Music form |
Greek morpn, lat. forma - tsos, duab, qhia, tsos, zoo nkauj; German Form, Fabkis daim ntawv, ital. form, ib. puab, puab
Cov ntsiab lus
I. Lub ntsiab lus ntawm lub sij hawm. Etymology II. Daim ntawv thiab cov ntsiab lus. Cov ntsiab cai dav dav ntawm kev tsim III. Cov ntaub ntawv suab paj nruag ua ntej 1600 IV. Polyphonic suab paj nruas cov ntaub ntawv V. Homophonic suab paj nruas cov ntaub ntawv ntawm niaj hnub lub sij hawm VI. Cov ntaub ntawv suab paj nruag ntawm lub xyoo pua 20th VII. Kev qhia txog cov ntaub ntawv suab paj nruag
I. Lub ntsiab lus ntawm lub sij hawm. Etymology. Lub sij hawm F. m." siv ntau txoj hauv kev. Qhov tseem ceeb: 1) hom kev sib xyaw; def. kev npaj ua ke (ntau dua, "form-scheme", raws li BV Asafiev) muses. ua hauj lwm ("form ntawm composition", raws li PI Tchaikovsky; piv txwv li, rundo, fugue, motet, ballata; ib feem mus rau lub tswv yim ntawm ib hom ntawv nyeem, piv txwv li, hom suab paj nruag); 2) suab paj nruag. lub embodiment ntawm cov ntsiab lus (lub koom haum holistic ntawm melodic motifs, kev sib haum xeeb, meter, polyphonic ntaub, timbres, thiab lwm yam ntsiab lus ntawm suab paj nruag). Ntxiv rau ob lub ntsiab lus tseem ceeb ntawm lo lus "F. m." (suab paj nruag thiab aesthetic-philosophical) muaj lwm yam; 3) tus kheej lub suab duab ntawm muses. ib daim (lub suab tshwj xeeb ntawm nws lub hom phiaj tsuas yog nyob rau hauv txoj haujlwm no; ib yam dab tsi uas txawv, piv txwv li, ib daim ntawv sonata los ntawm tag nrho lwm tus; nyob rau hauv sib piv rau daim ntawv-hom, nws yog ua tiav los ntawm lub hauv paus thematic uas tsis rov ua dua hauv lwm yam hauj lwm thiab nws tus kheej txoj kev loj hlob; sab nraum ntawm scientific abstractions, nyob rau hauv lub suab paj nruag tsuas yog ib tug neeg F. m.); 4) zoo nkauj. kev txiav txim hauv suab paj nruag compositions ("kev sib haum xeeb" ntawm nws cov khoom thiab cov khoom), muab kev zoo nkauj. lub meej mom ntawm lub suab paj nruag. compositions (tus nqi nam ntawm nws ib tug qauv; "forme txhais tau tias kev zoo nkauj ...", raws li MI Glinka); tus nqi zoo ntawm lub tswvyim ntawm F. m. muaj nyob rau hauv qhov kev tawm tsam: "form" - "formlessness" ("deformation" - ib tug distortion ntawm daim ntawv; dab tsi tsis muaj daim ntawv yog aesthetically flawed, dab tuag); 5) ib qho ntawm peb lub ntsiab. ntu ntawm kev siv suab paj nruag-theoretical. science (nrog rau kev sib haum xeeb thiab counterpoint), qhov kev kawm ntawm F. m. Qee zaum suab paj nruag. daim ntawv tseem hu ua: tus qauv ntawm muses. prod. (nws cov qauv), me dua tag nrho cov khoom, kuj ua tiav fragments ntawm suab paj nruag. compositions yog ib feem ntawm ib daim ntawv los yog cov khoom ntawm cov suab paj nruag. op., nrog rau lawv cov tsos tag nrho, qauv (piv txwv li, modal formations, cadences, kev loj hlob - "daim kab lus", ib lub sij hawm raws li ib tug "form"; "random harmonious forms" - PI Tchaikovsky; "qee ib daim ntawv, cia peb hais tias, hom cadence" - GA Laroche; "Ntawm qee hom suab paj nruag niaj hnub" - VV Stasov). Etymologically, Latin daim ntawv - lexical. tracing ntawv los ntawm Greek morgn, suav nrog, tsuas yog rau lub ntsiab. lub ntsiab lus "zoo", lub tswv yim ntawm "zoo nkauj" tsos (nyob rau hauv Euripides eris morpas; - kev sib cav ntawm vajtswv poj niam txog ib tug zoo nkauj tsos). Lat. lo lus forma - tsos, daim duab, duab, tsos, tsos, kev zoo nkauj (piv txwv li, nyob rau hauv Cicero, forma muliebris - poj niam kev zoo nkauj). Cov lus hais txog: formos - slender, graceful, zoo nkauj; formosulos - zoo nkauj; rum. frumos thiab Portuguese. formoso - zoo nkauj, zoo nkauj (Ovid muaj "formosum anni tempus" - "lub caij zoo nkauj", uas yog, caij nplooj ntoos hlav). (Saib Stolovich LN, 1966.)
II. Daim ntawv thiab cov ntsiab lus. Cov ntsiab cai dav dav ntawm shaping. Lub tswv yim ntawm "form" tuaj yeem sib cuam tshuam hauv decomp. khub: daim ntawv thiab teeb meem, daim ntawv thiab cov khoom (nyob rau hauv kev sib raug zoo rau suab paj nruag, nyob rau hauv ib tug txhais lus, cov khoom yog nws lub cev sab, daim ntawv yog kev sib raug zoo ntawm lub suab hais, nrog rau txhua yam uas yog tsim los ntawm lawv; nyob rau hauv lwm yam txhais lus, Cov khoom siv yog cov khoom sib xyaw ua ke - melodic, harmonic formations, timbre pom, thiab lwm yam, thiab daim ntawv - kev sib haum xeeb ntawm cov khoom siv no), daim ntawv thiab cov ntsiab lus, daim ntawv thiab formlessness. Lub ntsiab lus tseem ceeb. ib khub ntawm daim ntawv – cov ntsiab lus (raws li ib tug dav philosophical qeb, lub tswvyim ntawm "cov ntsiab lus" yog qhia los ntawm GVF Hegel, uas tau txhais nws nyob rau hauv lub ntsiab lus teb ntawm interdependence ntawm teeb meem thiab daim ntawv, thiab cov ntsiab lus raws li ib qeb muaj xws li ob qho tib si, nyob rau hauv ib tug tshem tawm daim ntawv. Hegel, 1971, pp. 83-84). Nyob rau hauv Marxist txoj kev xav ntawm kev kos duab, daim ntawv (xws li F. m.) yog xam nyob rau hauv ob pawg no, qhov twg cov ntsiab lus yog to taub raws li ib tug xav txog ntawm kev muaj tiag.
Cov ntsiab lus ntawm lub suab paj nruag - ext. sab ntsuj plig nam ntawm txoj hauj lwm; suab paj nruag qhia dab tsi. Center. suab paj nruag concepts. ntsiab lus – music. tswv yim (sensually embodied suab paj nruag xav), muz. ib daim duab (ib qho kev qhia tshwj xeeb uas qhib ncaj qha rau lub suab paj nruag, zoo li "daim duab", ib daim duab, nrog rau kev ua suab paj nruag ntawm kev xav thiab lub hlwb). Cov ntsiab lus ntawm daim ntawv thov yog imbued nrog lub siab xav rau lub siab, tus zoo ("Ib tug tiag tiag artist ... yuav tsum siv zog thiab hlawv rau lub broadest lub hom phiaj," ib tsab ntawv los ntawm PI Tchaikovsky rau AI Alferaki hnub tim 1, 8). Qhov tseem ceeb tshaj plaws ntawm cov ntsiab lus suab paj nruag - kev zoo nkauj, zoo nkauj, zoo nkauj. zoo tagnrho, callistic feem ntawm suab paj nruag raws li kev zoo nkauj. tshwm sim. Nyob rau hauv Marxist aesthetics, kev zoo nkauj yog txhais los ntawm lub standpoint ntawm lub zej zog. tib neeg xyaum raws li kev zoo nkauj. qhov zoo tshaj plaws yog ib tug sensually contemplated duab ntawm lub universal realization ntawm tib neeg txoj kev ywj pheej (LN Stolovich, 1891; S. Goldentricht, 1956, p. 1967; kuj Yu. B. Borev, 362, p. 1975-47). Tsis tas li ntawd, muaj pes tsawg leeg ntawm muses. cov ntsiab lus yuav suav nrog cov duab uas tsis yog suab paj nruag, nrog rau qee hom suab paj nruag. tej hauj lwm muaj xws li off-suab paj nruag. cov ntsiab lus - cov duab duab hauv wok. suab paj nruag (yuav luag txhua hom, suav nrog opera), theem. kev ua embodied nyob rau hauv lub theatre. suab paj nruag. Rau kev ua tiav ntawm kev kos duab. txoj kev loj hlob ntawm ob sab yog tsim nyog rau ib tug ua hauj lwm - ob qho tib si ib tug ideologically nplua nuj sensually impressive, txaus siab cov ntsiab lus, thiab ib tug zoo tagnrho tsim art. daim ntawv. Qhov tsis muaj ib lossis lwm qhov cuam tshuam rau kev zoo nkauj. qhov zoo ntawm kev ua haujlwm.
Daim ntawv hauv suab paj nruag (nyob rau hauv qhov zoo nkauj thiab kev xav) yog lub suab realization ntawm cov ntsiab lus nrog kev pab los ntawm ib tug system ntawm suab hais, txhais tau tias, kev sib raug zoo, piv txwv li, yuav ua li cas (thiab los ntawm dab tsi) cov ntsiab lus ntawm suab paj nruag yog qhia. Ntau precisely, F. m. (hauv qhov kev nkag siab no) yog stylistic. thiab ib hom kev txiav txim siab ntawm cov ntsiab lus ntawm cov suab paj nruag (piv txwv li, rau zaj nkauj - tsim los rau kev nkag siab loj ntawm kev ua koob tsheej; qhov yooj yim thiab lapidarity ntawm lub suab paj nruag-suab paj nruag npaj los ua los ntawm pawg hu nkauj nrog kev txhawb nqa ntawm ib lub orchestra), txhais. lawv kev sib xyaw ua ke thiab kev sib cuam tshuam (xaiv tus cwj pwm ntawm kev txav mus los, tonal-harmonious fabrics, dynamics ntawm shaping, thiab lwm yam), lub koom haum holistic, txhais. txuj ci suab paj nruag. kev sib xyaw ua ke (lub hom phiaj tseem ceeb tshaj plaws ntawm kev siv tshuab yog tsim "kev sib koom ua ke", kev zoo nkauj, kev zoo nkauj hauv suab paj nruag). Txhua yam yuav raug qhia. Cov suab paj nruag txhais tau hais tias, suav nrog cov ntsiab lus dav dav ntawm "style" thiab "technique", tau npaj mus rau qhov tshwm sim holistic - ib lub suab paj nruag tshwj xeeb. kev sib xyaw, ntawm F. m.
Daim ntawv thiab cov ntsiab lus muaj nyob rau hauv ib qho kev sib cais tsis sib haum. Tsis muaj qhov nthuav dav me tshaj plaws ntawm muses. cov ntsiab lus, uas yuav tsis tas yuav tsum tau nthuav tawm los ntawm ib qho lossis lwm qhov sib xyaw ua ke ntawm kev nthuav qhia. txhais tau hais tias (piv txwv li, cov lus subtlest, inexpressible lus qhia qhov ntxoov ntxoo ntawm lub suab chord, nyob ntawm seb qhov chaw ntawm nws lub suab los yog ntawm cov timbres xaiv rau lawv txhua tus). Thiab vice versa, tsis muaj xws li, txawm lub feem ntau "abstract" technical. txoj kev, uas yuav tsis ua raws li ib qho kev qhia ntawm c.-l, los ntawm cov ntsiab lus ntawm cov ntsiab lus (piv txwv li, cov txiaj ntsig ntawm kev txuas ntxiv ntawm canon ncua sij hawm hauv txhua qhov kev hloov pauv, tsis ncaj qha pom los ntawm pob ntseg hauv txhua qhov kev hloov pauv, tus lej ntawm uas yog faib los ntawm peb yam tsis muaj qhov seem, hauv "Goldberg Variations" JS Bach tsis tsuas yog npaj lub voj voog hloov pauv tag nrho, tab sis kuj nkag mus rau hauv lub tswv yim ntawm sab hauv sab ntsuj plig ntawm txoj haujlwm). Qhov tsis sib xws ntawm daim ntawv thiab cov ntsiab lus hauv suab paj nruag tau pom meej meej thaum sib piv cov qauv ntawm tib lub suab nrov los ntawm cov neeg sau sib txawv (cf., piv txwv li, Persian Choir los ntawm opera Ruslan thiab Lyudmila los ntawm Glinka thiab I. Strauss txoj kev taug kev sau rau tib lub suab- cov ntsiab lus) los yog variations (piv txwv li, I. Brahms's B-dur piano variations, lub ntsiab lus uas belongs rau GF Handel, thiab Brahms suab paj nruag suab nyob rau hauv thawj variation). Nyob rau tib lub sijhawm, nyob rau hauv kev sib sau ntawm daim ntawv thiab cov ntsiab lus, cov ntsiab lus yog qhov ua, dynamically mobile yam; nws muaj lub luag haujlwm txiav txim siab hauv qhov kev sib sau no. Thaum siv cov ntsiab lus tshiab, ib feem ntawm qhov tsis sib xws ntawm daim ntawv thiab cov ntsiab lus yuav tshwm sim, thaum cov ntsiab lus tshiab tsis tuaj yeem txhim kho nyob rau hauv lub moj khaum ntawm daim ntawv qub (xws li kev tsis sib haum xeeb yog tsim, piv txwv li, thaum siv tshuab siv cov txheej txheem baroque rhythmic thiab polyphonic. cov ntaub ntawv los tsim 12-tone melodic thematism hauv cov suab paj nruag niaj hnub). Qhov kev tsis sib haum xeeb yog daws los ntawm kev nqa daim ntawv nyob rau hauv txoj kab nrog cov ntsiab lus tshiab, thaum txhais. cov ntsiab lus ntawm daim ntawv qub tuag tawm. Kev sib sau ntawm F. m. thiab cov ntsiab lus ua rau muaj kev sib nrig sib projection ntawm ib tug mus rau lwm yam nyob rau hauv lub siab ntawm ib tug tshuab raj; Txawm li cas los xij, xws li kev hloov pauv ntau zaus ntawm cov khoom ntawm cov ntsiab lus rau daim ntawv (lossis rov ua dua), cuam tshuam nrog lub peev xwm ntawm tus neeg paub txog "nyeem" cov ntsiab lus piv txwv hauv kev sib xyaw ntawm cov ntsiab lus ntawm daim ntawv thiab xav tias nws nyob rau hauv cov nqe lus ntawm F. m. , tsis txhais hais tias tus kheej ntawm daim ntawv thiab cov ntsiab lus.
Nkauj Nkauj. kev foob, zoo li lwm tus. hom art-va, yog ib qho kev xav ntawm kev muaj tiag nyob rau hauv tag nrho nws cov txheej txheem txheej txheem, vim evolution. theem ntawm nws txoj kev loj hlob los ntawm theem qis qis mus rau qib siab dua. Txij li cov suab paj nruag yog kev sib koom ua ke ntawm cov ntsiab lus thiab daim ntawv, kev muaj tiag yog cuam tshuam los ntawm nws cov ntsiab lus thiab nws daim ntawv. Nyob rau hauv lub suab paj nruag-zoo nkauj li "qhov tseeb" ntawm suab paj nruag, aesthetic-value attributes thiab inorganic yog ua ke. ntiaj teb ( ntsuas, proportionality, proportionality, symmetry ntawm qhov chaw, feem ntau, kev sib txuas thiab kev sib raug zoo ntawm kev sib raug zoo; cosmological. Lub tswv yim ntawm kev xav txog kev muaj tiag los ntawm suab paj nruag yog qhov qub tshaj plaws, los ntawm Pythagoreans thiab Plato los ntawm Boethius, J. Carlino, kuv. Kepler thiab M. Mersenne mus rau tam sim no; cm. Kayser H., 1938, 1943, 1950; Losev A. F., 1963–80; Losev, Shestakov V. P., 1965), thiab lub ntiaj teb ntawm kev muaj sia nyob ("ua pa" thiab kev sov siab ntawm kev ua neej nyob intonation, lub tswv yim ntawm simulating lub neej voj voog ntawm muses. kev loj hlob nyob rau hauv daim ntawv ntawm kev yug ntawm suab paj nruag. xav, nws txoj kev loj hlob, nce, nce mus txog saum thiab ua tiav, feem. txhais lub sij hawm suab paj nruag raws li lub sij hawm ntawm "lub neej voj voog" ntawm suab paj nruag. "organism"; lub tswv yim ntawm cov ntsiab lus raws li ib tug duab thiab daim ntawv raws li ib tug muaj sia nyob, ib tug tib neeg lub cev), thiab tshwj xeeb tshaj yog tib neeg - keeb kwm. thiab kev sib raug zoo - lub ntiaj teb sab ntsuj plig (kev cuam tshuam ntawm kev sib koom ua ke-sab ntsuj plig subtext uas ua kom muaj suab nrov, kev taw qhia rau kev coj ncaj ncees. thiab zoo nkauj zoo nkauj, lub embodiment ntawm sab ntsuj plig kev ywj pheej ntawm tib neeg, keeb kwm. thiab kev txiav txim siab txog kev sib raug zoo ntawm ob qho tib si piv txwv thiab cov ntsiab lus ideological ntawm suab paj nruag, thiab F. m.; "Ib daim ntawv suab paj nruag raws li qhov tshwm sim ntawm kev sib raug zoo yog thawj zaug ntawm txhua tus paub tias yog ib daim ntawv ... ntawm kev tshawb pom ntawm cov suab paj nruag hauv cov txheej txheem ntawm intonation" - Asafiev B. Ib., 1963, p. 21). Kev sib koom ua ke rau hauv ib qho zoo ntawm kev zoo nkauj, tag nrho cov txheej txheem ntawm cov ntsiab lus muaj nuj nqi, piv txwv li o., raws li kev xav ntawm kev muaj tiag nyob rau hauv daim ntawv ntawm kev sib kis ntawm ib tug thib ob, "humanized" xwm. Musical Op., Artistically xav txog keeb kwm. thiab kev txiav txim siab txog kev muaj tiag los ntawm qhov zoo tshaj plaws ntawm kev zoo nkauj raws li cov qauv rau nws qhov zoo nkauj. kev ntsuam xyuas, thiab yog li ntawd hloov mus ua txoj kev peb paub nws - "objectified" kev zoo nkauj, ib tug ua hauj lwm ntawm kos duab. Txawm li cas los xij, qhov kev xav ntawm kev muaj tiag hauv pawg ntawm daim ntawv thiab cov ntsiab lus tsis yog kev hloov pauv ntawm qhov muab kev muaj tiag rau hauv suab paj nruag (kev xav txog kev muaj tiag hauv kev kos duab yuav tsuas yog ib qho kev sib tw ntawm qhov muaj tsis muaj nws). Raws li tib neeg kev nco qab "tsis yog qhia txog lub hom phiaj ntawm lub ntiaj teb, tab sis kuj tsim nws" (Lenin V. I., PSS, 5 ed., t. 29, p. 194), as well as art, music is a transformative, creative sphere. tib neeg kev ua ub no, thaj tsam ntawm kev tsim qhov tseeb tshiab (sab ntsuj plig, zoo nkauj, kos duab. values) uas tsis muaj nyob rau hauv cov khoom reflected nyob rau hauv no saib. Li no qhov tseem ceeb rau kev kos duab (raws li ib daim ntawv ntawm kev xav txog kev muaj tiag) ntawm cov tswv yim xws li kev txawj ntse, kev txawj ntse, kev muaj tswv yim, nrog rau kev tawm tsam kev tawm tsam, rov qab cov ntaub ntawv, rau kev tsim cov tshiab, uas tau tshwm sim ob qho tib si hauv cov ntsiab lus ntawm music thiab hauv F. m. Yog li F. m. ib txwm ideological e. dais ib lub foob. worldview), txawm tias b. h nws yog qhia tsis ncaj qha politico-ideological. formulations, thiab nyob rau hauv non-program instr. suab paj nruag – feem ntau tsis muaj k.-l. logical-conceptual forms. Reflection hauv suab paj nruag socio-keeb kwm. kev xyaum yog txuam nrog ib tug radical processing ntawm cov ntaub ntawv tso tawm. Qhov kev hloov pauv tuaj yeem yog qhov tseem ceeb heev uas tsis yog cov ntsiab lus suab paj nruag-tus piv txwv lossis F. m. tej zaum yuav tsis zoo li qhov tshwm sim tiag tiag. Ib qho kev xav yog tias nyob rau hauv kev ua hauj lwm ntawm Stravinsky, ib qho ntawm feem tseem ceeb exponents ntawm niaj hnub. kev muaj tiag hauv nws qhov kev tsis sib haum xeeb, liam tias tsis tau txais kev pom tseeb txaus ntawm qhov tseeb ntawm lub xyoo pua 20th, yog raws li naturalistic, mechanical. nkag siab txog qeb ntawm "kev xav", ntawm kev nkag siab yuam kev ntawm lub luag haujlwm hauv kev kos duab. qhia txog qhov hloov dua siab tshiab. Kev tsom xam ntawm kev hloov pauv ntawm qhov cuam tshuam ntawm cov khoom siv hauv cov txheej txheem ntawm kev tsim kos duab. cov haujlwm muab los ntawm V.
Cov ntsiab cai tseem ceeb tshaj plaws ntawm kev tsim qauv, uas muaj kev txhawj xeeb txog txhua yam style (thiab tsis yog ib qho classical style, piv txwv li, Viennese classics ntawm lub sijhawm Baroque), tus cwj pwm F. m. raws li ib daim ntawv thiab, lawm, yog li ntawd tsis tshua muaj generalized. Xws li feem ntau cov ntsiab cai ntawm ib qho F. m. qhia qhov tob tob ntawm cov suab paj nruag raws li hom kev xav (hauv cov duab suab). Li no qhov sib txawv ntawm qhov sib txawv nrog lwm hom kev xav (ua ntej ntawm tag nrho cov, lub tswv yim tsim nyog, uas yuav zoo li yog neeg txawv teb chaws kiag li cuam tshuam nrog kev kos duab, suab paj nruag). Qhov zoo tshaj plaws ntawm cov lus nug ntawm cov ntsiab lus dav dav ntawm F. m. European suab paj nruag kab lis kev cai ntawm lub xyoo pua 20th (Txoj hauj lwm no yuav tsis muaj nyob rau hauv lub Ancient ntiaj teb no, thaum suab paj nruag - "melos" - tau xeeb nyob rau hauv kev sib sau nrog nqe thiab seev cev, los yog nyob rau hauv Western European suab paj nruag mus txog rau thaum 1600, piv txwv li mus txog rau instr. suab paj nruag los ua. ib pawg suab paj nruag kev xav, thiab tsuas yog rau kev xav ntawm lub xyoo pua 20th nws tau dhau los ua tsis yooj yim sua kom txwv peb tus kheej los ua cov lus nug ntawm kev tsim lub sijhawm tsuas yog).
Cov ntsiab cai dav dav ntawm F. m. qhia nyob rau hauv txhua haiv neeg lub conditionality ntawm ib los yog lwm hom ntsiab lus los ntawm qhov xwm ntawm muses. kev foob feem ntau, nws istorich. kev txiav txim siab nyob rau hauv kev twb kev txuas nrog ib tug tshwj xeeb lub luag hauj lwm, kev lig kev cai, haiv neeg thiab lub teb chaws. originality. Ib F. m. yog ib qho kev qhia ntawm muses. kev xav; yog li qhov kev sib txuas tseem ceeb ntawm F. m. thiab qeb ntawm suab paj nruag. rhetoric (saib ntxiv hauv seem V; saib thiab Melody). Kev xav tuaj yeem yog tus kheej-tsim suab paj nruag (tshwj xeeb tshaj yog nyob rau hauv ntau lub taub hau European suab paj nruag ntawm niaj hnub no), los yog txuas nrog cov ntawv nyeem, seev cev. (los yog taug kev) txav. Tej suab paj nruag. lub tswv yim yog qhia nyob rau hauv lub moj khaum ntawm lub ntsiab txhais. intonation tsev, suab paj nruag-express. cov khoom siv suab (rhythmic, suab, timbre, thiab lwm yam). Ua ib tug txhais tau tias qhia suab paj nruag. kev xav, intonation Cov ntaub ntawv ntawm FM yog tsim los ntawm lub hauv paus ntawm kev sib txawv ntawm theem pib: rov ua dua thiab tsis rov ua dua (hauv qhov kev nkag siab no, FM raws li qhov kev txiav txim siab ntawm cov ntsiab lus suab hauv lub cev ntawm kev xav yog qhov sib dhos ze); txawv F. m. nyob rau hauv no hwm - ntau hom repetition. Thaum kawg, F. m. (txawm hais tias mus rau qhov tsis sib xws) yog qhov ua kom zoo, qhov zoo tshaj plaws ntawm kev qhia ntawm muses. kev xav (kev zoo nkauj ntawm F. m.).
III. Cov ntaub ntawv suab paj nruag ua ntej 1600. Qhov teeb meem ntawm kev kawm keeb kwm thaum ntxov ntawm suab paj nruag yog qhov nyuaj los ntawm kev hloov pauv ntawm cov ntsiab lus ntawm qhov tshwm sim implied los ntawm lub tswv yim ntawm suab paj nruag. Suab paj nruag nyob rau hauv lub siab ntawm kev kos duab ntawm L. Beethoven, F. Chopin, PI Tchaikovsky, AN Scriabin, ua ke nrog nws cov keeb kwm ntawm F. m., tsis muaj nyob rau hauv lub Ancient ntiaj teb no; hauv 4c. nyob rau hauv Augustine lub treatise "De musica libri poj niam txiv neej" bh piav qhia txog suab paj nruag, txhais raws li scientia bene modulandi – lit. "kev tshawb fawb ntawm kev hloov kho kom zoo" lossis "kev paub txog kev tsim kom raug" muaj nyob rau hauv kev nthuav qhia cov lus qhuab qhia ntawm meter, atherosclerosis, nqe lus, nres thiab tus lej (F. m. nyob rau hauv lub ntsiab lus niaj hnub no tsis tau tham txog ntawm no txhua).
Initial Qhov chaw ntawm F. m. feem ntau yog nyob rau hauv atherosclerosis ("Thaum pib muaj atherosclerosis" - X. Bülow), uas pom tau hais tias tshwm sim nyob rau hauv lub hauv paus ntawm ib tug li niaj zaus 'meter', ncaj qha mus rau suab paj nruag los ntawm ntau yam ntawm lub neej phenomena - mem tes, ua pa, kauj ruam, atherosclerosis ntawm processions. , cov txheej txheem ua haujlwm, kev ua si, thiab lwm yam (saib Ivanov-Boretsky MV, 1925; Kharlap MG, 1972), thiab hauv kev ua kom zoo nkauj ntawm "natural" rhythms. Los ntawm thawj qhov kev sib txuas ntawm kev hais lus thiab kev hu nkauj ("Kev hais lus thiab kev hu nkauj yog thawj zaug" - Lvov HA, 1955, p. 38) qhov tseem ceeb tshaj plaws F. m. ("F. m. tus naj npawb ib") tau tshwm sim - ib zaj nkauj, ib daim ntawv nkauj uas ua ke kuj yog ib qho lus paj huam, nqe lus. Cov yam ntxwv tseem ceeb ntawm daim ntawv nkauj: ib qho qhia meej (lossis seem) kev sib txuas nrog nqe, stanza, sib npaug sib npaug. (los ntawm ko taw) lub hauv paus ntawm txoj kab, kev sib xyaw ntawm cov kab rau hauv stanzas, lub kaw lus ntawm kev sib dhos-cadences, kev nyiam rau kev sib luag ntawm cov kev tsim loj loj (tshwj xeeb - rau squareness ntawm 4 + 4 hom); Tsis tas li ntawd, feem ntau (hauv ntau cov nkauj fm) muaj nyob hauv fm ntawm ob theem - piav qhia thiab txhim kho- xaus. Muses. ib qho piv txwv ntawm ib qho piv txwv ntawm cov nkauj qub tshaj plaws yog Table Seikila (1st century AD (?)), saib Art. Ancient Greek hom, kem 306; saib whale. melody (1st txhiab xyoo BC (?)):
Undoubtedly, keeb kwm thiab keeb kwm. txoj kev loj hlob ntawm zaj nkauj daim ntawv nyob rau hauv lub folklore ntawm tag nrho cov haiv neeg. Qhov txawv ntawm P. m. nkauj los ntawm cov xwm txheej sib txawv ntawm qhov muaj nyob ntawm ib hom ntawv (feem ntau, ib lossis lwm lub hom phiaj ntawm lub neej ncaj qha ntawm zaj nkauj) thiab ntau yam metric., suab paj nruag. thiab structural nta ntawm paj huam, rhythmic. cov qauv hauv kev seev cev (tom qab ntawd, 120 cov qauv sib dhos los ntawm 13th-xyoo pua Indian theorist Sharngadeva). Kev sib txuas nrog qhov no yog qhov tseem ceeb ntawm "hom suab paj nruag" uas yog qhov tseem ceeb hauv kev tsim qauv-tus yam ntxwv. kos npe txhais. ib hom ntawv (tshwj xeeb yog seev cev, lub peb hlis ntuj), rov ua suab paj nruag. cov qauv ua quasi-thematic. (mob siab) factor F. m.
Peb-xyoo pua. European F.m. tau muab faib ua ob pawg loj uas txawv ntawm ntau qhov sib txawv - monodic fm thiab polyphonic (feem ntau polyphonic; saib ntu IV).
F. m. monodies feem ntau yog sawv cev los ntawm Gregorian chant (saib Gregorian chant ). Nws hom nta yog txuam nrog ib tug cult, nrog rau lub ntsiab lus ntawm cov ntawv nyeem thiab ib tug tshwj xeeb lub hom phiaj. Liturgical suab paj nruag. Lub neej txhua hnub txawv ntawm cov suab paj nruag tom qab Tebchaws Europe. kev paub siv ("functional") tus cwj pwm. Muses. cov ntaub ntawv muaj tus cwj pwm tsis yog tus kheej, tsis yog tus kheej (melodic lem tuaj yeem hloov los ntawm ib lub suab mus rau lwm qhov; qhov tsis muaj kev sau suab paj nruag yog qhov qhia tau). Nyob rau hauv raws li lub ideological installation ntawm lub tsev teev ntuj rau monodich. F. m. yog ib yam ntawm dominance ntawm cov lus tshaj suab paj nruag. Qhov no txiav txim siab qhov kev ywj pheej ntawm meter thiab atherosclerosis, uas nyob ntawm kev nthuav qhia. Kev hais lus ntawm cov ntawv nyeem, thiab cov yam ntxwv "softness" ntawm cov contours ntawm FM, zoo li yog tsis muaj qhov chaw ntawm lub ntiajteb txawj nqus, nws subordination rau cov qauv ntawm cov lus hais, nyob rau hauv kev twb kev txuas nrog cov ntsiab lus ntawm FM thiab ib hom ntawv nyeem nyob rau hauv relation to monodic. . suab paj nruag nyob ze heev ntawm lub ntsiab lus. Qhov qub tshaj plaws monodic. F. m. nyob rau qhov pib. 1 xyoo txhiab. Ntawm cov khoom siv suab paj nruag Byzantine (ib hom), qhov tseem ceeb tshaj plaws yog ode (song), psalm, troparion, nkauj hu nkauj, kontakion, thiab canon (saib Byzantine suab paj nruag). Lawv yog tus cwj pwm los ntawm kev piav qhia (uas, zoo li lwm yam xwm txheej zoo sib xws, qhia txog kev tsim cov kab lis kev cai sib sau ua ke). Qauv ntawm Byzantine F. m.
Tsis qhia npe. Canon 19, Ode 9 (III plagal hom).
Tom qab ntawd, qhov no Byzantine F. m. tau txais lub npe. "bar".
Lub hauv paus ntawm Western European monodic phrasing yog psalmodia, ib qho kev ua tau zoo ntawm cov nkauj raws li cov suab paj nruag. Raws li ib feem ntawm psalmody nyob ib ncig ntawm lub xyoo pua 4th. peb lub ntsiab psalmodic raug kaw. F. m. - kev teb (zoo dua tom qab nyeem), antiphon thiab cov nkauj nws tus kheej (psalmus hauv directum; tsis suav nrog cov lus teb thiab cov ntawv antiphonal). Rau ib qho piv txwv ntawm Psalm F. m., saib Art. Medieval frets. Psalmodic. F. m. qhia meej, txawm tias tseem nyob deb, zoo sib xws nrog lub sijhawm ntawm ob kab lus (saib Full cadence). Xws li monodic. F. m., zoo li ib tug litany, ib zaj nkauj, ib tug versicule, ib tug magnificat, raws li zoo raws li ib theem zuj zus, prose, thiab tropes, tshwm sim tom qab. Qee tus F. m. yog ib feem ntawm lub chaw ua hauj lwm (lub tsev teev ntuj. kev pab cuam ntawm hnub, sab nraum lub pawg) - ib zaj nkauj, suab paj nruag nrog ib tug antiphon, ib tug responsor, ib tug magnificat (dua li lawv, lub vespers, invitatorium, nocturne, canticle nrog ib tug antiphon) yog suav nrog. hauv official. Saib Gagnepain B., 1968, 10; saib art. Nkauj ntseeg.
Siab dua, monumental monodich. F. m. - huab cua (mass). Tam sim no tsim FM ntawm pawg tsim ib lub voj voog loj, uas yog raws li kev ua tiav ntawm qhov chaw ntawm qhov qub (ordinarium missae - ib pab pawg ntawm cov lus qhuab qhia tas li ntawm Pawg, ywj siab ntawm hnub ntawm pawg ntseeg xyoo) thiab propria (proprium missae). - variables) nruj me ntsis tswj los ntawm cult-txhua hnub hom hom phiaj. nkauj qhuas Vajtswv rau hnub no ntawm lub xyoo).
Lub tswv yim dav dav ntawm daim ntawv ntawm Roman pawg (Roman cov lej qhia txog kev faib ib txwm ua ntawm pawg ua 4 ntu loj)
Cov philosophies tsim nyob rau hauv ancient Gregorian pawg khaws lawv qhov tseem ceeb nyob rau hauv ib daim ntawv los yog lwm yam rau lub sij hawm tom ntej, txoj cai mus txog rau lub xyoo pua 20th. Cov ntaub ntawv ntawm qhov zoo tib yam: Kyrie eleison yog peb feem (uas muaj lub ntsiab lus piv txwv), thiab txhua qhov exclamation kuj tau ua peb zaug (cov qauv xaiv yog aaabbbece lossis aaa bbb a 1 a1 a1; aba ede efe1; aba cbc dae) . Lowercase P. m. Gloria yeej ib txwm siv ib qho ntawm cov ntsiab lus tseem ceeb tshaj plaws ntawm kev xav-thematic. Cov qauv: rov ua cov lus - rov ua suab paj nruag (hauv 18 qhov chaw ntawm Gloria rov ua dua ntawm cov lus Domine, Qui tollis, tu solus). P. m. Gloria (hauv ib qho ntawm cov kev xaiv):
Tom qab ntawd (hauv 1014), Credo, uas tau los ua ib feem ntawm Roman pawg, tau tsim los ua tus me F. m., zoo li Gloria. P. m. Sanestus kuj tau tsim raws li cov ntawv nyeem - nws muaj 2 ntu, qhov thib ob ntawm lawv feem ntau - ut supra (= da capo), raws li kev rov ua dua ntawm cov lus Hosanna m excelsis. Agnus Dei, vim yog cov qauv ntawm cov ntawv nyeem, yog tripartite: aab, abc lossis aaa. Ib qho piv txwv ntawm F. m. monodich ua. rau Gregorian Mass, saib kab 883.
F. m. Gregorian suab paj nruag - tsis paub daws teeb meem, sib cais los ntawm hom nkauj ntshiab. kev tsim kho, tab sis tus qauv txiav txim los ntawm cov ntawv nyeem thiab ib hom ntawv (ntawv nyeem-suab paj nruag daim ntawv).
Typological parallel rau F. m. Western-Tebchaws Europe. pawg ntseeg monodic. music - lwm yam Russian. F. m. Cov analogy ntawm lawv txhawj xeeb txog kev zoo nkauj. Yam yuavtsum tau kawm uantej rau F.m., qhov zoo sib xws hauv hom ntawv thiab cov ntsiab lus, nrog rau cov suab paj nruag. cov ntsiab lus (rhythm, melodic kab, correlation ntawm cov ntawv nyeem thiab suab paj nruag). Cov qauv decipherable uas tau nqis los rau peb los ntawm lwm tus Lavxias. suab paj nruag muaj nyob rau hauv cov ntawv sau ntawm 17th thiab 18th centuries, tab sis nws cov suab paj nruag yog undoubtedly ntawm feem ntau ancient keeb kwm. Lub hom phiaj ntawm cov F. m. yog txiav txim los ntawm lub hom phiaj cult ntawm Op. thiab ntawv. Qhov loj tshaj plaws segmentation ntawm hom thiab F. m. raws li hom kev pabcuam: Mass, Matins, Vespers; Compline, Ib tag hmo Office, teev; All-Hmo Vigil yog lub koom haum ntawm Great Vespers nrog Matins (txawm li cas los xij, qhov pib tsis yog suab paj nruag yog qhov sib txuas ntawm F. m. ntawm no). Generalized ntawv nyeem ib hom ntawv thiab philosophies - stichera, troparion, kontakion, antiphon, theotokion (dogmatist), litanies - qhia typological zoo sib xws nrog zoo xws li Byzantine philosophies; cov composite F. m. kuj yog ib tug canon (saib Canon (2)). Ntxiv rau lawv, ib pab pawg tshwj xeeb yog tsim los ntawm cov ntawv sib xyaw ua ke (thiab, sib xws, fm): foom koob hmoov, "Txhua qhov ua pa", "Nws tsim nyog noj", "Lub teeb ntsiag to", sedate, Cherubic. Lawv yog cov thawj hom ntawv thiab F. m., zoo li cov ntawv-hom-cov ntawv hauv Western Europe. music – Kyrie, Gloria, Te Deum, Magnificat. Lub fusion ntawm lub tswvyim ntawm P. m. nrog cov ntawv nyeem (thiab nrog hom ntawv) yog ib qho ntawm cov yam ntxwv. cov ntsiab cai ntawm Ancient F. m. cov ntawv nyeem, tshwj xeeb tshaj yog nws cov qauv, suav nrog hauv lub tswv yim ntawm FM (FM ua raws li kev faib cov ntawv rau hauv kab).
Gregorian Mass din Feriis ib xyoos twg" (cov frets yog qhia nyob rau hauv Roman tus lej).
Feem ntau, lub hauv paus (khoom siv) F. m. chants (saib Metallov V., 1899, pp. 50-92), thiab cov txheej txheem ntawm lawv siv yog variance (nyob rau hauv lub dawb variance ntawm chants qauv ntawm lwm Lavxias teb sab suab paj nruag, ib tug ntawm cov sib txawv ntawm lawv F. m. European chorale. , uas ib tug nyiam rau rational qauv alignment yog yam ntxwv). Lub complex ntawm tunes yog thematic. lub hauv paus ntawm qhov kev sib xyaw ua ke ntawm F. m. Nyob rau hauv loj compositions, lub dav contours ntawm F. m. muaj pes tsawg leeg (tsis yog suab paj nruag) ua haujlwm: pib - nruab nrab - kawg. Muaj ntau hom F. m. yog pawg nyob ib ncig ntawm lub ntsiab. contrasting yam F. m. - chorus thiab los ntawm. Chorus F. m. yog raws li kev siv ntau yam ntawm khub: nqe - refrain (refrains tuaj yeem hloov kho). Ib qho piv txwv ntawm daim ntawv refrain (triple, uas yog, nrog peb sib txawv refrains) yog lub suab paj nruag ntawm ib tug loj znamenny chant "Foom koob hmoov, kuv tus ntsuj plig, tus Tswv" (Obikhod, part 1, Vespers). F. m. muaj cov kab ke "kab - chorus" (SP, SP, SP, thiab lwm yam) nrog kev sib cuam tshuam ntawm kev rov ua dua thiab tsis rov ua dua hauv cov ntawv nyeem, rov ua dua thiab tsis rov ua dua hauv cov suab paj nruag. Hla-txiav F. m. yog qee zaum tus cwj pwm los ntawm lub siab xav kom tsis txhob muaj qhov raug Western European. suab paj nruag ntawm rationally constructive txoj kev tsim cov suab paj nruag, raws nraim repetitions, thiab reprises; nyob rau hauv feem ntau tsim F, m. ntawm hom no, cov qauv yog asymmetric (raws li lub hauv paus ntawm radical non-squareness), infinity ntawm soaring prevails; lub hauv paus ntsiab lus ntawm F. m. yog unlimited. linearity. Lub hauv paus tsim ntawm F. m. nyob rau hauv los ntawm cov ntaub ntawv yog faib mus rau hauv ib tug xov tooj ntawm qhov chaw-kab nyob rau hauv kev twb kev txuas nrog cov ntawv nyeem. Cov qauv ntawm cov ntawv hlais loj yog 11 txoj moo zoo sticheras los ntawm Fyodor Krestyanin (16th caug xyoo). Rau kev txheeb xyuas ntawm lawv F. m., ua los ntawm MV Brazhnikov, saib nws phau ntawv: "Fyodor Krestyanin", 1974, p. 156-221 : kuv. Saib ntxiv “Kev Ntsuam Xyuas Txog Kev Ua Yeeb Yam Ua Yeeb Yam”, 1977, p. 84-94 : kuv.
Cov suab paj nruag secular ntawm Hnub Nyoog Nrab Hnub nyoog thiab Renaissance tau tsim ntau hom thiab suab paj nruag, kuj yog raws li kev sib cuam tshuam ntawm lo lus thiab suab paj nruag. Cov no yog ntau hom nkauj thiab seev cev. F. m.: ballad, ballata, villancico, virele, canzo (canzo), la, rondo, rotrueng, estampi, thiab lwm yam. (saib Davison A., Apel W., 1974, NoNo 18-24). Ib txhia ntawm lawv zoo kawg nkaus poetic. daim ntawv, uas yog ib qho tseem ceeb ntawm F. m., uas sab nraum lub poetic. ntawv, nws poob nws cov qauv. Lub essence ntawm xws li F. m. yog nyob rau hauv kev sib cuam tshuam ntawm cov ntawv nyeem thiab suab paj nruag repetition. Piv txwv li, daim ntawv rondo (ntawm no 8 kab):
Daim duab ntawm 8-kab rondo: Kab zauv: 1 2 3 4 5 6 7 8 Poems (rondo): AB c A de AB (A, B are refrains) Music (and rhymes): abaaabab
G. de Macho. 1st rondo "Doulz viaire".
Thawj P. m. qhov kev vam khom ntawm lo lus thiab kev txav mus los mus txog rau xyoo 16th thiab 17th centuries, tab sis cov txheej txheem ntawm lawv maj mam tso tawm, crystallization ntawm structurally txhais hom muaj pes tsawg leeg, tau pom txij li thaum nruab nrab Hnub nyoog, thawj zaug nyob rau hauv secular hom. , ces nyob rau hauv pawg ntseeg hom (piv txwv li, imitation thiab canonical F. m. nyob rau hauv masses, motets ntawm lub 15th-16th centuries).
Lub zog tshiab ntawm kev ua kom zoo nkauj yog qhov tshwm sim thiab nce ntawm polyphony raws li hom kev muses tag nrho. kev nthuav qhia (saib Organum). Nrog rau kev tsim ntawm polyphony hauv Fm, qhov loj me ntawm cov suab paj nruag tau yug los - yav tas los tsis hnov txog-ntawm "ntug" nam ntawm Fm.
Tau tsim nws tus kheej nyob rau hauv cov teb chaws Europe suab paj nruag nyob rau hauv lub xyoo pua 9th, polyphony maj mam tig mus rau hauv lub ntsiab. hom suab paj nruag fabrics, cim kev hloov ntawm muses. xav mus rau theem tshiab. Nyob rau hauv lub moj khaum ntawm polyphony, ib tug tshiab, polyphonic, tshwm sim. tsab ntawv, nyob rau hauv lub kos npe rau ntawm uas feem ntau ntawm Renaissance fm tau tsim (saib tshooj IV). polyphony thiab polyphony. Kev sau ntawv tau tsim muaj cov ntaub ntawv suab paj nruag (thiab lwm hom) ntawm cov Hnub Nyoog Nrab Nruab Nrab thiab Renaissance, feem ntau yog pawg, motet, thiab madrigal, nrog rau cov ntaub ntawv suab paj nruag xws li lub tuam txhab, nqe lus, kev coj ua, goket, ntau hom nkauj secular. thiab cov ntaub ntawv seev cev, diferencias (thiab lwm yam variational fm), quadlibet (thiab cov ntawv zoo sib xws), instrumental canzona, ricercar, fantasy, capriccio, tiento, instrumental prelude fm – preamble, intonation (VI), toccata (pl. los ntawm lub npe F m., saib Davison A., Apel W., 1974). Maj mam, tab sis tsis tu ncua txhim kho art F. m. - G. Dufay, Josquin Despres, A. Willart, O. Lasso, Palestrina. Ib txhia ntawm lawv (piv txwv li, Palestrina) siv lub hauv paus ntsiab lus ntawm kev txhim kho cov qauv hauv kev tsim kho ntawm F. m., uas tau qhia nyob rau hauv kev loj hlob ntawm cov txheej txheem complexity los ntawm qhov kawg ntawm kev tsim khoom. (tab sis tsis muaj cov teebmeem dynamic). Piv txwv li, lub madrigal ntawm Palestrina "Amor" (nyob rau hauv lub sau "Palestrina. Choral Music", L., 15) yog tsim nyob rau hauv xws li ib txoj kev uas 16st kab yog kos li ib tug yog fugato, nyob rau hauv lub tom ntej no tsib imitation yuav. ntau thiab ntau dawb, xyoo 1973 yog txhawb nqa hauv lub tsev khaws khoom chordal, thiab canonically pib qhov kawg nrog nws cov kev coj ua zoo ib yam li cov qauv tsim tawm. Cov tswv yim zoo sib xws ntawm F. m. tau ua tsis tu ncua nyob rau hauv Palestrina lub motets (nyob rau hauv multi-choir F. m., lub atherosclerosis ntawm antiphonal introductions kuj ua raws li lub hauv paus ntsiab lus ntawm kev tsim qauv).
IV. polyphonic suab paj nruag cov ntaub ntawv. Polyphonic F. m. yog qhov txawv los ntawm qhov sib ntxiv rau peb lub ntsiab. yam ntawm F. m. (ib hom ntawv, ntawv nyeem - hauv wok. suab paj nruag thiab kab rov tav) ib qho ntxiv - ntsug (kev sib cuam tshuam thiab kev rov ua dua ntawm cov suab sib txawv, ib txhij ua suab nrov). Pom tau tias, polyphony muaj nyob rau txhua lub sijhawm (“… thaum cov hlua emit ib lub suab, thiab tus kws sau paj lug sau lwm lub suab, thaum lawv ua tiav consonances thiab counter-sounds…” – Plato, “Laws”, 812d; cf. kuj Pseudo-Plutarch, "Rau Suab Nkauj", 19), tab sis nws tsis yog ib qho tseem ceeb ntawm muses. xav thiab shaping. Ib lub luag haujlwm tseem ceeb hauv kev txhim kho F. m. tshwm sim los ntawm nws belongs rau Western European polyphony (los ntawm lub xyoo pua 9th), uas tau muab lub ntsug nam ntawm tus nqi ntawm vaj huam sib luag txoj cai nrog lub radical kab rov tav (saib Polyphony), uas coj mus rau tsim ib tug tshwj xeeb tshiab hom F. m. - polyphonic. Aesthetically thiab psychologically polyphonic. F. m. ntawm lub suab sib koom ua ke ntawm ob (lossis ob peb) cov suab paj nruag. xav thiab xav tau kev sau ntawv. kev xaav. Yog li, qhov tshwm sim ntawm polyphonic. F. m. qhia txog txoj kev loj hlob ntawm ib qho tshiab ntawm suab paj nruag. Ua tsaug rau zaj nkauj no. kev foob tau txais kev zoo nkauj tshiab. qhov tseem ceeb, yam tsis muaj nws qhov kev ua tiav zoo yuav ua tsis tau, suav nrog hauv Op. hmoob. warehouse (hauv suab paj nruag ntawm Palestrina, JS Bach, BA Mozart, L. Beethoven, PI Tchaikovsky, SS Prokofiev). Saib homophony.
Lub ntsiab channel ntawm kev tsim thiab kev loj hlob ntawm polyphonic. F. m. yog nteg los ntawm txoj kev loj hlob ntawm tej polyphonic. sau cov tswv yim thiab mus rau hauv cov kev taw qhia ntawm qhov tshwm sim thiab ntxiv dag zog rau kev ywj pheej thiab sib piv ntawm cov suab, lawv thematic. elaboration (thematic sib txawv, thematic txoj kev loj hlob tsis tau tsuas yog kab rov tav, tab sis kuj vertically, tendencies los ntawm thematization), qhov sib ntxiv ntawm tej polyphonic. F. m. (tsis txo qis rau hom polyphonically nthuav dav dav F. m. - nkauj, seev cev, thiab lwm yam). Los ntawm ntau yam pib ntawm polyphonic. F. m. thiab polygonal. Cov tsiaj ntawv (bourdon, ntau hom heterophony, duplication-thib ob, ostinato, imitation thiab canonical, responsorial thiab antiphonal qauv) keeb kwm, lub ntsiab lus pib rau lawv cov muaj pes tsawg leeg yog paraphony, kev coj tus cwj pwm ntawm ib lub suab counterpunctuated, raws nraim duplicating lub ntsiab ib tug - vox (cantus) principalis (saib . Organum), cantus firmus (“txoj kev cai lij choj”). Ua ntej tshaj plaws, nws yog qhov ntxov tshaj plaws ntawm hom organum - lub npe hu ua. parallel (9th-10th centuries), nrog rau tom qab gimel, foburdon. Aspect polyphonic. F. m. ntawm no yog kev faib ua haujlwm ntawm Ch. lub suab (nyob rau hauv cov nqe lus tom qab soggetto, "Subjectum oder Thema" - Walther JG, 1955, S. 183, "lub ntsiab lus") thiab kev tawm tsam uas tawm tsam nws, thiab kev nkag siab ntawm kev sib cuam tshuam ntawm lawv tib lub sijhawm cia siab tias qhov ntsug ntawm polyphonic . F. m. (nws ua tshwj xeeb tshaj yog pom nyob rau hauv bourdon thiab indirect, ces nyob rau hauv lub "dawb" organum, nyob rau hauv lub "ceeb toom tawm tsam" txheej txheem, tom qab hu ua contrapunctus simplex los yog aequalis), piv txwv li, nyob rau hauv treatises ntawm lub xyoo pua 9th. "Musica enchiriadis", "Scholia enchiriadis". Logically, theem tom ntej ntawm txoj kev loj hlob yog txuam nrog kev tsim ntawm qhov tseeb polyphonic. cov qauv nyob rau hauv daim ntawv ntawm ib tug contrasting kev tawm tsam nyob rau hauv lub simultaneity ntawm ob los yog ntau tshaj. lub suab (hauv ib lub cev melismatic), ib nrab siv lub hauv paus ntsiab lus ntawm bourdon, hauv qee hom polyphonic. kev npaj thiab kev hloov pauv ntawm cantus firmus, nyob rau hauv qhov yooj yim counterpoints ntawm clauses thiab thaum ntxov motets ntawm lub tsev kawm ntawv Paris, nyob rau hauv lub polyphonic pawg ntseeg nkauj. thiab lwm yam secular, thiab lwm yam.
Lub metrization ntawm polyphony tau qhib qhov muaj peev xwm tshiab rau kev sib dhos. contrasts ntawm lub suab thiab, raws li, muab ib tug tshiab saib rau polyphonic. F. m. Pib nrog lub koom haum rationalist ntawm lub metrorhythm (modal atherosclerosis, mensural atherosclerosis; saib. Modus, Mensural notation) F. m. maj mam kis tau qhov tshwj xeeb. rau cov suab paj nruag nyob sab Europe yog kev sib xyaw ua ke ntawm qhov zoo tshaj plaws (ntxiv mus txawm tias sophisticated) rationalistic. constructiveness nrog sublime spirituality thiab tob kev xav. Lub luag haujlwm tseem ceeb hauv kev tsim kho tshiab F. m. koom nrog Paris School, ces lwm tus. Fabkis. composers ntawm 12-14 centuries. Kwv yees. 1200, nyob rau hauv cov clauses ntawm lub tsev kawm ntawv Paris, lub hauv paus ntsiab lus ntawm rhythmically ostinato ua cov suab paj nruag choral, uas yog lub hauv paus ntawm F. m. (nrog kev pab los ntawm cov qauv luv luv, kev cia siab isorhythmic. taleas, saib Motet; Piv txwv li: clauses (Benedicamusl Domino, cf. Davison A., Apel W., v. 1, p. 24-25). Cov txheej txheem tib yam tau los ua lub hauv paus rau ob- thiab peb feem motets ntawm lub xyoo pua 13th. (Piv txwv: motets ntawm Paris tsev kawm ntawv Domino fidelium - Domino thiab Dominator - Esce - Domino, ca. 1225, ib., p. 25-26). Nyob rau hauv motets ntawm lub xyoo pua 13th. nthuav tawm cov txheej txheem ntawm thematization ntawm kev tawm tsam los ntawm dec. hom repetitions ntawm kab, pitches, rhythmic. cov duab, txawm sim ua tib lub sijhawm. kev sib txuas sib txawv. melodies (cf. мотет «En no Diu! - Quant voi larose espanie – Ejus in oriente “ntawm Paris School; Parrish K., Ole J., 1975, p. 25-26). Tom qab ntawd, qhov sib txawv ntawm qhov sib txawv muaj zog tuaj yeem ua rau lub ntsej muag ntse (Rondo B. Cordier "Amans ames", ca. 1400, saib Davison A., Apel W., v. 1, p. 51). Tom qab qhov sib txawv ntawm qhov sib txawv, muaj qhov sib txawv ntawm qhov ntev ntawm cov kab lus decomp. suab (rudiment ntawm counterpoint lug); kev ywj pheej ntawm lub suab yog hais txog los ntawm lawv ntau haiv neeg ntawm cov ntawv (tsis tas li ntawd, cov ntawv tseem tuaj yeem ua ntau hom lus, piv txwv li. Latin hauv tenor thiab motetus, Fabkis nyob rau hauv triplum, saib Polyphony, ceeb toom piv txwv hauv kab 351). Ntau tshaj li ib qho kev rov ua dua ntawm cov suab paj nruag tenor raws li lub ntsiab lus ostinato nyob rau hauv counterpoint nrog kev hloov counterposition ua rau nce mus rau ib qho tseem ceeb tshaj plaws polyphonic. F. m. - variations ntawm basso ostinato (piv txwv li, hauv Fab Kis. mav 13c. “Hail, noble nkauj xwb – Vajtswv Txojlus – qhov tseeb”, cm. Wolf J., 1926, S. 6-8). Kev siv cov qauv rhythmostinatal coj mus rau lub tswv yim ntawm kev sib cais thiab kev ywj pheej ntawm qhov tsis muaj suab thiab lub suab sib dhos (hauv 1 feem ntawm cov lus hais tenor motet "Ejus in oriente", tuav 1-7 thiab 7-13; hauv instrumental tenor motet "Nyob rau hauv seculum" nyob rau hauv tib qhov kev sib raug zoo ntawm remetrization ntawm lub suab kab thaum lub sij hawm suab paj nruag ostinato rau cov mis ntawm lub 1st ordo ntawm lub thib ob hom, muaj ob feem ntawm daim ntawv ob feem; cm. Davison A., Apel W., v. 1, p. 34-35). Qhov kawg ntawm qhov kev txhim kho no yog isorhythmic. F. m. 14-15 centuries (Philippe de Vitry, G. de Macho, Y. Ciconia, G. Dufay thiab lwm tus). Nrog rau qhov nce ntawm tus nqi ntawm cov qauv sib dhos los ntawm ib kab lus mus rau lub suab nkauj txuas ntxiv, ib hom suab paj nruag tshwm sim hauv tenor. lub ntsiab yog talea. Nws qhov kev ua yeeb yam ostinato hauv tenor muab F. m. isorhythmic. (T. e. isorhythm.) qauv (isorhythm – repetition in melodic. suab tsuas deployed rhythmic. cov qauv, cov ntsiab lus siab siab uas hloov). Rau ostinato repetitions tuaj yeem koom nrog - hauv tib lub tenor - repetitions ntawm qhov siab uas tsis coincide nrog lawv - xim (xim; txog isorhythmic. F. m. saib Saponov M. Ib., 1978, p. 23–35, 42–43). Tom qab lub xyoo pua 16th (A. Willart) isorhythmic. F. m. ploj mus thiab nrhiav tau lub neej tshiab nyob rau hauv lub xyoo pua 20th. nyob rau hauv lub suab-hom txheej txheem ntawm O. Messiaen (proportional canon in No. 5 ntawm “Neeg Saib Xyuas…”, nws pib, saib p.
Nyob rau hauv txoj kev loj hlob ntawm ntsug nam ntawm polyphonic. F. m. yuav cais tawm. txoj kev loj hlob ntawm repetition nyob rau hauv daim ntawv ntawm imitation txheej txheem thiab canon, raws li zoo raws li mobile counterpoint, yog ib qho tseem ceeb. Tom qab ntawd yog ib lub tuam tsev dav dav thiab muaj ntau hom kev sau ntawv thiab daim ntawv, imitation (thiab canon) tau los ua lub hauv paus ntawm qhov tshwj xeeb tshaj plaws polyphonic. F. m. Keeb kwm, qhov ntxov tshaj imitations. Canonical F. m. kuj yog txuam nrog ostinato – kev siv lub thiaj li hu. Kev sib pauv ntawm cov suab, uas yog ib qho kev rov ua dua tshiab ntawm ob lossis peb feem kev tsim kho, tab sis tsuas yog cov suab paj nruag uas ua rau nws raug xa los ntawm ib lub suab mus rau lwm qhov (piv txwv li, lus Askiv rondelle "Nunc sancte nobis spiritus", 2nd ib nrab ntawm lub xyoo pua 12th, saib “Musik in Geschichte und Gegenwart”, Bd XI, Sp. 885, saib cov rondelle “Ave mater domini” los ntawm Odington's De speculatione music, circa 1300 or 1320, in Coussemaker, “Scriptorum…”, t 1, ib., 247a). Tus tswv ntawm Paris lub tsev kawm ntawv Perotin (uas kuj siv cov txheej txheem ntawm kev sib pauv suab) nyob rau hauv lub Christmas quadruple Viderunt (c. 1200), pom tseeb, paub meej twb siv tas li imitation - lub canon (ib feem uas ntog ntawm lo lus "ante" nyob rau hauv tenor). Lub hauv paus chiv keeb ntawm hom imitations. thev naus laus zis cim kev tawm mus los ntawm kev nruj ntawm ostinato F. m. Rau lub hauv paus no, purely canonical. Cov ntaub ntawv - ib lub tuam txhab (13-14 centuries; ib tug ua ke ntawm ib tug canon tuam txhab thiab ib tug rondel-exchange ntawm lub suab yog sawv cev los ntawm lub npe nrov English "Lub caij ntuj sov Canon", 13 los yog 14 centuries), Italian. kachcha ("ntoo", nrog rau kev yos hav zoov lossis kev hlub, hauv daim ntawv - ob lub suab canon nrog cont. 3rd lub suab) thiab Fabkis. shas (tseem "ntaus" - peb lub suab canon hauv unison). Daim ntawv ntawm canon kuj pom muaj nyob rau hauv lwm yam (Machot's 17th ballad, nyob rau hauv daim ntawv ntawm shas; Macaud's 14th rondo "Ma fin est mon commencement", tej zaum keeb kwm piv txwv 1 ntawm canon canon, tsis yog tsis muaj kev sib txuas nrog lub ntsiab lus ntawm cov ntawv nyeem: “Kuv qhov kawg yog kuv qhov pib”; 17th le Macaux yog lub voj voog ntawm 12 peb lub suab canons-shas); yog li lub canon raws li ib tug tshwj xeeb polyphonic. F. m. yog cais los ntawm lwm yam thiab P. m. Tus naj npawb ntawm cov suab hauv F. m. cov mob loj heev; Okegem tau txais txiaj ntsig nrog 36-lub suab canon-dab "Deo gratias" (nyob rau hauv uas, txawm li cas los xij, tus lej ntawm lub suab tiag tsis tshaj 18); feem ntau polyphonic canon (nrog 24 lub suab tiag) belongs rau Josquin Despres (hauv motet "Qui chaw nyob hauv adjutorio"). P. m. ntawm lub canon tsis yog tsuas yog ua raws li kev coj ua ncaj ncees xwb (hauv Dufay's motet "Inclita maris", c. 1420-26, pom tau tias, thawj qhov sib npaug ntawm canon; hauv nws chanson "Bien veignes vous", c. 1420-26, tej zaum yog thawj canon hauv magnification). OK. 1400 imitations F. m. dhau, kab tias dhau los ntawm kachcha, mus rau hauv motet - ntawm Ciconia, Dufay; tseem nyob rau hauv F. m. qhov chaw ntawm pawg, hauv chanson; mus rau pem 2. 15 c ua. kev tsim lub hauv paus ntsiab lus ntawm qhov kawg-rau-kawg imitation raws li lub hauv paus ntawm F. m.
Lo lus "canon" (canon), txawm li cas los xij, muaj nyob rau hauv 15-16 centuries. lub ntsiab lus tshwj xeeb. Tus sau cov lus hais (Inscriptio), feem ntau txhob txwm tshaj tawm tsis meej pem, tsis meej pem, yog hu ua canon ("ib txoj cai uas qhia txog lub siab nyiam ntawm tus kws sau ntawv hauv qab npog ntawm qee qhov tsaus ntuj", J. Tinktoris, "Diffinitorium musicae"; Coussemaker, "Scriptorum …”, t. 4, 179 b ), qhia tias yuav ua li cas ob leeg tuaj yeem muab tau los ntawm ib lub suab sau tseg (lossis ntau dua, piv txwv li, tag nrho plaub lub suab ntawm P. de la Rue – “Missa o salutaris nostra” – yog muab los ntawm ib lub suab sau tseg); saib cryptic canon. Yog li ntawd, tag nrho cov khoom nrog ib tug canon-inscription yog F. m. nrog decucible suab (tag nrho lwm yam F. m. yog tsim nyob rau hauv xws li ib tug txoj kev uas, raws li txoj cai, lawv tsis tso cai rau xws li encryption, uas yog, lawv tsis yog raws li cov lus pom zoo "lub ntsiab lus ntawm tus kheej"; lub sij hawm BV Asafiev ). Raws li L. Feininger, hom Dutch canons yog: yooj yim (ib-tsaus) ncaj qha; complex, los yog compound (ntau-dark) ncaj qha; proportional (mensural); linear (ib kab; Formalkanon); kev hloov pauv; elision (Reservatkanon). Yog xav paub ntxiv txog qhov no, saib phau ntawv: Feininger LK, 1937. Zoo sib xws “cov ntawv sau” muaj tom qab hauv S. Scheidt (“Tabulatura nova”, I, 1624), hauv JS Bach (“Musikalisches Opfer”, 1747).
Nyob rau hauv kev ua hauj lwm ntawm ib tug xov tooj ntawm masters ntawm lub 15th-16th centuries. (Dufay, Okeghem, Obrecht, Josquin Despres, Palestrina, Lasso, thiab lwm yam) nthuav tawm ntau yam polyphonic. F. m. (sau ntawv nruj), DOS. ntawm cov ntsiab lus ntawm kev coj ua thiab kev sib piv, kev tsim kev xav, kev ywj pheej ntawm lub suab nrov, kev sib cav ntawm cov lus thiab kab lus, qhov zoo tshaj plaws mos thiab zoo nkauj sib haum xeeb (tshwj xeeb tshaj yog nyob rau hauv wok hom ntawm pawg thiab motet).
Qhov ntxiv ntawm Ch. polyphonic cov ntaub ntawv - fugues - kuj yog cim los ntawm qhov tsis sib xws ntawm txoj kev loj hlob ntawm Samui F. m. thiab, ntawm qhov tod tes, lub tswvyim thiab lub sijhawm. Nyob rau hauv cov ntsiab lus ntawm lub ntsiab lus, lo lus "fugue" ("khiav"; Italian consequenza) muaj feem xyuam rau cov lus "mus yos hav zoov", "haiv neeg", thiab pib (los ntawm lub xyoo pua 14th) lo lus tau siv nyob rau hauv ib tug zoo xws li cov ntsiab lus, qhia lub canon (tseem nyob rau hauv inscription canons: "fuga in diatessaron" thiab lwm yam). Tinctoris txhais fugue ua "tus kheej ntawm lub suab". Kev siv lo lus "fugue" hauv lub ntsiab lus ntawm "canon" txuas ntxiv mus txog 17th thiab 18th centuries; ib qho seem ntawm qhov kev coj ua no tuaj yeem suav hais tias yog lo lus "fuga canonica" - "canonical. fugue". Ib qho piv txwv ntawm fugue li canon los ntawm ntau lub tuam tsev hauv instr. suab paj nruag – “Fuge” rau 4 txoj hlua (“violins”) los ntawm “Musica Teusch” los ntawm X. Gerle (1532, saib Wasielewski WJ v., 1878, Musikbeilage, S. 41-42). Tag nrho R. 16th caug xyoo (Tsarlino, 1558), lub tswv yim ntawm fugue tau muab faib ua fuga legate ("coherent fugue", canon; tom qab ntawd kuj fuga totalis) thiab fuga sciolta ("divided fugue"; tom qab fuga partialis; succession ntawm imitation- canonical seem, piv txwv li, abсd, thiab lwm yam. . P.); kawg P. m. yog ib qho ntawm cov ntawv ua ntej ntawm fugue - ib txoj hlua ntawm fugato raws li hom: abcd; npe. daim ntawv motet, qhov twg qhov sib txawv ntawm cov ncauj lus (a, b, c, thiab lwm yam) yog vim muaj kev hloov ntawm cov ntawv nyeem. Qhov tseem ceeb sib txawv ntawm xws li ib tug "lowercase" F. m. thiab ib tug complex fugue yog tsis muaj ib tug ua ke ntawm cov ncauj lus. Nyob rau hauv lub xyoo pua 17th fuga sciolta (partialis) tau dhau mus rau hauv qhov tseeb fugue (Fuga totalis, kuj legata, integra los ua lub npe hu ua canon hauv 17th-18th centuries). Ib tug xov tooj ntawm lwm yam thiab F. m. 16 xyoo pua. evolved nyob rau hauv cov kev taw qhia ntawm qhov tshwm sim ntawm fugue daim ntawv - motet (fugue), ricercar (uas yog lub hauv paus ntsiab lus motet ntawm ib tug xov tooj ntawm imitation constructions raug xa mus; tej zaum qhov ze tshaj plaws fugue rau F. m.), fantasy, Spanish. tiento, imitative-polyphonic canzone. Txhawm rau ntxiv fugue hauv instr. suab paj nruag (qhov twg tsis muaj qhov txuas yav dhau los, uas yog kev sib koom ua ke ntawm cov ntawv nyeem), kev nyiam rau thematic yog qhov tseem ceeb. centralization, piv txwv li, mus rau lub supremacy ntawm ib tug melodic. cov ntsiab lus (as opposed to vocals. multi-dark) – A. Gabrieli, J. Gabrieli, JP Sweelinck (rau cov thawj coj ntawm fugue, saib phau ntawv: Protopopov VV, 1979, p. 3-64).
Los ntawm lub xyoo pua 17th tsim lub ntsiab tseem ceeb rau hnub no polyphonic. F. m. - fugue (txhua yam ntawm cov qauv thiab hom), canon, polyphonic variations (tshwj xeeb, variations ntawm basso ostinato), polyphonic. (tshwj xeeb, chorale) kev npaj (piv txwv li, rau ib qho kev muab cantus firmus), polyphonic. cycles, polyphonic preludes, thiab lwm yam Ib qho tseem ceeb ntawm txoj kev loj hlob ntawm polyphonic F. ntawm lub sij hawm no yog exerted los ntawm ib tug tshiab loj-me me harmonic system (hloov lub ntsiab lus, nominated lub tonal-modulating factor raws li tus thawj coj nyob rau hauv FM; txoj kev loj hlob ntawm homophonic-harmonic hom kev sau ntawv thiab qhov sib thooj F. m.). Tshwj xeeb, fugue (thiab zoo sib xws polyphonic fm) tau hloov zuj zus los ntawm hom qauv zoo tshaj plaws ntawm lub xyoo pua 17th. (qhov kev hloov pauv tseem tsis tau muaj lub hauv paus ntawm polyphonic F. m.; piv txwv li, hauv Scheidt's Tabulatura nova, II, Fuga contraria a 4 Voc.; I, Fantasia a 4 Voc. super lo son ferit o lasso, Fuga quadruplici ) rau lub tonal ("Bach") hom nrog tonal contrast nyob rau hauv daim ntawv ntawm cf. qhov chaw (feem ntau nyob rau hauv parallel hom). Tshem tawm. qhov tseem ceeb hauv keeb kwm ntawm polyphony. F. m. muaj kev ua haujlwm ntawm JS Bach, uas tau ua lub neej tshiab rau hauv lawv ua tsaug rau kev tsim cov kev ua tau zoo ntawm cov peev txheej ntawm cov ntsiab lus me me rau thematism, thematic. kev loj hlob thiab cov txheej txheem ntawm shaping. Bach muab polyphonic F. m. tshiab classic. tsos, uas, raws li nyob rau hauv lub ntsiab. hom, tom qab polyphony yog consciously los yog unconsciously oriented (mus txog P. Hindemith, DD Shostakovich, RK Shchedrin). Xav txog cov kev hloov pauv dav dav ntawm lub sijhawm thiab cov tswv yim tshiab pom los ntawm nws cov neeg ua ntej, nws tau dhau los ntawm nws lub sijhawm tam sim no (xws li lub ci ntsa iab GF Handel) nyob rau hauv cov peev txheej, lub zog thiab kev txhawb nqa ntawm qhov kev lees paub ntawm cov ntsiab lus tshiab ntawm cov suab paj nruag polyphonic. F. m.
Tom qab JS Bach, txoj haujlwm tseem ceeb tau nyob los ntawm homophonic F. m. (saib. Homophony). Ua tau polyphonic. F. m. Qee zaum siv lub luag haujlwm tshiab, qee zaum txawv txawv (fughetta ntawm cov neeg saib xyuas hauv pawg hu nkauj "Sweeter dua zib ntab" los ntawm 1st act Rimsky-Korsakov's opera "Tus Tsar's Bride"), tau txais kev ua yeeb yam. tus cwj pwm; composers xa mus rau lawv raws li ib tug tshwj xeeb, tshwj xeeb qhia. txhais tau tias. Rau qhov loj, qhov no yog yam ntxwv ntawm polyphonic. F. m. nyob rau hauv Russia. suab paj nruag (piv txwv li: MI Glinka, "Ruslan thiab Lyudmila", canon nyob rau hauv lub scene ntawm stupor los ntawm lub thib 1 ua yeeb yam; contrasting polyphony nyob rau hauv lub ua yeeb yam "In Central Asia" los ntawm Borodin thiab nyob rau hauv kev ua si "Ob tug neeg Yudais" los ntawm "Duab ntawm ib tug Exhibition. "Mussorgsky; canon "Cov yeeb ncuab" los ntawm 5th scene ntawm lub opera "Eugene Onegin" los ntawm Tchaikovsky, thiab lwm yam).
V. Homophonic suab paj nruag cov ntaub ntawv ntawm niaj hnub nim no. Qhov pib ntawm lub era ntawm lub thiaj li hu ua. lub sij hawm tshiab (17-19 centuries) cim ib tug ntse tig taw tes nyob rau hauv txoj kev loj hlob ntawm muses. kev xav thiab F. m. (qhov tshwm sim ntawm cov yeeb yaj kiab tshiab, qhov tseem ceeb ntawm cov suab paj nruag secular, kev tswj hwm ntawm qhov loj-me tonal system). Nyob rau hauv ideological thiab aesthetic sphere advanced txoj kev tshiab ntawm kos duab. kev xav - kev thov rau cov suab paj nruag secular. cov ntsiab lus, kev lees paub ntawm lub hauv paus ntsiab lus ntawm tus kheej txoj kev ua tus thawj coj, kev nthuav tawm sab hauv. lub ntiaj teb no ntawm ib tug neeg ("tus soloist tau dhau los ua lub ntsiab", "kev xav ntawm tib neeg kev xav thiab kev xav" - Asafiev BV, 1963, p. 321). Qhov sawv ntawm opera mus rau qhov tseem ceeb ntawm lub suab paj nruag central. hom, thiab hauv instr. suab paj nruag - qhov kev lees paub ntawm lub hauv paus ntsiab lus ntawm kev hais kwv txhiaj (baroque - lub sijhawm ntawm "kev ua yeeb yam style", hauv cov lus ntawm J. Gandshin) feem ntau cuam tshuam ncaj qha. kev hloov ntawm cov duab ntawm ib tug neeg nyob rau hauv lawv thiab sawv cev rau lub tsom xam ntawm lub aesthetic. Kev xav ntawm lub sijhawm tshiab (ib qho aria hauv kev ua yeeb yam, ib leeg hauv concerto, suab paj nruag hauv homophonic ntaub, qhov hnyav hauv ib lub 'meter', tonic nyob rau hauv ib qho tseem ceeb, lub ntsiab lus nyob rau hauv ib tug muaj pes tsawg leeg, thiab centralization ntawm suab paj nruag. - multifaceted thiab loj hlob manifestations ntawm "soloness", "singularity", lub dominance ntawm ib tug tshaj lwm tus nyob rau hauv ntau yam txheej ntawm suab paj nruas xav). Txoj kev nyiam uas twb tau tshwm sim ua ntej lawm (piv txwv li, nyob rau hauv iso-rhythmic motet ntawm 14th-15th centuries) rau kev ywj pheej ntawm cov suab paj nruag ntshiab ntawm kev tsim nyob rau hauv 16-17 centuries. coj mus rau qhov zoo. dhia - lawv kev ywj pheej, feem ntau qhia ncaj qha nyob rau hauv lub tsim ntawm autonomous instr. suab paj nruag. Cov ntsiab cai ntawm cov nkauj ntshiab. shaping, uas tau los ua ( thawj zaug nyob rau hauv lub ntiaj teb no keeb kwm ntawm suab paj nruag) ywj siab ntawm lo lus thiab txav, ua instr. suab paj nruag thawj zaug sib npaug hauv txoj cai nrog suab paj nruag (twb nyob rau hauv lub xyoo pua 17th - nyob rau hauv instrumental canzones, sonatas, concertos), thiab ces, ntxiv mus, shaping tau muab tso rau hauv lub wok. hom nyob ntawm autonomous music. laws F. m. (los ntawm JS Bach, Viennese classics, composers ntawm lub xyoo pua 19th). Kev txheeb xyuas cov nkauj ntshiab. laws F. m. yog ib qho ntawm qhov ua tiav ntawm lub ntiaj teb suab paj nruag. kab lis kev cai uas nrhiav tau tshiab aesthetic thiab sab ntsuj plig muaj nuj nqis yav dhau los tsis paub nyob rau hauv suab paj nruag.
Hais txog fm Lub sijhawm ntawm lub sijhawm tshiab tau muab faib ua ob ntu: 1600-1750 (qhov xwm txheej - baroque, kev tswj hwm ntawm cov ntses bass thaj tsam) thiab 1750-1900 (Viennese classics thiab romanticism).
Lub hauv paus ntsiab lus ntawm shaping hauv F. m. Baroque: thoob plaws hauv ib daim ntawv b. teev, kev qhia ntawm ib qho cuam tshuam yog khaws cia, yog li F. m. yog tus cwj pwm los ntawm qhov tseem ceeb ntawm homogeneous thematicism thiab qhov tsis muaj qhov sib txawv ntawm qhov sib txawv, piv txwv li, qhov muab los ntawm lwm lub ntsiab lus los ntawm qhov no. Cov khoom nyob rau hauv lub suab paj nruag ntawm Bach thiab Handel, majesty yog txuam nrog lub solidity uas los ntawm no, qhov loj ntawm qhov chaw ntawm daim ntawv. Qhov no kuj txiav txim siab qhov "terraced" dynamics ntawm VF m., siv dynamic. qhov sib txawv, tsis muaj kev hloov pauv tau yooj yim thiab dynamic crescendo; lub tswv yim ntawm kev tsim khoom tsis yog li ntawd ntau zuj zus raws li unfolding, zoo li yog dhau los ntawm predetermined theem. Hauv kev soj ntsuam nrog cov khoom siv thematic cuam tshuam rau lub zog ntawm polyphonic. Cov ntawv thiab cov ntawv polyphonic. Qhov loj-me me tonal system ntau thiab ntau dua qhia nws cov khoom tsim (tshwj xeeb tshaj yog nyob rau hauv Bach lub sijhawm). Cov chord thiab tonal hloov ua rau lub zog tshiab. txhais tau tias ntawm kev txav mus los hauv F. m. Muaj peev xwm rov hais dua cov ntaub ntawv hauv lwm cov yuam sij thiab lub tswv yim holistic ntawm kev txav los ntawm kev txhais. lub voj voog ntawm tonalities tsim lub hauv paus ntsiab lus tshiab ntawm cov ntawv tonal (hauv qhov kev nkag siab no, tonality yog lub hauv paus ntawm F. m. ntawm lub sijhawm tshiab). Nyob rau hauv Arensky's "Cov Lus Qhia ..." (1914, pp. 4 thiab 53), lo lus "homophonic forms" yog hloov los ua ib lo lus los ntawm lo lus "harmonic. cov ntaub ntawv”, thiab los ntawm kev sib haum xeeb peb txhais tau tias kev sib haum xeeb. Lub baroque fm (tsis muaj derivative figurative thiab thematic sib piv) muab qhov yooj yim ntawm kev tsim kho ntawm fm li no lub tswv yim ntawm "lub voj voog"), dhau los ntawm cadenzas ntawm lwm cov kauj ruam ntawm tonality, piv txwv li:
nyob rau hauv loj: I - V; VI – III – IV – I in minor: I – V; III – VII – VI – IV – Kuv nrog ib tug nyiam tsis rov ua dua cov yuam sij ntawm lub tonic thaum pib thiab thaum kawg, raws li txoj cai T-DS-T.
Piv txwv li, nyob rau hauv kev hais kwv txhiaj daim ntawv (uas ua si nyob rau hauv sonatas thiab baroque concerts, tshwj xeeb tshaj yog nrog A. Vivaldi, JS Bach, Handel, lub luag hauj lwm zoo ib yam li lub luag hauj lwm ntawm sonata daim ntawv nyob rau hauv instrumental cycles ntawm classical-romantic music):
Ntsiab lus — Thiab — Ntsiab Lus — Thiab — Ntsiab Lus — Thiab — Ntsiab Lus T — D — S — T (I – interlude, – modulation; piv txwv – Bach, 1st zog ntawm Brandenburg Concertos).
Cov suab paj nruag nrov tshaj plaws ntawm Baroque yog homophonic (ntau dua, tsis yog-fugued) thiab polyphonic (saib Tshooj IV). Main homophonic F. m. baroque:
1) cov ntaub ntawv los ntawm kev txhim kho (hauv instr. suab paj nruag, hom tseem ceeb yog prelude, wok. – recitative); cov qauv – J. Frescobaldi, preambles rau lub cev; Handel, clavier suite nyob rau hauv d-moll, prelude; Bach, organ toccata in d minor, BWV 565, prelude movement, before fugue;
2) me me (yooj yim) cov ntaub ntawv – bar (reprise thiab non-reprise; piv txwv li, F. Nicolai zaj nkauj “Wie schön leuchtet der Morgenstern” (“How wonderfully the morning star shines”, nws ua los ntawm Bach hauv 1st cantata thiab hauv lwm yam. op.)), ob-, peb- thiab ntau cov ntawv (ib qho piv txwv ntawm tom kawg yog Bach, Mass hauv h-moll, No14); wok ua. suab paj nruag feem ntau ntsib daim ntawv da capo;
3) composite (complex) forms (combination of me me) – complex two-, three- and many-part; contrast-composite (piv txwv li, thawj qhov chaw ntawm orchestral overtures los ntawm JS Bach), daim ntawv da capo yog qhov tseem ceeb tshwj xeeb (tshwj xeeb, hauv Bach);
4) variations thiab choral adaptations;
5) rondo (piv rau rondo ntawm 13th-15th centuries - ib tug tshiab ntsuas ntawm F. m. nyob rau hauv tib lub npe);
6) daim ntawv qub sonata, ib qho tsaus nti thiab (hauv embryo, kev loj hlob) ob-tsaus; txhua qhov tsis tiav (ob ntu) lossis ua tiav (peb ntu); Piv txwv li, hauv sonatas ntawm D. Scarlatti; tag nrho ib-tsaus sonata daim ntawv – Bach, Matthew Passion, Tsis muaj 47;
7) daim ntawv hais kwv txhiaj (ib qho ntawm cov hauv paus ntsiab lus ntawm yav tom ntej classical sonata daim ntawv);
8) ntau hom woks. thiab instr. Cov ntaub ntawv cyclic (lawv kuj yog qee hom suab paj nruag) - Mob siab rau, pawg (xws li lub cev), oratorio, cantata, concerto, sonata, suite, prelude thiab fugue, overture, tshwj xeeb ntawm cov ntaub ntawv (Bach, "Suab paj nruag Offering", "Art. ntawm Fugue”), “Lub voj voog ntawm lub voj voog” (Bach, “The Well-Tempered Clavier”, French suites);
9) ua opera. (Saib “Kev Ntsuam Xyuas Txog Kev Ua Haujlwm Zoo Nkauj”, 1977.)
F. m. classical-romance. lub sij hawm, lub tswv yim ntawm to-rykh reflected nyob rau hauv thawj theem ntawm humanistic. Cov tswv yim European. Enlightenment thiab rationalism, thiab nyob rau hauv lub xyoo pua 19th. tus kheej lub tswv yim ntawm romanticism ("Romanticism yog tsis muaj dab tsi tab sis lub apotheosis ntawm cwm pwm" - Turgenev), autonomization thiab aestheticization ntawm suab paj nruag, yog yus muaj los ntawm lub siab tshaj plaws manifestation ntawm autonomous muses. cov kev cai ntawm shaping, lub primacy ntawm lub hauv paus ntsiab lus ntawm centralized kev sib koom ua ke thiab dynamism, txwv semantic sib txawv ntawm F. m., thiab lub nyem ntawm txoj kev loj hlob ntawm nws qhov chaw. Rau classic romantic Lub tswvyim ntawm F. m. kuj yog ib qho kev xaiv ntawm qhov tsawg kawg nkaus ntawm cov kev pom zoo ntawm F. m. (nrog rau qhov sib txawv ntawm qhov sib txawv ntawm lawv) nrog kev sib txawv ntawm kev nplua nuj thiab ntau hom kev ua vaj tse ntawm tib hom qauv (lub hauv paus ntsiab lus ntawm ntau haiv neeg hauv kev sib koom ua ke), uas zoo ib yam li kev ua tau zoo ntawm lwm yam tsis muaj F. m. (piv txwv li, kev xaiv nruj ntawm hom kev sib haum xeeb, hom kev npaj tonal, cov yam ntxwv ntawm cov duab zoo nkauj, qhov zoo tshaj plaws orchestral compositions, metric qauv gravitating rau squareness, txoj kev txhawb siab txoj kev loj hlob), ib qho kev xav zoo heev ntawm kev muaj suab paj nruag. lub sij hawm, hloov maj mam thiab raug xam ntawm lub cev proportions. (Tau kawg, nyob rau hauv lub moj khaum ntawm 150-xyoo keeb kwm lub sij hawm, qhov sib txawv ntawm Viennese-classical thiab romantic tswv yim ntawm F. m. kuj tseem ceeb.) nyob rau hauv ib co respects, nws yog tsim nyog los tsim lub dialectical xwm ntawm lub general. tswvyim ntawm kev loj hlob nyob rau hauv F. m. (Beethoven's sonata form). F. m. muab cov lus qhia ntawm siab zoo nkauj, zoo nkauj, philosophical tswv yim nrog cov kua dej "lub ntiaj teb" tus cwj pwm ntawm muses. figurativeness (tseem yog cov khoom siv thematic uas dais lub cim ntawm pej xeem-hnub suab paj nruag, nrog rau nws cov yam ntxwv ntawm cov khoom siv suab paj nruag; qhov no siv rau lub ntsiab arr. F. m. ntawm lub xyoo pua 19th).
General logical classical romantic hauv paus ntsiab lus. F. m. yog ib tug nruj thiab nplua nuj embodiment ntawm cov qauv ntawm tej kev xav nyob rau hauv lub teb ntawm suab paj nruag, xav nyob rau hauv lub ntsiab txhais. semantic functions ntawm qhov chaw ntawm F. m. Zoo li txhua yam kev xav, suab paj nruag muaj qhov khoom ntawm kev xav, nws cov khoom (hauv kev xav piv txwv, lub ntsiab lus). Kev xav yog qhia nyob rau hauv suab paj nruag-logical. "Kev sib tham ntawm lub ncauj lus" ("Suab paj nruag daim ntawv yog qhov tshwm sim ntawm "kev sib tham txog kev sib tham" ntawm cov khoom siv suab paj nruag" - Stravinsky IF, 1971, p. 227), uas, vim yog lub cev nqaij daim tawv thiab tsis yog lub tswv yim ntawm suab paj nruag raws li kev kos duab. , faib F. m. nyob rau hauv ob lub ntsiab lus ntawm kev xav - kev nthuav qhia ntawm suab paj nruag. kev xav thiab nws txoj kev loj hlob ("kev sib tham"). Nyob rau hauv lem, logical music kev loj hlob. kev xav suav nrog nws "kev xav" thiab cov hauv qab no "kev txiav txim siab"; yog li ntawd txoj kev loj hlob raws li lub hauv paus ntsiab lus. Kev loj hlob ntawm F. m. tau muab faib ua ob ntu - kev txhim kho tiag tiag thiab ua tiav. Raws li qhov tshwm sim ntawm kev loj hlob ntawm classic F. m. pom peb lub ntsiab. kev ua haujlwm ntawm cov khoom (xws li Asafiev triad initium – motus – terminus, saib Asafiev BV, 1963, pp. 83-84; Bobrovsky VP, 1978, pp. 21-25) – exposition (exposition of thought), txhim kho (qhov tseeb kev loj hlob) thiab zaum kawg (cov lus hais ntawm kev xav), complexly correlated nrog ib leeg:
(Piv txwv li, hauv daim ntawv peb feem yooj yim, hauv daim ntawv sonata.) Hauv kev sib txawv zoo F. m., ntxiv rau peb lub hauv paus. Lub luag haujlwm pabcuam ntawm cov khoom tshwm sim - kev taw qhia (kev ua haujlwm ntawm cov ceg ntoo tawm ntawm thawj qhov kev nthuav qhia ntawm lub ncauj lus), kev hloov pauv thiab kev txiav txim siab (txoj haujlwm ntawm kev ua tiav ntawm kev ua tiav thiab yog li muab faib ua ob - kev lees paub thiab kev txiav txim siab ntawm kev xav). Yog li, qhov chaw ntawm F. m. tsuas muaj rau lub luag haujlwm xwb (cf. Sposobin IV, 1947, p. 26).
Ua ib qho kev tshwm sim ntawm cov kev cai dav dav ntawm tib neeg txoj kev xav, qhov nyuaj ntawm kev ua haujlwm ntawm qhov chaw ntawm F. m. nthuav tawm ib yam dab tsi sib xws nrog cov dej num ntawm qhov chaw ntawm qhov kev nthuav qhia ntawm kev xav nyob rau hauv lub rational-logical sphere ntawm kev xav, cov kev cai sib xws uas tau nthuav tawm nyob rau hauv cov lus qhuab qhia thaum ub ntawm rhetoric (oratory). Cov haujlwm ntawm rau ntu ntawm classic. rhetoric (Exordium – taw qhia, Narratio – narration, Propositio – lub ntsiab txoj hauj lwm, Confutatio – nyuaj, Confirmatio – nqe lus, Conclusio – xaus) yuav luag raws nraim coincide nyob rau hauv muaj pes tsawg leeg thiab ib theem zuj zus nrog lub zog ntawm cov seem ntawm F. m. (Lub luag haujlwm tseem ceeb ntawm FM yog qhov tseem ceeb. m.):
Exordium - intro Propositio - kev nthuav qhia (lub ntsiab lus tseem ceeb) Narratio - kev loj hlob raws li kev hloov pauv Confutatio - qhov sib txawv (kev txhim kho, sib piv cov ntsiab lus) Kev lees paub - rov hais dua Conclusio - code (ntxiv)
Rhetoric functions tuaj yeem tshwm sim lawv tus kheej hauv ntau txoj kev. theem (piv txwv li, lawv npog ob qho tib si sonata nthuav tawm thiab tag nrho cov ntawv sonata tag nrho). Qhov sib txawv deb ntawm kev ua haujlwm ntawm ntu hauv cov lus hais thiab qhov chaw ntawm F. m. ua tim khawv rau txoj kev sib sib zog nqus ntawm decomp. thiab zoo li nyob deb ntawm txhua lwm yam kev xav.
Misc. Cov dej khov (suab, timbres, rhythms, chords" melodic. intonation, melodic kab, dynamic. nuances, tempo, agogics, tonal functions, cadences, qauv ntawm kev ntxhib los mos, thiab lwm yam. n.) yog muses. khoom. K F. m. (nyob rau hauv ib tug dav dav) belongs rau lub suab paj nruag. lub koom haum ntawm cov khoom, xam los ntawm ib sab ntawm kev qhia ntawm muses. cov ntsiab lus. Nyob rau hauv lub kaw lus ntawm lub koom haum suab paj nruag tsis yog tag nrho cov ntsiab lus ntawm cov suab paj nruag. cov ntaub ntawv tseem ceeb sib npaug. Profileing yam ntawm classical-romantic. F. m. - tonality raws li lub hauv paus ntawm tus qauv ntawm F. m. (cm. Tonality, Hom, Melody), meter, motive structure (saib. Motif, Homophony), counterpoint yooj yim. kab (in homof. F. m. feem ntau t. Mr. contour, los yog lub ntsiab, ob lub suab: suab paj nruag + bass), thematicism thiab kev sib haum xeeb. Lub ntsiab lus ntawm tonality muaj (ntxiv rau cov saum toj no) nyob rau hauv lub rallying ntawm ib tug tonal-ruaj khov ntsiab lus los ntawm ib tug ntau attraction rau ib tug tonic (saib. daim duab A hauv qhov piv txwv hauv qab no). Lub ntsiab lus ntawm lub ntsuas yog tsim kom muaj kev sib raug zoo (metric. symmetry) ntawm cov khoom me me F. m. (chap. lub hauv paus ntsiab lus: lub voj voog thib 2 teb rau qhov thib 1 thiab tsim ib lub voj voog thib ob, lub voj voog thib 2 teb rau qhov thib 1 thiab tsim plaub lub voj voog, qhov thib ob plaub-lub voj voog teb 2 thiab tsim yim-lub voj voog; yog li qhov tseem ceeb ntawm squareness rau classical-romantic. F. m.), yog li tsim cov khoom me me ntawm F. m. - kab lus, kab lus, lub sij hawm, seem zoo sib xws ntawm nruab nrab thiab reprises nyob rau hauv cov ntsiab lus; classical lub 'meter' kuj txiav txim siab qhov chaw ntawm cadences ntawm ib hom los yog lwm yam thiab lub zog ntawm lawv qhov kawg nkaus (ib nrab-qhov xaus ntawm ib kab lus, tag nrho cov lus xaus thaum kawg ntawm ib lub sij hawm). Lub hom phiaj tseem ceeb ntawm kev xav (hauv qhov kev txiav txim siab loj dua, kuj yog thematic) txoj kev loj hlob nyob rau hauv qhov tseeb tias loj mus. kev xav yog muab los ntawm nws lub hauv paus. semantic core (feem ntau nws yog thawj pab pawg neeg nyiam lossis, tsis tshua muaj, qhov kev xav thawj zaug) los ntawm ntau yam kev hloov pauv ntawm nws cov lus (kev txhawb siab rov ua dua los ntawm lwm lub suab chord, los ntawm lwm tus. qib, etc. kev sib haum xeeb, nrog rau lub sijhawm hloov pauv ntawm txoj kab, kev hloov pauv hauv kev sib dhos, nce lossis txo qis, hauv kev ncig, nrog kev tawg - ib qho tshwj xeeb ntawm kev txhawb nqa kev loj hlob, muaj peev xwm txuas ntxiv mus txog qhov hloov pauv ntawm thawj qhov kev xav mus rau lwm tus. kev xav). Saib Arensky A. Ib., 1900, p. 57–67; Sopin I. Ib., 1947, p. 47-51. Motivational kev loj hlob plays nyob rau hauv homophonic F. m. hais txog tib lub luag haujlwm raws li qhov rov ua dua ntawm lub ntsiab lus thiab nws cov khoom hauv polyphonic. F. m. (xws li hauv fugue). Tus nqi tsim nyog ntawm counterpoint hauv homophonic F. m. manifests nws tus kheej nyob rau hauv lub creation ntawm lawv ntsug nam. Yuav luag homophonic F. m. thoob plaws nws yog (tsawg kawg) ob feem ua ke nyob rau hauv daim ntawv ntawm cov suab nrov, ua raws li cov cai ntawm polyphony ntawm no style (lub luag hauj lwm ntawm polyphony tej zaum yuav tseem ceeb dua). Ib qho piv txwv ntawm contour ob-lub suab - V. A. Mozart, symphony hauv g-moll No 40, minuet, ch. ntsiab lus. Lub hom phiaj tseem ceeb ntawm thematism thiab kev sib haum xeeb yog tshwm sim nyob rau hauv kev sib cuam tshuam ntawm kev sib raug zoo ntawm kev nthuav qhia ntawm cov ntsiab lus thiab thematically tsis ruaj tsis khov kev loj hlob, txuas, khiav kev tsim ntawm ib hom lossis lwm qhov (tseem thematically "folding" kawg thiab thematically "crystallizing" introductory qhov chaw ), tonal ruaj khov thiab modulating qhov chaw; kuj nyob rau hauv contrasting structurally monolithic kev tsim kho ntawm lub ntsiab ntsiab thiab ntau "loo" theem nrab sawv daws yuav (piv txwv li, nyob rau hauv cov ntaub ntawv sonata), feem, nyob rau hauv sib txawv ntau hom ntawm tonal stability (piv txwv li, lub zog ntawm tonal kev twb kev txuas nyob rau hauv ua ke nrog nrog rau kev mus los ntawm lub tonal. kev sib haum xeeb hauv Ch. qhov chaw, qhov tseeb thiab kev sib koom ua ke ntawm tonality ua ke nrog nws cov qauv softer nyob rau sab, txo cov tonic hauv coda). Yog hais tias lub meter tsim F.
Rau cov duab kos ntawm qee qhov tseem ceeb ntawm cov khoom siv suab paj nruag classical-romantic (los ntawm qhov pom ntawm qhov siab dua ntawm lawv cov qauv; T, D, p yog qhov kev ua haujlwm ntawm cov yuam sij, yog kev hloov kho; cov kab ncaj nraim yog kev tsim kho, cov kab nkhaus yog tsis ruaj tsis khov) saib kab 894.
Cov nyhuv cumulative ntawm cov npe tseem ceeb. yam ntawm classical romanticism. F. m. yog qhia nyob rau hauv piv txwv ntawm Andante cantabile ntawm Tchaikovsky lub 5th symphony.
Scheme A: tag nrho ch. Lub ntsiab lus ntawm ntu 1 ntawm Andante yog raws li tonic D-dur, thawj qhov kev ua tau zoo ntawm cov ntsiab lus thib ob-ntxiv yog ntawm tonic Fis-dur, tom qab ntawd ob qho tib si yog tswj los ntawm tonic D-dur. Scheme B (chaw lub ntsiab lus, cf. nrog cov tswv yim C): lwm ib-bar teb rau ib-bar, ib tug ntxiv txuas ntxiv ob-bar siv teb cov tshwm sim ob-bar, plaub-bar kab lus kaw los ntawm ib tug cadence yog teb los ntawm lwm zoo ib yam nrog ib tug ruaj khov cadence. Scheme B: raws li metric. cov qauv (Scheme B) motivic txoj kev loj hlob (ib feem yog qhia) los ntawm ib tug bar motive thiab yog nqa tawm los ntawm kev rov ua dua nyob rau hauv lwm yam kev sib raug zoo, nrog rau kev hloov nyob rau hauv melodic. kab (a1) thiab metro sib dhos (a2, a3).
Scheme G: contrapuntal. lub hauv paus ntawm F. m., qhov tseeb 2-lub suab sib txuas raws li kev tso cai hauv consoner. interval thiab contrasts nyob rau hauv lub zog ntawm lub suab. Scheme D: sib cuam tshuam thematically. thiab harmonic. cov xwm txheej tsim F. m. ntawm kev ua haujlwm tag nrho (hom yog daim ntawv peb-ntu nrog ib ntu, nrog "kev sib txawv" los ntawm cov qauv classical daim ntawv mus rau sab hauv nthuav dav ntawm qhov loj 1st).
Nyob rau hauv kev txiav txim rau qhov chaw ntawm F. m. txhawm rau ua lawv cov haujlwm ua haujlwm, lawv yuav tsum tau ua kom haum. Piv txwv li, lub ntsiab lus thib ob ntawm Gavotte ntawm Prokofiev's "Classical Symphony" yog perceived txawm tawm ntawm cov ntsiab lus raws li ib tug raug trio ntawm ib tug complex peb feem daim ntawv; ob lub ntsiab lus tseem ceeb ntawm kev nthuav tawm ntawm 8th fp. Beethoven's sonatas tsis tuaj yeem sawv cev nyob rau hauv qhov kev txiav txim rov qab - lub ntsiab yog ib sab, thiab ib sab yog lub ntsiab. Cov qauv ntawm cov qauv ntawm qhov chaw ntawm F. m., nthuav tawm lawv cov qauv kev ua haujlwm, hu ua. hom kev nthuav qhia ntawm suab paj nruag. cov ntaub ntawv (txoj kev xav ntawm Sposobina, 1947, pp. 27-39). Ch. Muaj peb hom kev nthuav qhia - nthuav tawm, nruab nrab thiab kawg. Lub ntsiab cim ntawm qhov nthuav tawm yog kev ruaj ntseg ua ke nrog kev ua haujlwm ntawm kev txav, uas tau hais hauv thematic. kev sib koom ua ke (kev txhim kho ntawm ib lossis ob peb lub siab), kev sib koom ua ke (ib qho tseem ceeb nrog kev sib txawv; kev hloov pauv me me thaum kawg, tsis ua rau muaj kev ruaj ntseg ntawm tag nrho), kev sib koom ua ke (kab lus, lub sijhawm, cov qauv cadences, qauv 4 + 4, 2 + 2 + 1 + 1 + 2 thiab zoo sib xws nyob rau hauv cov xwm txheej ntawm kev sib haum xeeb); saib Diagram B, bars 9–16. Ib qho kev kos npe ntawm hom nruab nrab (kuj txoj kev loj hlob) yog instability, fluidity, tiav harmonically. instability (kev cia siab tsis yog ntawm T, tab sis ntawm lwm yam haujlwm, piv txwv li D; qhov pib tsis yog nrog T, zam thiab thawb lub tonic, hloov kho), thematic. fragmentation (xaiv ntawm qhov chaw ntawm lub ntsiab kev tsim kho, chav tsev me dua nyob rau hauv lub ntsiab qhov chaw), structural instability (tsis muaj kab lus thiab lub sij hawm, sequencing, tsis muaj kev ruaj ntseg cadences). Xaus. hom kev nthuav qhia tau lees paub qhov tonic uas twb tau ua tiav los ntawm kev rov ua cadences, cadence ntxiv, lub cev taw qhia ntawm T, kev sib txawv ntawm S, thiab kev txiav txim siab ntawm thematic. kev loj hlob, maj mam fragmentation ntawm kev tsim kho, txo txoj kev loj hlob mus rau kev tswj los yog rov qab tonic. chord (piv txwv li: Mussorgsky, chorus code "Glory to you, the creator of the Almighty" from the opera "Boris Godunov"). Kev cia siab rau F. m. folk music raws li kev zoo nkauj. lub installation ntawm lub suab paj nruag ntawm lub sij hawm tshiab, ua ke nrog ib tug high degree ntawm kev loj hlob ntawm lub structural functions ntawm F. m. thiab hom kev nthuav qhia ntawm cov suab paj nruag sib raug rau lawv. Cov khoom siv tau muab tso rau hauv ib qho kev sib koom ua ke ntawm cov cuab yeej suab paj nruag, cov ntsiab lus huab uas yog cov nkauj (raws li kev tswj hwm ntawm kev sib raug zoo metric) thiab sonata daim ntawv (raws li kev txhim kho thematic thiab tonal). General systematics ntawm lub ntsiab. hom classical-romantic. F. m.:
1) Lub ntsiab lus pib ntawm cov cuab yeej siv suab paj nruag (tsis zoo li, piv txwv li, cov twj paj nruag siab ntawm Renaissance) yog cov ntawv sau ncaj qha los ntawm cov suab paj nruag txhua hnub (cov qauv tseem ceeb yog qhov yooj yim ob feem thiab yooj yim peb- daim ntawv ab, aba; ntxiv rau hauv daim duab A), feem ntau tsis yog hauv wok. hom, tab sis kuj muaj kev cuam tshuam hauv instr. miniatures (preludes, etudes los ntawm Chopin, Scriabin, me me piano pieces los ntawm Rachmaninov, Prokofiev). Kev loj hlob ntxiv thiab teeb meem ntawm F. m., emanating los ntawm daim ntawv ntawm couplet nar. nkauj, tau ua nyob rau hauv peb txoj kev: los ntawm kev rov ua dua (hloov) tib lub ntsiab lus, qhia lwm lub ntsiab lus, thiab sab hauv kev nyuaj rau qhov chaw (kev loj hlob ntawm lub sij hawm mus rau "siab dua" daim ntawv, faib nruab nrab rau hauv cov qauv: txav - lub ntsiab lus - embryo - rov qab mus, autonomization ntawm ntxiv rau lub luag hauj lwm ntsiab-embryos). Nyob rau hauv txoj kev no, zaj nkauj daim ntawv nce mus rau ntau dua sawv daws yuav.
2) Couplet (AAA…) thiab variational (А А1 А2…) cov ntawv, osn. ntawm qhov rov ua dua ntawm lub ntsiab lus.
3) Qhov txawv. hom ob- thiab ntau lub ntsiab lus sib xyaw ("complex") cov ntaub ntawv thiab rondo. Qhov tseem ceeb tshaj plaws ntawm kev sib xyaw F. m. yog lub complex peb-theem ABA (lwm hom yog lub complex ob-theem AB, arched los yog concentric ABBCBA, ABCDCBA; lwm hom yog ABC, ABCD, ABCDA). Rau rondo (AVASA, AVASAVA, ABACADA) muaj qhov hloov pauv ntawm cov ntsiab lus raug; rondo tej zaum yuav suav nrog cov ntsiab lus sonata (saib Rondo sonata).
4) Sonata daim ntawv. Ib qho ntawm cov peev txheej yog nws "kev cog qoob loo" los ntawm ib daim ntawv yooj yim ob lossis peb feem (saib, piv txwv li, f-moll prelude los ntawm 2nd ntim ntawm Sakha's Well-Tempered Clavier, minuet los ntawm Mozart Quartet Es-dur , K.-V 428; sonata daim ntawv tsis muaj kev loj hlob nyob rau hauv 1st ib feem ntawm Andante cantabile ntawm Tchaikovsky lub 5th symphony muaj ib tug genetic kev twb kev txuas nrog thematic contrasting yooj yim 3-txav daim ntawv).
5) Raws li qhov sib txawv ntawm tempo, tus cwj pwm, thiab (feem ntau) 'meter', raws li kev sib koom ua ke ntawm kev xav, cov lus hais saum toj no loj ib feem F. meters tau muab ntim rau hauv ntau lub voj voog thiab sib koom ua ib feem. contrast-composite forms (piv txwv ntawm tom kawg - Ivan Susanin los ntawm Glinka, No 12, quartet; daim ntawv ntawm "Great Viennese Waltz", piv txwv li, zaj paj huam "Waltz" los ntawm Ravel). Ntxiv nrog rau cov ntawv sau suab paj nruag, muaj cov ntaub ntawv sib xyaw thiab tus kheej pub dawb, feem ntau cuam tshuam nrog lub tswv yim tshwj xeeb, tejzaum nws yog programmatic (F. Chopin, 2nd ballad; R. Wagner, Lohengrin, taw qhia; PI Tchaikovsky, symphony. fantasy " Lub Tempest”), los yog nrog ib hom ntawm kev npau suav dawb, rhapsodies (WA Mozart, Fantasia c-moll, K.-V. 475). Hauv cov ntawv dawb, txawm li cas los xij, cov ntsiab lus ntawm cov ntawv ntaus ntawv yuav luag txhua zaus siv, lossis lawv tshwj xeeb txhais lus zoo tib yam F. m.
Opera suab paj nruag yog raug rau ob pawg ntawm cov hauv paus ntsiab lus: theatrical-dramatic thiab purely suab paj nruag. Nyob ntawm qhov ua ntej ntawm ib lub hauv paus ntsiab lus los yog lwm qhov, operatic suab paj nruag compositions yog pawg nyob ib ncig ntawm peb lub hauv paus. hom: suav opera (piv txwv li, Mozart hauv operas "Kev Sib Yuav ntawm Figaro", "Don Giovanni"), suab paj nruag. ua yeeb yam (R. Wagner, "Tristan thiab Isolde"; C. Debussy, "Pelleas thiab Mélisande"), sib xyaw, lossis hluavtaws., hom (MP Mussorgsky, "Boris Godunov"; DD Shostakovich, "Katerina Izmailov"; SS Prokofiev, "Kev Tsov Rog thiab Kev Thaj Yeeb"). Saib Opera, Dramaturgy, Musical Drama. Qhov sib xyaw ntawm daim ntawv opera muab qhov kev pom zoo ua ke ntawm theem txuas ntxiv. kev ua nrog sib npaug FM Ib qho piv txwv ntawm FM ntawm hom no yog qhov tshwm sim hauv tavern los ntawm Mussorgsky's opera Boris Godunov (artistically zoo meej faib ntawm ariose thiab ua yeeb yam ntsiab lus nyob rau hauv kev twb kev txuas nrog rau daim ntawv ntawm cov theem ua yeeb yam).
VI. Cov ntaub ntawv suab paj nruag ntawm lub xyoo pua 20th F. m. 20 ib p. yog conditionally muab faib ua ob hom: ib tug nrog preservation ntawm qub compositions. hom - ib tug complex peb feem fm, rondo, sonata, fugue, fantasy, thiab lwm yam. (los ntawm AN Scriabin, IF Stravinsky, N. Ya. Myaskovsky, SS Prokofiev, DD Shostakovich, P. Hindemith, B. Bartok, O. Messiaen , composers ntawm lub tsev kawm ntawv Viennese tshiab, thiab lwm yam), lwm yam tsis muaj kev khaws cia (los ntawm C. Ives, J. Cage, composers ntawm lub tsev kawm ntawv tshiab Polish, K. Stockhausen, P. Boulez, D. Ligeti, nrog qee tus neeg sau Soviet - LA Grabovsky, SA Gubaidullina, EV Denisov, SM Slonimsky, BI Tishchenko, AG Schnittke, R K. Shchedrin thiab lwm tus). Hauv pem teb 1. 20th caug xyoo thawj hom F. m dominates, nyob rau hauv 2nd pem teb. ho nce lub luag hauj lwm ntawm tus thib ob. Txoj kev loj hlob ntawm kev sib raug zoo tshiab nyob rau hauv lub xyoo pua 20th, tshwj xeeb tshaj yog nyob rau hauv ua ke nrog nrog ib tug sib txawv lub luag hauj lwm rau timbre, atherosclerosis, thiab kev tsim kho ntawm cov ntaub, muaj peev xwm mus txuas ntxiv lub qub structural hom suab paj nruag (Stravinsky, Lub Rite ntawm lub caij nplooj ntoos hlav, lub zaum kawg rondo ntawm Great Sacred Dance nrog lub tswv yim AVASA, rov xav txog kev txuas nrog kev rov ua dua tshiab ntawm tag nrho cov suab paj nruag system). Nrog ib tug radical nyob rau hauv lub renewal ntawm F. m. tuaj yeem sib npaug nrog tus tshiab, txij li kev sib txuas nrog cov qauv qub qub yuav tsis pom zoo li ntawd (piv txwv li, orc. , txawm li cas los xij, tsis pom zoo li no vim yog cov txheej txheem sonoristic, uas ua rau nws zoo ib yam li cov F. m. ntawm lwm sonoristic op. dua li ib txwm tonal op. hauv sonata daim ntawv). Li no lub ntsiab lus tseem ceeb ntawm "txoj kev" (sau ntawv) rau kev kawm ntawm F. m. nyob rau hauv lub suab paj nruag ntawm lub xyoo pua 20th. (lub tswv yim ntawm "cov txheej txheem" sib txuas cov tswv yim ntawm cov khoom siv suab siv thiab nws cov khoom, kev sib haum xeeb, kev sau ntawv thiab cov ntsiab lus).
Hauv tonal (ntau qhov tseeb, tshiab-tonal, saib Tonality) suab paj nruag ntawm xyoo pua 20th. Kev rov ua dua tshiab ntawm cov tsoos F. m. tshwm sim feem ntau vim yog hom tshiab ntawm harmonica. chaw nruab nrab thiab sib xws rau cov khoom sib haum xeeb tshiab. cov khoom siv ntawm kev sib raug zoo. Yog li, nyob rau hauv 1 feem ntawm lub 6th fp. Sonatas los ntawm Prokofiev tsoos. contrasting lub "khoom" qauv ntawm Ch. ib feem thiab "loos" (txawm tias ruaj khov) sab ib feem yog convexly qhia los ntawm qhov sib txawv ntawm lub zog A-dur tonic hauv ch. cov ntsiab lus thiab lub hauv paus softened veiled (hdfa chord) nyob rau sab. Kev pab ntawm F. m. yog ua tiav los ntawm kev sib haum xeeb tshiab. thiab cov txheej txheem txhais tau tias, vim yog cov ntsiab lus tshiab ntawm muses. foob. Qhov xwm txheej zoo ib yam nrog cov txheej txheem modal (piv txwv: 3-ib daim ntawv hauv Messiaen's play "Calm Complaint") thiab nrog lub npe hu ua. dawb atonality (piv txwv li, ib daim los ntawm RS Ledenev rau harp thiab hlua, quartet, op. 16 No 6, ua nyob rau hauv cov txheej txheem ntawm central consonance).
Nyob rau hauv lub suab paj nruag ntawm lub xyoo pua 20th muaj ib tug polyphonic renaissance tshwm sim. kev xav thiab polyphonic. F. m. Contrapuntal. tsab ntawv thiab qub polyphonic F. m. los ua lub hauv paus ntawm lub npe hu ua. neoclassical (bh neo-baroque) kev taw qhia ("Rau cov suab paj nruag niaj hnub no, kev sib haum xeeb uas maj mam poob nws cov tonal kev sib txuas, kev sib txuas ntawm cov ntaub ntawv contrapuntal yuav tsum muaj txiaj ntsig tshwj xeeb" - Taneyev SI, 1909). Nrog rau kev sau cov qub F. m. (fugues, canons, passacaglia, variations, thiab lwm yam) nrog ib tug tshiab intonation. cov ntsiab lus (hauv Hindemith, Shostakovich, B. Bartok, ib nrab Stravinsky, Shchedrin, A. Schoenberg, thiab ntau lwm tus) ib tug tshiab txhais ntawm lub polyphonic. F. m. (piv txwv li, nyob rau hauv lub "Passacaglia" los ntawm Stravinsky lub septet, neoclassical txoj cai ntawm linear, rhythmic thiab loj-scale invariance ntawm lub ntsiab lus ostinato yog tsis pom, nyob rau hauv qhov kawg ntawm qhov no muaj ib tug "disproportionate" canon, cov xwm ntawm monothematism ntawm lub voj voog yog zoo ib yam li serial-polyphonic. variations).
Serial-dodecaphonic txheej txheem (saib Dodecaphony, Serial txheej txheem) yog thawj zaug npaj (hauv lub tsev kawm ntawv Novovensk) los kho lub sijhawm los sau cov classics loj, poob rau hauv "kev txiav txim siab". F. m. Qhov tseeb, qhov tsim nyog ntawm kev siv cov txheej txheem no hauv neoclassical. lub hom phiaj yog me ntsis questionable. Txawm hais tias quasi-tonal thiab tonal teebmeem tau yooj yim ua tiav siv cov txheej txheem serial (piv txwv li, hauv minuet trio ntawm Schoenberg's suite op. 25, lub tonality ntawm es-moll yog kom meej meej audible; nyob rau hauv tag nrho suite, taw rau ib tug zoo xws li Bach lub sij hawm voj voog. , serial kab tsuas yog kos los ntawm suab e thiab b, txhua qhov yog thawj zaug thiab zaum kawg suab hauv ob kab kab, thiab yog li lub monotony ntawm baroque suite yog ua raws li ntawm no), txawm hais tias nws yuav tsis nyuaj rau tus tswv tawm tsam. "tonally" qhov ruaj khov thiab tsis ruaj khov, hloov pauv hloov pauv, sib txuas ntawm cov ntsiab lus thiab lwm yam ntawm tonal F. m., kev tsis sib haum xeeb sab hauv (nruab nrab ntawm lub suab tshiab thiab cov txheej txheem qub ntawm tonal F. m.), yam ntxwv ntawm neoclassical. shaping, cuam tshuam ntawm no nrog tshwj xeeb quab yuam. (Raws li txoj cai, cov kev sib txuas nrog cov tonic thiab cov kev tawm tsam raws li lawv tsis tuaj yeem ua tsis tau lossis dag ntawm no, uas tau qhia hauv Scheme A ntawm qhov piv txwv kawg hauv kev cuam tshuam rau classical-romantic. F. m.) cov qauv ntawm F. m. . Kev sib nrig sib sau ntawm qhov tshiab intonation, harmonic. cov ntaub ntawv, cov txheej txheem sau ntawv thiab cov txheej txheem ua tiav los ntawm A. Webern. Piv txwv li, nyob rau hauv 1 feem ntawm lub symphony op. 21 Nws tsis yog tsuas yog nyob rau hauv lub formive zog ntawm serial conductions, nyob rau hauv neoclassical. los ntawm keeb kwm, canons thiab quasi-sonata pitch ratios, thiab, siv tag nrho cov no raws li cov ntaub ntawv, tsim nws nrog kev pab los ntawm tshiab txhais tau tias ntawm F. m. - kev sib txuas ntawm suab thiab timbre, timbre thiab cov qauv, ntau qhov sib txawv hauv suab-timbre-rhythm. fabrics, interval pawg, nyob rau hauv kev faib ntawm lub suab ceev, thiab lwm yam., ib txhij tso tseg txoj kev shaping uas tau los ua kev xaiv; nov F. m. qhia aesthetic. cov nyhuv ntawm purity, sublimity, silence, sacraments. radiance thiab nyob rau tib lub sij hawm trembling ntawm txhua lub suab, sib sib zog nqus cordiality.
Ib hom tshwj xeeb ntawm kev tsim kho polyphonic yog tsim nrog txoj kev serial-dodecaphone ntawm kev sau nkauj; Feem ntau, F. m., ua nyob rau hauv cov txheej txheem serial, yog polyphonic hauv essence, los yog tsawg kawg yog raws li lub hauv paus ntsiab lus, tsis hais seb lawv muaj ib tug textured tsos ntawm polyphonic. F. m. (piv txwv li, cov canons nyob rau hauv 2nd ib feem ntawm Webern lub symphony op. 21, saib Art. Rakohodnoe zog, piv txwv li nyob rau hauv kab 530-31; nyob rau hauv lub 1 feem ntawm "Concerta-buff" los ntawm SM Slonimsky, ib tug minuet trio los ntawm lub suite rau piano, op. 25 los ntawm Schoenberg) los yog quasi-homophonic (piv txwv li, lub sonata daim ntawv nyob rau hauv lub cantata "Lub teeb ntawm lub qhov muag" op. 26 los ntawm Webern; nyob rau hauv lub 1 feem ntawm lub 3rd symphony los ntawm K. Karaev; rondo - sonata hauv qhov kawg ntawm Schoenberg's 3rd quartet). Hauv kev ua haujlwm ntawm Webern mus rau lub ntsiab. nta ntawm lub qub polyphonic. F. m. ntxiv nws cov tshiab yam (emancipation ntawm suab paj nruag tsis, kev koom tes nyob rau hauv ib tug polyphonic qauv, ntxiv rau high-pitched, thematic repetitions, autonomous kev sib raug zoo ntawm timbres, rhythms, sau npe kev sib raug zoo, articulation, dynamics; saib, piv txwv li, 2nd part variations rau piano. op.27, orc.variations op.30), uas tau taug txoj kev rau lwm qhov kev hloov kho ntawm polyphonic. F. m. - hauv serialism, saib Seriality.
Hauv suab paj nruag sonoristic (saib Sonorism) predominates yog siv. tus kheej, pub dawb, cov ntaub ntawv tshiab (AG Schnittke, Pianissimo; EV Denisov, piano trio, 1st feem, qhov chaw ntawm lub ntsiab lus yog "sigh", yog asymmetrically varied, ua cov khoom siv rau kev tsim ib qho tshiab, tsis yog classical peb-ntu daim ntawv. , A. Vieru, “Eratosthenes’ sieve”, “Clepsydra”).
Polyphonic hauv keeb kwm F. m. 20th century, os. ntawm contrasting kev sib cuam tshuam ntawm ib txhij sounding muses. cov qauv (thooj No. 145a thiab 145b los ntawm Bartok's Microcosmos, uas tuaj yeem ua tau ob qho tib si sib cais thiab ib txhij; D. Millau's quartets No. 14 thiab 15, uas muaj cov yam ntxwv zoo ib yam; K. Stockhausen Pawg rau peb qhov chaw sib cais orchestras). Txwv sharpening polyphonic. Lub hauv paus ntsiab lus ntawm kev ywj pheej ntawm cov suab (txheej txheem) ntawm cov ntaub yog ib qho aleatoric ntawm cov ntaub, tso cai rau kev sib cais ib ntus ntawm cov suab nrov thiab, raws li, feem ntau ntawm lawv cov kev sib xyaw ua ke tib lub sijhawm. ua ke (V. Lutoslavsky, 2nd symphony, "Book for Orchestra").
Cov twj paj nruag tshiab, tus kheej ib leeg (qhov twg "lub tswv yim" ntawm kev ua haujlwm yog cov ntsiab lus ntawm kev muaj pes tsawg leeg, uas tsis yog hom neoclassical ntawm cov twj paj nruag niaj hnub) muaj suab paj nruag hluav taws xob (piv txwv yog Denisov's "Birdsong"). Mobile F. m. (hloov kho los ntawm ib qho kev ua tau zoo mus rau lwm qhov) muaj nyob hauv qee hom alea-toric. suab paj nruag (piv txwv li, hauv Stockhausen's Piano Piece XI, Boulez's 3rd Piano Sonata). F. m. 60-70 s. Cov tswv yim sib xyaw yog siv dav (RK Shchedrin, 2nd thiab 3rd piano concertos). Tus hu. repetitive (los yog repetitive) F. m., tus qauv uas yog raws li ntau repetitions b. teev cov suab paj nruag theem pib. cov ntaub ntawv (piv txwv li, nyob rau hauv ib co ua hauj lwm los ntawm VI Martynov). Nyob rau hauv lub teb ntawm theem hom - tshwm sim.
VII. Kev qhia txog cov ntaub ntawv suab paj nruag. Cov lus qhuab qhia ntawm F. m. ua dep. ceg ntawm kev siv theoretical musicology thiab nyob rau hauv lub npe no tshwm sim nyob rau hauv lub xyoo pua 18th. Txawm li cas los xij, nws cov keeb kwm, uas khiav mus rau qhov sib npaug rau kev txhim kho cov teeb meem kev xav ntawm kev sib raug zoo ntawm daim ntawv thiab teeb meem, daim ntawv thiab cov ntsiab lus, thiab coincides nrog keeb kwm ntawm cov lus qhuab qhia ntawm muses. Cov ntawv sau, hnub rov qab mus rau lub sijhawm ntawm Ancient World - los ntawm Greek. atomist (Democritus, 5th c. BC BC) thiab Plato (nws tsim cov ntsiab lus ntawm "scheme", "morphe", "type", "idea", "eidos", "saib", "duab"; saib. Losev A. Ib., 1963, p. 430-46 thiab lwm yam; nws, 1969, p. 530-52 thiab lwm yam). Lub ntsiab lus tseem ceeb tshaj plaws thaum ub txoj kev xav ntawm daim ntawv ("eidos", "morphe", "logos") thiab teeb meem (txog qhov teeb meem ntawm daim ntawv thiab cov ntsiab lus) tau muab tso rau hauv Aristotle (cov tswv yim ntawm kev sib sau ntawm cov teeb meem thiab daim ntawv; lub hierarchy ntawm kev sib raug zoo ntawm cov teeb meem thiab daim ntawv, qhov twg lub siab tshaj plaws daim ntawv yog deities. siab; cm. Aristotle, 1976). Cov lus qhuab qhia zoo ib yam li kev tshawb fawb ntawm F. m., tsim nyob rau hauv lub moj khaum ntawm melopei, uas tsim raws li ib tug tshwj xeeb. suab paj nruag theorist kev qhuab qhia, tej zaum nyob rau hauv Aristoxenus (2nd ib nrab. 4 ib.); cm. Cleonides, Janus S., 1895, p. 206–207; Aristides Quintilian, “De musica libri III”). Anonymous Bellerman III nyob rau hauv seem "Hais txog melopee" teem tawm (nrog suab paj nruag. illustrations) cov ntaub ntawv hais txog "rhythms" thiab melodic. cov duab (Najock D., 1972, p. 138-143), Vol. e. es hais txog cov ntsiab lus ntawm F. m. tshaj li ntawm F. m. nyob rau hauv tus kheej kev txiav txim siab, mus rau ntuj ceeb tsheej nyob rau hauv cov ntsiab lus ntawm lub ancient lub tswv yim ntawm suab paj nruag raws li ib tug trinity tau xav feem ntau nyob rau hauv kev twb kev txuas nrog cov poetic. forms, structure of a stanza, nqe. Kev sib txuas nrog lo lus (thiab hauv qhov kev hwm no tsis muaj kev ntseeg ntawm cov lus qhuab qhia ntawm Ph. m. nyob rau hauv niaj hnub kev xav) kuj yog yam ntxwv ntawm cov lus qhuab qhia ntawm F. m. medieval thiab renaissance. Nyob rau hauv cov nkauj, lub Magnificat, cov nkauj qhuas Vajtswv (cf. section III), ib. hom ntawm lub sijhawm no F. m. nyob rau hauv essence, tau predetermined los ntawm cov ntawv nyeem thiab liturgic. kev txiav txim thiab tsis xav tau tshwj xeeb. autonomous lus qhuab qhia txog F. m. Hauv kev kos duab. secular hom, qhov twg cov ntawv nyeem yog ib feem ntawm F. m. thiab txiav txim siab tus qauv ntawm muses purely. kev tsim kho, qhov xwm txheej zoo sib xws. Tsis tas li ntawd, cov qauv ntawm cov qauv, tau tsim tawm hauv cov suab paj nruag-theoretical. treatises, tshwj xeeb tshaj yog ntsuas tau txais kev pab raws li ib yam ntawm "qauv qauv" thiab tau rov qab nyob rau hauv decomp. cov khoom teej tug mus rau tib lub suab. Txoj cai multigoal. ntawv (pib los ntawm "Musica enchiriadis", xaus. 9 c.) ntxiv F. embodied nyob rau hauv lub melody muab. m.: lawv kuj tsis tuaj yeem suav tias yog cov lus qhuab qhia ntawm Ph. m. nyob rau hauv qhov kev xav tam sim no. Yog li, hauv Milan treatise "Ad Organum faciendum" (c. 1100), teej tug mus rau ib hom ntawv ntawm "suab paj nruag-technical." ua haujlwm rau suab paj nruag. compositions (yuav ua li cas "ua" lub organum), tom qab lub ntsiab. Cov ntsiab lus (organum, copula, diaphony, organizatores, "kinship" ntawm lub suab - affinitas vocum), cov txheej txheem ntawm consonances, tsib "txoj kev ntawm lub koom haum" (modi organizandi), piv txwv li. e. ntau hom kev siv consonances nyob rau hauv lub "sib xyaw" ntawm organum-counterpoint, nrog suab paj nruag. piv txwv; ntu ntawm ob lub suab tsim muaj npe (raws li txoj cai qub: pib - nruab nrab - kawg): prima vox - mediae voces - ultimae voces. Wed los ntawm ch. 15 “Microlog” (ca. 1025-26) Guido d'Arecco (1966, s. 196-98). Rau cov lus qhuab qhia ntawm F. m. cov lus piav qhia ntsib kuj nyob ze. hom ntawv. Hauv daim ntawv qhia J. de Groheo ("De musica", ca. 1300), cim los ntawm kev cuam tshuam ntawm Renaissance txheej txheem, muaj cov lus piav qhia dav dav ntawm ntau lwm tus. hom thiab F. m.: cantus gestualis, cantus coronatus (los yog conductor), versicle, rotunda, los yog rotundel (rondel), responsory, stantipa (estampi), induction, motet, organum, goket, loj thiab nws qhov chaw (Introitus, Kyrie, Gloria, thiab lwm yam . .), invitatorium, Venite, antiphon, nkauj qhuas Vajtswv. Nrog rau lawv, muaj cov ntaub ntawv hais txog cov ntsiab lus ntawm cov qauv ntawm Ph. m. - hais txog “cov ntsiab lus” (seem F. m.), hom lus xaus ntawm qhov F. m. (arertum, clausuni), tus naj npawb ntawm qhov chaw hauv F. m. Nws yog ib qho tseem ceeb uas Groheo dav siv lo lus "F. m.”, ntxiv rau, hauv kev nkag siab zoo ib yam li niaj hnub no: formae musicales (Grocheio J. ntawm, p. 130; cm. tseem yuav nkag. tsab xov xwm los ntawm E. Rolof kev sib piv nrog kev txhais lus ntawm lub sij hawm forma y los ntawm Aristotle, Grocheio J. ntawm, p. 14-16). Ua raws li Aristotle (nws lub npe tau hais ntau dua ib zaug), Groheo cuam tshuam "daim ntawv" nrog "teeb meem" (p. 120), thiab "muab" raug suav hais tias yog "kev sib haum xeeb. suab”, thiab “daim ntawv” (ntawm no tus qauv ntawm consonance) yog txuam nrog “tus lej” (p. 122; Russian per. — Groheo Y. ib., 1966, p. 235, 253). Cov lus piav qhia zoo sib xws ntawm F. m. muab, piv txwv li, V. Odington nyob rau hauv lub treatise "De speculatione suab paj nruag": treble, organum, rondel, coj, copula, motet, goquet; nyob rau hauv lub suab paj nruag Nws muab piv txwv ntawm ob- thiab peb-lub suab qhab nia. Hauv kev qhia ntawm counterpoint, nrog rau cov txheej txheem ntawm polyphonic. sau ntawv (eg, hauv Y. Tinctorisa, 1477; N. Vicentino, 1555; J. Tsarlino, 1558) piav txog cov ntsiab lus ntawm txoj kev xav ntawm ib co polyphonic. foos, np. canon (thawj nyob rau hauv cov txheej txheem ntawm kev sib pauv suab - rondelle nrog Odington; "rotunda, los yog rotundel" nrog Groheo; los ntawm lub xyoo pua 14th. nyob rau hauv lub npe "fugue", hais los ntawm Jacob ntawm Liege; kuj piav qhia los ntawm Ramos de Pareja; cm. Parekha, 1966, p. 346–47; ze Tsarlino, 1558, ibid., p. 476-80). Txoj kev loj hlob ntawm fugue daim ntawv nyob rau hauv txoj kev xav ntog tsuas yog nyob rau hauv lub 17th-18th centuries. (tshwj xeeb yog J. M Bononcini, 1673; Thiab. G. Walter, 1708; THIAB. THIAB. Fuchsa, 1725; Thiab. A. Shaub (oc. 1730), 1961; Kuv. Mattheson, 1739; F. AT. Marpurga, 1753–54; Kuv. F. Kirnberger, 1771–79; THIAB. G.
Los ntawm txoj kev xav ntawm F. m. 16-18 centuries. ib qho tseem ceeb cuam tshuam tau raug siv los ntawm kev nkag siab txog cov dej num ntawm qhov chaw raws li cov lus qhuab qhia ntawm rhetoric. Keeb kwm nyob rau hauv Dr. Greece (c. 5th caug xyoo BC), nyob rau hauv lub verge ntawm lig antiquity thiab lub Nrab Hnub nyoog, rhetoric los ua ib feem ntawm "xya liberal arts" (septem artes liberales), qhov uas nws tau los rau hauv kev sib cuag nrog "science of suab paj nruag” (“… rhetoric tsis tuaj yeem tab sis muaj kev cuam tshuam loj heev hauv kev hais txog suab paj nruag raws li kev hais lus zoo” - Asafiev BV, 1963, p. 31). Ib tug ntawm cov departments ntawm rhetoric – Dispositio (“kev npaj”; piv txwv li, muaj pes tsawg leeg plan op.) – raws li ib qeb sib raug rau cov lus qhuab qhia ntawm F. m., qhia ib tug txhais. Kev ua haujlwm ntawm nws qhov chaw (saib Tshooj V). Rau lub tswv yim thiab cov qauv ntawm muses. cit., thiab lwm lub tuam tsev ntawm suab paj nruag kuj yog F. m. rhetoric - Inventio ("invention" ntawm suab paj nruag xav), Decoratio (nws "décor" nrog kev pab los ntawm suab paj nruag-rhetorical nuj nqis). (Ntawm suab paj nruag rhetoric, saib: Calvisius S., 1592; Burmeister J., 1599; Lippius J., 1612; Kircher A., 1650; Bernhard Chr., 1926; Janowka Th. B., 1701; Walther JG, 1955; Mattheson J., 1739; Zakharova O., 1975.) Los ntawm txoj kev xav ntawm suab paj nruag. rhetoric (functions of parts, dispositio) Mattheson soj ntsuam meej F. m. nyob rau hauv lub aria ntawm B. Marcello (Mattheson J., 1739); nyob rau hauv cov suab paj nruag. rhetoric, daim ntawv sonata tau piav qhia thawj zaug (saib Ritzel F., 1968). Hegel, qhov sib txawv ntawm cov ntsiab lus ntawm qhov teeb meem, daim ntawv thiab cov ntsiab lus, tau qhia lub tswv yim tom kawg rau hauv kev siv tswv yim dav thiab kev tshawb fawb, muab nws (txawm li cas los xij, raws li lub hom phiaj ntawm lub hom phiaj txoj kev xav) kev sib sib zog nqus dialectic. Kev piav qhia, ua rau nws yog ib pawg tseem ceeb ntawm cov lus qhuab qhia ntawm kev kos duab, suab paj nruag ("Aesthetics").
Kev tshawb fawb tshiab ntawm F. m., hauv tus kheej. kev nkag siab ntawm cov lus qhuab qhia ntawm F. m., tau tsim nyob rau hauv 18-19 centuries. Nyob rau hauv ib tug xov tooj ntawm tej hauj lwm ntawm lub xyoo pua 18th. Cov teeb meem ntawm 'meter' ("cov lus qhuab qhia ntawm cov neeg ntaus"), kev loj hlob, kev nthuav dav thiab kev tawg ntawm muses raug tshawb xyuas. kev tsim kho, kab lus qauv thiab lub sijhawm, cov qauv ntawm qee qhov tseem ceeb tshaj plaws homophonic instr. F. m., tsa resp. cov ntsiab lus thiab cov ntsiab lus (Mattheson J., 1739; Scheibe JA, 1739; Riepel J., 1752; Kirnberger J. Ph., 1771-79; Koch H. Ch., 1782-93; Albrechtsberger JG, 1790). Hauv con. 18 – lus. 19th centuries ib tug general systematics ntawm homophonic F. m. tau piav qhia, thiab cov haujlwm sib koom ua ke ntawm F. m. tshwm sim, npog hauv kev nthuav dav ob qho tib si lawv txoj kev xav dav dav thiab lawv cov qauv tsim, tonal harmonic. qauv (los ntawm cov lus qhia ntawm lub xyoo pua 19th – Weber G., 1817-21; Reicha A., 1818, 1824-26; Logier JB, 1827). Classic AB Marx muab cov lus qhuab qhia sib sau ua ke ntawm F. m. nws “Kev Qhia Txog Nkauj. compositions” (Marx AV, 1837-47) npog txhua yam uas tus kws sau nkauj xav tau kom paub txog kev kos duab ntawm kev sau nkauj. F. m. Marx txhais tias "kev nthuav qhia ... ntawm cov ntsiab lus", uas nws txhais tau tias "kev xav, tswv yim, tswv yim ntawm tus kws sau ntawv." Marx lub system ntawm homophonic F. m. los ntawm "cov ntaub ntawv tseem ceeb" ntawm cov nkauj. kev xav (kev txav mus los, kab lus, thiab lub sijhawm), tso siab rau ntawm daim ntawv "suab" (lub tswv yim nws tau qhia) raws li qhov tseem ceeb hauv cov txheej txheem dav dav ntawm F. m.
Homophonic F. m.: nkauj, rondo, sonata daim ntawv. Marx tau faib tsib hom rondo (lawv tau txais yuav nyob rau hauv 19th - thaum ntxov 20th centuries nyob rau hauv Lavxias teb sab musicology thiab kev kawm xyaum):
(Piv txwv ntawm rondo forms: 1. Beethoven, 22nd piano sonata, 1st part; 2. Beethoven, 1st piano sonata, Adagio; 3. Mozart, rondo a-moll; 4. Beethoven, 2- 5st piano sonata, finale 1. Beethoven , 1st piano sonata, finale.) Nyob rau hauv kev tsim kho ntawm classical. F. m. Marx pom kev ua haujlwm ntawm "natural" txoj cai ntawm tripartiteness yog qhov tseem ceeb hauv txhua lub suab paj nruag. tsim: 2) thematic. raug (ust, tonic); 3) modulating txav ib feem (suab, gamma); 1900) reprise (so, tonic). Riemann, lees paub qhov tseem ceeb rau kev kos duab tiag tiag ntawm "qhov tseem ceeb ntawm cov ntsiab lus", "lub tswv yim", uas tau hais los ntawm F. m. (Riemann H., (6), S. 1901), tau txhais cov lus tom kawg kuj yog “ib qho txhais tau tias sib sau ua ke ntawm cov haujlwm hauv ib thooj. Ntawm qhov tshwm sim "general aesthetic. cov hauv paus ntsiab lus" nws deduced "txoj cai ntawm tshwj xeeb-suab paj nruag. kev tsim kho” (G. Riemann, “Musical Dictionary”, M. – Leipzig, 1342, p. 1343-1907). Riemann tau qhia txog kev sib cuam tshuam ntawm muses. cov ntsiab lus hauv kev tsim ntawm F. m. (piv txwv li, “Catechism of piano play”, M., 84, pp. 85-1897). Riemann (saib Riemann H., 1902, 1903-1918, 19-1892; Riemann G., 1898, 1806), tso siab rau lub npe hu ua. iambic txoj cai (cf. Momigny JJ, 1853, thiab Hauptmann M., XNUMX), tau tsim cov lus qhuab qhia tshiab ntawm cov classical. metric, ib square yim-lub voj voog, uas txhua lub voj voog muaj ib qho kev ntsuas. tus nqi sib txawv ntawm lwm tus:
(qhov tseem ceeb ntawm lub teeb khib nyiab ntsuas nyob ntawm qhov hnyav uas lawv coj mus rau). Txawm li cas los xij, sib npaug sib npaug ntawm cov qauv ntawm qhov chaw ruaj khov rau qhov tsis ruaj khov (tsiv, kev txhim kho), Riemann, yog li ntawd, tsis suav nrog cov qauv sib txawv hauv cov classical. F. m. G. Schenker tau qhia tob txog qhov tseem ceeb ntawm tonality, tonics rau kev tsim ntawm classical. F. m., tsim txoj kev xav ntawm cov txheej txheem ntawm F. m., nce los ntawm lub hauv paus tonal core mus rau "txheej txheem" ntawm cov suab paj nruag. Kev sib sau ua ke (Schenker H., 1935). Nws kuj muaj cov kev paub dhau los ntawm monumental holistic tsom xam otd. ua haujlwm (Schenker H., 1912). Sib sib zog nqus txoj kev loj hlob ntawm qhov teeb meem ntawm formative tus nqi ntawm kev sib haum xeeb rau classical. fm muab A. Schoenberg (Schönberg A., 1954). Nyob rau hauv kev twb kev txuas nrog rau kev txhim kho cov tswv yim tshiab nyob rau hauv cov suab paj nruag ntawm lub xyoo pua 20th. muaj cov lus qhuab qhia txog P. m. thiab muses. Cov qauv kev sib xyaw ua ke raws li dodecaphony (Krenek E., 1940; Jelinek H., 1952-58, thiab lwm yam), kev hloov pauv thiab lub suab tshiab. thev naus laus zis (Messiaen O., 1944; nws kuj hais txog qhov rov pib dua ntawm qee lub Hnub Nyoog Nrab Hnub nyoog F. m. – hallelujah, Kyrie, sequences, etc.), hluav taws xob muaj pes tsawg leeg (saib “Die Reihe”, I, 1955), P tshiab .m. (piv txwv li, qhov qhib, kev txheeb cais, lub sijhawm P. m. nyob rau hauv txoj kev xav ntawm Stockhausen – Stockhausen K., 1963-1978; kuj Boehmer K., 1967). (Saib Kohoutek Ts., 1976.)
Nyob rau hauv Russia, cov lus qhuab qhia ntawm F. m. originates los ntawm "Music Grammar" los ntawm N. AP Diletsky (1679-81), uas muab cov lus piav qhia ntawm F. m. ntawm lub sijhawm ntawd, polygonal technology. cov ntawv, kev ua haujlwm ntawm ntu F. m. ("hauv txhua lub concerto" yuav tsum muaj "pib, nruab nrab thiab kawg" - Diletsky, 1910, p. 167), cov ntsiab lus thiab cov yam ntxwv ntawm kev tsim (“padyzhi”, vol. e. cadenzas; "ascension" thiab "qhovntsej thiaj tsis mob"; "dudal txoj cai" (ie. e. org point), "countercurrent" (counterpoint; txawm li cas los xij, dotted atherosclerosis yog txhais tau tias), thiab lwm yam). Hauv kev txhais lus ntawm F. m. Diletsky xav tias muaj kev cuam tshuam ntawm pawg ntawm muses. rhetoric (nws cov ntsiab lus yog siv: "ceev", "invention", "exordium", "amplification"). Cov lus qhuab qhia ntawm F. m. nyob rau hauv lub newest kev txiav txim ntog nyob rau hauv pem teb 2. 19 – lus. 20 cc Qhov thib peb ntawm "Ua tiav phau ntawv qhia kev sau nkauj" los ntawm I. Gunke (1863) - "Nyob rau Cov Ntaub Ntawv ntawm Kev Ua Yeeb Yam" - muaj cov lus piav qhia ntawm ntau yam siv F. m. (fugue, rondo, sonata, concerto, symphony paj huam, etude, serenade, ed. seev cev, thiab lwm yam), kev soj ntsuam ntawm cov qauv sau, cov lus piav qhia ntxaws txog qee qhov "cov ntawv nyuaj" (eg. sonata form). Hauv ntu 2, polyphonic tau teeb tsa. txheej txheem, piav osn. polyphonic. F. m. (fug, canons). Nrog cov tswv yim sau. cov hauj lwm, luv luv "Qhia rau kev kawm ntawm cov ntaub ntawv ntawm instrumental thiab suab paj nruag" yog sau los ntawm A. C. Arensky (1893-94). Kev xav tob txog tus qauv ntawm F. m., nws kev sib raug zoo rau lub harmonic. system thiab keeb kwm txoj hmoo tau hais los ntawm S. THIAB. Taneev (1909, 1927, 1952). Thawj lub tswv yim ntawm lub cev nqaij daim tawv ntawm F. m. tsim los ntawm G. E. Conus (pob. ua hauj lwm - "Embryology thiab morphology ntawm lub suab paj nruas kab mob", phau ntawv sau, Tsev khaws puav pheej ntawm Musical Culture. M THIAB. Glinka; cm. kuj Konus G. E., 1932, 1933, 1935). Ntau lub tswv yim thiab cov ntsiab lus ntawm cov lus qhuab qhia ntawm F. m. ua los ntawm B. L. Yavorsky (kev xeem ua ntej, hloov pauv hauv lub quarter thib 3, sib piv nrog cov txiaj ntsig). Hauv kev ua haujlwm ntawm V. M Belyaev "Cov Lus Qhia luv luv ntawm Cov Lus Qhuab Qhia ntawm Counterpoint thiab Cov Lus Qhuab Qhia ntawm Cov Ntawv Nkauj" (1915), uas muaj kev cuam tshuam rau lub tswv yim tom ntej ntawm F. m. nyob rau hauv owls musicology, ib tug tshiab (simplified) kev nkag siab ntawm rondo daim ntawv yog muab (raws li qhov kev tawm tsam ntawm Ch. lub ntsiab lus thiab ntau ntu), lub tswv yim ntawm "song form" raug tshem tawm. B. AT. Asafiev hauv phau ntawv. "Suab paj nruag daim ntawv raws li ib tug txheej txheem" (1930-47) yog substantiated los ntawm F. m. txoj kev loj hlob ntawm intonation txheej txheem nyob rau hauv kev twb kev txuas nrog cov keeb kwm. lub evolution ntawm lub hav zoov ntawm suab paj nruag raws li ib tug social determinant. phenomena (lub tswv yim ntawm F. m. raws li indifferent rau intonation. Cov khoom vaj khoom tsev schemes "coj lub dualism ntawm daim ntawv thiab cov ntsiab lus rau lub ntsiab lus ntawm absurdity" - Asafiev B. Ib., 1963, p. 60). Immanent zog ntawm suab paj nruag (incl. thiab F. m.) - tsuas yog muaj peev xwm, qhov kev siv ntawm uas yog txiav txim los ntawm cov qauv ntawm haiv neeg (p. 95). Resuming lub ancient (tseem Pythagorean; cf. Bobrovsky V. Ib., 1978, p. 21-22) lub tswv yim ntawm triad raws li kev sib koom ua ke ntawm qhov pib, nruab nrab thiab qhov kawg, Asafiev tau npaj ib txoj kev xav dav dav ntawm kev tsim-txheej txheem ntawm F. m., nthuav qhia cov theem ntawm txoj kev loj hlob nrog cov qauv qhia meej initium - motus - terminus (saib. ntu V). Lub hom phiaj tseem ceeb ntawm txoj kev tshawb no yog los txiav txim qhov yuav tsum tau ua ua ntej rau cov suab paj nruag dialectics. tsim, kev loj hlob ntawm cov lus qhuab qhia ntawm internal. dynamics F. m. (“ice. daim ntawv raws li ib tug txheej txheem "), uas tawm tsam cov "tsim" daim ntawv-schemes. Yog li ntawd, Asafiev singles tawm hauv F. m. "ob sab" - form-process thiab form-construction (p. 23); nws kuj tseem hais txog qhov tseem ceeb ntawm ob qho tseem ceeb tshaj plaws hauv kev tsim F. m. - tus kheej thiab qhov sib txawv, faib tag nrho F. m. raws li qhov tseem ceeb ntawm ib lossis lwm qhov (Vol. 1, ntu 3). Qauv F. m., raws li Asafiev, muaj feem xyuam nrog nws txoj kev tsom mus rau kev xav ntawm cov neeg mloog (Asafiev B. V., 1945). Hauv tsab xov xwm V. A. Zuckerman hais txog opera los ntawm N. A. Rimsky-Korsakov "Sadko" (1933) suab paj nruag. prod. thawj zaug txiav txim siab los ntawm txoj kev "holistic tsom xam". Nyob rau hauv txoj kab nrog lub ntsiab classic chaw. Cov kev xav ntawm kev ntsuas yog txhais los ntawm F. m. ntawm G. L. Catuara (1934-36); nws tau qhia lub tswvyim ntawm "trochea ntawm hom thib ob" (metrical form ch. part 1 part 8 fp. Sonata los ntawm Beethoven). Ua raws li kev tshawb fawb Taneyev, S. C. Bogatyrev tau tsim txoj kev xav ntawm ob lub canon (1947) thiab thim rov qab counterpoint (1960). THIAB. AT. Sposobin (1947) tau tsim txoj kev xav ntawm kev ua haujlwm ntawm qhov chaw hauv F. m., tshawb nrhiav lub luag haujlwm ntawm kev sib haum xeeb hauv kev tsim. A. TO. Butskoy (1948) tau sim tsim cov lus qhuab qhia ntawm F. m., los ntawm qhov pom ntawm qhov piv ntawm cov ntsiab lus thiab nthuav tawm. txhais tau hais tias suab paj nruag, coj los ua ke cov kab lig kev cai. theorist. musicology thiab aesthetics (p. 3-18), tsom ntsoov rau tus kws tshawb fawb txog qhov teeb meem ntawm kev tshuaj xyuas suab paj nruag. ua haujlwm (p. 5). Hauv particular, Butskoy tsa cov lus nug ntawm lub ntsiab lus ntawm qhov no los yog qhov nthuav qhia. txhais tau tias ntawm suab paj nruag vim qhov txawv ntawm lawv lub ntsiab lus (piv txwv li, nce. trid, p. 91–99); Hauv nws cov kev txheeb xyuas, cov txheej txheem ntawm kev khi qhia tau siv. effect (cov ntsiab lus) nrog ib txoj kev txhais tau hais tias nws (p. 132-33 thiab lwm yam). (Piv: Ryzhkin I. Ya., 1955.) Butsky phau ntawv yog ib qho kev paub txog kev tsim cov theoretical. lub hauv paus ntawm "kev tsom xam ntawm suab paj nruag. ua haujlwm” - kev qhuab qhia kev tshawb fawb thiab kev kawm uas hloov cov kev cai. science ntawm F. m. (Bobrovsky V. Ib., 1978, p. 6), tab sis ze heev rau nws (saib daim duab. suab paj nruag tsom xam). Nyob rau hauv phau ntawv kawm ntawm Leningrad sau ntawv, ed. Yus N. Tyulin (1965, 1974) tau qhia txog cov ntsiab lus ntawm "kev suav nrog" (hauv ib daim ntawv yooj yim ob feem), "ntau qhov kev txwv tsis pub cov ntaub ntawv", "introductory part" (hauv ib feem ntawm daim ntawv sonata), thiab cov ntawv siab dua. ntawm rondo tau muab faib ua ntau yam. Hauv kev ua haujlwm ntawm L. A. Mazel thiab V. A. Zuckerman (1967) tsis tu ncua nqa tawm lub tswv yim ntawm kev xav txog kev txhais tau tias F. m. (rau qhov loj - cov khoom siv suab paj nruag) sib koom nrog cov ntsiab lus (p. 7), suab paj nruag-express. cov nyiaj (xws li xws li, to-rye tsis tshua xav txog hauv cov lus qhia txog F. m., – dynamics, timbre) thiab lawv tej kev cuam tshuam rau tus mloog (saib. Saib ntxiv: Zuckerman W. A., 1970), tus txheej txheem ntawm holistic tsom xam yog piav nyob rau hauv kom meej (p. 38–40, 641–56; ntxiv - piv txwv ntawm kev tsom xam), tsim los ntawm Zuckerman, Mazel thiab Ryzhkin rov qab rau hauv 30s. Mazel (1978) tau sau cov kev paub dhau los ntawm kev sib koom ua ke ntawm suab paj nruag thiab muses. aesthetics nyob rau hauv kev xyaum ntawm suab paj nruag tsom xam. ua hauj lwm. Hauv kev ua haujlwm ntawm V. AT. Protopopov tau qhia txog lub tswv yim ntawm qhov sib txawv-sib xyaw (saib. nws txoj hauj lwm "Contrasting Composite Forms", 1962; Stoyanov P., 1974), possibilities of variations. cov ntaub ntawv (1957, 1959, 1960, thiab lwm yam), tshwj xeeb, lo lus "daim ntawv ntawm txoj kev npaj thib ob" tau qhia, keeb kwm ntawm polyphonic. Cov ntawv thiab cov ntawv polyphonic ntawm 17th-20th centuries. (1962, 1965), lo lus "loj polyphonic daim ntawv". Bobrovsky (1970, 1978) kawm F. m. Raws li ntau theem hierarchical system uas nws cov ntsiab lus muaj ob qhov sib txuas tsis sib xws - ua haujlwm (qhov muaj nuj nqi yog "txoj cai dav dav ntawm kev sib txuas") thiab cov qauv (tus qauv yog "ib txoj hauv kev tshwj xeeb ntawm kev siv lub hauv paus ntsiab lus", 1978, p. . 13). Lub tswv yim (Asafiev) ntawm peb txoj haujlwm ntawm kev txhim kho dav dav tau piav qhia meej: "impulse" (i), "kev txav" (m) thiab "ua tiav" (t) (p. 21). Kev ua haujlwm tau muab faib ua cov laj thawj dav dav, kev sib xyaw ua ke, thiab tshwj xeeb hauv kev sib xyaw (p. 25-31). Thawj lub tswv yim ntawm tus sau yog kev sib xyaw ua ke ntawm kev ua haujlwm (nruab mus tas li thiab mobile), feem - "kev sib xyaw. sib txawv", "composition. modulation" thiab "sib xyaw.
References: Diletsky N. P., Suab paj nruag Grammar (1681), nyob rau hauv ed. C. AT. Smolensky, St. Petersburg, 1910, tib yam, nyob rau hauv Ukrainian. yaz. (los ntawm tes. 1723) – Suab paj nruag Grammar, KIPB, 1970 ( luam tawm los ntawm O. C. Tsalai-Yakimenko), tib yam (los ntawm cov ntawv sau 1679) nyob rau hauv lub npe - Lub Tswv Yim ntawm Musikian Grammar, M., 1979 ( luam tawm los ntawm Vl. AT. Protopopov); Lvov H. A., Sau cov nkauj Lavxias teb sab nrog lawv lub suab …, M., 1790, reprinted., M., 1955; Gunke I. K., Daim ntawv qhia ua tiav rau kev sau nkauj, ed. 1-3, ib. Petersburg, 1859-63; Arensky A. S., Phau ntawv qhia txog kev kawm cov ntaub ntawv ntawm kev siv suab paj nruag thiab suab paj nruag, M., 1893-94, 1921; Stasov V. V., Ntawm qee hom suab paj nruag niaj hnub, Sobr. vol., ib. 3 St. Petersburg, 1894 (1 ed. Ntawm nws. lus, “NZfM”, 1858, Bd 49, No 1-4); Dawb A. (Kwv. Bugaev), Daim duab kos duab (hais txog lub suab paj nruag ua yeeb yam los ntawm R. Wagner), “Lub Ntiaj Teb Ntawm Kev Ua Yeeb Yam”, 1902, No 12; nws, Lub Ntsiab Cai ntawm Daim Ntawv Hauv Kev Zoo Nkauj (§ 3. Suab Nkauj), The Golden Fleece, 1906, No 11-12; Yavorsky B. L., Tus qauv ntawm kev hais lus suab paj nruag, ib feem. 1–3, M., 1908; Tanev S. I., Movable counterpoint ntawm kev sau nruj, Leipzig, 1909, tib yam, M., 1959; Los ntawm. THIAB. Tanev. cov ntaub ntawv thiab cov ntaub ntawv, thiab lwm yam. 1, M., 1952; ib. Belyaev V. M., Cov ntsiab lus ntawm cov lus qhuab qhia ntawm counterpoint thiab cov lus qhuab qhia ntawm cov ntaub ntawv suab paj nruag, M., 1915, M. — Ib., 1923; nws tus kheej, "Kev tshuaj xyuas ntawm kev hloov pauv hauv Beethoven's sonatas" los ntawm S. THIAB. Taneeva, hauv kev sau; Phau ntawv Lavxias hais txog Beethoven, M., 1927; Asafiev B. AT. (Igor Glebov), Tus txheej txheem ntawm kev tsim cov suab nrov, hauv: De musica, P., 1923; nws, Musical Form as a Process, Vol. 1, M., 1930, nr 2, M. – L., 1947, L., 1963, L., 1971; Nws, Nyob rau hauv cov kev taw qhia ntawm daim ntawv nyob rau hauv Tchaikovsky, nyob rau hauv phau ntawv: Soviet suab paj nruag, Sat. 3 ,M. – L., 1945; Zotov B., (Finagin A. B.), Qhov teeb meem ntawm cov ntawv hauv suab paj nruag, hauv sb.: De musica, P., 1923; Finagin A. V., Form as a value concept, in: “De musica”, vol. 1, L., 1925; ib. Konyus G. E., Metrotectonic daws teeb meem ntawm daim ntawv suab paj nruag …, “Musical Culture”, 1924, No 1; nws tus kheej, Kev thuam ntawm kev tshawb xav ib txwm nyob hauv kev ua suab paj nruag, M., 1932; nws tus kheej, Metrotectonic kawm txog suab paj nruag daim ntawv, M., 1933; nws, Scientific substantiation ntawm suab paj nruag syntax, M., 1935; Ivanov-Boretsky M. V., Primitive musical art, M., 1925, 1929; Losev A. F., Music as a subject of logic, M., 1927; nws tus kheej, Dialectics of Artistic Form, M., 1927; his, Keeb kwm ntawm Ancient Aesthetics, vol. 1–6, M., 1963–80; Zuckerman V. A., Nyob rau hauv zajlus thiab suab paj nruas lus ntawm lub epic opera "Sadko", "SM", 1933, Tsis muaj 3; nws, "Kamarinskaya" los ntawm Glinka thiab nws cov kab lig kev cai hauv Lavxias teb sab suab paj nruag, M., 1957; nws, Suab paj nruag hom thiab lub hauv paus ntawm cov ntaub ntawv suab paj nruag, M., 1964; nws tib yam, Kev tsom xam ntawm kev ua suab paj nruag. Phau ntawv, M., 1967 (joint. nrog L. A. Mazel); nws, Musical-Theoretical Essays thiab Etudes, vol. 1–2, M., 1970–75; nws tib yam, Kev tsom xam ntawm kev ua suab paj nruag. Variational form, M., 1974; Katuar G. L., Suab paj nruag form, part. 1–2, M., 1934–36; Mazel L. A., Fantasia f-moll Chopin. Cov kev paub ntawm kev tsom xam, M., 1937, tib yam, hauv nws phau ntawv: Kev Tshawb Fawb Txog Chopin, M., 1971; nws tus kheej, Structure of music works, M., 1960, 1979; nws, Ib co nta ntawm cov muaj pes tsawg leeg nyob rau hauv dawb daim ntawv ntawm Chopin, nyob rau hauv Sat: Fryderyk Chopin, M., 1960; nws, Cov lus nug ntawm kev tshuaj ntsuam suab paj nruag …, M., 1978; Skrebkov S. S., Polyphonic Analysis, M. – L., 1940; nws tus kheej, Kev Ntsuam Xyuas ntawm kev ua suab paj nruag, M., 1958; nws, Artistic hauv paus ntsiab lus ntawm cov suab paj nruag, M., 1973; Protopopov V. V., Complex (composite) forms of music works, M., 1941; nws tus kheej, Variations nyob rau hauv Lavxias teb sab classical opera, M., 1957; nws tus kheej, Ntshai ntawm Variations hauv Sonata Form, “SM”, 1959, No 11; nws, Variation method of development of thematism in Chopin's music, in Sat: Fryderyk Chopin, M., 1960; nws tus kheej, Contrasting Composite Musical Forms, “SM”, 1962, No 9; nws, keeb kwm ntawm polyphony nyob rau hauv nws cov phenomena tseem ceeb tshaj plaws, (ch. 1–2), M., 1962–65; nws tus kheej, Beethoven's Principles of Musical Form, M., 1970; nws, Sketches los ntawm keeb kwm ntawm cov ntaub ntawv instrumental ntawm 1979th - thaum ntxov xyoo pua XNUMX, M., XNUMX; Bogatyrev S. S., Ob chav canon, M. – L., 1947; nws, Reversible counterpoint, M., 1960; Sposobin I. V., Musical form, M. – L., 1947; Butskoy A. K., Tus qauv ntawm kev ua suab paj nruag, L. — M., 1948; Livanova T. N., Suab paj nruag dramaturgy I. C. Bach thiab nws cov keeb kwm kev sib txuas, ch. 1 ,M. – L., 1948; nws tus kheej, loj muaj pes tsawg leeg thaum lub sij hawm ntawm kuv. C. Bach, hauv Sat: Cov Lus Nug ntawm Musicology, vol. 2, M., 1955; ib. P. THIAB. Chaikovsky. Hais txog composer txuj ci, M., 1952; Ryzhkin I. Ya., Kev sib raug zoo ntawm cov duab hauv ib daim suab paj nruag thiab kev faib tawm ntawm cov ntawv hu ua "suab paj nruag", hauv Sat: Cov Lus Nug ntawm Musicology, vol. 2, M., 1955; ib. Stolovych L. N., Ntawm cov khoom zoo nkauj ntawm kev muaj tiag, “Cov Lus Nug ntawm Kev Ntseeg”, 1956, Tsis Muaj 4; nws, Tus nqi ntawm cov qeb ntawm kev zoo nkauj thiab etymology ntawm cov lus denoting pawg no, nyob rau hauv: Qhov teeb meem ntawm tus nqi nyob rau hauv lub tswv yim, M. — L., 1966; Arzamanov F. G., S. THIAB. Taneev - tus kws qhia ntawv ntawm cov ntaub ntawv suab paj nruag, M., 1963; Tyulin Yu. N. (thiab lwm yam), Daim Ntawv Sau Nkauj, Moscow, 1965, 1974; Losev A. F., Shestakov V. P., Keeb kwm ntawm kev zoo nkauj pawg, M., 1965; Tarakanov M. E., Cov duab tshiab, tshiab txhais tau tias, “SM”, 1966, Tsis muaj 1-2; nws, New life of the old form, “SM”, 1968, No 6; Stolovich L., Goldentricht S., Zoo nkauj, nyob rau hauv ed.: Philosophical Encyclopedia, vol. 4, M., 1967; ib. Mazel L. A., Zuckerman V. A., Kev soj ntsuam ntawm kev ua suab paj nruag, M., 1967; Bobrovsky V. P., Ntawm qhov sib txawv ntawm cov haujlwm ntawm cov suab paj nruag, M., 1970; nws, Functional foundations of music form, M., 1978; Sokolov O. V., Science of suab paj nruas daim ntawv nyob rau hauv pre-revolutionary Russia, nyob rau hauv: Cov lus nug ntawm suab paj nruag txoj kev xav, vol. 2, M., 1970; ib. nws, Ntawm ob lub hauv paus ntsiab lus ntawm kev ua suab paj nruag, hauv Sat: On Music. Teeb meem kev tsom xam, M., 1974; Hegel G. AT. F., Science of Logic, vol. 2, M., 1971; ib. Denisov E. V., ruaj khov thiab cov khoom txawb ntawm cov suab paj nruag thiab lawv cov kev sib cuam tshuam, hauv: Cov teeb meem theoretical ntawm cov ntaub ntawv suab paj nruag thiab lwm yam, M., 1971; Korykhalova N. P., Kev ua suab paj nruag thiab "txoj kev ntawm nws lub neej", "SM", 1971, Tsis muaj 7; nws, Txhais cov suab paj nruag, L., 1979; Milka A., Qee cov lus nug ntawm kev txhim kho thiab kev tsim kho hauv chav suites ntawm I. C. Bach rau cello solo, nyob rau hauv: Theoretical teeb meem ntawm suab paj nruas cov ntaub ntawv thiab ib hom ntawv nyeem, M., 1971; Yusfin A. G., Nta ntawm kev tsim nyob rau hauv qee hom suab paj nruag pej xeem, ibid.; Stravinsky kuv. F., Dialogues, trans. los ntawm Lus Askiv, L., 1971; Tyukhtin B. C., Pawg “form” thiab “cov ntsiab lus…”, “Cov lus nug ntawm Philosophy”, 1971, Tsis muaj 10; Tic M. D., Ntawm lub thematic thiab compositional qauv ntawm suab paj nruag tej hauj lwm, trans. los ntawm Ukrainian, K., 1972; Harlap M. G., Folk-Lavxias teb sab suab paj nruas system thiab qhov teeb meem ntawm lub hauv paus chiv keeb ntawm suab paj nruag, nyob rau hauv sau: Early forms of art, M., 1972; Tyulin Yu. N., Ua haujlwm los ntawm Tchaikovsky. Kev txheeb xyuas tus qauv, M., 1973; Goryukhina H. A., Evolution of sonata form, K., 1970, 1973; nws tus kheej. Cov lus nug ntawm txoj kev xav ntawm cov suab paj nruag, hauv: Cov teeb meem ntawm kev ua suab paj nruag, vol. 3, M., 1975; ib. Medushevsky V. V., On the problem of semantic synthesis, “SM”, 1973, No 8; Brazhnikov M. V., Fedor Krestyanin - Lavxias teb sab chanter ntawm lub xyoo pua XNUMX (kev tshawb fawb), hauv phau ntawv: Fedor Krestyanin. Sthiry, M., 1974; Borev Yu. B., Aesthetics, M., 4975; Zakharova O., Suab paj nruag rhetoric ntawm lub thib XNUMX - thawj ib nrab ntawm lub xyoo pua XNUMX, nyob rau hauv sau: Teeb meem ntawm Suab paj nruag Science, vol. 3, M., 1975; ib. Zulumyan G. B., Ntawm cov lus nug ntawm kev tsim thiab kev loj hlob ntawm cov ntsiab lus ntawm suab paj nruas kos duab, nyob rau hauv: Cov lus nug ntawm lub tswv yim thiab keeb kwm ntawm kev zoo nkauj, vol. 9, Moscow, 1976; Kev tshuaj xyuas ntawm kev ua suab paj nruag. Abstract program. Nqe 2, M., 1977; Getselev B., Tsim cov yam ntxwv hauv kev ua haujlwm loj ntawm lub sijhawm thib ob ntawm xyoo 1977th, hauv kev sau: Teeb meem ntawm lub suab paj nruag ntawm lub xyoo pua XNUMX, Gorky, XNUMX; Saponov M. A., Mensural atherosclerosis thiab nws apogee nyob rau hauv kev ua hauj lwm ntawm Guillaume de Macaux, nyob rau hauv sau: Teeb meem ntawm suab paj nruas rheum, M., 1978; Aristotle, Metaphysics, Op. ua 4, vol.
Yu. H. Kholopov
