Seriality, serialism |

Serielle mele Palani, Kelemānia. serielle Musik – serial, a serial, mele

ʻO kekahi o nā ʻano o ka ʻenehana serial, me kahi ʻano decomp. nā palena, eg. pūʻulu o nā pitches a me nā puʻupuʻu a i ʻole nā ​​pitches, rhythm, dynamics, articulation, agogics and tempo. Pono e hoʻokaʻawale ʻia ʻo S. mai nā polyseries (kahi e hoʻohana ʻia ai ʻelua a ʻoi aku ka nui o ka hoʻokahi, maʻamau kiʻekiʻe, parameter) a mai seriality (ʻo ia hoʻi ka hoʻohana ʻana i ka ʻenehana serial ma ke ʻano ākea, a me ke ʻano o kahi kiʻekiʻe wale nō. -moʻo kiʻekiʻe). ʻO kahi laʻana o kekahi o nā ʻano maʻalahi loa o ka ʻenehana S.: ua hoʻoponopono ʻia ka holomua o nā pitch e kahi moʻo i koho ʻia e ka mea haku mele (pitch), a ua hoʻoponopono ʻia ka lōʻihi o nā leo e kekahi pūʻulu o nā lōʻihi i koho manuahi ʻia a i loaʻa mai paha mai kahi. pūʻulu pitch (ʻo ia hoʻi, he moʻo o kekahi ʻāpana ʻē aʻe). No laila, hiki ke hoʻololi ʻia kahi pūʻulu o 12 pitches i ke ʻano o 12 mau lōʻihi - 7, 8, 6, 5, 9, 4, 3, 10, 2, 1, 11, 12, me ka noʻonoʻo ʻana e hōʻike ana kēlā me kēia huahelu i ka helu o ka ʻumikūmāono. (ʻewalu, kanakolu kekona) i ka manawa i hāʻawi ʻia:

Ke kau ʻia kahi pūʻulu pitch ma luna o kahi mele mele, ʻaʻole he serial, akā e kū mai kahi lole serial:

AG Schnittke. Concerto No 2 no ka violin a me ka orkestra.

Ua ala mai ʻo S. ma ke ʻano he hoʻonui i nā kumu o ka ʻenehana serial (ke kiʻekiʻe-pitched series) i nā ʻāpana ʻē aʻe i koe ʻole: lōʻihi, kākau inoa, articulation, timbre, etc. ala hou: i ka hoʻonohonoho ʻana i nā mele. mea, ke kuleana o ka holomua helu, piʻi ka helu helu (no ka laʻana, ma ka ʻaoʻao 3 o ka cantata a EV Denisov "The Sun of the Incas", ua hoʻohana ʻia nā helu hoʻonohonoho i kapa ʻia - 6 kani o ka moʻo, 6 dynamic. shades , 6 pahu kani). Aia ka manaʻo i ka hoʻohana mau ʻana a me ka holoʻokoʻa o nā ʻano āpau o kēlā me kēia ʻāpana a i ʻole "interchromatic", ʻo ia hoʻi i ka hoʻohui ʻana i nā ʻāpana like ʻole - ka harmoni a me ka timbre, ka pitch a me ka lōʻihi (ua manaʻo ʻia ka mea hope ma ke ʻano he leka. o nā hale helu, nā ʻāpana; e ʻike i ka laʻana ma luna) . Ua hoʻopuka ʻo K. Stockhausen i ka manaʻo e hui pū i nā ʻano ʻelua o nā muses. manawa - microtime, i hōʻike ʻia e ka pitch o ke kani, a me ka macrotime, i hōʻike ʻia e kona lōʻihi, a no laila ua hoʻolōʻihi ʻia ʻelua i ka laina hoʻokahi, e puʻunaue ana i ka ʻāpana o nā lōʻihi i "octaves lōʻihi" (Dauernoktaven; pitch octaves, kahi o nā pitches. pili e like me 2: 2, hoʻomau i nā octaves lōʻihi, kahi e pili ai nā lōʻihi ma ke ʻano like). ʻO ka hoʻololi ʻana i nā ʻāpana manawa nui aʻe e hōʻike ana i nā pilina e ulu ana i muses. ʻano (kahi o ka hōʻike ʻana o ka ratio 1:2 ʻo ia ka ratio o ka squareness). ʻO ka hoʻonui ʻia ʻana o ke kumu o ka seriality i nā ʻāpana āpau o ke mele, ua kapa ʻia ʻo ia ka symphony piha (he laʻana o ka symphony multidimensional ʻo Stockhausen's Groups for Three Orchestras, 1). Eia naʻe, ʻaʻole i ʻike ʻia ka hana o nā ʻāpana like ʻole i nā ʻāpana like ʻole, no laila ʻo ka pilina o nā ʻāpana me kekahi i kekahi bh lilo i mea moʻolelo, a me ka hoʻonohonoho paʻa ʻana o nā ʻāpana, ʻoi aku me ka huina S., ma 'o ia ho'i ka ulu 'ana o ka pilikia o ka incoherence a me ka haunaele, ka automatism o ke ka'ina haku mele, a me ka nalowale o ka mana lohe o ka haku mele ma luna o kāna hana. Ua ʻōlelo ʻo P. Boulez i ka "hoʻololi ʻana i ka hana me ka hui." ʻO ka huina S. ʻo ia ka hopena o ka manaʻo mua loa o ka moʻo a me ka serialization, alakaʻi i kahi hoʻololi i manaʻo ʻole ʻia i loko o ke kahua o nā mele manuahi, intuitive, wehe i ke ala i nā aleatorika a me nā uila (mele ʻenehana; ʻike i nā mele Electronic).

ʻO kekahi o nā ʻike mua loa ʻo S. hiki ke manaʻo ʻia he mau kaula. trio na E. Golyshev (i paʻi ʻia i ka makahiki 1925), kahi i hoʻohui ʻia i nā complexes 12-tone, ua hoʻohana ʻia ka rhythmic. lālani. Ua hele mai ʻo A. Webern i ka manaʻo o S., ʻaʻole naʻe he serialist ma ke ʻano pololei o ka huaʻōlelo; ma kekahi mau hana serial. hoʻohana ʻo ia i ka hoʻohui. ka hoʻonohonoho ʻana - hoʻopaʻa inoa (no ka laʻana, ma ka hapa 1 o ka symphony op. 21), dynamic-articulatory ("Variations" no ka piano op. 27, 2nd part), rhythmic (quasi-series of rhythm 2, 2, 1 , 2 i loko o "Variations" no ka orkestra, op.30). Ua hoʻohana mau ʻo S. iā O. Messiaen ma "4 rhythmic study" no ka piano. (eg, ma Fire Island II, No 4, 1950). Eia hou, ua huli ʻo Boulez iā S. ("Polyphony X" no 18 mea kani, 1951, "Structures", 1a, no 2 fp., 1952), Stockhausen ("Cross Play" no kahi hui o nā mea kani, 1952; "Counterpoints" no he hui o na mea kani, 1953; Groups for three orchestras, 1957), L. Nono (Meetings for 24 instruments, 1955, cantata Interrupted Song, 1956), A. Pusser (Webern Memory Quintet, 1955), and others. i ka hana pueo. haku mele, laʻana. na Denisov (No 4 mai ka pōʻai leo "Italian Songs", 1964, No 3 mai "5 Stories about Mr. Keuner" no ka leo a me ka hui o nā mea kani, 1966), AA Pyart (2 mau māhele mai ka 1 a me ka 2 th symphony, 1963. , 1966), AG Schnittke ("Music for chamber orchestra", 1964; "Music for piano and chamber orchestra", 1964; "Pianissimo" for orchestra, 1968).

E hoʻomaopopo ': Denisov EV, Dodecaphony a me nā pilikia o ka ʻenehana haku mele hou, ma: Music and Modernity, vol. 6, M., 1969; Shneerson GM, Serialism a me nā aleatorics - "keʻike o nā kū'ē", "SM", 1971; aole 1; Stockhausen K., Weberns Konzert für 9 Instrumente op. 24, "Melos", 1953, Jahrg. 20, H. 12, like, ma kāna puke: Texte…, Bd l, Köln, (1963); nona iho, Musik im Raum, ma ka puke: Darmstädter Beiträge zur neuen Musik, Mainz, 1959, (H.) 2; nona iho, Kadenzrhythmik bei Mozart, ibid., 1961, (H.) 4 (Unuhi Ukrainian – Stockhausen K., Rhythmichni kadansi e Mozart, ma ka ohi: Ukrainian musicology, v. 10, Kipv, 1975, p. 220 -71 ); nona iho, Arbeitsbericht 1952/53: Orientierung, ma kāna puke: Texte…, Bd 1, 1963; Gredinger P., Das Serielle, in Die Reihe, 1955, (H.) 1; Pousseur H., Zur Methodik, ibid., 1957, (H.) 3; Krenek E., Was ist "Reihenmusik"? “NZfM”, 1958, Jahrg. 119, H. 5, 8; nona iho, Bericht über Versuche in total determinierter Musik, “Darmstädter Beiträge”, 1958, (H.) 1; ʻO kāna, Nā ʻāpana a me nā palena o nā ʻenehana serial "MQ", 1960, v. 46, No 2. Ligeti G., Pierre Boulez: Entscheidung und Automatik in der Structure Ia, ma Die Reihe, 1958, (N.) 4 o ka mea like , Wandlungen der musikalischen Form, ibid., 1960, (H. ) 7; Nono L., Die Entwicklung der Reihentechnik, "Darmstädter Beiträge", 1958, (H.) 1; Schnebel D., Karlheinz Stockhausen, ma Die Reihe, 1958, (H.) 4; Eimert H., Die zweite Entwicklungsphase der Neuen Musik, Melos, 1960, Jahrg. 27, H. 12; Zeller HR, Mallarmé und das serielle Denken, ma Die Reihe, 11, (H.) 1960; Wolff Chr., Ber Form, ibid., 6, (H.) 1960; Buyez P., Die Musikdenken heute 7, Mainz – L. – P. – NY, (1); Kohoutek C., Novodobé skladebné teorie zbpadoevropské hudby, Praha, 1, ma lalo o ke poʻo inoa: Novodobé skladebné smery n hudbl, Praha, 1963 (Unuhi Lūkini — Kohoutek Ts., Technique of Composition in Music of the 1962th Century, M.) ; Stuckenschmidt HH, Zeitgenössische Techniken in der Musik, “SMz”, 1965, Jahrg. 1976; Westergaard P., Webern a me "Total organization": kahi hoʻopaʻa ʻana i ka lua o ka neʻe ʻana o Piano Variations, op. 1963, "Nā manaʻo o nā mele hou", NY - Princeton, 103 (v. 27, No 1963); Heinemann R., Untersuchungen zur Rezeption der seriellen Musik, Regensburg, 1; Deppert H., Studien zur Kompositionstechnik im instrumentalen Spätwerk Anton Weberns, (Darmstadt, 2); Stephan R., Bber Schwierigkeiten der Bewertung und der Analyze neuester Musik, "Musica", 1966, Jahrg 1972, H. 1972; Vogt H., Neue Musik seit 26, Stuttg., (3); Fuhrmann R., Pierre Boulez (1945), Nā Kūlana 1972 (1925), ma Perspektiven neuer Musik, Mainz. (1); Karkoschka E., Hat Webern seriell komponiert?, TsMz, 1952, H. 1974; Oesch H., Pioniere der Zwölftontechnik, ma Forum musicologicum, Bern, (1975).

ʻO Yu. H. Kholopov