Sequence |

Laj Lat. sequentia, lit. - dab tsi raws li nram qab no, los ntawm lat. sequor - ua raws

1) Ib hom ntawv nruab nrab-xyoo pua. monody, ib zaj nkauj hu ua pawg tom qab Alleluia ua ntej nyeem Txoj Moo Zoo. Keeb kwm ntawm lo lus "S." txuam nrog cov kev cai los nthuav lub Alleluia chant, ntxiv rau nws ib tug jubilant jubilation (jubelus) ntawm cov vowels a – e – u – i – a (tshwj xeeb tshaj yog nyob rau hauv lub xeem ntawm lawv). Ib qho ntxiv jubilee (sequetur jubilatio), Ameslikas textless, tau tom qab lub npe S. Ua ib qho ntxig (xws li lub suab "cadenza"), S. yog hom kev taug kev. Qhov tshwj xeeb ntawm S., uas txawv nws los ntawm txoj kev ib txwm muaj, yog tias nws muaj kev ywj pheej. ntu uas ua cov haujlwm ntawm kev nthuav dav cov lus qhuab qhia dhau los. Kev loj hlob dhau ib-paus xyoo, jubilation-S. tau ntau yam duab. Muaj ob hom S.: 1st non-textual (tsis hu ua S.; conditionally - mus txog rau lub xyoo pua 9th), 2nd - nrog cov ntawv nyeem (los ntawm lub xyoo pua 9; ua tau S.). Cov tsos ntawm qhov ntxig-ib xyoos yog hais txog kwv yees li ntawm lub xyoo pua 4th, lub sijhawm ntawm kev hloov pauv ntawm cov ntseeg Vajtswv rau hauv ib lub xeev. kev ntseeg (hauv Byzantium nyob rau hauv Emperor Constantine); ces lub jubilee muaj ib tug zoo siab xyiv fab. Ntawm no, thawj zaug, hu nkauj (suab paj nruag) tau txais kev sab hauv. kev ywj pheej, tawm ntawm subordination rau cov lus hais (extramusical yam) thiab atherosclerosis, uas yog raws li kev seev cev. los yog taug kev. "Tus uas indulges nyob rau hauv jubilation tsis hais lus: qhov no yog lub suab ntawm tus ntsuj plig yaj nyob rau hauv kev xyiv fab ...," Augustine taw qhia. Daim ntawv C. nrog cov ntawv nyeem kis mus rau Tebchaws Europe hauv 2nd ib nrab. 9 nyob rau hauv. nyob rau hauv kev cuam tshuam ntawm Byzantine (thiab Bulgarian?) hu nkauj (raws li A. Gastue, 1911, hauv tes. C. muaj indications: graeca, bulgarica). S., tshwm sim los ntawm kev hloov ntawm cov ntawv nyeem rau hnub tseem ceeb. chant, kuj tau txais lub npe "prose" (raws li ib tug ntawm cov versions, lub sij hawm "prose" los ntawm inscription nyob rau hauv lub title pro sg = pro sequentia, piv txwv li. lus). e. "hloov ib ntus"; Fabkis pro seprose; Txawm li cas los xij, qhov kev piav qhia no tsis pom zoo nrog cov lus nquag sib npaug: prosa cum sequentia - "prose with a sequent", prosa ad sequentiam, sequentia cum prosa - ntawm no "prose" yog txhais raws li cov ntawv nyeem rau ib ntus). Kev nthuav dav ntawm jubilee melisma, tshwj xeeb tshaj yog hais txog melodic. pib, hu ua longissima melodia. Ib qho laj thawj uas ua rau hloov cov ntawv nyeem rau hnub tseem ceeb yog txhais tau tias. nyuaj nco txog "ntiaj teb ntev tshaj plaws". Tsim daim ntawv C. ntaus nqi rau ib tug hauj sam los ntawm lub monastery ntawm St. Gallen (hauv Switzerland, ze ntawm Lake Constance) Notker Zaika. Nyob rau hauv lub preface rau Phau Ntawv Nkauj Qhuas Vajtswv (Liber Ymnorum, c. 860-887), Notker nws tus kheej qhia txog keeb kwm ntawm S. hom: ib tug hauj sam tuaj txog hauv St. Gallen los ntawm qhov kev puas tsuaj loj ntawm Jumiège (ntawm Seine, ze Rouen), uas tau tshaj tawm cov ntaub ntawv hais txog S. mus rau St. Gallenians. Ntawm cov lus qhia ntawm nws tus kws qhia ntawv, Iso Notker subtexted lub hnub tseem ceeb raws li cov lus hais. txoj cai (ib lub suab rau ib lub suab ntawm lub suab). Qhov no yog ib qho tseem ceeb ntawm kev qhia meej thiab kho qhov "ntev suab paj nruag ntev tshaj", piv txwv li vim yog txoj kev tseem ceeb ntawm suab paj nruag. kev sau ntawv tsis zoo tag nrho. Tom ntej no, Notker tau pib sau cov yeeb yaj kiab ntawm S. "nyob rau hauv imitation" ntawm lub chants ntawm hom no paub rau nws. Keeb kwm. qhov tseem ceeb ntawm txoj kev Notker yog lub tsev teev ntuj. suab paj nruag thiab cov neeg hu nkauj thawj zaug tau muaj lub sijhawm los tsim tus kheej tshiab. suab paj nruag (Nestler, 1962, p. 63).

(Tej zaum yuav muaj lwm yam txawv ntawm cov qauv C.)

Daim ntawv yog raws li ob nqes (bc, de, fg, …), cov kab uas yog raws nraim los yog kwv yees li ntawm qhov ntev (ib daim ntawv – ib lub suab), tej zaum muaj feem xyuam rau cov ntsiab lus; khub ntawm kab yog feem ntau contrasting. Qhov tseem ceeb tshaj plaws yog qhov kev sib txuas ntawm txhua qhov (lossis yuav luag tag nrho) qhov kawg ntawm Muses. kab - txawm nyob rau tib lub suab, los yog txawm kaw nrog cov zoo sib xws. kev hloov pauv.

Notker cov ntawv nyeem tsis sib dhos, uas yog ib qho ntawm thawj lub sijhawm hauv kev loj hlob ntawm S. (9th-10th centuries). Nyob rau hauv Notker's era, hu nkauj twb tau xyaum nyob rau hauv chorus, antiphonally (kuj nrog alternating suab ntawm cov tub thiab cov txiv neej) "kom pom kev pom kev pom zoo ntawm tag nrho cov nyob rau hauv kev hlub" (Durandus, 13th caug xyoo). S. tus qauv yog ib kauj ruam tseem ceeb hauv kev tsim suab paj nruag. kev xav (saib Nestler, 1962, pp. 65–66). Nrog rau liturgical S. kuj muaj extraliturgical. secular (hauv Latin; qee zaum nrog instr. accompaniment).

Tom qab ntawd S. tau muab faib ua 2 hom: sab hnub poob (Provence, sab qaum teb Fabkis, Askiv) thiab sab hnub tuaj (Lub Tebchaws Yelemees thiab Ltalis); ntawm cov qauv

Kubker. Ib ntus.

thawj polyphony kuj pom nyob rau hauv S. (S. Rex coeli domine nyob rau hauv Musica enchiriadis, cuaj caug xyoo). S. cuam tshuam txoj kev loj hlob ntawm qee yam kev coj noj coj ua (estampie, Leich). S.'s text ua rhymed. Qhov thib ob theem ntawm S.'s evolution pib nyob rau hauv lub xyoo pua 9th. (tus neeg sawv cev tseem ceeb yog tus sau ntawm nrov "prose" Adas los ntawm Parisian Abbey ntawm Saint-Victor). Nyob rau hauv daim ntawv, cov suab zoo sib xws mus rau ib zaj nkauj (ntxiv rau cov suab lus thiab cov lus sib dhos, muaj cov meter hauv nqe lus, cov qauv ntu ntu, thiab cov lus sib dhos). Txawm li cas los xij, lub suab nkauj ntawm zaj nkauj yog tib yam rau tag nrho cov stanzas, thiab hauv S. nws yog txuam nrog ob stanzas.

Lub stanza ntawm anthem feem ntau muaj 4 kab, thiab S. muaj 3; tsis zoo li lub suab paj nruag, S. yog npaj rau pawg, thiab tsis yog rau cov haujlwm. Lub sijhawm kawg ntawm txoj kev loj hlob ntawm S. (13-14 centuries) tau cim los ntawm kev muaj zog ntawm cov uas tsis yog liturgical. hmong-song genres. Decree of the Council of Trent (1545-63) los ntawm pawg ntseeg. Cov kev pabcuam raug ntiab tawm ntawm yuav luag txhua tus S., nrog rau kev zam ntawm plaub: Easter S. "Victimae paschali laudes" (ntawv nyeem, thiab tejzaum nws yog lub suab paj nruag - Vipo ntawm Burgundy, 1st ib nrab ntawm lub xyoo pua 11th; K. Parrish, J. Ole, p. 12-13, los ntawm cov suab paj nruag no, tej zaum los ntawm lub xyoo pua 13th, lub npe hu ua "Christus ist erstanden" originates); S. nyob rau lub tsiab peb caug ntawm Trinity “Veni sancte spiritus”, uas yog ntaus nqi rau S. Langton (d. 1228) los yog Pope Innocent III; S. rau lub tsiab peb caug ntawm tus Tswv lub cev “Lauda Sion Salvatorem” (cov ntawv nyeem los ntawm Thomas Aquinas, c. 1263; lub suab paj nruag yog keeb kwm txuam nrog cov ntawv ntawm lwm tus S. – “Laudes Crucis attolamus”, ntaus nqi rau Adas ntawm St. . Victor, uas yog siv los ntawm P. Hindemith nyob rau hauv lub opera "Artist Mathis" thiab nyob rau hauv lub symphony ntawm tib lub npe); S. ntxov. 13 c ua. Doomsday Dies irae, ca. 1200? (raws li ib feem ntawm Requiem; raws li tshooj 1 ntawm phau ntawv ntawm tus yaj saub Zephaniah). Tom qab ntawd, tus thib tsib S. tau txais, nyob rau lub tsiab peb caug ntawm Xya Sorrows ntawm Mary - Stabat Mater, 2nd pem teb. 13 c ua. (Cov ntawv sau tsis paub: Bonaventure?, Jacopone da Todi?; suab paj nruag los ntawm D. Josiz – D. Jausions, d. 1868 lossis 1870).

Saib Notker.

2) Nyob rau hauv cov lus qhuab qhia ntawm S. kev sib haum xeeb (German Sequenze, Fabkis marche harmonique, kev vam meej, Italian progressione, lus Askiv sequence) - repetition ntawm melodic. motive los yog harmonic. turnover ntawm qhov sib txawv qhov siab (los ntawm ib kauj ruam sib txawv, nyob rau hauv ib tug txawv tus yuam sij), tom qab tam sim ntawd tom qab thawj conduction raws li nws tam sim ntawd txuas ntxiv. Feem ntau tag nrho cov sequence ntawm naz. S., thiab nws qhov chaw – txuas S. Lub hom phiaj ntawm harmonic S. feem ntau muaj ob los yog ntau tshaj. kev sib haum xeeb hauv kev ua haujlwm yooj yim. kev sib raug zoo. Lub caij nyoog uas qhov kev tsim kho pib raug hloov yog hu ua. S. kauj ruam (qhov kev hloov pauv feem ntau yog los ntawm ib qho thib ob, ib feem peb, plaub nqes lossis nce, ntau tsawg dua los ntawm lwm lub sijhawm; cov kauj ruam tuaj yeem hloov pauv, piv txwv li, thawj zaug los ntawm ib qho thib ob, tom qab ntawd los ntawm ib feem peb). Vim yog qhov tseem ceeb ntawm cov qhabnias kiv puag ncig hauv qhov loj-me tonal system, feem ntau muaj nqis S. nyob rau hauv vib nas this, qhov txuas uas muaj ob chords nyob rau hauv qis thib tsib (kuaj) piv. Nyob rau hauv xws li ib tug qhabnias (raws li VO Berkov - "golden") S. siv tag nrho cov degrees ntawm tonality nyob rau hauv mus down tsibths (nce plaub):

GF Handel. Suite g-moll rau harpsichord. Passacaglia.

S. nrog rau kev txav mus los hauv qib thib tsib (plagal) tsis tshua muaj (saib, piv txwv li, qhov kev hloov pauv thib 18 ntawm Rachmaninov's Rhapsody ntawm lub ntsiab lus ntawm Paganini, tuav 7-10: V-II, VI-III hauv Des-dur). S.'s essence yog cov linear thiab melodic txav, nyob rau hauv Krom nws cov ntsiab lus huab muaj lub ntsiab lus functional nqi; nyob rau hauv nruab nrab kev sib txuas ntawm S., kuj tsis paub meej functions predominate.

S. feem ntau yog cais raws li ob lub hauv paus ntsiab lus - raws li lawv txoj haujlwm hauv kev muaj pes tsawg leeg (intratonal - modulating) thiab raws li lawv cov k.-l. los ntawm lub genera ntawm lub suab system (diatonic – chromatic): I. Monotonal (los yog tonal; kuj ib leeg-system) – diatonic thiab chromatic (nrog rau deviations thiab theem nrab dominants, thiab lwm yam chromatism); II. Modulating (multi-system) - diatonic thiab chromatic. Ib lub suab chromatic (nrog kev sib txawv) ib ntus hauv ib lub sijhawm feem ntau hu ua modulating (raws li cov yuam sij cuam tshuam), uas tsis muaj tseeb (VO Verkov raug sau tseg tias "ib ntus nrog kev sib txawv yog tonal sequences"). Ntau yam qauv. hom S .: ib lub suab diatonic - "Lub Xya Hli" los ntawm "Lub Caij" los ntawm Tchaikovsky (bars 7-10); ib lub suab chromatic - taw qhia rau lub opera "Eugene Onegin" los ntawm Tchaikovsky (bars 1-2); modulating diatonic - prelude hauv d-moll los ntawm ntim I ntawm Bach's Well-Tempered Clavier (bars 2-3); modulating chromatic – txoj kev loj hlob ntawm I ib feem ntawm Beethoven lub 3rd symphony, tuav 178-187: c-cis-d; elaboration ntawm ntu I ntawm Tchaikovsky's 4th symphony, tuav 201-211: hea, adg. Kev hloov kho chromatic ntawm qhov tseeb ib ntus feem ntau yog hu ua. "cov saw tseem ceeb" (saib, piv txwv li, Martha's aria los ntawm kev ua yeeb yam thib plaub ntawm "Tus Tsar's Bride" los ntawm Rimsky-Korsakov, tus naj npawb 205, tuav 6-8), qhov chaw mos yog diatonic. Secondary dominants yog hloov los ntawm cov ntse chromatic sawv daws yuav ("alterative qhib tones"; saib Tyulin, 1966, p. 160; Sposobin, 1969, p. 23). Cov saw tseem ceeb tuaj yeem mus ob qho tib si hauv ib qho tseem ceeb (hauv ib lub sijhawm; piv txwv li, nyob rau hauv lub ntsiab lus ntawm Tchaikovsky's fantasy-overture "Romeo thiab Juliet"), los yog modulating (txhim kho qhov kawg ntawm Mozart's symphony hauv g-moll, bar 139–47, 126–32). Ntxiv rau cov qauv tseem ceeb rau S. kev faib tawm, lwm tus kuj tseem ceeb, piv txwv li. S. kev faib ua melodic. thiab chordal (tshwj xeeb, tej zaum yuav muaj qhov tsis sib haum xeeb ntawm cov hom suab paj nruag thiab chord S., mus ib txhij, piv txwv li, hauv C-dur prelude los ntawm Shostakovich's op. chordal - diatonic), mus rau qhov tseeb thiab ntau yam.

S. kuj tseem siv sab nraum qhov loj-me. Nyob rau hauv cov qauv symmetrical, kev rov ua raws li qhov tseem ceeb yog qhov tseem ceeb, feem ntau dhau los ua ib qho kev nthuav qhia ntawm cov qauv qauv (piv txwv li, ib leeg-system S. nyob rau hauv qhov chaw ntawm kev abduction Lyudmila los ntawm opera Ruslan thiab Lyudmila - suab.

hauv Stargazer solo los ntawm Golden Cockerel, tus lej 6, tuav 2-9 - chords

modulating multi-system S. nyob rau hauv lub 9th muaj nuj nqi. Sonata los ntawm Scriabin, tuav 15-19). Nyob rau hauv niaj hnub S. lub suab paj nruag yog enriched nrog tshiab chords (piv txwv li, lub polyharmonic modulating S. nyob rau hauv lub ntsiab lus ntawm kev sib txuas ntawm lub 6st ib feem ntawm lub 24th piano ntawm Prokofiev lub sonata, tuav 32-XNUMX).

Lub hauv paus ntsiab lus ntawm S. tuaj yeem tshwm sim nws tus kheej ntawm cov nplai sib txawv: qee zaum, S. mus txog qhov sib luag ntawm cov suab paj nruag. los yog harmonic. revolutions, tsim micro-C. (piv txwv li, "Gypsy Song" los ntawm Bizet's opera "Carmen" - melodic. S. yog ua ke nrog cov parallelism ntawm accompaniment chords - I-VII-VI-V; Presto hauv 1st sonata rau solo violin los ntawm JS Bach, tuav 9 - 11: I-IV, VII-III, VI-II, V; Intermezzo op. 119 Tsis muaj 1 hauv h-moll los ntawm Brahms, tuav 1-3: I-IV, VII-III; Brahms tig mus rau hauv parallelism). Hauv lwm qhov xwm txheej, lub hauv paus ntsiab lus ntawm S. txuas mus rau qhov rov ua dua ntawm kev tsim kho loj hauv cov yuam sij sib txawv ntawm qhov deb, ua rau macro-S. (raws li lub ntsiab lus ntawm BV Asafiev - "kev coj ua sib luag").

Lub ntsiab lus tseem ceeb ntawm S. lub hom phiaj yog los tsim cov txiaj ntsig ntawm txoj kev loj hlob, tshwj xeeb tshaj yog nyob rau hauv kev loj hlob, txuas qhov chaw (hauv Handel's g-moll passacaglia, S. yog txuam nrog qhov descending bass g - f - es - d yam ntxwv ntawm hom; qhov no hom S. kuj tuaj yeem pom hauv lwm yam haujlwm ntawm hom no).

S. raws li ib txoj hauv kev rov ua cov txheej txheem me me. units, thaj, yeej ib txwm muaj nyob rau hauv suab paj nruag. Nyob rau hauv ib qho ntawm Greek treatises (Anonymous Bellermann I, saib Najock D., Drei anonyme griechische Trackate über die Musik. Eine kommentierte Neuausgabe des Bellermannschen Anonymus, Göttingen, 1972) melodic. daim duab nrog lub sab sauv auxiliary. suab tau hais tseg (pom tseeb, rau kev kawm thiab kev siv lub hom phiaj) nyob rau hauv daim ntawv ntawm ob qhov txuas S. – h1 – cis2 – h1 cis2 – d2 – cis2 (tib yam yog nyob rau hauv Anonymous III, nyob rau hauv uas, zoo li S., lwm yam melodic. - nce "ntau txoj kev"). Qee zaum, S. pom nyob rau hauv Gregorian chant, piv txwv li. nyob rau hauv lub offertory Populum (V tones), v. 2:

S. yog qee zaum siv hauv suab paj nruag ntawm prof. suab paj nruag ntawm Nruab Nrab Hnub nyoog thiab Renaissance. Raws li daim ntawv tshwj xeeb ntawm kev rov ua dua, sequins yog siv los ntawm cov tswv ntawm Parisian tsev kawm ntawv (12th mus rau thaum ntxov 13th centuries); nyob rau hauv peb lub suab maj mam "Benedicta" S. nyob rau hauv cov txheej txheem ntawm lub suab pauv yuav siv sij hawm qhov chaw nyob rau hauv lub cev taw tes ntawm lub sustained qis suab (Yu. Khominsky, 1975, pp. 147-48). Nrog rau kev sib kis ntawm cov tshuab canonical tshwm sim thiab canonical. S. (“Patrem” los ntawm Bertolino ntawm Padua, bars 183-91; saib Khominsky Yu., 1975, pp. 396-397). Cov ntsiab cai ntawm nruj style polyphony ntawm 15th-16th centuries. (tshwj xeeb tshaj yog nyob rau hauv Palestrina) yog theej hais tawm tsam yooj yim repetitions thiab S. (thiab repetition ntawm ib tug txawv qhov siab nyob rau hauv no era yog feem ntau imitation); Txawm li cas los xij, S. tseem muaj nyob hauv Josquin Despres, J. Obrecht, N. Gombert (S. kuj tuaj yeem pom hauv Orlando Lasso, Palestrina). Nyob rau hauv theoretical S. cov kev sau ntawv feem ntau raug suav hais tias yog ib txoj hauv kev ntawm kev ua haujlwm ib ntus lossis ua kom pom lub suab ntawm monophonic (lossis polyphonic) hloov pauv ntawm ntau qib raws li kev coj noj coj ua qub "txoj cai"; saib, piv txwv li, “Ars cantus mensurabilis” los ntawm Franco of Cologne (13th century; Gerbert, Scriptores…, t. 3, p. 14a), “De musica mensurabili positio” los ntawm J. de Garlandia (Coussemaker, Scriptores…, t. 1, p. 108), “De cantu mensurabili” of Anonymus III (ibid., pp. 325b, 327a), etc.

S. nyob rau hauv ib tug tshiab kev txiav txim - raws li cov succession ntawm chords (tshwj xeeb tshaj yog nqis los nyob rau hauv thib tsib) - tau dhau los ua dav txij li thaum xyoo pua 17th.

References: 1) Kuznetsov KA, Introduction to the history of music, part 1, M. – Pg., 1923; Livanova TN, Keeb kwm ntawm Western European suab paj nruag txog 1789, M.-L., 1940; Gruber RI, Keeb kwm ntawm suab paj nruag kab lis kev cai, vol. 1, ntu 1. M.-L., 1941; nws tus kheej, General History of Music, part 1, M., 1956, 1965; Rosenshild KK, Keeb kwm ntawm lub suab paj nruag txawv teb chaws, vol. 1 – Kom txog rau thaum nruab nrab ntawm lub xyoo pua 18th, M., 1963; Wölf F., Lber die Lais, Sequenzen und Leiche, Heidelberg, 1; Schubiger A., ​​​Die Sängerschule St. Gallens von 1841. bis 8. Jahrhundert, Einsiedeln-NY, 12; Ambros AW, Geschichte der Musik, Bd 1858, Breslau, 2; Naumann E., Illustrierte Musikgeschichte, Lfg. 1864, Stuttg., 1 (Lavxias teb sab txhais – Hayman Em., An illustrated general history of music, vol. 1880, St. Petersburg, 1); Riemann H., Katechismus der Musikgeschichte, Tl 1897, Lpz., 2 Wagner, P., Einführung in die gregorianische Melodien, (Bd 1888), Freiburg, 2, Bd 1897, Lpz., 1928; Gastouy A., L'art grégorien, P., 1; Besseler H., Die Musik des Mittelalters und der Renaissance, Potsdam, 1895-3; Prunières H., Nouvelle histoire de la musique, pt 1921, P., 1911 Johner D., Wort und Ton im Choral, Lpz., 1931, 34; Steinen W. vd, Notker der Dichter und seine geistige Welt, Bd 1-1934, Bern, 1; Rarrish C, Ohl J., Masterpieces of music ua ntej 1937, NY, 1940, L., 1953 The Oxford History of Music, v. 1, L. – Oxf., 2, same, NY, 1948; Chominski JM, Historia harmonii thiab kontrapunktu, t. 1 Kr., 1750 (Ukrainian translation – Khominsky Y., History of Harmony and Counterpoint, vol. 1951, K., 1952); Nestler G., Geschichte der Musik, Gütersloh, 1975; Gagnepain V., La musigue français du moyen age et de la Renaissance, P., 2: Kohoutek C., Hudebni stylyz hlediska skladatele, Praha, 1932. 1973) Tyulin Yu. H., Qhia txog kev sib haum xeeb, M.–L., 1, Moscow, 1958; Sposobin IV, Lectures on the course of harmony, M., 1; Berkov VO, Shaping means of harmony, M., 1975. Saib kuj lit. nyob rau hauv tsab xov xwm Harmony.

Yu. N. Kholopov