Daim duab |
lat. figuratio - duab, daim ntawv, duab nthuav qhia, los ntawm figuro - daim ntawv, daim ntawv, decorate, colorize
Ib qho ntawm cov txheej txheem ntawm kev ua cov khoom siv suab paj nruag, ua tsaug rau qhov kev nthuav dav ntawm textural yog qhib rau hauv kev ua haujlwm (saib Texture), F. yog ib txoj hauv kev zoo tshaj plaws ntawm dynamizing lub suab paj nruag ntaub.
Muaj peb hom tseem ceeb F. Melodich. F. nyob rau hauv ib lub taub hau. thiab polyphonic. kev tsim kho suab paj nruag. prod. muaj ib tug variant transformation ntawm melodic. kab los ntawm kev npog lub ntsiab. suab. Hauv ib lub tsev khaws khoom homophonic, hom F. no tshwm sim hauv kev ua kom lub suab. Nyob rau hauv cov ntaub ntawv no, cov lus piv txwv yog txiav txim los ntawm lawv cov kev sib raug zoo rau lub ntsiab thiab yog hu ua dhau, pab, detentions, nce, cambiates. harmonic F. yog ib qho kev txav mus los ntawm cov suab uas ua rau cov chords (cov suab uas nyob ib sab ntawm chords kuj tau siv ntau heev). Lub suab. F. yog lub suab nrov. ib tug qauv uas rov hais dua ib lub suab los yog ib pawg suab thiab tsis radically hloov muses. lub logic ntawm qhov kev tsim kho no. Cov hom F. hauv suab paj nruag. kev xyaum feem ntau ua ke, tsim cov hom F., piv txwv li. suab-harmonic, melodic-harmonic.
F. tau ntev tau siv los ua suab paj nruag. xyaum. Thaum ntxov ntawm txoj kev loj hlob ntawm suab paj nruag. kev foob tau siv diff. hom f. - los ntawm cov duab ntawm primitive rhythmic. schemes thiab cov lus piav qhia yooj yim ntawm modal foundations rau complex figurations. kev tsim kho - chants. Hauv Nruab Nrab Hnub nyoog, F. tau siv hauv Gregorian chant (ib xyoos) thiab hauv kev tsim khoom. troubadours, trouvers thiab minnesingers. Cov tswv ntawm polyphony siv cov ntsiab lus ntawm F. (kev kaw, nqa, thiab cambiates), nrog rau cov duab txuas ntxiv. kev tsim kho nyob rau hauv txoj kev loj hlob ntawm polyphonic. cov ntaub ntawv (piv txwv li, nyob rau hauv kev loj hlob thiab interludes ntawm fugues). F. tau dav siv nyob rau hauv hom prelude, chaconne, fantasy, thiab sarabande. Cov qauv ntawm F. cov txheej txheem muaj nyob rau hauv pawg ntseeg Byzantine. suab paj nruag thiab nyob rau hauv Russia. choral ua haujlwm. 15th-18th centuries Nyob rau hauv lub era ntawm lub dav bass thaj tsam, F. tau dav dav nyob rau hauv kev xyaum ntawm lub cev thiab clavier improvisations, txawm hais tias cov theorists ntawm lub dav bass nyob rau hauv lawv treatises them me ntsis rau cov teeb meem ntawm F. thiab pom zoo tias F. siv nyob rau hauv ib lub suab tsuas yog thaum lwm tus yog melodic. lub zog nres. Hauv kev ua haujlwm ntawm Fabkis harpsichordists thiab lus Askiv. virginalists F. tau los ua ib tug thawj coj. txoj kev tsim suab paj nruag. cov ntaub ntawv hauv instr. cov ntaub ntawv, qhov uas lawv feem ntau sawv cev ib tug extension ntawm melismic. pab pawg. Nyob rau hauv lub era ntawm classicism, F. tau systematically siv nyob rau hauv instr. prod. (tshwj xeeb tshaj yog nyob rau hauv variations - raws li qhov tseem ceeb tshaj plaws txoj kev ntawm ornamental variation), thiab nyob rau hauv wok. (nyob rau hauv opera arias thiab ensembles) ob leeg nyob rau hauv secular suab paj nruag thiab nyob rau hauv lub tsev teev ntuj suab paj nruag (nyob rau hauv nyias qhov chaw ntawm pawg neeg, nyob rau hauv Russia - nyob rau hauv cult ua hauj lwm los ntawm DS Bortnyansky, MS Berezovsky, thiab lwm yam). Nyob rau hauv kev ua hauj lwm ntawm romantic composers, nyob rau hauv kev twb kev txuas nrog lub evolution ntawm modal xav, phrasing feem ntau saturated nrog chromaticism. Nyob rau hauv lub suab paj nruag thov ve 20 caug xyoo. F. yog siv rau hauv decomp. cov ntaub ntawv, nyob ntawm tus kheej style ntawm tus kws sau ntawv, ntawm cov txuj ci tshwj xeeb. hauj lwm.
References: Catuar G., Theoretical course of harmony, part 2, M., 1925; Tyulin Yu., Phau ntawv qhia txog kev qhia txog kev sib haum xeeb raws li Bach's chorales, L., 1927; nws, Parallelisms hauv suab paj nruag theory thiab xyaum, L., 1938; nws tus kheej, Cov lus qhuab qhia ntawm cov suab paj nruag zoo nkauj thiab cov duab melodic, phau ntawv. 1 – Suab paj nruag kev ntxhib los mos, M., 1976, phau ntawv. 2 – Melodic daim duab, M., 1977; Rudolf L., Harmony, Baku, 1938; Mazel L., O melody, M., 1952; Karastyanov A., Polyphonic kev sib raug zoo, M., 1964; Uspensky H., Laus Lavxias teb sab hu nkauj art, M., 1965, 1971; Kurth E., Grundlagen des linearen Kontrapunkts.., Bern, 1917, B., 1922 Tosh E., Melodielehre, V., 1931 (Russian translation – Toh E., Teaching about melody, M., 1923); Schmitz H.-P., Die Kunst der Verzierung im 1928 Jahrhundert Instrumentale und vokale Musizierpraxis in Beispielen, Kassel, 18; Ferand E., Die Improvisation in Beispielen aus neuen Jahrhunderten abendlandischer Musik Mit einer geschichtlichen Einführung, Köln, 1955; Szabolcsi B., A meludia türténete Vazlatok a zenei stilus m'ltjbbul 1956 kiadbs, Bdpst, 2 (English translation – A history of melody, NY, 1957); Apel W., Gregorian chant, Bloomington, (Indianapolis), 1965; Ghominski J., Historia harmonii thiab kontrapunktu, t. 1958, Kr., 1, Paccagnella E., La formazione del languaggio musicale, pt. 1958. Il canto gregoriano, Roma, 1; Wellesz E., Melody kev tsim kho hauv Byzantine chant, Belgrade-Ochride, 1961; Mendelsohn A., Melodia si arta onvesmontarn ei, Buc., 1961; Arnold R., Kev kos duab ntawm kev sib txuas lus los ntawm kev sib txuas lus zoo, raws li tau ua nyob rau xyoo 1963 thiab 1th centuries, v. 2-1965, NY, XNUMX.
EV Gertzman
