Kaapuni kumuhana |
Hoʻohuli kumuhana – ka neʻe kūʻē, ka hoʻohuli ʻana (Latin inversio, Italia moto contrario, rovescio, riverso, rivoltato, Farani hoʻohuli, Kelemānia make Umkehrung, make Gegenbewegung) – polyphonic. he ʻenehana no ka hoʻololi ʻana i ke kumumanaʻo, ʻo ia hoʻi ka pāʻani ʻana i kona mau wā ma ka ʻaoʻao ʻē aʻe mai kekahi leo hoʻololi ʻole: ka neʻe ʻana i luna o ke kumumanaʻo i kona neʻe nui (i mua) (lat. motus rectus) ma ka neʻe hope (lat. motus. contrarius) pili i ka neʻe ʻana i lalo i ka wā like (a me ka hope). ʻO ka leo loli ʻole maʻamau i ke kumumanaʻo i nā ʻano like ʻole i kapa ʻia ʻo ke axis of reversal; ma ke kumu, hiki i kekahi pae ke lawelawe e like me ia. I ka ʻōnaehana tonal nui-liʻiliʻi, i mea e mālama ai i ka hana like o nā koho ʻelua, ʻo ke kolu o ka degere maʻamau e lawelawe ma ke ʻano he axis o ke kahe; ma kahi ʻano koʻikoʻi (14-16 mau kenekulia) me kāna diatonic kūlohelohe. Hoʻololi pinepine ʻia ka frets reversal a puni ka hapakolu o kahi triad i hoʻemi ʻia, kahi e hōʻoia ai i ke kūlana like o nā leo o ka tritone:
JS Bach. Ka Noi o ka Fugue, Counterpoint XIII.
Palestrina. ʻO ka Misa Canonical, Benedictus.
Ma nā kumuhana me ka chroma. O. ka nee ana o t. Hoʻokō ʻia ma ke ʻano, inā hiki, mālama ʻia ka waiwai qualitative o nā wā - ʻo ia ka mea e hōʻoia i ka like ʻoi aku o ka hōʻike ʻana o ka neʻe hoʻohuli a pololei:
JS Bach. The Well-Tempered Clavier, Volume 1, Fugue fis-moll.
ʻenehana. ka maʻalahi a me ke akamai. ʻO ka maikaʻi o ka hoʻonui ʻana i ke kumumanaʻo ma o ka hoʻolaha ʻana i hoʻoholo i ka hoʻohana pinepine ʻana a me nā ʻano like ʻole o kēia ʻenehana, ʻoi aku hoʻi i nā hana monothematic. Aia nā ʻano ʻano fugue me kahi pane hoʻohuli (German Gegen-Fuge - ʻike iā JS Bach, The Art of the Fugue, No 5, 6, 7) a me kahi canon me kahi rispost inverted (WA Mozart, c-moll quintet, minuet); hoʻohana ʻia ka hoʻopiʻi i nā interludes o ka fugue (Bach, The Well-Tempered Clavier, vol. 1, fugue in c-moll); Hiki ke hāʻawi i kahi kumumanaʻo i ke kaʻahele i kahi stretta me kahi kumuhana i ka neʻe pololei (Mozart, fugue in g-moll, K.-V. 401); i kekahi manawa ua hui pu wale lakou (Mozart, fugue c-moll, K.-V., 426). Hoʻokumu pinepine ʻia nā ʻāpana nui o nā haku mele ma O. t. (Bach, The Well-Tempered Clavier; vol. 1, fugue G-dur, counter-exposition; 2nd part of the gigue) a me nā ʻano holoʻokoʻa (Bach, The Art of Fugue, No 12, 13; RK Shchedrin, Polyphonic Notebook , No 7, 9). ʻO ka hui pū ʻana o O. t. me nā ʻano hana ʻē aʻe o ka hoʻololi ʻana i laha loa i ka mele o ke kenekulia 20. (P. Hindemith, "Ludus tonalis", cf. prelude and postlude), ma keʻano, i kākauʻia me ka hoʻohanaʻana i keʻano hana serial (JF Stravinsky, "Agon", Simple branle). Ma keʻano o ka hoʻololi a me ka hoʻomohalaʻana, hoʻohanaʻia ka hoʻopiʻi i ka polyphonicʻole. mele (SS Prokofiev, "Juliet-kaikamahine" mai ka ballet "Romeo a me Juliet"), pinepine i hui pū me ke kumuhana i ka neʻe pololei (PI Tchaikovsky, 6th symphony, hapa 2, vol. 17- 24; SS Prokofiev, 4th sonata , māhele 2, puke 25-28).
E hoʻomaopopo ': Zolotarev VA, Fuga. Ke alakaʻi i ka noiʻi kūpono, M., 1932, 1965, māhele 13, Skrebkov SS, Polyphonic analysis, M. - L., 1940, pauku 1, § 4; nona iho, Buke o ka polyphony, mahele 1-2, M. – L., 1951, M., 1965, § 11; Taneev SI, Movable counterpoint of strict writing, M., 1959, p. 7-14; ʻO Bogatyrev SS, Hoʻihoʻi ʻia ka counterpoint, M., 1960; Grigoriev SS, Muller TF, Buke Ha'awina o ka polyphony, M., 1961, 1969, § 44; ʻO Dmitriev AN, Polyphony ma ke ʻano he kumu hoʻohālike, L., 1962, ch. 3; ʻO Yu. N. Tyulin, The Art of Counterpoint, M., 1964, ch. 3.
VP Frayonov
