Daim duab |

los ntawm lat. figura - sab nrauv, duab, duab, txoj kev, tus cwj pwm, khoom

1) Cov yam ntxwv ntawm lub suab (melodic. F.) lossis suab nrov. sib koom, ncua sij hawm (rhythm. F.), feem ntau rov ua dua.

2) Lub ntsiab lus.

3) Ib feem ua tiav ntawm kev seev cev, ua rau ntawm qhov rov ua dua ntawm nws cov yam ntxwv choreographic. F., nrog rau hauv suab paj nruag los ntawm kev txhais. suab paj nruag F.

4) Daim duab. depiction ntawm lub suab thiab pauses ntawm mensural notation; lub tswv yim khaws lub ntsiab lus ntawm cov suab paj nruag kos npe mus txog 1st pem teb. 18th caug xyoo (saib Spiess M., 1745).

5) F. muz.-rhetorical - ib lub tswv yim siv los xa mus rau ntau tus muses. Cov tswv yim paub hauv Nruab Nrab Hnub nyoog (thiab txawm tias ua ntej), tab sis uas tau dhau los ua ib feem ntawm cov muses. cov lus tsuas yog nyob rau hauv con. 16-1st pem. 17th caug xyoo F. suav hais tias yog txoj kev xav ntawm suab paj nruag 17-18 centuries. nyob rau hauv lub system ntawm views ntawm suab paj nruag ib txwm ntawm lub sij hawm raws li ib tug ncaj analogy rau oratory. Qhov no yog txuas nrog kev hloov mus rau txoj kev xav ntawm suab paj nruag (feem ntau German) ntawm cov ntsiab lus ntawm cov ntsiab lus ntawm classical. rhetoric: lub invention ntawm cov khoom hais lus, nws kev npaj thiab kev loj hlob, kho kom zoo nkauj thiab xa lus. Qhov ntawd. suab paj nruag sawv. lus hais. Cov lus qhuab qhia ntawm F. tso siab rau qhov thib peb ntawm rhetoric – kho kom zoo nkauj (de-coratio).

Lub tswvyim ntawm suab paj nruag-rhetoric. F. zoo ib yam li lub ntsiab. tswvyim ntawm rhetoric. kho kom zoo nkauj – mus rau txoj kev thiab F. (saib cov lus qhuab qhia ntawm I. Burmeister, A. Kircher, M. Spies, I. Mattheson, thiab lwm yam). Rau F. ntaus nqi txhais. cov tswv yim (tsuas yog ntau hom suab paj nruag thiab kev sib haum xeeb), "deviating los ntawm ib qho yooj yim ntawm kev sau ntawv" (Burmeister) thiab ua haujlwm los txhim kho cov suab paj nruag. Common nrog rhetoric. F. lub hauv paus ntsiab lus ntawm kev sib txawv ntawm qhov kev lees paub feem ntau tau nkag siab hauv muses. rhetoric nyob rau hauv ntau txoj kev: nyob rau hauv ib rooj plaub, qhov no yog ib tug sib txawv ntawm qhov yooj yim, "unadorned" hom kev nthuav qhia, nyob rau hauv lwm yam, los ntawm cov kev cai ntawm nruj sau ntawv, nyob rau hauv lub thib peb, los ntawm classic. cov qauv ntawm homophonic harmonic. lub tsev khaws khoom. Nyob rau hauv cov lus qhuab qhia ntawm suab paj nruag-rhetoric. Ntau tshaj 80 hom F. tau raug kaw lawm (saib cov npe thiab cov lus piav qhia ntawm F. nyob rau hauv phau ntawv ntawm German musicologist GG Unter, 1941). Ntau ntawm lawv tau suav hais tias los ntawm cov theorists yav dhau los ua piv txwv rau cov ntawv xov xwm. rhetorical F., uas lawv tau txais lawv Greek. thiab lat. npe. Ib feem me me ntawm F. tsis muaj cov lus hais tshwj xeeb. prototypes, tab sis kuj raug ntaus nqi rau muz.-rhetoric. kev dag. G. Unger faib cov suab paj nruag rhetoric. F. los ntawm kev ua haujlwm hauv kev tsim khoom. ua 3 pawg: pictorial, “piav lo lus”; cuam ​​tshuam, "piav qhov cuam tshuam"; "grammatical" - cov tswv yim, nyob rau hauv uas lub constructive, logical los rau lub hauv ntej. Pib. Zaub. thiab ntxim nyiam F. tsim nyob rau hauv wok. suab paj nruag, qhov uas lawv tau tsim los qhia lub ntsiab lus ntawm cov lus hais. Lo lus ntawm cov ntawv nyeem tau nkag siab tias yog tus pab. txhais tau tias, qhov chaw ntawm suab paj nruag. "inventions"; hauv nws. treatises ntawm lub xyoo pua 17th. (I. Nucius, W. Schonsleder, I. Herbst, D. Shper) tso cov npe ntawm cov lus, uas ib tug yuav tsum xyuam xim tshwj xeeb thaum sau nkauj.

O. Lasso. Motet "Exsurgat Deus" los ntawm Sat. Magnum Opus Musicum.

Nyob rau hauv lub creativity teem nyob rau hauv no txoj kev. Nyob rau hauv tus txheej txheem, tus txheej txheem ntawm kev coj lub hwj chim rau tus mloog (nyeem ntawv, saib), tus yam ntxwv ntawm lub Baroque kos duab, tau tshwm sim, hu ua tus sau ntawv critic AA Morozov "rhetorical rationalism".

Cov F. pawg no tau siv rau hauv cov suab paj nruag hauv ntau hom muses. kev dag. Hauv qab no yog lawv qhov kev faib tawm raws li X. Eggebrecht pawg:

a) piav qhia. F., uas suav nrog anabasis (ascent) thiab catabasis (qhovntsej thiaj tsis mob), circulatio (lub voj voog), fuga (khiav; A. Kircher thiab TB Yanovka ntxiv cov lus "nyob rau hauv ib qho kev xav txawv" rau nws lub npe, txawv qhov F. . , "tsis-depicting" F. fugue; saib hauv qab no), tirata, thiab lwm yam .; cov ntsiab lus ntawm cov F. - nyob rau hauv ascending los yog nqis los, ncig los yog "khiav" melodic. txav mus rau hauv kev sib txuas nrog cov lus sib xws ntawm cov ntawv nyeem; rau ib qho piv txwv ntawm kev siv F. fuga, saib kab 800.

Nyob rau hauv lub suab paj nruag rhetoric kuj piav los ntawm F. hypotyposis (duab), tawm tswv yim Sec. rooj plaub ntawm suab paj nruag figurativeness.

b) Suab paj nruag, los yog, raws li G. Massenkail, ncua sij hawm, F .: exclamatio (exclamation) thiab interrogatio (nug; saib piv txwv hauv qab no), xa cov lus intonations sib xws; passus thiab saltus duriusculus - kev taw qhia rau chromatic suab paj nruag. intervals thiab dhia.

C. Monteverdi. Orpheus, Act II, Orpheus part.

c) F. pauses: abruptio (kev npaj txhij txog kev cuam tshuam ntawm lub suab paj nruag), apocope (qhov txawv txav ntawm lub sijhawm ntawm lub suab kawg ntawm lub suab), aposiopesis (kev ncua), suspiratio (hauv Lavxias teb sab suab paj nruag txoj kev xav ntawm 17th-18th centuries " suspiria” – pauses – “sighs”), tmesis (pauses uas rhuav lub suab paj nruag; saib piv txwv hauv qab).

JS Bach. Cantata BWV 43.

d) F. rov hais dua, suav nrog 15 cov txheej txheem ua suab paj nruag. kev tsim kho nyob rau hauv ib theem sib txawv, piv txwv li. anaphora (abac), anadiplosis (abbc), palillogia (repetition tseeb), climax (repetition in sequence), thiab lwm yam.

e) F. ntawm chav kawm fugue, uas imitation yog yam ntxwv. txheej txheem: hypallage (imitation hauv kev tawm tsam), apocope (tsis tiav imitation hauv ib lub suab), metalepsis (fugue ntawm 2 lub ntsiab lus), thiab lwm yam.

f) F. kab lus (Satzfiguren) - ib lub tswv yim qiv los ntawm rhetoric, uas nws tau siv nrog rau "F. lus"; Lub hauv paus ntawm pawg neeg coob thiab heterogeneous no yog tsim los ntawm F., uas ua ob qho tib si piav qhia thiab qhia. muaj nuj nqi; lawv cov yam ntxwv feature - nyob rau hauv kev sib raug zoo. lus Satzfiguren suav nrog dec. Cov tswv yim rau kev siv dissonances tsis sib haum nrog cov kev cai nruj: catachrese, ellipsis (kev daws teeb meem tsis raug ntawm kev tsis sib haum xeeb lossis tsis muaj kev daws teeb meem), extensio (dissonance txuas ntxiv ntev dua li nws qhov kev daws teeb meem), parrhesia (sau npe, siv kev txhawb nqa thiab txo qis, qee qhov teeb meem tsis tau npaj los yog daws tsis raug. dissonances ; saib piv txwv hauv qab no); Cov ntaub ntawv hais txog kev tsis sib haum xeeb F. feem ntau nthuav tawm hauv cov haujlwm ntawm K. Bernhard.

G. Schutz. Sacred Symphony “Singet dem Herren ein neues Lied” (SWV 342).

Cov pab pawg no kuj suav nrog txoj hauv kev tshwj xeeb ntawm kev siv consonances: congeries (lawv "sau" nyob rau hauv lub suab ncaj nraim ntawm lub suab); noema (kev taw qhia ntawm homophonic consonantal seem rau hauv cov ntsiab lus polyphonic thiaj li hais txog CL kev xav ntawm cov lus hais), thiab lwm yam. Ph. kab lus kuj muaj xws li ib qho tseem ceeb heev hauv suab paj nruag ntawm 17th-18th centuries. F. antitheton - kev tawm tsam, kev txiav tuaj yeem nthuav tawm hauv kev sib dhos, kev sib haum xeeb, suab paj nruag, thiab lwm yam.

g) Kev coj cwj pwm; ntawm lub plawv ntawm pawg F. yog decomp. hom chant, nqe lus (bombo, groppo, passagio, superjectio, subsumptio, thiab lwm yam), uas muaj nyob rau hauv 2 daim ntawv: sau nyob rau hauv sau ntawv thiab unrecorded, improvised. Cov cwj pwm feem ntau tau txhais los ntawm kev sib txuas ncaj qha nrog cov lus hais. F.

6) F. – suab paj nruag. kho kom zoo nkauj, ornament. Nyob rau hauv sib piv rau Manieren, kho kom zoo nkauj nyob rau hauv cov ntaub ntawv no yog to taub ntau nqaim thiab unequivocally - raws li ib yam ntawm ntxiv rau cov hauv paus. nkauj ntawv. Cov muaj pes tsawg leeg ntawm cov decorations yog txwv rau diminutions, melismas.

7) Hauv Anglo-Amer. musicology, lub sij hawm "F." (Lus Askiv daim duab) yog siv 2 lub ntsiab lus ntxiv: a) motive; b) digitization ntawm cov ntses bass thaj tsam; cov ntses bass thaj tsam no txhais tau tias cov ntses bass thaj tsam. Hauv kev tshawb xav suab paj nruag, lo lus "figurative music" (lat. cantus figuralis) tau siv, uas yog Ameslikas (txog xyoo pua 17th) tau siv los ua haujlwm sau rau hauv cov lus sau tseg thiab txawv ntawm kev sib dhos. ntau haiv neeg, as opposed to cantus planus, rhythmically uniform hu nkauj; nyob rau hauv lub 17-18 centuries. nws txhais tau tias melodic. Cov duab ntawm chorale los yog ostinato ntses bass thaj tsam.

References: Suab paj nruag aesthetics ntawm Western Europe nyob rau hauv 1971th-1972th centuries, comp. VP Shestakov. Moscow, 3. Druskin Ya. S., Hais txog txoj kev rhetorical hauv suab paj nruag JS Bach, Kipv, 1975; Zakharova O., Suab paj nruag rhetoric ntawm lub 4th - thawj ib nrab ntawm lub xyoo pua 1980, nyob rau hauv sau: Teeb meem ntawm Suab paj nruag Science, vol. Xyoo 1975, M., 1978; nws tus kheej, Suab paj nruag rhetoric ntawm lub xyoo pua 1606 thiab ua hauj lwm ntawm G. Schutz, nyob rau hauv sau: Los ntawm keeb kwm ntawm txawv teb chaws suab paj nruag, vol. Xyoo 1955, M., 1; Kon Yu., Hais txog ob fugues los ntawm I. Stravinsky, nyob rau hauv sau: Polyphony, M., 2; Beishlag A., Ornament in music, M., 1650; Burmeister J., Musica poetica. Rostock, 1690, reprint, Kassel, 1970; Kircher A., ​​​Musurgia universalis, t. 1701-1973, Roma, 1738, 1745, Rev. Hildesheim, 1739; Janowka TV, Clavis ad thesaurum magnae artis musicae, Praha, 1954, reprinted. Ib., 1746; Scheibe JA, Der critische Musicus, Hamb., 1, 1788; Mattheson J., Der vollkommene Capellmeister, Hamb., 1967, reprinted. Kassel, 22; Spiess M., Tractatus musicus compositorio -practicus, Augsburg, 1925; Forkel JN, Allgemeine Geschichte der Musik, Bd 1926, Lpz., 1963, reprinted. Graz, 18; Schering A., Bach und das Symbol, in: Bach-Jahrbuch, Jahrg. 1932, Ib., 33; Bernhard Chr., Ausführlicher Bericht vom Gebrauche der Con- und Dissonantien, hauv Müller-Blattau J., Die Kompositionslehre H. Schützens hauv der Fassung seines Schülers Chr. Bernhard, Lpz., 15, Kassel-L.-NY, 7; nws tus kheej, Tractatus compositionis augmentatus QDBV, ibid.; Ziebler K., Zur Aesthetik der Lehre von den musikalischen Figuren im 16. Jahrhundert, “ZfM”, 1935/1939, Jahrg. 40, H.3; Brandes H., Studien zur musikalischen Figurenlehre im 1. Jahrhundert, B., 2; Bukofzer M., Allegory in baroque music, “Journal of the Warburg and Courtauld Institutes”, 16/18, v, 1941, No 1969-1950; Unger H, H., Die Beziehungen zwischen Musik und Rhetorik im 1955.-1708. Jahrhundert, Würzburg, 1955, luam tawm. Hildesheim, 1959; Schmitz A., Die Bildlichkeit der wortgebundenen Musik JS Bachs, Mainz, 1959; Ruhnke M., J. Burmeister, Kassel-Basel, 1965; Walther JG, Praecepta der Musicalischen Composition, (1967), Lpz., 1972; Eggebrecht HH, Heinrich Schütz. Musicus poeticus, Gött., 16; Rauhe H., Dichtung und Musik im weltlichen Vokalwerk JH Scheins, Hamb., 18 (Diss.); Kloppers J., Die Interpretation und Wiedergabe der Orgelwerke Bachs, Fr./M., 1973; Dammann R., Der Musikbegriff im deutschen Barock, Köln, 5; Polisca CV, Ut oratoria musica. Lub hauv paus rhetorical ntawm kev ua suab paj nruag, nyob rau hauv lub ntsiab lus ntawm tus cwj pwm, Hannover, 2; Stidron M., Existuje v cesky hudbe XNUMX.-XNUMX. stoletн obdoba hudebne rеtorickych daim duab?, Opus musicum, XNUMX, r. XNUMX, tsis muaj XNUMX.

OI Zakharova