Timbre |

Timbre Palani, ʻōlelo Pelekania, Kelemānia Klangfarbe

kala kani; ʻO kekahi o nā hōʻailona o kahi kani mele (me ka pitch, ka leo nui a me ka lōʻihi), kahi e ʻike ʻia ai nā leo o ke kiʻekiʻe a me ka leo like, akā hana ʻia ma nā mea kani like ʻole, ma nā leo ʻokoʻa a i ʻole ma ka mea kani hoʻokahi, akā ma nā ʻano like ʻole. hahau. Hoʻoholo ʻia ka timbre e ka mea i hana ʻia ai ke kumu kani - ka vibrator o kahi mea kani, a me kona ʻano (nā kaula, nā koʻokoʻo, nā moʻolelo, a me nā mea ʻē aʻe), a me ka resonator (piano deck, violins, trumpet bele). etc.); Hoʻopili ʻia ka timbre e ka acoustics o ke keʻena - nā ʻano alapine o ka hoʻomoʻa ʻana, ka nānā ʻana i nā ʻili, ka reverberation, a me nā mea ʻē aʻe. ka manawa mua o ke kani ʻana o ke kani - hoʻouka ʻia (koi, ʻoluʻolu, palupalu), formants - nā wahi o nā leo ʻāpana i hoʻonui ʻia i ka spectrum leo, vibrato, a me nā mea ʻē aʻe. ʻO T. pili pū i ka nui o ka leo, ma ka papa inoa - kiʻekiʻe a haʻahaʻa paha, ma nā kuʻi ma waena o nā kani. ʻO ka mea hoʻolohe keʻano T. Ch. arr. me ke kōkua o nā hōʻike hui - hoʻohālikelike i kēia ʻano leo me kāna mau hiʻohiʻona ʻike, tactile, gustatory, etc. o decomp. nā mea, nā hanana a me kā lākou hoʻopili ʻana (he ʻālohilohi nā leo, ʻālohilohi, ʻeleʻele, pumehana, mahana, anu, hohonu, piha, ʻoi, palupalu, saturated, juicy, metallic, aniani, ​​etc.); hoʻohana pinepine ʻia nā wehewehe hoʻolohe (leo, kuli). Hoʻopilikia nui ʻo T. i ka leo kani. ka wehewehe leo (nā leo papa inoa haʻahaʻa me ka liʻiliʻi o nā overtones e pili ana i ka pitch e ʻike pinepine ʻole ʻia), ka hiki ke hoʻolaha i ke kani i loko o kahi lumi (ka mana o nā formants), ka ʻike o nā vowel a me nā consonants i ka hana leo.

Typology ma muli o nā hōʻikeʻike T. mus. ʻaʻole i holo nā kani. Ua hoʻopaʻa ʻia he ʻano zona ka lohe ʻana i ka timbre, ʻo ia hoʻi, me ka ʻike ʻana i nā leo ma ka leo maʻamau, no ka laʻana. ʻO ka leo o ka violin e pili ana i kahi pūʻulu leo ​​holoʻokoʻa i ʻokoʻa iki i ka haku ʻana (e ʻike i ka Zone). ʻO T. kahi mea nui o ke mele. hōʻike. Me ke kōkua o T., hiki ke hoʻokaʻawale ʻia kekahi ʻāpana o nā muses. o ka holoʻokoʻa - he mele, bass, chord, e hāʻawi i kēia ʻāpana i kahi hiʻohiʻona, kahi manaʻo hana kūikawā ma ke ʻano holoʻokoʻa, e hoʻokaʻawale i nā huaʻōlelo a i ʻole nā ​​ʻāpana mai kekahi i kekahi - e hoʻoikaika a hoʻonāwaliwali i nā ʻokoʻa, e hōʻike i nā mea like a i ʻole nā ​​ʻokoʻa i ke kaʻina hana. ke kūkulu ʻana i kahi huahana; Hoʻohana ka poʻe haku i ka hui pū ʻana o ka leo (timbre harmony), neʻe, neʻe, a me ka hoʻomohala ʻana o ke kani (timbre dramaturgy). Ke hoʻomau nei ka ʻimi ʻana i nā leo hou a me kā lākou hui ʻana (ma ka orchestra, orchestra), ke hana ʻia nei nā mea kani uila, a me nā mea kani kani e hiki ai ke loaʻa nā leo hou. Ua lilo ka sonoristics i kuhikuhi kūikawā i ka hoʻohana ʻana i nā leo.

ʻO ke ʻano o ka unahi kūlohelohe e like me kekahi o ka physico-acoustic. kahua ʻo T. he mana koʻikoʻi i ka hoʻomohala ʻana i ka lokahi ma ke ʻano he mele. hōʻike ʻana; ʻo ia hoʻi, i ke kenekulia 20. aia ka manaʻo e ʻike ʻia ma o ka lokahi e hoʻonui ai i ka ʻaoʻao timbre o ke kani (nā ʻano like ʻole, no ka laʻana, nā triads nui, nā ʻāpana o ke ʻano, nā puʻupuʻu, ka hoʻohālike ʻana i ke kani o nā bele, a pēlā aku). ʻO ke kumumanaʻo o ke mele i mea e wehewehe ai i kekahi mau hiʻohiʻona o ka hui ʻana o nā muses. Ua huli pinepine ka ʻōlelo iā T. Me T. ma kekahi ʻano a i ʻole, pili ka ʻimi ʻana i nā muses. nā kani (Pythagoras, D. Tsarlino, A. Werkmeister a me nā mea'ē aʻe), nā weheweheʻana i nā'ōnaehana modal-harmonic a me nāʻano hana o ke mele (JF Rameau, X. Riemann, F. Gevart, GL Catoire, P. Hindemith a me nā mea'ē aʻe. ).

E hoʻomaopopo ': Garbuzov HA, Natural overtones a me ko lakou harmonic manaʻo, ma: Ohi o na hana o ke komisina ma ke mele acoustics. Na hana o ka HIMENI, vol. 1, Moscow, 1925; nona iho, Zone nature of timbre hearing, M., 1956; Teplov BM, Psychology of musical ability, M.-L., 1947, ma kāna puke: Nā pilikia o nā ʻokoʻa kanaka. (Selected works), M., 1961; Nā mea hoʻokani pila, gen. ed. Hoʻoponopono ʻia e NA Garbuzova. Moscow, 1954. Agarkov OM, Vibrato ma ke ʻano he mea hoʻokani pila i ka hoʻokani pila, M., 1956; Nazaikinsky E., Pars Yu., Ka manaʻo o nā mele mele a me ka manaʻo o kēlā me kēia harmonics o ke kani, ma ka puke: Application of acoustic research methods in musicology, M., 1964; Pargs Yu., Vibrato and pitch perception, in the book: Application of acoustic research methods in musicology, M., 1964; Sherman NS, Hoʻokumu ʻana i kahi ʻōnaehana ʻano like ʻole, M., 1964; ʻO Mazel LA, Zuckerman VA, Ka nānā ʻana i nā hana mele, (mahele 1), Nā ʻāpana o ke mele a me nā ʻano no ka nānā ʻana i nā ʻano liʻiliʻi, M, 1967, Volodin A., ʻO ke kuleana o ke ʻano harmonic spectrum i ka ʻike o ka pitch a me ka timbre o ke kani, ma ka puke .: Musical art and science, issue 1, M., 1970; Rudakov E., Ma na papa inoa o ka leo himeni a me ka hoololi ana i na leo i uhiia, ibid.; Nazaikinsky EV, On the psychology of musical perception, M., 1972, Helmholtz H., Die Lehre von den Tonempfindungen, Braunschweig, 1863, Hildesheim, 1968 (Unuhi Lūkini - Helmholtz G., ʻO ke aʻo ʻana o ka auditory basis sensations ma ke ʻano he physiological. theory of music, St. Petersburg, 1875).

ʻO Yu. N. Rags