cuam ​​tshuam txoj kev xav |

AFFECT THEORY (los ntawm lat. cuam tshuam - kev xav zoo siab, mob siab rau) - suab paj nruag thiab zoo nkauj. ib lub tswv yim uas tau nthuav dav hauv lub xyoo pua 18th; Raws li qhov kev xav no, lub ntsiab (lossis txawm tias tsuas yog) cov ntsiab lus ntawm cov suab paj nruag yog qhov qhia, lossis "duab", tib neeg. kev xav, passions. A. t. originates los ntawm ancient sij hawm (Aristotle) ​​​​thiab lub Nrab Hnub nyoog. Kev zoo nkauj ("Musica movet impactus" - "Music txav passions," said Blessed Augustine). Lub luag haujlwm tseem ceeb hauv kev tsim A. t. tau ua si los ntawm lub tswv yim ntawm R. Descartes – nws cov lus qhuab qhia “Kev mob siab rau” (“Les passions de l'vme”, 1649). Main installations ntawm A. t. tau teeb tsa los ntawm I. Mattheson. "Nws muaj peev xwm ua tau zoo kawg nkaus nrog kev pab los ntawm cov cuab yeej yooj yim lub siab ntawm tus ntsuj plig, kev hlub, kev khib. Koj tuaj yeem qhia txhua yam kev txav ntawm tus ntsuj plig nrog cov chords yooj yim lossis lawv qhov tshwm sim, ”nws sau rau hauv Txoj Kev Kawm Tshiab Tshiab ntawm Singspiel (“Die neueste Untersuchung der Singspiele”, 1744). Qhov kev qhia dav dav no tau pom zoo los ntawm kev txhais cov ntsiab lus ntxaws (feem ntau tus qauv) ntawm qhov nws yuav qhia. Los ntawm cov suab paj nruag, suab paj nruag, kev sib haum xeeb, ib qho lossis lwm qhov kev xav tuaj yeem xa mus. Txawm tias J. Tsarlino ("Istitioni harmoniche", 1558) tau sau txog kev sib txuas nrog qee yam cuam tshuam rau decomp. intervals thiab loj thiab me triads. A. Werkmeister (lig xyoo pua 17th) nthuav dav ntau yam ntawm muses txuam nrog qee yam cuam tshuam. txhais tau tias, qhia rau hauv nws tonality, tempo, dissonance thiab consonance, sau npe. Raws li qhov chaw ntawm V. Galilee, nyob rau hauv no hais txog, lub timbres thiab kev ua tau zoo ntawm cov twj paj nruag kuj raug txiav txim siab. Hauv txhua txoj haujlwm zoo li no, qhov cuam tshuam rau lawv tus kheej raug cais tawm; A. Kircher nyob rau hauv 1650 ("Musurgia universalis") muaj 8 ntawm lawv hom, thiab FW Marpurg nyob rau hauv 1758 - twb 27. Cov lus nug ntawm qhov tsis tu ncua thiab kev hloov ntawm kev cuam tshuam kuj tau txiav txim siab. Cov neeg txhawb nqa feem ntau ntawm A. t. ntseeg tias cov muses. ib qho kev ua haujlwm tuaj yeem qhia tsuas yog ib qho cuam tshuam, ua qauv qhia hauv decomp. qhov chaw ntawm cov muaj pes tsawg leeg ntawm nws gradations thiab ntxoov. A. t. tau tsim ib feem raws li ib tug generalization ntawm cov tiam sis tshwm sim nyob rau hauv Italian, Fabkis. thiab German. music ser. 18 xyoo pua, ib nrab yog aesthetic. kev cia siab ntawm "sensitive" kev taw qhia hauv suab paj nruag. creativity pem teb 2. 18th caug xyoo (N. Piccinni, cov tub ntawm JS Bach, JJ Rousseau thiab lwm tus). A. t. adhered rau ntau. cov kws ntaus suab paj nruag, cov kws tshawb fawb, kev zoo nkauj ntawm lub sijhawm ntawd: I. Mattheson, GF Telemann, JG Walter ("Musical Lexicon"), FE Bach, II Kvanz, ib nrab GE Lessing, Abbot JB Dubos, JJ Rousseau, D. Diderot ("Ramo's Nephew ”), CA Helvetius (“Rau Lub Siab”), AEM Grétry (“Memoirs”). Hauv pem teb 2. 18th caug xyoo A.t. poob nws lub hwj chim.

Tiv thaiv lub hauv paus ntsiab lus ntawm natures. thiab kev xav tiag. nthuav tawm suab paj nruag, cov neeg txhawb nqa ntawm A. t. tawm tsam nqaim technicalism, tawm tsam cov stilted German. classicist tsev kawm ntawv, tawm tsam lub detachment los ntawm lub ntiaj teb no, feem ntau cultivated nyob rau hauv lub chants ntawm lub Catholic. thiab evangelical. pawg ntseeg, nrog rau kev tawm tsam cov tswv yim. aesthetics, uas tsis lees paub txoj kev xav ntawm kev coj ua thiab nrhiav kev ua pov thawj "inexpressibility" ntawm kev xav thiab kev nyiam ntawm muses. txhais tau tias.

Nyob rau tib lub sijhawm, A.t. yog tus yam ntxwv los ntawm kev txwv, kev siv tshuab. Txo cov ntsiab lus ntawm cov suab paj nruag rau kev qhia txog kev mob siab rau, nws saib tsis taus qhov tseem ceeb ntawm kev txawj ntse hauv nws. Xav txog qhov cuam tshuam rau tib yam kev txav ntawm sab ntsuj plig rau txhua tus neeg, A. t. inclined composers los qhia tej yam generalized hom kev xav, thiab tsis yog lawv tus kheej manifestations. Kev sim systematize lub sijhawm, yuam sij, rhythms, tempos, thiab lwm yam raws li lawv lub siab xav-qhia. cov nyhuv feem ntau coj mus rau schematism thiab one-sidedness.

References: Дидро D., Племянник Рамо, Избр. pab., p. с франц., tt. 1, M., 1926; ib. Маркус S., История музыкальной ESTетики, ч. 1, M., 1959, nr. II; Wаlthеr JG, Musikalisches Lexikon, Lpz., 1732; Mattheson J., The Perfect Conductor, Kassel, 1739; Bach C. Ph. Em., An Essay on the True Art of Playing the Piano, Tl 1-2, В., 1753; Rousseau J.-J., Dictionnaire de musique, Gиn., 1767, P., 1768; Engel JJ, hais txog ib daim ntawv teev suab paj nruag, В., 1780; Gretry A., Mйmoires, ou Essais sur la musique, P., 1789, P., 1797; Marx A. В., Hais txog kev kos duab hauv suab paj nruag, B., 1828; Kretzschmar H., Cov lus qhia tshiab rau kev txhawb nqa suab paj nruag hermeneutics, kab lus zoo nkauj, в сб.: «JbP», XII, Lpz., 1905; его же, general and particular to theory of impacts, I-II, там же, XVIII-XIX, Lpz., 1911-12; Schering A., Music Aesthetics of the German Enlightenment, «SIMG», VIII, B., 1906/07; Goldschmidt H., Music Aesthetics of the 18th Century, Z., 1915; Schцfke R., Quantz as an aesthetician, «AfMw», VI, 1924; Frotscher G., Bach's thematic tsim nyob rau hauv kev cuam tshuam ntawm txoj kev xav ntawm kev cuam tshuam. Qhia txog 1925st Musicological Congress hauv Leipzig. 1926, Ib., 1700; Seraukу W., Lub aesthetics ntawm suab paj nruag imitation nyob rau hauv lub sij hawm 1850-1929, University Archive XVII, Mьnster i. W., 1955; Eggebrecht HH, Lub hauv paus ntsiab lus ntawm kev hais tawm hauv suab paj nruag cua daj cua dub thiab kev xav, "German Quarterly Journal for Literary Studies thiab Intellectual History", XXIX, XNUMX.

KK Rosenshield