Kaina |

Late Lat. sequentia, lit. – he aha ka mea ma hope mai, mai ka lat. sequor - hahai

1) Ke ʻano o ke kenekulia waena. monody, he himeni i meleia ma ke anaina mahope o ka Haleluia mamua o ka heluhelu ana i ka Euanelio. Ke kumu o ka hua'ōlelo "S." pili i ka hana maʻamau o ka hoʻonui ʻana i ke mele ʻAleluia, me ka hoʻohui ʻana i ka hauʻoli hauʻoli (jubelus) ma nā leo leo a - e - u - i - a (ʻoi loa ma ka hope o lākou). Ua kapa ʻia kekahi Iubile hou (sequetur jubilatio), ʻaʻole kikokikona, a ma hope iho ua kapa ʻia ʻo S. Ma ke ʻano he mea hoʻokomo (e like me ka leo "cadenza"), ʻo S. he ʻano alahele. ʻO ka kikoʻī o S., ka mea e hoʻokaʻawale iā ia mai ke ala maʻamau, ʻo ia ke kūʻokoʻa. ʻāpana e hana ana i ka hana o ka hoʻonui ʻana i ke oli mua. Ke hoʻomohala nei i nā kenekulia, jubilation-S. loaʻa nā ʻano like ʻole. ʻElua mau ʻano like ʻole o S.: 1st non-texttual (ʻaʻole i kapa ʻia ʻo S.; conditionally - a hiki i ke kenekulia 9), 2nd - me ka kikokikona (mai ke kenekulia 9; ʻoiaʻiʻo S.). ʻO ka hiʻohiʻona o ka insert-anniversary e pili ana i ka 4th century, ka manawa o ka hoʻololi ʻana o ka hoʻomana Karistiano i kahi mokuʻāina. hoʻomana (ma Byzantium ma lalo o Emperor Constantine); a laila, he ʻano hauʻoli ʻoliʻoli ka Iubile. Ma ʻaneʻi, akahi nō a loaʻa i ke mele (mele) kahi kūloko. ke kūʻokoʻa, ka puka ʻana mai ka haʻahaʻa ʻana i ka kikokikona waha (extramusical factor) a me ke mele, i hoʻokumu ʻia ma ka hula. a i ʻole ka hele wāwae ʻana. "ʻO ka mea hoʻohauʻoli ʻaʻole ia e ʻōlelo i nā huaʻōlelo: ʻo ka leo kēia o ka ʻuhane i hoʻoheheʻe ʻia i ka hauʻoli ...," wahi a Augustine. Palapala C. me ka laha ana o ka kikokikona i Europa ma ka hapa 2. 9 i. ma lalo o ka mana o Byzantine (a me Bulgarian?) mele (e like me A. Gastue, 1911, ma ka lima. C. aia nā hōʻailona: graeca, bulgarica). S., ma muli o ka hoʻololi ʻana i ka kikokikona no ka lā hoʻomanaʻo. oli, loaʻa pū ka inoa "prose" (e like me kekahi o nā mana, ʻo ka huaʻōlelo "prose" mai ka palapala ma lalo o ke poʻo inoa pro sg = pro sequentia, ʻo ia hoʻi prose). e. "ma kahi o kahi kaʻina"; French pro seprose; akā naʻe, ʻaʻole ʻae kēia wehewehe me nā ʻōlelo like pinepine: prosa cum sequentia – “prose with a sequentiam”, prosa ad sequentiam, sequentia cum prosa – ma ʻaneʻi ua unuhi ʻia ka “prose” ma ke ʻano he kikokikona i kahi sequenti). ʻO ka hoʻonui ʻana i ka melisma jubilee, ʻoi aku ka hoʻoikaika ʻana i ka melodic. hoʻomaka, ua kapa ʻia ʻo longissima melodia. ʻO kekahi kumu i hoʻololi ʻia ai ka kikokikona no ka lā hoʻomanaʻo, ʻo ia ke ʻano. pilikia ka hoʻomanaʻo ʻana i ka "mele lōʻihi". Ke hoʻokumu nei i ka palapala C. i hāʻawi ʻia i kahi mōneka mai ka monastery o St. Gallen (ma Kuikilana, kokoke i Lake Constance) Notker Zaika. Ma ka olelo mua o ka Buke Himeni (Liber Ymnorum, c. 860-887), ʻo Notker ponoʻī e haʻi e pili ana i ka mōʻaukala o ka S. ʻano: ua hōʻea kahi mōneka i St. Gallen mai ka abbey i luku ʻia ʻo Jumiège (ma ka Seine, kokoke i Rouen), nāna i lawe i ka ʻike e pili ana iā S. i ka St. Kalaniana. Ma ka ʻōlelo aʻo a kāna kumu, ua kākau ʻo Iso Notker i nā lā hoʻomanaʻo e like me ka syllabic. kumukānāwai (hoʻokahi syllable no ke kani o ke mele). He mea koʻikoʻi kēia no ka wehewehe ʻana a me ka hoʻoponopono ʻana i nā "mele lōʻihi", ʻo ia hoʻi no ka mea, ʻo ia ke ʻano mele mele. ʻaʻole i hemolele ka notation. Ma hope aʻe, ua hoʻomaka ʻo Notker e haku i kahi pūʻulu o S. "ma ka hoʻohālike" o nā mele o kēia ʻano i ʻike ʻia e ia. Kakauolelo. ʻO ke koʻikoʻi o ke ʻano Notker ʻo ia ka ʻekalesia. ʻO nā mea mele a me nā mea mele no ka manawa mua i loaʻa ka manawa e hana i kahi mea hou. mele (Nestler, 1962, p. 63).

(He mau ʻokoʻa ʻē aʻe paha o ke ʻano o C.)

Ua hoʻokumu ʻia ke ʻano ma luna o nā pauku pālua (bc, de, fg, ...), ʻo nā laina o ia mau laina pololei a i like paha ka lōʻihi (hoʻokahi leka – hoʻokahi syllable), i kekahi manawa pili i ka ʻike; ʻokoʻa pinepine nā pai o nā laina. ʻO ka mea kaulana loa ʻo ka pilina pili ma waena o nā pau (a i ʻole a pau) o nā Muses. laina - ma ke kani hoʻokahi, a i ʻole kokoke me nā mea like. huli ana.

ʻAʻole like ka huaʻōlelo a Notker, ʻo ia ka mea maʻamau o ka manawa mua i ka hoʻomohala ʻana o S. (9th-10th century). I ka wā o Notker, ua hoʻomaʻamaʻa mua ʻia ka hīmeni ʻana ma ke mele, me ka antiphonal (me nā leo ʻē aʻe o nā keikikāne a me nā kāne) "i mea e hōʻike pono ai i ka ʻae o nā mea a pau i ke aloha" (Durandus, 13th century). He pae koʻikoʻi ko S. i ka hoʻomohala ʻana i ke mele. noʻonoʻo (e nānā iā Nestler, 1962, pp. 65-66). Me ka liturgical S. ua noho extraliturgical. secular (ma ka Latin; i kekahi manawa me ka instr. accompaniment).

Ma hope mai ua māheleʻiaʻo S. i nāʻano 2: komohana (Provence,'ākau Farani,ʻEnelani) a me ka hikina (Kelemānia a me Italia); ma waena o nā laʻana

Hotker. Kaʻina.

ʻike ʻia ka polyphony mua ma S. (S. Rex coeli domine ma Musica enchiriadis, ke kenekulia ʻeiwa). Ua hoʻoikaika ʻo S. i ka hoʻomohala ʻana o kekahi mau ʻano honua (estampie, Leich). Lilo ka ʻōlelo a S. Ua hoʻomaka ka pae ʻelua o ka ulu ʻana o S. i ke kenekulia 9. (ʻo ka ʻelele nui ka mea kākau o "prose" kaulana ʻo Adam mai ka Parisian abbey o Saint-Victor). Ma ke ʻano, pili nā syllables like i kahi himeni (ma kahi o nā syllabics a me nā mele, aia nā mika ma ka paukū, ka hoʻonohonoho manawa, a me nā cadences mele). Ua like nae ka leo o ka himeni no na stanza a pau, a ma ka S. ua pili ia me na pauku elua.

He 4 mau lalani ma ke mele o ka himeni, a he 3 ka S.; ʻAʻole like me ke mele, ʻo S. ka mea i manaʻo ʻia no ka lehulehu, ʻaʻole no ka officio. ʻO ka manawa hope loa o ka hoʻomohala ʻana o S. (13-14 mau kenekulia) ua hōʻailona ʻia e ka mana ikaika o ka non-liturgical. ʻano mele mele. ʻO ke kauoha a ka ʻaha kūkā o Trent (1545-63) mai ka hale pule. Ua kipaku ʻia nā lawelawe mai kahi kokoke i nā S., koe naʻe ʻehā: Easter S. "Victimae paschali laudes" (text, a me ka mele mele - Vipo o Burgundy, 1st hapa o ke kenekulia 11; K. Parrish, J. Ole, p. 12-13, mai keia mele, mai ke Keneturi 13 mai paha, ke kumu mele kaulana "Christus ist erstanden"); S. ma ka ʻahaʻaina o ka Trinity "Veni sancte spiritus", i hāʻawi ʻia iā S. Langton (d. 1228) a i ʻole Pope Innocent III; S. no ka ahaaina o ke Kino o ka Haku "Lauda Sion Salvatorem" (text by Thomas Aquinas, c. 1263; the melody is originally associated with the text of another S. - "Laudes Crucis attolamus", attributed to Adam of St. . ʻO Victor, i hoʻohana ʻia e P. Hindemith ma ka opera "Artist Mathis" a ma ka symphony o ka inoa hoʻokahi); S. kakahiaka. 13th c. Make ʻo Doomsday irae, ca. 1200? (ma ke ano he hapa o ka Requiem; e like me ka mokuna 1 o ka buke a ke kaula Zepania). Ma hope mai, ua hoʻokomo ʻia ka ʻelima S., ma ka ʻahaʻaina o ka ʻEhiku Kaumaha o Mary - Stabat Mater, 2nd papahele. 13th c. (ʻAʻole ʻike ʻia ka mea kākau kikokikona: Bonaventure?, Jacopone da Todi?; mele na D. Josiz – D. Jausions, d. 1868 or 1870).

See Notker.

2) Ma ke aʻo ʻana o S. harmony (German Sequenze, French marche harmonique, progression, progressione Italian, English sequence) - repetition of melodic. kumu a i ʻole harmonic. ka huli ʻana ma kahi kiʻekiʻe ʻokoʻa (mai kahi ʻanuʻu ʻokoʻa, ma kahi kī ʻē aʻe), ma hope koke o ka hana mua ʻana e like me kona hoʻomau koke ʻana. ʻO ka maʻamau ke kaʻina holoʻokoʻa o naz. S., a me kona mau ʻāpana - nā loulou S. ʻO ke kumu o ka harmonic S. ʻoi aku ka nui o ʻelua a ʻoi aku paha. harmonies i nā hana maʻalahi. pili. Kapa ʻia ka wā e hoʻololi ʻia ai ke kūkulu mua ʻana. S. ʻanuʻu (ʻo nā hoʻololi maʻamau ma ke kekona, ke kolu, ka hā i lalo a i ʻole ka piʻi ʻana, ʻoi aku ka liʻiliʻi o nā manawa ʻē aʻe; hiki ke loli ka ʻanuʻu, no ka laʻana, mua ma ke kekona, a laila ma ke kolu). Ma muli o ka mana nui o nā kipi ʻoiaʻiʻo i loko o ka ʻōnaehana tonal nui-liʻiliʻi, aia pinepine ka iho ʻana o S. i kekona, ʻo ka loulou o ia mea he ʻelua chords i ka ratio haʻahaʻa ʻelima (ʻoiaʻiʻo). I loko o ia ʻano ʻoiaʻiʻo (e like me VO Berkov - "gula") hoʻohana ʻo S. i nā degere a pau o ka tonality i ka neʻe ʻana i lalo i ka hapalima (i luna o ka hapahā):

GF Handel. Suite g-moll no ka harpsichord. Passacaglia.

S. me ka neʻe ʻana i luna ma ka hapalima (plagal) he mea kakaikahi (e nānā, no ka laʻana, ka hoʻololi 18 o Rachmaninov's Rhapsody ma kahi kumuhana o Paganini, nā pahu 7-10: V-II, VI-III ma Des-dur). ʻO ke kumu o S. ʻo ia ka linear a me ka neʻe melodic, ma Krom kona mau kikoʻī loa i ka waiwai hana e wehewehe ai; i loko o nā loulou waena o S., ʻoi aku ka nui o nā hana hoʻololi.

Hoʻokaʻawale pinepine ʻia ʻo S. e like me ʻelua mau kumu - e like me kā lākou hana i ka haku mele (intratonal - modulating) a e like me kā lākou pili i k.-l. mai ka genera o ka ʻōnaehana kani (diatonic – chromatic): I. Monotonal (a i ʻole tonal; hoʻokahi pūnaehana) – diatonic a me ka chromatic (me nā deviations a me nā mana lua, a me nā ʻano chromatism ʻē aʻe); II. Modulating (multi-system) - diatonic a me chromatic. ʻO nā kaʻina chromatic leo hoʻokahi (me nā deviations) i loko o kahi manawa i kapa ʻia ʻo modulating (e like me nā kī pili), ʻaʻole ʻoiaʻiʻo (VO Verkov pololei i ʻike ʻo "nā kaʻina me nā deviations he mau kaʻina tonal"). Nā laʻana like ʻole. nā ʻano o S .: hoʻokahi leo diatonic - "Iulai" mai "The Seasons" na Tchaikovsky (pa 7-10); chromatic leo hoʻokahi - hoʻolauna i ka opera "Eugene Onegin" na Tchaikovsky (nā pahu 1-2); hoʻololi i ka diatonic - prelude i ka d-moll mai ka leo I o Bach's Well-Tempered Clavier (pa 2-3); chromatic hoʻololi - hoʻomohala ʻana i ka ʻāpana I o ka symphony 3 o Beethoven, nā pahu 178-187: c-cis-d; elaboration o ka mahele I o Tchaikovsky's 4th symphony, bars 201-211: hea, adg. ʻO ka hoʻololi Chromatic o ke kaʻina ʻoiaʻiʻo ka mea maʻamau i kapa ʻia. "ke kaulahao nui" (e nānā, no ka laʻana, ʻo Martha's aria mai ka hana ʻehā o ka opera "The Tsar's Bride" na Rimsky-Korsakov, helu 205, bars 6-8), kahi o ka gravity palupalu he diatonic. Hoʻololi ʻia nā mea mana lua e nā chromatic koi ("alterative opening tones"; see Tyulin, 1966, p. 160; Sposobin, 1969, p. 23). Hiki i ke kaulahao nui ke hele i loko o hoʻokahi kī i hāʻawi ʻia (i ka manawa; no ka laʻana, ma ke kumuhana ʻaoʻao o ka manaʻo-overture a Tchaikovsky "Romeo and Juliet"), a i ʻole e hoʻololi ʻia (ka hoʻomohala ʻana i ka hope o ka symphony a Mozart ma g-moll, mau pahu 139-47, 126 -32). Ma waho aʻe o nā kumu nui no ka hoʻokaʻawale ʻana o S., he mea koʻikoʻi kekahi, no ka laʻana. O ka mahele ana o S. i melodic. a me ka chordal (ma keʻano, aia paha he mismatch ma waena o nāʻano melodic a me ka chord S., e hele ana i ka manawa like, no ka laʻana, i ka C-dur prelude mai Shostakovich's op. chordal – diatonic), i ka pololei a me nā ʻano like ʻole.

Hoʻohana ʻia ʻo S. ma waho o ka ʻōnaehana nui-liʻiliʻi. Ma nāʻano symmetrical, he mea nui ka hana houʻana i ke kaʻina, e lilo pinepine iʻano hōʻike o ka hoʻolālā modal (no ka laʻana, hoʻokahi-pūnaewele S. i ke kahua o ka lawe pio ʻana iā Lyudmila mai ka opera Ruslan a me Lyudmila - kani.

i ka Stargazer solo mai The Golden Cockerel, helu 6, bars 2-9 - chords

modulating multi-system S. ma ka 9th hana. Sonata na Scriabin, nā pahu 15-19). I kēia manawa, ua hoʻonuiʻia nā mele a S. me nā mele hou (no ka laʻana, ka polyharmonic modulating S. i ke kumuhana o ka hui hoʻohui o ka māhele 6 o ka piano 24 o Prokofiev's sonata, bars 32-XNUMX).

Hiki i ke kumu o S. ke hōʻike iā ia iho ma nā unahi like ʻole: i kekahi mau hihia, hoʻokokoke ʻo S. i ka parallelism o melodic. a i ʻole harmonic. nā kipi, e hana ana i ka micro-C. (e laʻa, "Gypsy Song" mai ka opera "Carmen" a Bizet - melodic. Ua hui pū ʻia ʻo S. me ka parallelism o nā mele hoʻokani - I-VII-VI-V; Presto i ka sonata mua no ka violin solo na JS Bach, nā pahu 1 - 9: I-IV, VII-III, VI-II, V; Intermezzo op. 11 No 119 in h-moll by Brahms, bars 1-1: I-IV, VII-III; Brahms turn into parallelism). I nā kumu'ē aʻe, hoʻonui ka loina o S. i ka hana houʻana o nā kūkulu nui ma nā kī likeʻole ma kahi mamao, e hana ana i kahi macro-S. (e like me ka wehewehe ʻana o BV Asafiev - "parallel conductions").

ʻO ka manaʻo nui o S. ʻo ia ka hana ʻana i ka hopena o ka hoʻomohala ʻana, ʻoi aku hoʻi i ka hoʻomohala ʻana, nā ʻāpana hoʻohui (ma ka handel's g-moll passacaglia, pili ʻia ʻo S. me nā bass iho g – f – es – d hiʻona o ke ʻano; ʻano S. hiki ke loaʻa ma nā hana ʻē aʻe o kēia ʻano).

S. ma ke ano he hana hou ana i na haku mele liilii. ua noho mau na units i ke mele. Ma kekahi o na palapala Helene (Anonymous Bellermann I, nana Najock D., Drei anonyme griechische Trackate über die Musik. Eine kommentierte Neuausgabe des Bellermannschen Anonymus, Göttingen, 1972) melodic. kiʻi me nā mea kōkua luna. ʻōlelo ʻia ke kani (ʻoiaʻiʻo, no ka hoʻonaʻauao a me nā kumu hana) ma ke ʻano o nā loulou ʻelua S. - h1 - cis2 - h1 cis2 - d2 - cis2 (ʻo ia ka mea ma Anonymous III, nona, e like me S., nā melodic ʻē aʻe. - ala aʻe "mau ala"). I kekahi manawa, loaʻa ʻo S. ma ke oli Gregorian, no ka laʻana. i ka Populum hāʻawi ʻia (V leo), v. 2:

Hoʻohana ʻia ʻo S. i kekahi manawa ma ke mele o prof. mele o ka Middle Ages a me ka Renaissance. Ma keʻano heʻano kūikawā o ka hana houʻana, hoʻohanaʻia nā sequins e nā haku o ke kula Parisian (12th a hiki i nā kenekulia 13th mua); i loko o ka ekolu-leo gradual "Benedicta" S. i ke kaʻina hana o ka hoʻololi leo i wahi ma luna o ka organ wahi o ka leo haʻahaʻa mau (Yu. Khominsky, 1975, pp. 147-48). Me ka laha ʻana o ka ʻenehana canonical i ʻike ʻia a me ka canonical. S. (“Patrem” na Bertolino o Padua, mau pahu 183-91; e nana Khominsky Yu., 1975, pp. 396-397). Nā kumu o ka polyphony kaila koʻikoʻi o nā kenekulia 15-16. (ʻoi aku ma waena o Palestrina) ua kuhikuhi ʻia e kūʻē i nā repetitions maʻalahi a me S. (a ʻo ka hana hou ʻana i kahi kiʻekiʻe ʻē aʻe i kēia au he hoʻohālike mua ia); akā naʻe, ua maʻamau ka S. ma Josquin Despres, J. Obrecht, N. Gombert (hiki ke loaʻa iā S. ma Orlando Lasso, Palestrina). Ma ka theoretical S. kākau pinepine ʻia ma ke ʻano he ala hoʻonohonoho ʻōnaehana a i ʻole e hōʻike i ke kani o kahi huli monophonic (a i ʻole polyphonic) ma nā pae like ʻole e like me ka moʻomeheu "metodical" kahiko; e nānā, no ka laʻana, "Ars cantus mensurabilis" na Franco o Cologne (ke kenekulia 13; Gerbert, Scriptores…, t. 3, p. 14a), "De musica mensurabili positio" na J. de Garlandia (Coussemaker, Scriptores…, t . 1, p. 108), "De cantu mensurabili" o Anonymus III (ibid., pp. 325b, 327a), etc.

ʻO S. ma ke ʻano hou - ʻoiai ke ʻano o nā chords (ʻoi loa ka iho ʻana i ka hapalima) - ua laha nui mai ka makahiki 17.

E hoʻomaopopo ': 1) Kuznetsov KA, Introduction to the history of music, part 1, M. - Pg., 1923; Livanova TN, Moʻolelo o nā mele ʻEulopa Komohana a hiki i 1789, M.-L., 1940; Gruber RI, Moʻolelo o ka moʻomeheu mele, vol. 1, hapa 1. M.-L., 1941; nona iho, General History of Music, part 1, M., 1956, 1965; Rosenshild KK, Moolelo o na mele haole, vol. 1 - A hiki i ka waena o ke kenekulia 18, M., 1963; Wölf F., Lber die Lais, Sequenzen und Leiche, Heidelberg, 1; Schubiger A., ​​​​Die Sängerschule St. Gallens von 1841. bis 8. Jahrhundert, Einsiedeln-NY, 12; Ambros AW, Geschichte der Musik, Bd 1858, Breslau, 2; Naumann E., Illustrierte Musikgeschichte, Lfg. 1864, Stuttg., 1 (Unuhi Lūkini - Hayman Em., He moʻolelo nui i hōʻike ʻia o ka mele, vol. 1880, St. Petersburg, 1); Riemann H., Katechismus der Musikgeschichte, Tl 1897, Lpz., 2 Wagner, P., Einführung in die gregorianische Melodien, (Bd 1888), Freiburg, 2, Bd 1897, Lpz., 1928; Gastouy A., L'art grégorien, P., 1; Besseler H., Die Musik des Mittelalters und der Renaissance, Potsdam, 1895-3; Prunières H., Nouvelle histoire de la musique, pt 1921, P., 1911 Johner D., Wort und Ton im Choral, Lpz., 1931, 34; Steinen W. vd, Notker der Dichter und seine geistige Welt, Bd 1-1934, Bern, 1; Rarrish C, Ohl J., Masterpieces of music before 1937, NY, 1940, L., 1953 The Oxford History of Music, v. 1, L. – Oxf., 2, same, NY, 1948; Chominski JM, Historia harmonii i kontrapunktu, t. 1 Kr., 1750 (Unuhi Ukrainian - Khominsky Y., History of Harmony and Counterpoint, vol. 1951, K., 1952); Nestler G., Geschichte der Musik, Gütersloh, 1975; Gagnepain V., La musigue français du moyen age et de la Renaissance, P., 2: Kohoutek C., Hudebni stylyz hlediska skladatele, Praha, 1932. 1973) Tyulin Yu. H., Ke aʻo ʻana e pili ana i ka lokahi, M. – L. , 1, Moscow, 1958; ʻO Sposobin IV, Nā haʻi'ōlelo ma ke ala o ka lokahi, M., 1; Berkov VO, Shaping means of harmony, M., 1975. See also lit. ma lalo o ka ʻatikala Harmony.

ʻO Yu. N. Kholopov