, ua peluia ka hapa nui F. mika nui i oleloia i mau hapa cyclic a hui i hookahi hapa. nā ʻano like ʻole-composite (nā laʻana o ka hope - Ivan Susanin na Glinka, No 12, quartet ; ke ʻano o ka "Great Viennese Waltz", no ka laʻana, ka poem choreographic "Waltz" na Ravel). Ma waho aʻe o nā ʻano mele mele i helu ʻia, aia nā ʻano like ʻole a me kēlā me kēia kanaka, pili pinepine ʻia me kahi manaʻo kūikawā, hiki paha i ka programmatic (F. Chopin, 2nd ballad; R. Wagner, Lohengrin, introduction; PI Tchaikovsky, symphony . fantasy " The Tempest"), a i ʻole me ke ʻano o ka noʻonoʻo manuahi, rhapsodies (WA Mozart, Fantasia c-moll, K.-V. 475). I nā ʻano manuahi, akā naʻe, ʻaneʻane hoʻohana mau ʻia nā mea o nā ʻano i paʻi ʻia, a i ʻole ua unuhi kūikawā ʻia lākou i ka F. m maʻamau.
Aia ke mele ʻOpera ma lalo o ʻelua pūʻulu kumu hoʻokumu: theatrical-dramatic and purely musical. Ma muli o ka nui o kekahi kumu a i ʻole kekahi, ua hui pū ʻia nā haku mele operatic a puni ʻekolu kumu. ʻano: opera helu (no ka laʻana, ʻo Mozart i nā keaka "The Marriage of Figaro", "Don Giovanni"), mele. pāʻani (R. Wagner, "Tristan and Isolde"; C. Debussy, "Pelleas and Mélisande"), hui pū ʻia, a i ʻole synthetic., ʻano (MP Mussorgsky, "Boris Godunov"; DD Shostakovich, "Katerina Izmailov"; SS Prokofiev, "Ke Kaua a me ka Maluhia"). E nana i ka Opera, Dramaturgy, Musical Drama. Hāʻawi ke ʻano hui ʻana o ke ʻano opera i ka hui maikaʻi loa o ka hoʻomau ʻana o ke kahua. hana me FM poepoe ʻO kahi laʻana o FM o kēia ʻano ʻo ia ke kiʻi i loko o ka hale kūʻai mai Mussorgsky's opera Boris Godunov (artisticly perfect distribution of ariose and dramatic elements in connection with the form of the stage action).
VI. Nā ʻano mele o ke kenekulia 20 ʻO F. m. 20 p. ua mahele ʻia i ʻelua ʻano: hoʻokahi me ka mālama ʻana i nā haku mele kahiko. ʻano - he paʻakikī ʻekolu hapa fm, rondo, sonata, fugue, fantasy, etc. (na AN Scriabin, IF Stravinsky, N. Ya. Myaskovsky, SS Prokofiev, DD Shostakovich, P. Hindemith, B. Bartok, O. Messiaen , haku mele o ke kula hou Viennese, etc.), kekahi me ka malama ole ia lakou (na C. Ives, J. Cage, haku mele o ke kula Polani hou, K. Stockhausen, P. Boulez , D. Ligeti, me kekahi poe haku mele Soviet - LA Grabovsky, SA Gubaidullina, EV Denisov, SM Slonimsky, BI Tishchenko, AG Schnittke, R K. Shchedrin a me nā mea ʻē aʻe). Ma ka papahele 1. ʻO ke kenekulia 20 ke ʻano mua o F. m, ma ka papahele ʻelua. hoʻonui nui i ka hana o ka lua. ʻO ka hoʻomohala ʻana i kahi kuʻikahi hou i ke kenekulia 2, ʻoi aku ka nui o ka hui pū ʻana me kahi ʻano ʻokoʻa no ka timbre, rhythm, a me ke kūkulu ʻana i ka lole, hiki ke hoʻololi hou i ke ʻano kahiko o nā mele rhythmic (Stravinsky, The Rite of Spring, the rondo hope loa o ka Hula Laa Nui me ka papahana AVASA, noʻonoʻo hou e pili ana i ka hana hou ʻana o ka ʻōnaehana ʻōlelo mele holoʻokoʻa). Me ke kuokoa o ka hana hou ana o ka F. m. hiki ke hoʻohālikelike me ka mea hou, no ka mea, ʻaʻole i ʻike ʻia nā pilina me nā ʻano hana mua (e like me ka orc. F. m. o kekahi op sonoristic ma mua o ka tonal op. ma ke ano sonata). No laila ke kumu nui o ka "ʻenehana" (kākau) no ke aʻo ʻana iā F. m. i ke mele o ke kenekulia 20. (ʻO ka manaʻo o "ʻenehana" hoʻohui i ka manaʻo o nā mea kani i hoʻohana ʻia a me kāna mau waiwai, o ka lokahi, kākau a me nā mea hana).
Ma ke tonal (ʻoi aku ka pololei, new-tonal, see Tonality) mele o ke kenekulia 20. ʻO ka hana hou ʻana o ka F. m. loaʻa ma muli o nā ʻano harmonica hou. nā kikowaena a pili i nā waiwai harmonic hou. mea pili i ka hana. No laila, ma ka hapa 1 o ka 6th fp. sonata na Prokofiev kahiko. ka hoʻohālikelike ʻana i ke ʻano "paʻa" o Ch. ʻO ka ʻāpana a me ka ʻaoʻao ʻaoʻao "loose" (ʻoiai paʻa loa) ua hōʻike ʻia e ka ʻokoʻa o ka A-dur tonic ikaika i ka ch. kumuhana a me kahi kumu pale i hoʻopalupalu ʻia (hdfa chord) ma ka ʻaoʻao. ʻO ka hoʻomaha o F. m. loaʻa ʻia e nā harmonic hou. a me nā ʻano hana, ma muli o ka ʻike hou o nā muses. hoʻopiʻi. Ua like ke kūlana me ka ʻenehana modal (laʻana: ʻano ʻāpana 3 i ka pāʻani a Messiaen "Calm Complaint") a me ka mea i kapa ʻia. noa atonality (no ka laʻana, he ʻāpana na RS Ledenev no nā lira a me nā kaula, quartet, op. 16 No 6, hana ʻia ma ke ʻano o ka consonance waena).
Ma ke mele o ke kenekulia 20, ke hana nei ka polyphonic renaissance. ka noʻonoʻo a me ka polyphonic. ʻO F. m. Contrapuntal. palapala a me ka polyphonic kahiko F. m. lilo i kumu o ka mea i kapaia. neoclassical (bh neo-baroque) alakaʻi ("No nā mele hou, ʻo ke kuʻikahi o ia mea e nalowale mālie ana kona pili tonal, ʻoi aku ka waiwai o ka hoʻohui ʻana o nā ʻano contrapuntal" - Taneyev SI, 1909). Me ka hoopiha ana i ka F. m kahiko. (fugues, canons, passacaglia, variations, etc.) me ka leo hou. maʻiʻo (ma Hindemith, Shostakovich, B. Bartok, hapa Stravinsky, Shchedrin, A. Schoenberg, a me nā mea he nui) he wehewehe hou o ka polyphonic. ʻO F. m. (no ka laʻana, ma ka "Passacaglia" mai Stravinsky's septet, ʻaʻole i ʻike ʻia ke kumu neoclassical o ka linear, rhythmic a me ka nui o ka invariance o ke kumuhana ostinato, ma ka hope o kēia ʻāpana aia kahi canon "disproportionate", ke ʻano o ua like ka monothematism o ka pōʻai me ka serial-polyphonic. variations ).
ʻO keʻano hana Serial-dodecaphonic (e nānā i ka Dodecaphony, Serial technique) i manaʻo muaʻia (ma ke kula Novovensk) e hoʻihoʻi i ka manawa e kākau ai i nā mele nui, nalowale i ka "atonality". ʻO F. m. ʻO ka ʻoiaʻiʻo, ʻo ka pono o ka hoʻohana ʻana i kēia ʻenehana i neoclassical. he mea kānalua ke kumu. ʻOiai ua maʻalahi ka loaʻa ʻana o nā hopena quasi-tonal a me tonal me ka hoʻohana ʻana i ka ʻenehana serial (no ka laʻana, ma ka minuet trio o Schoenberg's suite op. 25, hiki ke lohe ʻia ke kani o es-moll; ma ka hui holoʻokoʻa, e pili ana i kahi pōʻai manawa Bach like. , huki ʻia nā lālani serial mai nā leo e a me b, ʻo kēlā me kēia ke kani mua a hope i nā lālani serial ʻelua, a no laila ua hoʻohālikelike ʻia ka monotony o ka suite baroque ma ʻaneʻi), ʻoiai ʻaʻole paʻakikī i ka haku ke kūʻē. ʻO nā ʻāpana "tonally" paʻa a paʻa ʻole, modulation-transposition, e pili ana i nā reprises o nā kumumanaʻo a me nā ʻāpana ʻē aʻe o ka tonal F. m., nā kūʻē kūloko (ma waena o ka intonation hou a me ka ʻenehana kahiko o tonal F. m.), hiʻohiʻona o neoclassical. hoʻohua, hoʻopā ʻaneʻi me ka ikaika. (Ma ke ʻano he kānāwai, ʻaʻole hiki ke loaʻa a i ʻole nā mea hana ʻole kēlā mau pilina me ka tonic a me nā kū'ē e pili ana iā lākou, i hōʻike ʻia ma ka Scheme A o ka laʻana hope e pili ana i ka classical-romantic. F. m.) samples of F. m. . ʻO ka launa pū ʻana o ka leo hou, harmonic. nā puka, nā ʻenehana kākau a me nā ʻano hana i hoʻokō ʻia e A. Webern. No ka laʻana, ma ka hapa 1 o ka symphony op. 21 ʻAʻole ʻo ia e hilinaʻi wale i nā waiwai formative o nā conductions serial, ma ka neoclassical. ma ke kumu, nā canons a me quasi-sonata pitch ratios, a, me ka hoʻohana ʻana i kēia mau mea a pau i mea, hana ia me ke kōkua o nā mea hou o F. m. - nā pilina ma waena o ka pitch a me ka timbre, timbre a me ka hoʻolālā, nā symmetries multifaceted i ka pitch-timbre-rhythm. nā lole, nā pūʻulu waena, i ka hāʻawi ʻana i ke kani kani, a me nā mea ʻē aʻe, i ka manawa like e haʻalele i nā ʻano hana i lilo i koho; hou F. m. hāʻawi i ka nani. ka hopena o ka maʻemaʻe, ka haʻahaʻa, ka noho mālie, ka ʻahaʻaina. ʻālohilohi a i ka manawa like ʻo ka haʻalulu o kēlā me kēia kani, ke aloha hohonu.
Hoʻokumu ʻia kahi ʻano hana polyphonic kūikawā me ke ʻano serial-dodecaphone o ka haku mele; pakahi, F. m., i hana 'ia ma ka hana serial, he polyphonic ma ke ano, a ma ka li'ili'i paha e like me ke kumu kumu, me ka nānā 'ole i ko lākou 'ano kikokikona o polyphonic. ʻO F. m. (no ka laʻana, nā canons ma ka ʻaoʻao ʻelua o ka symphony op. 2 a Webern, e ʻike iā Art. Rakohodnoe movement, he laʻana ma nā kolamu 21-530; ma ka hapa mua o "Concerta-buff" na SM Slonimsky, he trio minuet mai ka suite no ka piano, op. 31 na Schoenberg) a quasi-homophonic (no ka laʻana, ke ʻano sonata ma ka cantata "Light of the Eyes" op. 1 na Webern; ma ka hapa mua o ka symphony 25 na K. Karaev; rondo – sonata i ka hope o ka quartet 26 o Schoenberg). Ma ka hana a Webern i ka mea nui. nā hiʻohiʻona o ka polyphonic kahiko. ʻO F. m. ua hoʻohui i kāna mau mea hou (ka hoʻokuʻu ʻana i nā ʻāpana mele, ke komo ʻana i kahi ʻano polyphonic, ma kahi o nā kiʻekiʻe kiʻekiʻe, nā repetitions thematic, autonomous interaction of timbres, rhythms, register relations, articulation, dynamics; see, no ka laʻana, 1nd part variations for piano op.3, orc.variations op.3), nāna i hoʻokaʻawale i ke ala no ka hoʻololi hou ʻana o ka polyphonic. ʻO F. m. – ma ka serialism, e nana Seriality.
Ma nā mele sonoristic (e nānā i ka Sonorism) hoʻohana ʻia nā predominates. hoʻokahi, manuahi, nā ʻano hou (AG Schnittke, Pianissimo; EV Denisov, piano trio, 1st part, kahi o ka ʻāpana structural nui ʻo "sigh", asymmetrically varied, lawelawe ma ke ʻano he mea no ke kūkulu ʻana i kahi ʻano hou , non-classical ʻekolu ʻāpana. , A. Vieru, "Eratosthenes' sieve", "Clepsydra").
Polyphonic i kumu F. m. Kenekulia 20, osn. ma nā pilina like ʻole o nā muses kani hoʻokahi. nā hale (nā ʻāpana No. 145a a me 145b mai Bartok's Microcosmos, hiki ke hoʻokō ʻia i ka ʻokoʻa a me ka manawa like; ʻO nā quartets D. Millau No. 14 a me 15, nona ka hiʻohiʻona like; K. Stockhausen's Groups no ʻekolu spatially separated orchestras). Kaohi i ka oi polyphonic. ʻO ke kumu o ke kūʻokoʻa o nā leo (nā papa) o ka lole he aleatoric o ka lole, e ʻae ana i kahi kaʻawale no ka manawa pōkole o nā ʻāpana o ke kani ākea a, no laila, he plurality o kā lākou hui ʻana i ka manawa like. hui pū ʻia (V. Lutoslavsky, 2nd symphony, "Book for Orchestra").
ʻO nā mea kani hoʻokani pākahi hou (kahi o ka "scheme" o ka hana ke kumuhana o ka haku mele, e kū'ē ana i ke ʻano neoclassical o nā mea kani o kēia wā) e hoʻomalu i nā mele uila (ʻo ka laʻana ʻo Denisov "Birdsong"). Mobile F. m. (hōʻano hou ʻia mai kekahi hana i kekahi) loaʻa i kekahi mau ʻano alea-toric. mele (no ka laʻana, ma Stockhausen's Piano Piece XI, Boulez's 3rd Piano Sonata). ʻO F. m. 60-70s. Hoʻohana nui ʻia nā ʻenehana hui ʻia (RK Shchedrin, 2nd a me 3rd piano concerto). ʻO ka mea i kapa ʻia. hana hou (a i ole ia) F. m., ke ano o ia mea e pili ana i ka hana hou ana b. hola o ke mele haʻahaʻa. mea (no ka laʻana, ma kekahi mau hana a VI Martynov). Ma ke kahua o nā ʻano kahua - e hana ana.
VII. Nā aʻo e pili ana i nā ʻano mele. ʻO ke aʻo ʻana o F. m me he dep. ʻO ka lālā o ka musicology theoretical noiʻi a ma lalo o kēia inoa i kū mai i ke kenekulia 18. Eia naʻe, kona mōʻaukala, e holo like me ka ulu ana o ka pilikia philosophical o ka pilina ma waena o ke ano a me ka mea, ke ano a me ka maʻiʻo, a coincides me ka mōʻaukala o ke aʻo o ka muses. nā haku mele, nā lā mai ka wā o ka Honua Kahiko - mai ka Helene. mea atomika (Democritus, 5th c. SM. BC) a me Plato (ua hoʻomohala ʻo ia i nā manaʻo o "scheme", "morphe", "type", "idea", "eidos", "view", "image"; see. ʻO Losev A. F., 1963, p. 430-46 a me nā mea ʻē aʻe; nona iho, 1969, p. 530-52 a me nā mea ʻē aʻe). ʻO ka manaʻo hoʻonaʻauao kahiko piha loa o ke ʻano ("eidos", "morphe", "logos") a me nā mea (pili i ka pilikia o ke ʻano a me ka ʻike) i waiho ʻia e Aristotle (nā manaʻo o ka hui ʻana o ka mea a me ke ʻano; ka hierarchy o ka pilina ma waena o ka mea a me ke ʻano, kahi o ke ʻano kiʻekiʻe he akua. noonoo; knm. Aristotle, 1976). He aʻo e like me ka ʻepekema o F. m., i hoʻomohala ʻia i loko o ke ʻano o melopei, i hoʻomohala ʻia ma ke ʻano he kūikawā. ka hoʻopaʻi mele mele, ma lalo paha o Aristoxenus (2nd hapa. 4 in.); knm. Cleonides, Janus S., 1895, p. 206-207; Aristides Quintilian, "De musica libri III"). ʻO ka inoa inoa ʻole ʻo Bellerman III ma ka ʻāpana "About melopee" i hoʻonohonoho ʻia (me nā mele. kiʻi) ʻike e pili ana i nā "rhythms" a me ka melodic. huahelu (Najock D., 1972, p. 138-143), Puke. e. e pili ana i nā mea o F. m. ma mua o F. m i ka manaʻo ponoʻī, i ka lani i loko o ka pōʻaiapili o ka manaʻo kahiko o ka mele ma ke ʻano he trinity i manaʻo nui ʻia e pili ana i ka poetic. nā ʻano, ke ʻano o kahi stanza, paukū. ʻO ka pilina me ka huaʻōlelo (a ma kēia ʻano ka nele o kahi aʻoaʻo autonomous o Ph. m i ka manaʻo hou) ʻo ia hoʻi ke ʻano o ke aʻo ʻana o F. m medieval a me ka renaissance. Ma ka himeni, ka Magnificat, na himeni o ka Misa (cf. pauku III), etc. nā ʻano o kēia manawa F. m ʻO ka mea nui, ua hoʻoholo mua ʻia e ka kikokikona a me ka liturgic. hana a ʻaʻole i koi kūikawā. ʻO ke aʻo ʻana kūʻokoʻa e pili ana iā F. m Ma ka hana noʻeau. nā ʻano secular, kahi o ka kikokikona i ʻāpana o F. m a hoʻoholo i ke ʻano o nā muses maʻemaʻe. kūkulu ʻia, ua like ke kūlana. Eia kekahi, nā kumu hoʻohālike o nā ʻano, i hōʻike ʻia i ka musical-theoretical. nā kuʻikahi, ma ke ana i lawelawe ʻia ma ke ʻano he ʻano "mele mele" a ua hana hou ʻia i ka decomp. nā huahana no ka leo like. Nā lula multigoal. nā leka (e hoʻomaka ana mai "Musica enchiriadis", hope. 9 c.) hoʻohui ʻia ʻo F. hoʻokomo ʻia i loko o ke mele i hāʻawi ʻia. m.: ʻaʻole hiki ke noʻonoʻo ʻia lākou he aʻo a Ph. m ma ke ano o keia manawa. No laila, ma ka ʻatikala ʻo Milan "Ad Organum faciendu" (c. 1100), no ke ʻano o "musical-technical." hana ma ke mele. haku mele (pehea e "hana" ai i ka organum), ma hope o ka mea nui. nā wehewehe (organum, copula, diaphony, organizatores, "pilina" o nā leo - affinitas vocum), ke ʻano o nā consonances, ʻelima "ʻano o ka hui" (modi organizandi), ʻo ia hoʻi e. nā ʻano like ʻole o ka hoʻohana ʻana i nā consonances i ka "composition" o ka organum-counterpoint, me ke mele. nā laʻana; ua kapa ʻia nā ʻāpana o nā kūkulu leo ʻelua i hāʻawi ʻia (e like me ka loina kahiko: hoʻomaka – waena – hopena): prima vox – mediae voces – ultimae voces. Wed no hoi mai ch. 15 "Microlog" (ca. 1025-26) Guido d'Arecco (1966, s. 196-98). I ka manao o F. m pili pū nā wehewehe i ʻike ʻia. nā ʻano. Ma ka moʻolelo ʻo J. de Groheo («De musica», ca. 1300), i hōʻailona ʻia e ka mana o ka Renaissance methodology, aia kahi wehewehe nui o nā mea ʻē aʻe. nā ʻano a me F. m .: cantus gestualis, cantus coronatus (a i ʻole conductor), versicle, rotunda, a i ʻole rotundel (rondel), responsory, stantipa (estampi), induction, motet, organum, goket, mass a me kāna mau ʻāpana (Introitus, Kyrie, Gloria, etc. . .), invitatorium, Venite, antifon, himeni. Me lākou, aia nā ʻikepili i nā kikoʻī o ke ʻano o Ph. m - e pili ana i nā "helu" (nā ʻāpana F. m.), nā ʻano hopena o nā ʻāpana F. m (arertum, clausuni), ka helu o nā ʻāpana ma F. m He mea nui e hoʻohana nui ʻo Groheo i ka huaʻōlelo "F. m.", a ma ke ano e like me ka mea hou: formae musicales (Grocheio J. o ka p. 130; knm. e komo pū. ʻatikala na E. Hoʻohālikelike ʻo Rolof me ka wehewehe ʻana i ka huaʻōlelo forma y e Aristotle, Grocheio J. o ka p. 14-16). Ma hope o Aristotle (nona inoa i ʻōlelo ʻia ma mua o hoʻokahi manawa), hoʻopili ʻo Groheo i ka "form" me "matter" (p. 120), a ʻo "matter" i manaʻo ʻia he "harmonic. nā kani", a me ka "form" (eia ke ʻano o ka consonance) pili me "helu" (p. 122; Lūkini no. — Groheo Y. kahi, 1966, p. 235, 253). ʻO kahi wehewehe kikoʻī like ʻole o F. m hāʻawi, no ka laʻana, V. ʻO Odington ma ka puke "De speculatione musice": treble, organum, rondel, conduct, copula, motet, goquet; i ka mele Hāʻawi ʻo ia i nā laʻana o nā helu leo ʻelua a ʻekolu. I nā aʻo ʻana o ka counterpoint, me ke ʻano o ka polyphonic. palapala (e laʻa, ma Y. Tinctorisa, 1477; N. Vicentino, 1555; J. ʻO Tsarlino, 1558) wehewehe i nā mea o ka manaʻo o kekahi polyphonic. nā ʻano, eg. canon (ma mua ma ke ʻano o ka hoʻololi leo - rondelle me Odington; "rotunda, a i ʻole rotundel" me Groheo; mai ke kenekulia 14. ma lalo o ka inoa "fugue", i ʻōlelo ʻia e Jacob o Liege; wehewehe pū ʻia e Ramos de Pareja; knm. Parekha, 1966, p. 346-47; kokoke iā Tsarlino, 1558, ibid., p. 476-80). ʻO ka hoʻomohala ʻana o ke ʻano fugue ma ke kumumanaʻo e hāʻule nui i nā kenekulia 17-18. (ʻo ia hoʻi ʻo J. M. Bononcini, 1673; A. G. Walter, 1708; A ME. A ME. Fuchsa, 1725; A. A. Shaybe (oc. 1730), 1961; I. Matheson, 1739; F. MA Marpurga, 1753-54; I. F. Kirnberger, 1771-79; A ME. G.
Ma ka manao o F. m. 16-18 mau kenekulia. Ua hoʻokō ʻia kahi mana kaulana ma ka hoʻomaopopo ʻana i nā hana o nā ʻāpana ma ke kumu o ke aʻo ʻana o ka ʻōlelo. Mai ka Dr. Greece (c. 5th century BC), ma ka palena o ka wā kahiko a me ka Middle Ages, ua lilo ka ʻōlelo i ʻāpana o ka "ʻehiku liberal arts" (septem artes liberales), kahi i hui pū ai me ka "science of. mele” (“… ʻaʻole hiki i ka ʻōlelo ʻōlelo ke hoʻoikaika nui i ka pili ʻana i ke mele ma ke ʻano he kumu ʻōlelo hōʻike “- Asafiev BV, 1963, p. 31). ʻO kekahi o nā keʻena o ka rhetoric - Dispositio ("hoʻonohonoho"; ʻo ia hoʻi, hoʻonohonoho hoʻonohonoho op.) - ma ke ʻano he ʻāpana e pili ana i ke aʻo ʻana o F. m., hōʻike i kahi wehewehe. nā hana hoʻolālā o kāna mau ʻāpana (e nānā i ka Pauku V). I ka manaʻo a me ke ʻano o nā muses. cit., a me na oihana mele e ae no F. m. rhetoric - Inventio ("invention" of musical thought), Decoratio (kona "decoration" me ke kōkua o nā kiʻi mele-rhetorical). (Ma ka ʻōlelo mele, e ʻike: Calvisius S., 1592; Burmeister J., 1599; Lippius J., 1612; Kircher A., 1650; Bernhard Chr., 1926; Janowka Th. B., 1701; Walther JG, 1955; Mattheson J., 1739; Zakharova O., 1975.) Mai ka hiʻohiʻona o ke mele. rhetoric (hana o nā ʻāpana, dispositio) ʻIke pololei ʻo Mattheson iā F. m. ma ka aria o B. Marcello (Mattheson J., 1739); ma ke ano o ke mele. ʻōlelo ʻōlelo, ua wehewehe mua ʻia ke ʻano sonata (e ʻike iā Ritzel F., 1968). ʻO Hegel, ka hoʻokaʻawale ʻana i nā manaʻo o ka mea, ke ʻano a me ka ʻike, ua hoʻokomo i ka manaʻo hope i ka hoʻohana ʻana i ka philosophical a me ka hoʻohana ʻepekema, hāʻawi iā ia (akā naʻe, ma ke kumu o ke ʻano kumu kūpono) he dialectic hohonu. wehewehe, ua lilo ia i ʻāpana koʻikoʻi o ke aʻo ʻana o ke kiʻi, o ke mele ("Aesthetics").
ʻepekema hou o F. m., ma kona iho. manaʻo o ke aʻo ʻana o F. m., ua hoʻomohala ʻia i nā kenekulia 18-19. Ma kekahi mau hana o ke kenekulia 18. ʻIke ʻia nā pilikia o ka mika ("ke aʻo ʻana o nā kuʻi"), ka hoʻomohala ʻana i ke kumu, ka hoʻonui ʻana a me ka ʻāpana o nā muses. ke kūkulu ʻana, ka hoʻolālā ʻōlelo a me ka wā, ke ʻano o kekahi o nā instr homophonic koʻikoʻi. F. m., ua hoʻokumu ʻia ka resp. nā manaʻo a me nā hua'ōlelo (Mattheson J., 1739; Scheibe JA, 1739; Riepel J., 1752; Kirnberger J. Ph., 1771-79; Koch H. Ch., 1782-93; Albrechtsberger JG, 1790). I ka con. 18 - noi. ʻO nā kenekulia 19 he ʻōnaehana maʻamau o ka homophonic F. m. ua hoakakaia, a ua hoohuiia na hana ma F. m. ʻike ʻia, e uhi kikoʻī ana i kā lākou kumumanaʻo ākea a me kā lākou mau hiʻohiʻona, tonal harmonic. hale (mai nā aʻo ʻana o ke kenekulia 19 - Weber G., 1817-21; Reicha A., 1818, 1824-26; Logier JB, 1827). Ua hāʻawi ʻo Classic AB Marx i ke aʻo ʻana i hoʻohui ʻia o F. m.; kāna “Aʻo e pili ana i ke mele. haku mele” (Marx AV, 1837-47) uhi i na mea a pau e pono ai ka haku mele no ke akamai i ka haku mele. ʻO F. m. Ua wehewehe ʻo Marx ma ke ʻano he "hōʻike ... o ka ʻike", ʻo ia hoʻi "nā manaʻo, nā manaʻo, nā manaʻo o ka haku mele." ʻO ka ʻōnaehana homophonic a Marx F. m. mai nā "ʻano mua" o ke mele. manaʻo (neʻe, ʻōlelo, a me ka manawa), hilinaʻi i ke ʻano o ka "mele" (ka manaʻo āna i hoʻokomo ai) ma ke ʻano he kumu nui i nā ʻōnaehana maʻamau o F. m.
ʻO nā ʻano nui o ka homophonic F. m .: mele, rondo, ʻano sonata. Ua hoʻokaʻawale ʻo Marx i ʻelima mau ʻano rondo (ua hāpai ʻia lākou i ka makahiki 19 - i ka hoʻomaka ʻana o nā kenekulia 20 i ka mele mele a me ka hoʻonaʻauao hoʻonaʻauao Lūkini):
(He laʻana o nā ʻano rondo: 1. Beethoven, 22nd piano sonata, 1st part; 2. Beethoven, 1st piano sonata, Adagio; 3. Mozart, rondo a-moll; 4. Beethoven, 2- 5st piano sonata, hope 1. Beethoven , 1st piano sonata, finale.) I ke kukulu ana i ka papa mele. ʻO F. m. Ua ʻike ʻo Marx i ka hana ʻana o ke kānāwai "kūlohelohe" o ka tripartiteness ma ke ʻano he mea nui i kekahi mele. nā hoʻolālā: 2) thematic. hōʻike (ust, tonic); 3) hoʻololi i ka ʻāpana neʻe (neʻe, gamma); 1900) reprise (hoʻomaha, tonic). Riemann, e ʻike ana i ke koʻikoʻi no ka hana ʻoiaʻiʻo o ka "mea nui o ka ʻike", "manaʻo", i hōʻike ʻia e F. m. (Riemann H., (6), S. 1901), unuhi i ka hope ma ke ʻano he "mea e hōʻuluʻulu ai i nā ʻāpana o nā hana i hoʻokahi ʻāpana. No ka hopena o ka "general aesthetic. kumukānāwai" ua unuhi ʻo ia i "nā kānāwai o ka mele kūikawā. kūkulu hale" (G. Riemann, "Musical Dictionary", M. - Leipzig, 1342, p. 1343-1907). Ua hōʻike ʻo Riemann i ka pilina o nā muses. mau mea i ka hookumu ana o F. m. (no ka laʻana, "Catechism of piano playing", M., 84, pp. 85-1897). Riemann (see Riemann H., 1902, 1903-1918, 19-1892; Riemann G., 1898, 1806), e hilinaʻi ana i ka mea i kapa ʻia. ʻO ke kumu iambic (cf. Momigny JJ, 1853, a me Hauptmann M., XNUMX), i hana i kahi aʻo hou o ka classical. metric, kahi pōʻai ʻewalu huinahā, i loaʻa i kēlā me kēia pōʻai kekahi ana. ʻokoʻa ka waiwai mai nā mea ʻē aʻe:
(ʻO nā kumukūʻai o nā ana ʻano māmā e pili ana i nā mea kaumaha a lākou e alakaʻi ai). Eia nō naʻe, ʻo ka hoʻolaha like ʻana i nā ʻano hana o nā ʻāpana metrically paʻa i nā mea paʻa ʻole (neʻe, nā hoʻomohala), no laila, ʻaʻole i noʻonoʻo ʻo Riemann i nā ʻano like ʻole o ke ʻano o ka Classical. ʻO F. m. Ua hōʻoia nui ʻo G. Schenker i ke koʻikoʻi o ka tonality, nā tonics no ka hoʻokumu ʻana i ka classical. F. m., ua hana i ka mana'o o ka pae ho'okumu o F. m., e pi'i ana mai ke kumu tonal kumu a hiki i na "papa" o ke mele ho'ohui. haku mele (Schenker H., 1935). Loaʻa iā ia ka ʻike o kahi monumental holistic analysis otd. hana (Schenker H., 1912). Hoʻomohala hohonu o ka pilikia o ka waiwai formative o ka lokahi no ka Classical. Hāʻawi ka fm iā A. Schoenberg (Schönberg A., 1954). E pili ana i ka hoʻomohala ʻana i nā ʻenehana hou i ke mele o ke kenekulia 20. he mau aʻo e pili ana iā P. m. a me nā mele. haku mele ma muli o ka dodecaphony (Krenek E., 1940; Jelinek H., 1952-58, etc.), modality and new rhythmic. ʻenehana (Messiaen O., 1944; ʻōlelo pū kekahi i ka hoʻomaka hou ʻana o kekahi mau Middle Ages. F. m. - hallelujah, Kyrie, sequences, etc.), haku mele uila (e nānā i ka "Die Reihe", I, 1955), hou P .m. (no ka laʻana, ka mea i kapa ʻia he hamama, helu, manawa P. m. i ke kumumanaʻo o Stockhausen - Stockhausen K., 1963-1978; a me Boehmer K., 1967). (E nānā iā Kohoutek Ts., 1976.)
Ma Rusia, ʻo ke aʻo ʻana o F. m mai ka "Music Grammar" na N. AP Diletsky (1679-81), e hāʻawi ana i ka wehewehe ʻana i ka mea nui loa F. m o ia au, ʻenehana polygonal. nā leka, nā hana o nā ʻāpana F. m ("i loko o kēlā me kēia concerto" he "hoʻomaka, waena a me ka hopena" - Diletsky, 1910, p. 167), nā mea a me nā kumu o ka hana ʻana ("padyzhi", vol. e. cadenzas; "piʻi" a me "ka iho"; "dudal rule" (ie. e. org point), "countercurrent" (counterpoint; akā naʻe, ke ʻano o ke kani kiko), etc.). Ma ka wehewehe ʻana o F. m Manaʻo ʻo Diletsky i ka mana o nā ʻano muses. rhetoric (ua hoʻohana ʻia kāna mau huaʻōlelo: "disposition", "invention", "exordium", "amplification"). ʻO ke aʻo ʻana o F. m ma ke ano hou e haule ma ka papahele 2. 19 - noi. 20 cc ʻO ka hapa ʻekolu o ka "Alakaʻi piha i ka haku mele" na I. Gunke (1863) - "On the Forms of Musical Works" - loaʻa ka wehewehe ʻana o ka nui o ka F. m (fugue, rondo, sonata, concerto, symphony poem, etude, serenade, ed. nā hula, a me nā mea ʻē aʻe), nā loiloi o nā haku mele hoʻohālike, kahi wehewehe kikoʻī o kekahi mau "ʻano paʻakikī" (eg. ʻano sonata). Ma ka ʻāpana ʻelua, ua hoʻonohonoho ʻia ka polyphonic. ʻenehana, wehewehe ʻia osn. polyphonic. F. m (fugues, canons). Me nā haku mele kūpono. nā kūlana, kahi pōkole "Alakaʻi i ke aʻo ʻana i nā ʻano o nā mea kani a me nā mele leo" i kākau ʻia e A. C. Arensky (1893-94). ʻO nā manaʻo hohonu e pili ana i ke ʻano o F. m., kona pili ana i ka harmonic. ʻO ka ʻōnaehana a me ka hopena mōʻaukala i hōʻike ʻia e S. A ME. Taneev (1909, 1927, 1952). ʻO ka manaʻo kumu o ke ʻano kino o F. m hana ʻia e G. E. Conus (ke kumu. hana - "Embryology and morphology of the musical organism", manuscript, Museum of Musical Culture. M. A ME. Glinka; knm. ʻo Konus G. E., 1932, 1933, 1935). He nui nā manaʻo a me nā huaʻōlelo o ke aʻo ʻana o F. m hana ʻia e B. L. Yavorsky (hoʻāʻo mua, hoʻololi i ka hapaha 3, hoʻohālikelike me ka hopena). Ma ka hana a V. M. Belyaev "He hōʻike pōkole o ke aʻo ʻana o ka Counterpoint a me ke aʻo ʻana o nā ʻano mele" (1915), i loaʻa ka hopena i ka manaʻo hope o F. m i loko o ka puolo mele, ua hāʻawi ʻia kahi ʻike hou (maʻalahi) o ke ʻano rondo (ma muli o ke kūʻē ʻana o Ch. theme and a number of episodes), the concept of “song form” ua hoopau ia. B. MA ʻO Asafiev ma ka puke. Ua hōʻoia ʻia ʻo "Musical form as a process" (1930-47) e F. m ka hoʻomohala ʻana i nā kaʻina hana leo e pili ana i ka mōʻaukala. ka ulu ʻana o ke ola ʻana o ke mele ma ke ʻano he mea hoʻoholo pili kaiaulu. phenomena (ka manaʻo o F. m me ka malama ole i ka leo. ʻO nā hoʻolālā waiwai waiwai "lawe i ka dualism o ke ʻano a me ka ʻike i ke kumu o ka lapuwale" - Asafiev B. V., 1963, p. 60). ʻO nā waiwai paʻa o ke mele (incl. a me F. m.) - nā mea hiki wale nō, ʻo ka hoʻokō ʻana i hoʻoholo ʻia e ke ʻano o ke kaiāulu (p. 95). Hoʻomaka hou i ka mea kahiko (Pythagorean nō; cf. ʻO Bobrovsky V. P., 1978, p. 21-22) i ka manaʻo o kahi triad ma ke ʻano he hui o ka hoʻomaka, waena a me ka hopena, ua hāʻawi ʻo Asafiev i kahi kumumanaʻo ākea o ka hoʻokumu ʻana-kaʻina o kekahi F. m., e hōʻike ana i nā pae o ka hoʻomohala ʻana me ka ʻōlelo pōkole initium - motus - terminus (e ʻike. pauku V). ʻO ke kumu nui o ke aʻo ʻana ʻo ia ka hoʻoholo ʻana i nā mea e pono ai no ka dialectics o ke mele. hoʻokumu, ka hoʻomohala ʻana i ke aʻo ʻana o loko. hoʻoikaika kino F. m (“hau. form ma ke ʻano he kaʻina hana"), e kūʻē ana i nā ʻano hana "silent". No laila, hoʻokahi ʻo Asafiev ma F. m "ʻelua ʻaoʻao" - kaʻina hana a me ke kūkulu ʻana (p. 23); Hoʻoikaika pū ʻo ia i ke koʻikoʻi o nā kumu maʻamau ʻelua i ka hoʻokumu ʻana o F. m - nā ʻike a me nā ʻokoʻa, e hoʻokaʻawale ana i nā F. m e like me ka mana o kekahi a i ʻole kekahi (Vol. 1, pauku 3). Kapili F. m., e like me Asafiev, pili i kona manaʻo i ka psychology o ka ʻike hoʻolohe (Asafiev B. V., 1945). Ma ka ʻatikala V. A. Zuckerman e pili ana i ka opera na N. A. Rimsky-Korsakov "Sadko" (1933) mele. prod. no ka manawa mua i noʻonoʻo ʻia e ke ʻano o ka "holistic analysis". Ma ka laina me nā hoʻonohonoho maʻamau nui. ʻO nā kumumanaʻo o nā metric i unuhi ʻia e F. m ma G. L. Catuara (1934-36); ua hoʻolauna ʻo ia i ka manaʻo o "trochea o ke ʻano ʻelua" (metrical form ch. ʻāpana o ka hapa mua 1 fp. sonata na Beethoven). Ma hope o nā ʻano hana ʻepekema ʻo Taneyev, S. C. Hoʻokumu ʻo Bogatyrev i ka manaʻo o ka canon pālua (1947) a me ka counterpoint reversible (1960). A ME. MA Hoʻokumu ʻo Sposobin (1947) i ke kumumanaʻo o nā hana o nā ʻāpana ma F. m., ua ʻimi i ke kuleana o ka lokahi i ka hoʻohua ʻana. A. TO. Ua hoʻāʻo ʻo Butskoy (1948) e kūkulu i ke aʻo ʻana o F. m., mai ka manaʻo o ka ratio o ka maʻiʻo a me ka hōʻike. ke ano o ke mele, ka houluulu ana i na loina. mea kālaiʻike. musicology and aesthetics (p. 3-18), e kālele ana i ka manaʻo o ka mea noiʻi i ka pilikia o ka ʻimi mele. hana (p. 5). ʻO ka mea nui, ua hāpai ʻo Butskoy i ka nīnau o ke ʻano o kēia a i ʻole kēlā hōʻike. ke ano o ke mele ma muli o ka like ole o ko lakou manao (no ka la'ana, hoonui. triads, p. 91-99); ma kāna mau kānana, hoʻohana ʻia ke ʻano o ka hoʻopaʻa ʻana i nā expresses. hopena (maʻiʻo) me kahi paʻakikī o nā mea e hōʻike ai (p. 132-33 a me nā mea ʻē aʻe). (Hoʻohālikelike: Ryzhkin I. Ya., 1955.) He ʻike ka puke a Butsky i ka hana ʻana i ka manaʻo. nā kumu o ka “analysis of music. hana" - he aʻo ʻepekema a hoʻonaʻauao e pani ana i nā kuʻuna. ka ʻepekema o F. m (Bobrovsky V. P., 1978, p. 6), akā kokoke loa iā ia (e nānā i ka Fig. kālailai mele). Ma ka puke aʻo a nā mea kākau Leningrad, ed. ʻO Yu N. Ua hoʻokomo ʻo Tyulin (1965, 1974) i nā manaʻo o ka "hoʻokomo" (ma kahi ʻano ʻelua ʻāpana maʻalahi), "nā ʻano hoʻopaʻa ʻana i nā ʻāpana he nui", "ʻāpana hoʻomaka" (ma kahi ʻaoʻao o ke ʻano sonata), a me nā ʻano kiʻekiʻe. ʻO ka rondo i hoʻokaʻawale ʻia i nā kikoʻī hou aku. Ma ka hana a L. A. ʻO Mazel lāua ʻo V. A. Ua hoʻokō mau ʻo Zuckerman (1967) i ka manaʻo o ka noʻonoʻo ʻana i ke ʻano o F. m (i ka nui - ka mea o ke mele) i hui pū me ka ʻike (p. 7), ka mele-express. ʻAʻole i manaʻo nui ʻia nā kālā (me ia, to-rye i nā aʻo e pili ana iā F. m., - dynamics, timbre) a me kā lākou hopena i ka mea hoʻolohe (e nānā. E nana hoi: Zuckerman W. A., 1970), ua wehewehe ʻia ke ʻano o ka holistic analysis (p. 38-40, 641-56; ʻoi aku - nā laʻana o ka nānā ʻana), i hoʻomohala ʻia e Zuckerman, Mazel a me Ryzhkin i ka makahiki 30. Ua hōʻuluʻulu ʻo Mazel (1978) i ka ʻike o ka convergence o musicology a me muses. aesthetics i ka hoʻomaʻamaʻa ʻana i nā mele mele. e hana. Ma nā hana a V. MA Ua hoʻolauna ʻo Protopopov i ka manaʻo o kahi ʻano hoʻohālikelike-composite (e ʻike. kāna hana "Contrasting Composite Forms", 1962; Stoyanov P., 1974), nā mea hiki ke hoʻololi. nā puka (1957, 1959, 1960, a me nā mea'ē aʻe), ma keʻano, ua hoʻokomoʻia ka hua'ōlelo "ʻano o ka papahanaʻelua", ka moʻolelo o polyphonic. nā leka a me nā ʻano polyphonic o nā kenekulia 17-20. (1962, 1965), ka hua'ōlelo "nui polyphonic form". Ua aʻo ʻo Bobrovsky (1970, 1978) iā F. m ma ke ʻano he hierarchical multi-level he ʻōnaehana nona nā mea i loaʻa i ʻelua mau ʻaoʻao pili ʻole - hana (kahi o ka hana ʻo "ke kumu nui o ka pilina") a me ka hoʻolālā (ʻo ke ʻano he "ʻano kikoʻī o ka hoʻokō ʻana i ke kumu nui", 1978, p . 13). ʻO ka manaʻo o (Asafiev) ʻekolu mau hana o ka hoʻomohala maʻamau i wehewehe ʻia: "impulse" (i), "movement" (m) a me "completion" (t) (p. 21). Hoʻokaʻawale ʻia nā hana i loko o ka loiloi maʻamau, ka haku mele maʻamau, a me ka haku mele kūikawā (p. 25-31). ʻO ka manaʻo kumu o ka mea kākau ʻo ka hui pū ʻana o nā hana (mau a me ka mobile), kēlā me kēia - "composition. hoʻokaʻawale", "composition. modulation" a me "composition.
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ʻO Yu. H. Kholopov
