Medieval frets |

Medieval frets, ntau raug church frets, church tones

lat. modi, toni, tropi; German Kirchentöne, Kirchentonarten; Fabkis hom gregoriens, tons ecclesiastiques; English church hom

Lub npe ntawm yim (kaum kaum ob ntawm qhov kawg ntawm Renaissance) monodic hom uas underlie professional (ch. arr. church) suab paj nruag ntawm Western Europe. cov hnub nyoog nruab nrab.

Keeb kwm, 3 txoj kev xaiv ntawm S. l.:

1) suav chav chav (qhov qub tshaj plaws; hom yog qhia los ntawm Latinized Greek cov lej, piv txwv li protus - thawj, deuterus - thib ob, thiab lwm yam., nrog kev sib faib ua ke ntawm txhua qhov tseeb - lub ntsiab thiab plagal - theem nrab);

2) tus lej yooj yim (hom yog qhia los ntawm Roman tus lej lossis Latin cov lej - los ntawm I txog VIII; piv txwv li, primus tone lossis I, secundus toneus lossis II, tertius tone lossis III, thiab lwm yam);

3) nominal (nominative; nyob rau hauv cov nqe lus ntawm Greek suab paj nruag txoj kev xav: Dorian, Hypodorian, Phrygian, Hypophrygian, thiab lwm yam). Consolidated naming system rau yim S. l .:

I – дорийский – protus authenticus II – Hypodorian – protus plagalis III – Phrygian – authentic deuterus IV – hypophrygian – deuterus plagalis V – лидийский – qhabnias tritus VI – Hypolydian – plaguthenticus VII – plaguthordian

Main modal qeb S. l. - finalis (lub suab kawg), ambitus (ntim ntawm cov suab paj nruag) thiab - nyob rau hauv cov suab paj nruag txuam nrog psalmody, - repercussion (tseem tenor, tuba - suab ntawm repetition, psalmody); Tsis tas li ntawd, suab paj nruag hauv S. l. feem ntau characterized los ntawm tej yam melodic. cov qauv (los ntawm cov suab paj nruag). Qhov piv ntawm qhov kawg, ambitus thiab kev cuam tshuam ua rau lub hauv paus ntawm cov qauv ntawm txhua tus S. l .:

Melodich. cov formula S.l. hauv psalm melodic (psalm tones) – pib (initial formula), finalis (final), mediant (middle cadence). cov qauv melodic. cov qauv thiab cov suab paj nruag hauv S. l.:

Hymn “Ave maris Stella.”

Offerory "Kuv quaj tawm ntawm qhov tob."

Antiphon “Cov lus txib tshiab”.

Hallelujah thiab nqe "Laudate Dominum".

Maj mam "Lawv pom".

Kyrie eleison ntawm pawg "Paschal caij".

Mass for the Dead, nkag mus rau nyob mus ib txhis so.

Rau cov yam ntxwv ntawm S. l. kuj suav nrog kev sib txawv (lat. differentiae tonorum, diffinitiones, varietates) - cadence melodic. cov qauv ntawm antiphonal psalmody poob rau ntawm ib lub suab lus xaus. lo lus hu ua. "me doxology" (seculorum amen - "thiab mus ib txhis thiab puas tau amen"), uas feem ntau yog suav nrog kev tsis pom zoo ntawm cov lus: Euouae.

Lamb ntawm Vajtswv ntawm pawg "Nyob rau hnub ntawm Advent thiab Lent".

Cov kev sib txawv ua haujlwm raws li kev hloov pauv ntawm nqe vaj lug kub mus rau tom ntej antiphon. Melodically, qhov sib txawv yog qiv los ntawm qhov kawg ntawm cov suab paj nruag (yog li ntawd, qhov kawg ntawm cov suab paj nruag tseem hu ua qhov sib txawv, saib “Antiphonale monasticum pro diurnis horis…”, Tornaci, 1963, p. 1210-18).

Antiphon "Ad Magnificat", VIII G.

Nyob rau hauv secular thiab pej xeem. Cov suab paj nruag ntawm Hnub Nyoog Nrab Hnub nyoog (tshwj xeeb yog Renaissance), pom meej, muaj ib txwm muaj lwm hom (qhov no yog qhov tsis raug ntawm lo lus "S. l." - lawv tsis raug rau tag nrho Cov Hnub Nyoog suab paj nruag, tab sis feem ntau yog rau pawg ntseeg suab paj nruag, yog li ntawd, lo lus "lub tsev teev ntuj hom", "lub tsev teev ntuj tones" yog qhov tseeb dua). Txawm li cas los xij, lawv raug ignored nyob rau hauv lub suab paj nruag thiab scientific. ntaub ntawv, uas yog nyob rau hauv lub hwj chim ntawm lub tsev teev ntuj. J. de Groheo (“De musica”, c. 1300) tau taw qhia tias cov suab paj nruag secular (cantum civilem) “tsis sib haum xeeb” nrog cov kev cai ntawm pawg ntseeg. frets; Glarean ("Dodekachordon", 1547) ntseeg tias hom Ionian muaj nyob hauv ca. 400 xyoo. Nyob rau hauv nruab nrab hnub nyoog tshaj plaws uas tau nqis los rau peb. secular, non-liturgical suab paj nruag yog pom, piv txwv li, pentatonic, Ionian hom:

German song txog Peter. Con. 9 ua c.

Qee lub sij hawm, Ionian thiab Aeolian hom (xws li ntuj loj thiab me) kuj pom nyob rau hauv Gregorian chant, piv txwv li. tag nrho monodic pawg "Nyob rau hauv Festis solemnibus" (Kyrie, Gloria, Sanctus, Agnus Dei, Ite missa est) yog sau nyob rau hauv XI, piv txwv li Ionian, fret:

Kyrie eleison ntawm Pawg "Nyob rau hauv lub solemn noj mov."

Tsuas yog hauv Ser. 16th caug xyoo (saib "Dodekachordon" Glareana) nyob rau hauv lub system ntawm S. l. 4 ntxiv frets tau suav nrog (yog li muaj 12 frets). New frets:

Ntawm Tsarlino (“Dimostrationi Harmoniche”, 1571, “Le Istitutioni Harmoniche”, 1573) thiab qee tus Fabkis. thiab German. musicians ntawm lub xyoo pua 17th ib tug txawv taxonomy ntawm kaum ob S. l. yog muab piv nrog Glarean. Ntawm Tsarlino (1558):

G. Zаrlin os. «Lub Harmonic Institutions», IV, chap. 10.

UA M. Мерсенна («Universal Harmony», 1636-37):

Kuv ntxhov siab - tiag tiag. Dorian (s-s1), II hom – plagal subdorian (g-g1), III fret – qhabnias. Phrygian (d-d1), IV hom – plagal sub-Phrygian (Aa), V — qhabnias. Lydian (e-e1), VI – Plagal Sublydian (Hh), VII – qhabnias. mixolydian (f-f1), VIII - plagal hypomixolydian (c-c1), IX - qhabnias. hyperdoric (g-g1), X – plagal Sub-Hyperdorian (d-d1), XI – qhabnias. hyperphrygian (a-a1), XII – plagal subhyperphrygian (e-e1).

Rau txhua tus ntawm S. l. ascribed nws tus kheej qhia. tus cwj pwm. Raws li lub Koom Txoos cov lus qhia (tshwj xeeb tshaj yog nyob rau hauv lub Nrab Hnub nyoog thaum ntxov), suab paj nruag yuav tsum tau detached los ntawm txhua yam carnal, "worldly" raws li kev txhaum thiab elevate tus ntsuj plig mus rau sab ntsuj plig, saum ntuj ceeb tsheej, Christian divine. Yog li, Clement of Alexandria (c. 150 – c. 215) tau tawm tsam cov neeg qub, pagan Phrygian, Lydian thiab Dorian “cov npe” hauv kev pom zoo ntawm “lub suab nkauj nyob mus ib txhis ntawm kev sib raug zoo tshiab, Vajtswv lub npe”, tawm tsam “effeminate tunes” thiab “ wailing rhythms", rau -ry "ua tsis ncaj rau tus ntsuj plig" thiab koom nrog nws hauv "revelry" ntawm komos, nyob rau hauv kev pom zoo ntawm "kev xyiv fab ntawm sab ntsuj plig", "rau lub hom phiaj ntawm ennobling thiab taming ib tug npau taws." Nws ntseeg hais tias "kev sib haum xeeb (xws li hom) yuav tsum tau coj nruj thiab dawb huv." Dorian (lub tsev teev ntuj) hom, piv txwv li, feem ntau yog tus cwj pwm los ntawm theorists li solemn, majestic. Guido d'Arezzo sau txog "kev hlub ntawm 6th", "talkativeness of the 7th" frets. Cov lus piav qhia ntawm kev nthuav qhia ntawm cov qauv feem ntau muab rau hauv kev nthuav dav, muaj xim zoo nkauj (cov yam ntxwv tau muab rau hauv phau ntawv: Livanova, 1940, p. 66; Shestakov, 1966, p. 349), uas qhia txog kev nkag siab zoo ntawm modal intonation.

Keeb kwm S. l. undoubtedly los ntawm lub system ntawm frets ntawm lub tsev teev ntuj. nkauj ntawm Byzantium - lub thiaj li hu. oktoiha (osmosis; Greek oxto - yim thiab nxos - suab, hom), qhov twg muaj 8 hom, muab faib ua 4 khub, raug xaiv raws li qhov tseeb thiab plagal (thawj 4 tsab ntawv ntawm cov tsiaj ntawv Greek, uas sib npaug rau qhov kev txiav txim: Kuv - II - III - IV), thiab tseem siv hauv Greek. hom npe (Dorian, Phrygian, Lydian, Mixolydian, Hypodorian, Hypo-Phrygian, Hypolydian, Hypomixolydian). Systematization ntawm Byzantine pawg ntseeg. frets yog ntaus nqi rau John of Damascus (1st ib nrab ntawm lub xyoo pua 8th; saib Osmosis). Cov lus nug ntawm keeb kwm Chiv Keeb ntawm modal systems ntawm Byzantium, Dr. Russia thiab Western Europe. S. l., txawm li cas los xij, xav tau kev tshawb fawb ntxiv. Muses. theorists ntawm lub Nrab Hnub nyoog thaum ntxov (6th-early 8th centuries) tseem tsis tau hais txog hom tshiab (Boethius, Cassiodorus, Isidore ntawm Seville). Thawj zaug lawv tau hais nyob rau hauv ib daim ntawv teev lus, ib feem ntawm uas tau luam tawm los ntawm M. Herbert (Gerbert Scriptores, I, p. 26-27) nyob rau hauv lub npe ntawm Flaccus Alcuin (735-804); Txawm li cas los xij, nws txoj kev sau ntawv tsis ntseeg. Cov ntaub ntawv qub tshaj plaws uas ntseeg tau hais txog S. l. yuav tsum raug suav hais tias yog cov lus qhuab qhia ntawm Aurelian los ntawm Rheome (9th century) “Musica disciplina” (c. 850; “Gerbert Scriptores”, I, p. 28-63); thaum pib ntawm nws tshooj 8 "De Tonis octo" rov tsim dua yuav luag tag nrho cov seem ntawm Alcunnos. Hom ("tone") yog txhais ntawm no raws li hom kev hu nkauj (ze rau lub tswvyim ntawm modus). Tus sau tsis muab cov piv txwv suab paj nruag thiab cov tswv yim, tab sis hais txog cov suab paj nruag ntawm antiphons, responsories, offertories, communio. Nyob rau hauv ib qho kev qhia tsis qhia npe ntawm 9th (?) c. “Alia musica” (tshaj tawm los ntawm Herbert – “Gerbert Scriptores”, I, p. 125-52) twb qhia cov kev txwv tseeb ntawm txhua qhov ntawm 8 S. l. Yog li, thawj fret (primus tonus) raug xaiv los ua "qhov qis tshaj" (omnium gravissimus), tuav lub octave rau mesa (ie Aa), thiab hu ua "Hypodorian". Cov tom ntej no (octave Hh) yog Hypophrygian, thiab lwm yam. (“Gerbert Scriptores,” I, p. 127a). Xa los ntawm Boethius ("De institutione musica", IV, capitula 15) systematization ntawm Greek. transpositional scales ntawm Ptolemy (transpositions ntawm "zoo meej system", uas reproduced lub npe ntawm lub hom - Phrygian, Dorian, thiab lwm yam - tab sis tsuas yog nyob rau hauv lub rov qab, ascending txiav txim) nyob rau hauv "Alia musica" yog yuam kev rau lub systematization ntawm hom. Raws li qhov tshwm sim, cov Greek cov npe ntawm cov hom tau hloov pauv mus rau lwm cov nplai (saib Ancient Greek hom). Ua tsaug rau kev khaws cia ntawm kev sib koom ua ke ntawm modal nplai, qhov kev txiav txim ntawm kev ua tiav ntawm cov qauv hauv ob qho tib si tseem zoo ib yam, tsuas yog cov kev taw qhia ntawm kev vam meej tau hloov pauv - hauv kev tswj hwm ob-octave ntau yam ntawm Greek zoo meej system - los ntawm A mus rau a2.

Nrog rau kev txhim kho ntxiv ntawm octave S. l. thiab kev sib kis ntawm solmization (txij li thaum xyoo pua 11th), cov txheej txheem ntawm hexachords ntawm Guido d'Arezzo kuj pom daim ntawv thov.

Kev tsim ntawm European polyphony (thaum lub sij hawm Nrab Hnub nyoog, tshwj xeeb tshaj yog thaum lub sij hawm Renaissance) ho deformed lub kaw lus ntawm suab paj nruag. thiab thaum kawg tau coj mus rau nws txoj kev puas tsuaj. Tseem ceeb yam uas ua rau lub decomposition ntawm S. l. tau ntau lub hom phiaj. warehouse, kev taw qhia ntawm lub suab thiab kev hloov ntawm tus consonant triad rau hauv lub hauv paus ntawm hom. Polyphony theem qhov tseem ceeb ntawm qee pawg ntawm S. l. - ambitus, repercussions, tsim tau qhov kawg ntawm ib zaug ntawm ob (los yog peb) decomp. suab (piv txwv li, ntawm d thiab ib lub sijhawm). Lub suab nrov (musiсa falsa, musica ficta, saib Chromatism) tau ua txhaum txoj cai nruj diatonicism ntawm S. l., txo thiab ua kom tsis muaj qhov sib txawv hauv cov qauv ntawm S. l. ntawm tib lub mus ob peb vas, txo qhov sib txawv ntawm cov hom mus rau lub ntsiab txhais feature - loj los yog me me. triads. Kev lees paub ntawm lub consonance ntawm peb (thiab tom qab ntawd thib rau) hauv xyoo pua 13th. (los ntawm Franco ntawm Cologne, Johannes de Garland) coj mus rau 15-16 centuries. mus tas li siv consonant triads (thiab lawv inversions) thiab yog li mus ext. reorganization ntawm modal system, tsim nws ntawm loj thiab me chords.

S. l. polygonal suab paj nruag hloov mus rau kev sib haum xeeb ntawm lub Renaissance (15th-16th centuries) thiab ntxiv mus rau "kev sib raug zoo tonality" (functional harmony of the major-minor system) ntawm 17th-19th centuries.

S. l. polygonal suab paj nruag nyob rau hauv lub 15th-16th centuries. muaj cov xim tshwj xeeb, vaguely reminiscent ntawm ib qho kev sib xyaw loj-me me modal system (saib Major-me). Feem ntau, piv txwv li, qhov xaus nrog ib qho loj triad ntawm ib daim ntawv sau nyob rau hauv kev sib haum xeeb ntawm lub me mus ob peb vas (D-dur - nyob rau hauv Dorian d, E-dur - nyob rau hauv Phrygian e). Kev ua haujlwm tsis tu ncua ntawm harmonics. cov ntsiab lus ntawm cov qauv sib txawv kiag li - chords - ua rau muaj kev hloov pauv uas txawv ntawm qhov qub monody ntawm classical suab paj nruag style. Qhov no modal system (renaissance modal harmony) yog ib qho kev ywj pheej thiab qib ntawm lwm lub tshuab, nrog rau sl thiab loj-me tonality.

Nrog rau kev tsim kom muaj kev tswj hwm ntawm qhov loj-me system (17-19 centuries), tus qub S. l. maj mam poob lawv qhov tseem ceeb, ib feem tseem tshuav hauv cov Catholic. pawg ntseeg lub neej txhua hnub (tsawg zaus - hauv Protestant, piv txwv li, Dorian suab paj nruag ntawm choral "Mit Fried und Freud ich fahr dahin"). Cais cov qauv ci ntsa iab ntawm S. l. pom feem ntau hauv pem teb 1. 17th caug xyoo Cov yam ntxwv kiv puag ncig ntawm S. l. tshwm sim los ntawm JS Bach hauv kev ua cov suab paj nruag qub; tag nrho cov khoom tuaj yeem txhawb nqa hauv ib qho ntawm cov qauv no. Yog li, lub suab nkauj ntawm lub suab paj nruag "Herr Gott, dich loben wir" (nws cov ntawv nyeem yog txhais lus German ntawm cov nkauj qub Latin, ua rau xyoo 1529 los ntawm M. Luther) hauv hom Phrygian, ua tiav los ntawm Bach rau pawg hu nkauj (BWV 16). , 190, 328) and for the organ (BWV 725), is a reworking of the old hymn “Te deum laudamus” of the fourth tone, and melodic elements are reserved in Bach's processing. cov qauv ntawm no Wed.-Century. suab nrov.

JS Bach. Choral prelude rau lub cev.

Yog hais tias cov ntsiab lus ntawm S. l. nyob rau hauv kev sib haum xeeb nyob rau hauv lub xyoo pua 17th. thiab nyob rau hauv lub suab paj nruag ntawm lub Bach era - cov seem ntawm ib tug qub kev lig kev cai, ces pib nrog L. Beethoven (Adagio "Nyob rau hauv der lydischen Tonart" los ntawm lub quartet op. 132) muaj ib tug revival ntawm lub qub modal system ntawm lub hauv paus tshiab. . Nyob rau hauv lub era ntawm romanticism, siv cov ntaub ntawv hloov kho ntawm S. l. yog txuam nrog lub sij hawm ntawm stylization, thov rau cov suab paj nruag yav dhau los (los ntawm F. Liszt, J. Brahms; nyob rau hauv lub 7th variation los ntawm Tchaikovsky variations rau piano op. 19 Tsis yog 6 - Phrygian hom nrog ib tug raug loj tonic nyob rau hauv lub kawg). thiab sib koom ua ke nrog cov neeg sau xov xwm ntau ntxiv rau cov hom suab paj nruag pej xeem (saib Natural hom), tshwj xeeb tshaj yog F. Chopin, B. Bartok, Lavxias teb sab composers ntawm 19th-20th centuries.

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Yu. H. Kholopov