Seriality, serialism |
Cov ntsiab lus suab paj nruag

Seriality, serialism |

Pawg phau ntawv txhais lus
cov ntsiab lus thiab cov ntsiab lus

Fabkis musique serielle, German. Serielle Musik - serial, lossis serial, suab paj nruag

Ib tug ntawm ntau yam ntawm serial technology, uas ib tug series ntawm decomp. parameter, np. series ntawm pitches thiab atherosclerosis los yog pitches, atherosclerosis, dynamics, articulation, agogics thiab tempo. S. yuav tsum txawv ntawm polyseries (qhov twg ob los yog ntau tshaj series ntawm ib tug, feem ntau high-altitude, parameter yog siv) thiab los ntawm seriality (uas txhais tau hais tias siv cov txheej txheem serial nyob rau hauv lub dav dav, raws li zoo raws li cov txheej txheem ntawm tsuas yog ib tug siab. -altitude series). Ib qho piv txwv ntawm ib qho ntawm cov txheej txheem yooj yim tshaj plaws ntawm S.'s cov txheej txheem: kev ua tiav ntawm pitches yog tswj los ntawm ib qho kev xaiv los ntawm tus kws sau ntawv (pitch), thiab lub sij hawm ntawm lub suab yog tswj los ntawm ntau lub sij hawm dawb xaiv los yog muab los ntawm ib pitch series (piv txwv li, ib tug series ntawm lwm parameter). Yog li, ib tug series ntawm 12 pitches tuaj yeem hloov mus rau hauv 12 lub sijhawm - 7, 8, 6, 5, 9, 4, 3, 10, 2, 1, 11, 12, xav tias txhua tus lej qhia tus lej ntawm kaum rau. (yim, peb caug-seconds) hauv lub sijhawm muab:

Seriality, serialism |

Thaum lub suab nrov yog superimposed ntawm ib lub suab nrov, tsis yog ib qho, tab sis cov ntaub serial tshwm sim:

Seriality, serialism |

AG Schnittke, UA. Concerto No 2 for violin and orchestra.

S. sawv los ua ib qho kev txuas ntxiv ntawm cov ntsiab lus ntawm cov txheej txheem serial (high-pitched series) mus rau lwm yam tsis pub dawb: ntev, sau npe, articulation, timbre, thiab lwm yam. Nyob rau tib lub sijhawm, cov lus nug ntawm kev sib raug zoo ntawm cov tsis muaj tshwm sim nyob rau hauv ib tug. txoj kev tshiab: nyob rau hauv lub koom haum ntawm suab paj nruag. cov ntaub ntawv, lub luag hauj lwm ntawm cov zauv nce, cov zauv proportions nce (piv txwv li, nyob rau hauv lub thib 3 ib feem ntawm EV Denisov cantata "Lub Hnub ntawm lub Incas", lub thiaj li hu ua tus xov tooj yog siv - 6 lub suab ntawm lub series, 6 dynamic ntxoov. , 6 ib.). Muaj kev nyiam mus rau qhov zoo ib yam thiab tag nrho kev siv ntawm tag nrho cov ntau yam ntawm kev txhais tau tias ntawm txhua yam ntawm cov tsis los yog mus rau "interchromatic", piv txwv li mus rau lub merging ntawm txawv parameters - kev sib haum xeeb thiab timbre, suab thiab lub sij hawm (tom kawg yog xeeb raws li kev sau ntawv. ntawm cov qauv zauv, proportions; saib cov piv txwv saum toj no). K. Stockhausen muab tso rau pem hauv ntej lub tswv yim ntawm kev koom nrog 2 yam ntawm muses. lub sij hawm - microtime, sawv cev los ntawm lub suab ntawm lub suab, thiab macrotime, sawv cev los ntawm nws lub sij hawm, thiab raws li stretched ob qho tib si rau hauv ib kab, faib thaj tsam ntawm lub sij hawm mus rau "ntev octaves" (Dauernoktaven; suab octaves, qhov twg lub pitches yog. ntsig txog 2: 1, txuas ntxiv mus ntev octaves, qhov twg lub sijhawm muaj feem cuam tshuam tib yam). Kev hloov mus rau lub sij hawm loj dua qhia txog kev sib raug zoo uas tsim los rau hauv muses. daim ntawv (qhov twg qhov tshwm sim ntawm 2: 1 piv yog qhov piv ntawm squareness). Qhov txuas ntxiv ntawm lub hauv paus ntsiab lus ntawm seriality mus rau tag nrho cov tsis muaj suab paj nruag yog hu ua tag nrho symphony (ib qho piv txwv ntawm ntau lub suab paj nruag yog Stockhausen Pawg rau Peb Orchestras, 1957). Txawm li cas los xij, qhov kev txiav txim ntawm txawm tias tib lub koob hauv qhov sib txawv ntawm qhov sib txawv tsis pom zoo ib yam, yog li kev sib raug zoo ntawm cov kev sib raug zoo nrog ib leeg bh hloov tawm los ua cov ntawv tseeb, thiab cov koom haum nruj zuj zus ntawm cov kev txwv, tshwj xeeb tshaj yog nrog tag nrho S. Qhov tseeb txhais tau hais tias muaj kev phom sij loj zuj zus ntawm kev tsis sib haum xeeb thiab kev tsis sib haum xeeb, automatism ntawm cov txheej txheem muaj pes tsawg leeg, thiab poob ntawm tus kws sau ntawv lub suab tswj nws txoj haujlwm. P. Boulez ceeb toom tawm tsam "hloov ua haujlwm nrog lub koom haum." Tag Nrho S. txhais tau hais tias qhov kawg ntawm lub tswv yim qub heev ntawm cov koob thiab serialization, ua rau muaj kev hloov pauv tsis xav txog mus rau hauv thaj chaw ntawm cov suab paj nruag dawb, intuitive, qhib txoj hauv kev rau aleatorics thiab electronics (technical music; saib Electronic music).

Ib qho ntawm thawj qhov kev paub S. tuaj yeem suav tias yog hlua. trio los ntawm E. Golyshev (tshaj tawm xyoo 1925), qhov twg, ntxiv rau 12-tone complexes, siv lub suab nrov. kab. A. Webern tuaj rau lub tswv yim ntawm S., uas, txawm li cas los, tsis yog ib tug serialist nyob rau hauv lub ntsiab lus ntawm lo lus; nyob rau hauv ib tug xov tooj ntawm serial tej hauj lwm. nws siv complement. Organisation txhais tau tias – sau npe (piv txwv li, nyob rau hauv lub thib 1 ib feem ntawm lub symphony op. 21), dynamic-articulatory ("Variations" rau piano op. 27, 2nd part), rhythmic (quasi-series ntawm atherosclerosis 2, 2, 1 , 2 hauv "Variations" rau orchestra, op.30). Nco ntsoov thiab tsis tu ncua S. tau thov O. Messiaen hauv "4 kev kawm suab paj nruag" rau piano. (piv txwv li, hauv Fire Island II, No 4, 1950). Tsis tas li ntawd, Boulez tig mus rau S. ("Polyphony X" rau 18 cov twj paj nruag, 1951, "Structures", 1a, rau 2 fp., 1952), Stockhausen ("Cross Play" rau ib pawg ntawm cov twj paj nruag, 1952; "Counterpoints" rau ib pawg ntawm cov twj paj nruag, 1953; Pawg rau peb lub orchestras, 1957), L. Nono (Lub Rooj Sib Tham rau 24 instruments, 1955, cantata Interrupted Song, 1956), A. Pusser (Webern Memory Quintet, 1955), thiab lwm yam. nyob rau hauv ntau lawm owls. composers, piv txwv li. los ntawm Denisov (Tsis muaj 4 los ntawm lub suab voj voog "Italian Songs", 1964, Tsis muaj 3 los ntawm "5 Zaj Dab Neeg hais txog Mr. Keuner" rau lub suab thiab suab paj nruag, 1966), AA Pyart (2 ntu ntawm 1 thiab 2 th symphony, 1963 , 1966), AG Schnittke (“Music for chamber orchestra”, 1964; “Music for piano and chamber orchestra”, 1964; “Pianissimo” for orchestra, 1968).

References: Denisov EV, Dodecaphony thiab cov teeb meem ntawm cov txheej txheem niaj hnub sau, hauv: Suab paj nruag thiab Modernity, vol. 6, M., 1969; Shneerson GM, Serialism thiab aleatorics - "tus kheej ntawm kev sib txawv", "SM", 1971; tsis muaj 1; Stockhausen K., Weberns Konzert für 9 Instrumente op. 24, “Melos”, 1953, Jahrg. 20, H. 12, tib yam, hauv nws phau ntawv: Texte…, Bd l, Köln, (1963); nws tus kheej, Musik im Raum, nyob rau hauv phau ntawv: Darmstädter Beiträge zur neuen Musik, Mainz, 1959, (H.) 2; ntawm nws tus kheej, Kadenzrhythmik bei Mozart, ibid., 1961, (H.) 4 (Ukrainian translation – Stockhausen K., Rhythmichni kadansi los ntawm Mozart, in collection: Ukrainian musicology, v. 10, Kipv, 1975, p. 220-71 ); nws tus kheej, Arbeitsbericht 1952/53: Orientierung, hauv nws phau ntawv: Texte…, Bd 1, 1963; Gredinger P., Das Serielle, in Die Reihe, 1955, (H.) 1; Pousseur H., Zur Methodik, ibid., 1957, (H.) 3; Krenek E., Puas yog "Reihenmusik"? "NZfM", 1958, Jahrg. 119, H. 5, 8; nws tus kheej, Bericht über Versuche nyob rau hauv tag nrho determinierter Musik, “Darmstädter Beiträge”, 1958, (H.) 1; nws, Extents and limits of serial techniques “MQ”, 1960, v. 46, No 2. Ligeti G., Pierre Boulez: Entscheidung und Automatik in der Structure Ia, in Die Reihe, 1958, (N.) 4 of the same , Wandlungen der musikalischen Form, ibid., 1960, (H. ) 7; Nono L., Die Entwicklung der Reihentechnik, “Darmstädter Beiträge”, 1958, (H.) 1; Schnebel D., Karlheinz Stockhausen, in Die Reihe, 1958, (H.) 4; Eimert H., Die zweite Entwicklungsphase der Neuen Musik, Melos, 1960, Jahrg. 27, H. 12; Zeller HR, Mallarmé und das serielle Denken, nyob rau hauv Die Reihe, 11, (H.) 1960; Wolff Chr., Ber Form, ibid., 6, (H.) 1960; Buyez P., Die Musikdenken heute 7, Mainz – L. – P. – NY, (1); Kohoutek C., Novodobé skladebné teorie zbpadoevropské hudby, Praha, 1, nyob rau hauv lub npe: Novodobé skladebné smery n hudbl, Praha, 1963 (Lus txhais lus — Kohoutek Ts., Technique of Composition in Music of the 1962th, 1965, 1976). ; Stuckenschmidt HH, Zeitgenössische Techniken in der Musik, “SMz”, 1963, Jahrg. Xyoo 103; Westergaard P., Webern thiab "Tag nrho lub koom haum": kev tsom xam ntawm qhov thib ob txav ntawm Piano Variations, op. 27, “Perspectives of new music”, NY – Princeton, 1963 (v. 1, No 2); Heinemann R., Untersuchungen zur Rezeption der seriellen Musik, Regensburg, 1966; Deppert H., Studien zur Kompositionstechnik im instrumentalen Spätwerk Anton Weberns, (Darmstadt, 1972); Stephan R., Bber Schwierigkeiten der Bewertung und der Analyze neuester Musik, “Musica”, 1972, Jahrg 26, H. 3; Vogt H., Neue Musik seit 1945, Stuttg., (1972); Fuhrmann R., Pierre Boulez (1925), Structures 1 (1952), hauv Perspektiven neuer Musik, Mainz. (1974); Karkoschka E., Hat Webern seriell komponiert?, TsMz, 1975, H. 11; Oesch H., Pioniere der Zwölftontechnik, hauv Forum musicologicum, Bern, (XNUMX).

Yu. H. Kholopov

Sau ntawv cia Ncua