Suab nkauj kho siab |
kev sim suab paj nruag (los ntawm lat. experimentum – test, experience) – suab paj nruag tsim nyob rau hauv thiaj li yuav sim cov compositions tshiab. cov tswv yim, cov xwm txheej tshiab ntawm kev ua tau zoo, cov khoom siv suab txawv txawv, thiab lwm yam. Lub tswv yim ntawm E. m. yog indefinite; Nws los rau hauv kev sib cuag nrog cov lus xws li "kev tshawb nrhiav tswv yim", "innovation", "daring experience" los yog (nrog rau qhov tsis zoo connotation) "txoj kev uas ua rau tsis muaj kev cia siab". Qhov cuam tshuam ntawm cov ntsiab lus no thiab lawv txoj kev sib tshuam tsis muaj lub sij hawm "E. m." meej thiab ruaj khov ciam teb. Feem ntau, ua haujlwm suav tias yog E. m., dhau sijhawm, nkag mus rau hauv kev xyaum ua thiab poob lawv qhov qub. kov ntawm kev sim ("atonality" nyob rau hauv Liszt's Bagatelle Tsis Muaj Qhov Tseem Ceeb, 1885; qhov txav ntawm lub suab ntaub hauv Ives's piece for chamber ensemble The Unanswered Question, 1908; lub dodecaphonic qauv tsim nyob rau hauv Webern's me me Orchestral Piece No. 1, 1913 "npaj piano" hauv Cage's Bacchanalia, 1938, thiab lwm yam). Kev sim-kev tso dag kuj tuaj yeem raug ntaus nqi rau E. m., piv txwv li. suab paj nruag sau raws li cov zaub mov ntawm phau ntawv los ntawm Bach tus tub ntxhais kawm Kirnberger "Tus Sau Ntawv Npaj Teev Sijhawm ntawm Polonaises thiab Minuets" (1757) lossis phau ntawv uas tau muab rau Mozart "Ib Phau Ntawv Qhia Txog Kev Sau Waltzes hauv Txhua Qhov Kev Siv Ob Qhov Tswb, Tsis Muaj Lub Tswv Yim Slightest ntawm Music thiab Composition” (1793).
Hauv 50s. Lub xyoo pua 20th pob zeb ua suab paj nruag, suab paj nruag hluav taws xob, feem ntau hu ua suab paj nruag hluav taws xob (hauv xyoo 1958, tus thawj coj ntawm cov suab paj nruag pob zeb, P. Schaeffer, coj thawj xyoo caum International ntawm kev sim suab paj nruag hauv Paris). How E. m. kuj xav txog, piv txwv li, lub synthesis ntawm lub teeb thiab suab paj nruag (lub teeb suab paj nruag), tshuab suab paj nruag.
Kev sim suab paj nruag. art-ve, tsim kom muaj kev zoo siab ntawm kev ci ntsa iab thiab kev kos duab tshiab. kev txais tos, tsis yog ib txwm ua rau muaj txiaj ntsig zoo, yog li cov kws ntaus suab paj nruag feem ntau tsis ntseeg ntawm E. m.: "Ib qho kev sim txhais tau tias qee yam hauv kev tshawb fawb, tab sis nws txhais tau tias tsis muaj dab tsi hauv (suab paj nruag) muaj pes tsawg leeg" (IF Stravinsky, 1971, p. 281).
References: Zaripov R. Kh., Ural suab paj nruag (ntawm cov txheej txheem ntawm kev sau suab paj nruag nrog lub computer hluav taws xob Ural), Kev Paub yog Lub Hwj Chim, 1961, No 2; nws tus kheej, Cybernetics thiab suab paj nruag, M., 1963, 1971; Galeev B., Scriabin thiab txoj kev loj hlob ntawm lub tswv yim ntawm pom suab paj nruag, nyob rau hauv: Suab paj nruag thiab Modernity, vol. 6, M., 1969; ib. nws tus kheej, Lub teeb suab paj nruag: tsim thiab cov ntsiab lus ntawm kev kos duab tshiab, Kazan, 1976; Kirnberger J. Ph., Der allezeit fertige Polonoisen- und Menuettencomponist, B., 1757; Vers une musique experimentale, “RM”, 1957, Numéro tshwj xeeb (236); Patkowski J., Zzagadnien muzyki eksperimentalnej, “Muzyka”, 1958, rok 3, no 4; Stravinsky I., Craft R., Conversations with Igor Stravinsky, NY, 1959 (Lus txhais lus – Stravinsky I., Dialogues …, L., 1971); Cage J., Zur Geschichte der experimentellen Musik nyob rau hauv den Vereinigten Staaten, “Darmstädter Beiträge zur neuen Musik”, 2, 1959; Hiller LA, Isaacson LM, Experimental music, NY, 1959; Moles A., Les musiques experimentales, P.-Z.-Bruz., 1960; Kohoutek C., Novodobé skladebné teorie západoevropské hudby, Praha, 1962, nyob rau hauv lub npe: Novodobé skladebné smery v hudbe, Praha, 1965 (Lavxias teb sab – Kohoutek Ts., Technique of Composition in 1976, Music of the C. ; Schdffer B., Maly tus kws qhia muzyki XX wieku, Kr., 1975. Saib kuj lit. nyob rau hauv cov ntawv pob zeb suab paj nruag, Electronic music.
Yu. N. Kholopov
