nruj style |
nruj style, nruj kev sau ntawv
Nem. klassische Vokalpoliphonie, lat. ecclesiastical ib cappella style
1) Keeb kwm. thiab artistic thiab stylistic. tswvyim hais txog kev hu nkauj. polyphonic music ntawm lub Renaissance (15th-16th centuries). Hauv qhov kev nkag siab no, lo lus siv los ntawm Ch. arr. nyob rau hauv Lavxias teb sab classical thiab owls. suab paj nruag. Lub tswvyim ntawm S. nrog. suav nrog ntau yam tshwm sim thiab tsis muaj ib thaj tsam kom meej meej: nws hais txog kev ua haujlwm ntawm cov kws sau ntawv los ntawm ntau lub tebchaws nyob sab Europe. cov tsev kawm ntawv, ua ntej ntawm tag nrho cov - mus rau Dutch, Roman, raws li zoo raws li Venetian, Spanish; mus rau S. thaj tsam ntawm nplooj ntawv. suav nrog cov suab paj nruag los ntawm Fabkis, German, Askiv, Czech, Polish composers. S. s. hu ua polyphonic style. prod. rau choir a cappella, tsim nyob rau hauv prof. ntau yam ntawm pawg ntseeg (ch. arr. Catholic) thiab, rau qhov tsawg dua, suab paj nruag secular. Qhov tseem ceeb tshaj plaws thiab loj tshaj ntawm cov hom ntawm S. s. muaj ib pawg (thawj nyob rau hauv European suab paj nruag txhais tau tias ib tug cyclic daim ntawv) thiab ib tug motet (ntawm sab ntsuj plig thiab secular ntawv); sab ntsuj plig thiab secular polyphonic compositions tau tsim nyob rau hauv ntau. nkauj, madrigals (feem ntau nyob rau hauv lyrical ntawv). Epoch S. s. muab tso rau pem hauv ntej ntau tus masters zoo, cov uas muaj ib txoj hauj lwm tshwj xeeb yog nyob los ntawm Josquin Despres, O. Lasso thiab Palestrina. Cov hauj lwm ntawm cov kws sau ntawv sau txog qhov zoo nkauj. thiab keeb kwm thiab stylistic. suab paj nruag tiam sis. kos duab ntawm lawv lub sij hawm, thiab lawv cov keeb kwm yog suav tias yog nyob rau hauv keeb kwm ntawm suab paj nruag raws li ib tug classic ntawm lub era ntawm S. nrog. Qhov tshwm sim ntawm txoj kev loj hlob ntawm tag nrho cov keeb kwm era - kev ua hauj lwm ntawm Josquin Despres, Lasso thiab Palestina, cim thawj flowering ntawm cov kos duab ntawm polyphony (cov hauj lwm ntawm JS Bach yog nws thib ob culmination twb nyob rau hauv lub dawb style).
Rau qhov piv txwv ntawm S. s. concentration thiab contemplation yog ib txwm, ntawm no tus khiav ntawm sublime, txawm abstract xav yog tso tawm kom pom; los ntawm kev sib cav sib ceg, kev xav ntawm kev sib cav ntawm cov suab lus tsis sib haum xeeb, lub suab ntshiab thiab sib npaug tshwm sim, qhov twg nthuav dav, kev ua yeeb yam, cov yam ntxwv ntawm kev kos duab tom qab, tsis pom qhov chaw. contrasts thiab climaxes. Kev qhia ntawm tus kheej lub siab xav tsis yog tus yam ntxwv ntawm S. s.: nws cov suab paj nruag xav eschews txhua yam hloov pauv, random, subjective; nyob rau hauv nws xam qhov seem txav, lub universal, tshem ntawm mundane lub neej txhua hnub, yog qhia, uniting tag nrho cov tam sim no ntawm lub liturgy, universally tseem ceeb, lub hom phiaj. Nyob rau hauv cov kev txwv no, wok masters. cov polyphonies tau qhia ib tug neeg txawv txawv txawv - los ntawm hnyav, tuab khi ntawm J. Obrecht txoj kev coj ua rau lub siab txias-pob tshab ntawm Palestrina. Qhov no figurativeness undoubtedly prevails, tab sis nws tsis cais s los ntawm ib ncig ntawm S. lwm yam, secular ntsiab lus. Hloov maj mam ntxoov ntawm lyric. kev xav tau embodied nyob rau hauv ntau madrigals; cov kev kawm nyob rau hauv S. thaj tsam ntawm nplooj ntawv muaj ntau yam. polyphonic secular nkauj, playful los yog tu siab. S. s. - ib feem tseem ceeb ntawm humanistic. kab lis kev cai ntawm 15-16 centuries; Nyob rau hauv cov suab paj nruag ntawm cov qub masters, muaj ntau lub ntsiab lus ntawm kev sib cuag nrog cov kos duab ntawm lub Renaissance - nrog rau cov hauj lwm ntawm Petrarch, Ronsard thiab Raphael.
Aesthetic qhov zoo ntawm S.'s music. txhais tau hais tias siv nyob rau hauv nws yog txaus. Cov kws sau ntawv ntawm lub sijhawm ntawd tau paub meej hauv kev sib cav. art-tion, tsim cov khoom, saturated nrog cov feem ntau complex polyphonic. cov tswv yim, xws li, piv txwv li, rau-sided canon ntawm Josquin Despres, counterpoint nrog thiab tsis nres hauv qhov loj ntawm P. Mulu (saib No. 42 ua ed. 1 ntawm M. Ivanov-Boretsky's Musical-Historical Reader), thiab lwm yam. Rau kev cog lus rau lub laj thawj ntawm kev tsim kho, tom qab nce kev mloog zoo rau kev siv tshuab ntawm cov khoom sib xyaw, kev txaus siab ntawm cov tswv hauv qhov xwm txheej ntawm cov khoom siv, kev sim ntawm nws cov txuj ci. thiab nthuav tawm. cov sijhawm. Lub ntsiab kev ua tiav ntawm tus tswv ntawm lub era ntawm S. S., uas muaj keeb kwm ntev. lub ntsiab lus, – theem siab tshaj ntawm art-va imitation. Mastery ntawm imitation. cov txheej txheem, tsim kom muaj kev sib luag ntawm cov suab hauv pawg hu nkauj yog qhov tseem ceeb tshiab ntawm cov suab paj nruag ntawm S. s. piv nrog rau qhov kev thov ntawm Early Renaissance (ars nova), txawm hais tias tsis averse rau imitation, tab sis tseem qhia los ntawm Ch. sij hawm tuaj txog. ntau yam (feem ntau ostinato) cov ntaub ntawv ntawm lub cantus firmus, rhythmic. lub koom haum uas tau txiav txim siab rau lwm lub suab. Polyphonic kev ywj pheej ntawm lub suab, tsis yog ib txhij ntawm kev taw qhia nyob rau hauv sib txawv npe ntawm pawg hu nkauj. ntau yam, tus yam ntxwv ntim ntawm lub suab - cov phenomena yog nyob rau hauv ib tug tej yam zoo xws li qhib lub foundations nyob rau hauv painting. Masters S. s. tsim tag nrho cov ntaub ntawv ntawm imitation thiab lub canon ntawm 1st thiab 2nd pawg (lawv cov compositions yog dominated los ntawm stretta kev nthuav qhia, uas yog, canonical imitation). Nyob rau hauv lub suab paj nruag prod. nrhiav qhov chaw rau ob lub taub hau. thiab polygon. canons nrog thiab tsis pub dawb contrapunctuating nrog lub suab, imitations thiab canons nrog ob (los yog ntau tshaj) propostes, endless canons, canonical. sequences (piv txwv li, "Canonical Mass" ntawm Palestrina), piv txwv li, yuav luag tag nrho cov ntaub ntawv uas tom qab nkag mus, thaum lub sij hawm hloov ntawm S. nrog. era ntawm kev sau ntawv dawb, nyob rau hauv lub siab tshaj imitation. fugue puab. Masters S. s. siv txhua txoj hauv kev los hloov polyphonic. cov ntsiab lus: nce, txo, ncig, txav thiab lawv decomp. kev sib txuas ua ke. Ib qho ntawm lawv qhov kev ua tiav tseem ceeb tshaj plaws yog kev txhim kho ntawm ntau hom kev sib tw nyuaj thiab kev siv nws cov cai rau canonical. cov ntaub ntawv (piv txwv li, hauv polygonal canons nrog cov lus qhia sib txawv ntawm lub suab nkag). Lwm qhov kev tshawb pom ntawm cov qub masters ntawm polyphony yuav tsum muaj xws li lub hauv paus ntsiab lus ntawm complementarity (melodic-rhythmic complementarity ntawm contrapuntal suab), raws li zoo raws li txoj kev ntawm cadence, raws li zoo raws li kev zam (ntau precisely, npog) ntawm cadences nyob rau hauv nruab nrab ntawm muses. kev tsim kho. Music ntawm tus tswv ntawm S. s. muaj ntau qib ntawm polyphony. saturation, thiab composers tau txawj ntse diversify lub suab nyob rau hauv loj cov ntaub ntawv nrog kev pab los ntawm kev hloov pauv hloov ntawm nruj canonical. expositions nrog ntu raws li qhov tsis raug imitations, ntawm cov suab lus ywj pheej, thiab thaum kawg nrog cov seem uas cov suab uas tsim polyphonic. kev ntxhib los mos, txav los ntawm kev sau ntawv ntawm lub sijhawm sib npaug.
Hom kev sib haum xeeb. ua ke hauv S. suab paj nruag nrog. characterized li full-sounding, consonant-trisound. Kev siv cov dissonant ncua sij hawm tsuas yog nyob ntawm cov consonant ones yog ib qho tseem ceeb tshaj plaws ntawm S. s.: feem ntau, dissonance tshwm sim los ntawm kev siv dhau, auxiliary suab los yog qeeb, uas feem ntau yuav daws tau yav tom ntej. (dawb noj dissonances tseem tsis tshua muaj nrog kev txav ntawm lub sijhawm luv, tshwj xeeb tshaj yog nyob rau hauv cadences). Yog li ntawd, nyob rau hauv lub suab paj nruag ntawm S. s. dissonance yog ib txwm nyob ib puag ncig ntawm consonant harmonies. Cov chords tsim nyob rau hauv cov ntaub ntawv polyphonic tsis raug rau kev sib txuas ua haujlwm, piv txwv li, txhua chord tuaj yeem ua raws li lwm tus hauv tib lub diatonic. qhov system. Cov kev taw qhia, qhov tseeb ntawm gravitation nyob rau hauv succession ntawm consonances tshwm sim tsuas yog nyob rau hauv cadences (ntawm txawv cov kauj ruam).
Music S. s. tso siab rau ib qho system ntawm natural modes (saib hom). Muses. txoj kev xav ntawm lub sijhawm ntawd txawv ntawm thawj 8, tom qab 12 frets; Hauv kev xyaum, cov kws sau ntawv siv 5 hom: Dorian, Phrygian, Mixolydian, nrog rau Ionian thiab Aeolian. Ob qhov kawg tau kho los ntawm txoj kev xav tom qab tshaj li lwm tus (hauv kev kho mob "Dodecachordon" los ntawm Glarean, 1547), txawm hais tias lawv cov kev cuam tshuam rau lwm hom yog tas li, nquag thiab tom qab ntawd coj mus rau crystallization ntawm qhov loj thiab me modal moods. . Cov frets tau siv nyob rau hauv ob txoj hauj lwm: lub fret nyob rau hauv lub hauv paus txoj hauj lwm (Dorian d, Phrygian e, Mixolydian G, Ionian C, Aeolian a) thiab lub fret transposed ib tug plaub nce los yog tsib down (Dorian g, Phrygian a, thiab lwm yam. ) nrog kev pab los ntawm ib lub tiaj tus ntawm tus yuam sij - tsuas yog siv tas li kos npe. Tsis tas li ntawd, nyob rau hauv kev xyaum, choirmasters, raws li lub peev xwm ntawm cov neeg ua yeeb yam, transposed compositions los ntawm ib tug thib ob los yog ib tug thib peb nce los yog down. Cov kev xav dav dav txog qhov tsis muaj peev xwm diatonicity hauv suab paj nruag S. s. (tej zaum yog vim qhov tseeb tias qhov xwm txheej tsis sib xws tsis tau sau tawm) yog qhov tsis raug: hauv kev hu nkauj, ntau qhov xwm txheej ntawm chromatic tau raug cai. kauj ruam hloov. Yog li, nyob rau hauv cov qauv ntawm ib tug me mus ob peb vas, rau lub stability ntawm lub suab, qhov thib peb xaus ib txwm sawv. chord; nyob rau hauv Dorian thiab Mixolydian hom, qib XNUMX tau sawv hauv qhov kev sib tw, thiab hauv Aeolian kuj yog qib XNUMX (qhov qhib lub suab ntawm Phrygian hom feem ntau tsis nce, tab sis XNUMXnd degree tau nce mus txog qhov loj thib peb hauv qhov kawg chord. thaum lub sij hawm ascending zog). Lub suab h feem ntau hloov mus rau b nyob rau hauv lub downward zog, uas yog lub Dorian thiab Lydian hom, qhov twg xws li ib tug kev hloov yog ib qho tseem ceeb hloov mus rau hauv transposed Aeolian thiab Ionian; lub suab h (lossis f), yog tias nws ua haujlwm pab, tau hloov los ntawm lub suab b (los yog fis) kom tsis txhob plam tritone sonority hauv suab paj nruag. raws li hom f – g – a – h(b) – a or h – a – g – f (fis) – g. Yog li ntawd, ib yam dab tsi txawv txawv rau niaj hnub no yooj yim tshwm sim. hnov qhov sib xyaw ntawm qhov loj thiab me thib peb hauv Mixolydian hom, nrog rau cov npe (tshwj xeeb tshaj yog nyob rau hauv cadences).
Feem ntau ntawm cov khoom siv S. s. npaj rau pawg hu nkauj cappella (cov tub hluas thiab cov txiv neej hu nkauj; poj niam tsis raug tso cai koom nrog pawg hu nkauj los ntawm lub Koom Txoos Catholic). Cov nkauj hu nkauj cappella yog ib qho kev ua yeeb yam uas zoo sib xws rau cov ntsiab lus ntawm S.'s suab paj nruag. thiab zoo tshaj plaws yoog kom pom ib qho twg, txawm tias qhov nyuaj tshaj plaws polyphonic. composer lub hom phiaj. Masters ntawm lub era ntawm S. nrog. (rau feem ntau, cov choristers thiab choirmasters lawv tus kheej) masterfully owned express. txoj kev hu nkauj. Kev kos duab ntawm kev tso suab hauv chord los tsim kom muaj qhov tshwj xeeb sib luag thiab "purity" ntawm lub suab, kev siv cov kev sib txawv ntawm cov npe sib txawv ntawm cov suab, ntau hom kev sib txawv ntawm "tig" thiab "tig" suab, cov txheej txheem hla. thiab timbre variation nyob rau hauv ntau rooj plaub yog ua ke nrog ib tug picturesque txhais lus ntawm lub hu nkauj (piv txwv li ., nyob rau hauv lub nto moo 8-lub suab madrigal "Echo" los ntawm Lasso) thiab txawm ib hom ntawv sawv cev (piv txwv li, nyob rau hauv Lasso's polyphonic nkauj). Composers S. s. lawv tau nto moo rau lawv lub peev xwm los sau cov nkauj zoo nkauj ntau pawg hu nkauj (36-lub taub hau canon ntaus nqi rau J. Okegem tseem yog qhov tshwj xeeb); Hauv lawv cov khoom siv ntau zaus siv 5 lub suab (feem ntau nrog kev sib cais ntawm lub suab siab hauv CL los ntawm pawg hu nkauj - tenor nyob rau hauv ib tug txiv neej, ib tug soprano, ntau precisely ib tug treble, nyob rau hauv ib tug tub hu nkauj). Choral 2- thiab 3-lub suab feem ntau tau siv los ntxoov ntxoo ntau dua (plaub mus rau yim lub suab) kev sau ntawv (saib, piv txwv li, Benedictus hauv pawg). Masters S. s. (tshwj xeeb, Dutch, Venetian) tso cai rau kev koom tes ntawm muses. cov cuab yeej hauv kev ua haujlwm ntawm lawv cov polygonal. wok ua. ua haujlwm. Ntau ntawm lawv (Izak, Josquin Despres, Lasso, thiab lwm yam) tsim suab paj nruag tshwj xeeb rau instr. pawg. Txawm li cas los xij, instrumentalism li no yog ib qho tseem ceeb ntawm keeb kwm kev ua tiav hauv suab paj nruag ntawm lub sijhawm sau ntawv dawb.
Polyphony S. nrog. yog raws li qhov nruab nrab thematism, thiab lub tswv yim ntawm "polyphonic ntsiab" raws li kev thesis, raws li lub suab nkauj kho kom raug tsim, tsis paub: tus kheej ntawm intonations yog pom nyob rau hauv tus txheej txheem ntawm polyphonic. suab paj nruag kev loj hlob. Melodich. tsim nyog S. nrog. - Gregorian chant (cf. Gregorian chant) - thoob plaws hauv keeb kwm ntawm pawg ntseeg. suab paj nruag raug rau lub zog ntawm Nar. kev hu nkauj. Kev siv Nar. nkauj raws li cantus firmus yog ib qho tshwm sim, thiab cov neeg sau ntawm ntau haiv neeg - Italians, Dutch, Czechs, Poles - feem ntau xaiv rau polyphonic. ua cov suab nkauj ntawm nws cov neeg. Qee cov nkauj nrov tshwj xeeb tau rov siv los ntawm cov kws sau ntawv sib txawv: piv txwv li, pawg neeg tau sau rau zaj nkauj L'homme armé los ntawm Obrecht, G. Dufay, Ockeghem, Josquin Despres, Palestrina thiab lwm yam. Cov yam ntxwv tshwj xeeb ntawm suab paj nruag thiab metrorhythm hauv suab paj nruag S. nrog. feem ntau txiav txim siab los ntawm nws lub suab-choral xwm. Composers-polyphonists ua tib zoo tshem tawm ntawm lawv cov khoom txhua yam uas tuaj yeem cuam tshuam nrog xwm. kev txav ntawm lub suab, kev xa mus tas li ntawm cov kab melodic, txhua yam uas zoo li ntse heev, muaj peev xwm kos xim rau cov ntsiab lus, kom paub meej. Cov ntsiab lus ntawm cov suab paj nruag yog du, qee zaum lawv muaj lub sijhawm ntawm qhov xwm txheej tsis zoo (piv txwv li, lub suab rov hais dua ob peb zaug uake). Nyob rau hauv melodic tsis muaj jumps nyob rau hauv cov kab rau hauv nyuaj-rau-tone dissonant thiab dav intervals; Cov kev txav mus los ua ntej (tsis muaj kev txav mus rau chromatic semitone; chromatisms pom, piv txwv li, hauv madrigal Solo e pensoso los ntawm L. Marenzio ntawm Petrarch cov paj huam, muab rau hauv anthology los ntawm A. Schering (Schering A., Geschichte der Musik hauv Beispielen, 1931, 1954), coj txoj haujlwm no dhau S. c), thiab dhia - tam sim ntawd lossis nyob deb - yog sib npaug los ntawm kev txav mus rau qhov sib txawv. hom suab paj nruag. kev txav - soaring, ci culminations yog txawv rau nws. Rau cov koom haum sib dhos tsis yog feem ntau nyob ib sab ntawm lub suab uas txawv ntawm lub sijhawm, piv txwv li. yim thiab brevis; Txhawm rau kom ua tiav qhov sib npaug ntawm ob daim ntawv ligated, qhov thib ob feem ntau yog sib npaug rau thawj lossis luv dua nws los ntawm ib nrab (tab sis tsis yog plaub zaug). dhia hauv melodic. kab ntau dua ntawm cov ntawv sau ntev (brevis, tag nrho, ib nrab); Cov ntawv sau luv luv (cov ntawv sau peb lub hlis twg, cov ntawv thib yim) feem ntau yog siv rau hauv cov lus tsa suab. Qhov kev txav ntawm cov ntawv me me feem ntau xaus nrog "dawb" daim ntawv ntawm lub sijhawm muaj zog lossis "dawb" daim ntawv, uas tau muab coj los ua syncopation (thaum lub sijhawm tsis muaj zog). Melodich. kev tsim kho yog tsim (nyob ntawm cov ntawv nyeem) los ntawm qhov sib lawv liag ntawm kab lus decomp. ntev, yog li suab paj nruag tsis yog tus yam ntxwv ntawm squareness, tab sis nws cov metric. lub pulsation zoo nkaus li smoothed thiab txawm amorphous (prod. C. nrog. tau kaw thiab luam tawm yam tsis muaj barlines thiab tsuas yog los ntawm lub suab, tsis muaj ntaub ntawv hauv cov qhab nia). Qhov no yog compensated los ntawm lub suab nrov. autonomy ntawm votes, nyob rau hauv otd. rooj plaub ntawm polymetry mus txog qib (tshwj xeeb tshaj yog, nyob rau hauv lub rhythmically bold Op. Josken Depre). Cov ntaub ntawv tseeb txog lub tempo hauv suab paj nruag S. nrog. 
= 60 MM = 112).
Nyob rau hauv lub suab paj nruag S. nrog. Cov lus qhia thiab kev coj ua ua lub luag haujlwm tseem ceeb tshaj plaws hauv kev tsim; ntawm lub hauv paus no, deployed polyphonics tau tsim. ua hauj lwm. Hauv kev ua haujlwm ntawm masters S. nrog. ntau muses tau tsim. cov ntaub ntawv uas tsis qiv lawv tus kheej rau typification, uas yog ib txwm, piv txwv li, rau cov ntaub ntawv nyob rau hauv lub suab paj nruag ntawm Viennese classical tsev kawm ntawv. Cov ntaub ntawv ntawm lub suab polyphony nyob rau hauv feem ntau cov ntsiab lus yog muab faib mus rau hauv cov uas lub cantus firmus yog siv thiab cov nyob qhov twg nws tsis yog. AT. AT. Protopopov suav tias yog qhov tseem ceeb tshaj plaws hauv cov txheej txheem ntawm cov ntawv S. nrog. variational txoj cai thiab distinguishes cov nram qab no polyphonic. cov ntaub ntawv: 1) ostinato hom, 2) tsim raws li hom germination ntawm motifs, 3) strophic. Hauv qhov thib 1, daim ntawv yog raws li kev rov ua dua ntawm cantus firmus (keeb kwm los ntawm polyphonic. processing couplet nar. nkauj); contrapuntal suab yog ntxiv rau cov suab paj nruag ostinato, uas tuaj yeem rov ua dua nyob rau hauv txoj kab ntsug, hla hauv kev ncig, txo qis, thiab lwm yam. n (eg Duo rau ntses bass thaj tsam thiab tenor Lasso, Sobr. vol., ib. 1). Ntau yam haujlwm, sau rau hauv hom 2nd, sawv cev rau kev hloov pauv ntawm tib lub ntsiab lus nrog kev siv ntau yam kev coj ua, cov suab tsis sib haum, teeb meem ntawm kev ntxhib los mos raws li lub tswv yim: a - a1 - b - a2 - c .... Vim lub fluidity ntawm kev hloov pauv (mismatch of cadences in different voices, mismatch of upper and low climaxes), ciam teb ntawm variational constructions feem ntau ua fuzzy (piv txwv li, Kyrie los ntawm pawg "Aeterna Christi munera" Palestrina, Sobr. vol., ib. XIV; Kyrie los ntawm pawg "Pange lingua" los ntawm Josquin Despres, saib в кн.: Ambros A., «History of Music», Vol. 5 Ib., 1882, 1911, p. 80). Nyob rau hauv daim ntawv ntawm 3rd hom melodic. cov ntaub ntawv hloov pauv nyob ntawm cov ntawv nyeem raws li lub tswv yim: a – b – c – d … (prop. motet form), uas muab lub hauv paus los txhais daim ntawv raws li strophic. Lub suab nkauj ntawm cov ntu feem ntau tsis sib xws, feem ntau cuam tshuam, tab sis lawv cov qauv thiab cov qauv sib txawv. Daim ntawv ntau lub ntsiab lus ntawm motet qhia tib lub sijhawm. thiab thematic. kev rov ua dua tshiab, thiab kev cuam tshuam ntawm cov ntsiab lus tsim nyog los tsim kom muaj kev sib koom ua ke. duab (piv txwv li, lub npe nrov madrigal "Mori quasi il mio core" ntawm Palestrina, Sobr. vol., ib. XXVIII). Cov ntawv sib txawv feem ntau ua ke hauv ib qho haujlwm. Cov hauv paus ntsiab lus ntawm lawv lub koom haum tau ua lub hauv paus rau kev tshwm sim thiab kev loj hlob tom qab polyphonics. thiab homophonic cov ntaub ntawv; yog li, daim ntawv motet dhau mus rau hauv instr. suab paj nruag thiab tau siv nyob rau hauv lub canzone thiab tom qab ntawd nyob rau hauv lub fugue; pl. cov yam ntxwv ntawm cov ntaub ntawv ostinato yog qiv los ntawm ricercar (ib daim ntawv tsis muaj kev cuam tshuam, siv ntau yam kev hloov pauv ntawm lub ntsiab lus); repetitions ntawm qhov chaw nyob rau hauv pawg (Kyrie tom qab Christe eleison, Osanna tom qab Benedictus) tuaj yeem ua tus qauv ntawm daim ntawv rov ua peb ntu; polyphonic nkauj nrog ib tug couplet-variation qauv mus rau lub qauv ntawm rondo. Hauv kev tsim khoom C. nrog. Cov txheej txheem ntawm kev ua haujlwm sib txawv ntawm qhov chaw pib, uas tau tshwm sim tag nrho hauv classical.
Cov kws tshawb fawb tseem ceeb ntawm lub sijhawm sau ntawv nruj yog J. Tinctoris, G. Glarean, N. Vicentipo (1511-1572; saib nws phau ntawv: L'antica musica ridotta alla moderna prattica, 1555), J. Zarlino.
Qhov tseem ceeb tshaj plaws ua tiav ntawm tus tswv ntawm S. s. - polyphonic. kev ywj pheej ntawm lub suab, kev sib koom ua ke ntawm kev rov ua dua tshiab thiab rov ua dua tshiab hauv kev txhim kho suab paj nruag, qib siab ntawm kev txhim kho ntawm imitation thiab canonical. cov ntaub ntawv, cov txheej txheem ntawm complex counterpoint, siv ntau txoj kev ntawm transforming lub ntsiab, crystallization ntawm cadence hom kev kawm, thiab lwm yam., yog lub hauv paus rau suab paj nruag. art-va thiab khaws cia (ntawm qhov sib txawv intonation hauv paus) ntawm qhov tseem ceeb tseem ceeb rau txhua lub sijhawm tom ntej.
Mus txog lub siab tshaj plaws flowering nyob rau hauv lub thib ob ib nrab. Nyob rau hauv lub xyoo pua 2th, cov suab paj nruag ntawm kev sau ntawv nruj tau muab txoj hauv kev rau kev kos duab tshiab ntawm xyoo pua 16th. Masters ntawm cov qauv dawb (J. Frescobaldi, J. Legrenzi, I. Ya. Froberger thiab lwm tus) tau ua raws li kev muaj tswv yim. kev ua tiav ntawm cov qub polyphonists. Kev kos duab ntawm High Renaissance yog tshwm sim hauv kev ua haujlwm siab thiab majestic. JS Bach (eg, 17-ch. org. chorale “Aus tiefer Not”, BWV 6, 686-ch., with 7 accompanying bass voice, Credo No 8 from Mass in h-moll, 12-ch. cappella, BWV 8). WA Mozart tau paub zoo txog cov kev coj noj coj ua ntawm cov qub contrapuntalists, thiab tsis suav nrog kev cuam tshuam ntawm lawv cov kab lis kev cai, nws yog qhov nyuaj rau kev soj ntsuam xws li qhov tseem ceeb ze S. s. Nws cov masterpieces, zoo li qhov kawg ntawm symphony C-dur ("Jupiter"), qhov kawg ntawm lub quartet G-dur, K.-V. 229, Recordare los ntawm Requiem. Tsiaj txhu. nta ntawm lub suab paj nruag ntawm lub era ntawm S. nrog. ntawm lub hauv paus tshiab yog reborn nyob rau hauv sublimely contemplative Op. L. Beethoven ntawm lub sijhawm lig (tshwj xeeb, hauv Solemn Mass). Nyob rau hauv lub xyoo pua puv 387 ntau composers siv nruj contrapuntal. cov txheej txheem los tsim cov xim qub tshwj xeeb, thiab qee zaum - mystic. ntxoov ntxoo; kev ua koob tsheej. cov suab thiab cov yam ntxwv ntawm kev sau ntawv nruj yog rov tsim dua los ntawm R. Wagner hauv Parsifal, A. Bruckner hauv symphonies thiab choirs. sau ntawv, G. Fauré hauv Requiem, thiab lwm yam. Cov ntawv tso cai ntawm ntau lawm tshwm sim. qub masters (Palestrina, Lasso), lawv txoj kev kawm loj pib (A. Ambros). Los ntawm Lavxias teb sab musicians muaj kev txaus siab nyob rau hauv lub polyphony ntawm S. s. nthuav tawm los ntawm MI Glinka, NA Rimsky-Korsakov, GA Larosh; Tag nrho lub sijhawm nyob rau hauv kev kawm ntawm counterpoint tau ua los ntawm tej hauj lwm ntawm SI Taneev. Niaj hnub no, kev txaus siab rau cov suab paj nruag thaum ntxov tau nce ntau heev; nyob rau hauv lub USSR thiab txawv teb chaws, ib tug loj tus naj npawb ntawm cov ntaub ntawv uas muaj cov khoom. laus masters ntawm polyphony; music S. s. dhau los ua qhov khoom ntawm kev ua tib zoo kawm, nws tau suav nrog hauv repertoire ntawm cov pab pawg ua tau zoo tshaj plaws. Cov kws sau nkauj ntawm lub xyoo pua 19th Lawv siv ntau cov tswv yim pom los ntawm cov kws sau ntawv ntawm S. s. (tshwj xeeb, ntawm lub hauv paus dodecaphone); lub hwj chim ntawm kev ua hauj lwm ntawm cov laus contrapuntalists yog xav, piv txwv li, nyob rau hauv ib tug xov tooj ntawm Op. Yog Stravinsky ntawm lub sijhawm neoclassical thiab lig ("Symphony of Psalms", "Canticum sacrum"), hauv qee cov noog. composers.
2) Thawj feem ntawm cov tswv yim. polyphony chav kawm (German strenger Satz), fundamentally oriented rau kev ua hauj lwm ntawm composers ntawm lub 15th-16th centuries, ch. arr. ntawm kev ua haujlwm ntawm Palestrina. Hoob no qhia txog tej yam yooj yim thiab complex counterpoint, imitation, canon thiab fugue. kwv tij stylistic. kev sib sau ntawm lub suab paj nruag ntawm lub era ntawm S. nrog. tso cai rau koj los nthuav qhia cov ntsiab lus ntawm counterpoint nyob rau hauv daim ntawv ntawm ib tug kuj me me ntawm cov cai thiab cov qauv, thiab qhov yooj yim ntawm melodic harmonic. thiab suab paj nruag. cov cai ua rau S. s. qhov tsim nyog tshaj plaws rau kev kawm cov ntsiab lus ntawm polyphony. xav. Qhov tseem ceeb tshaj plaws rau pedagogical. kev xyaum muaj kev ua hauj lwm ntawm G. Tsarlino "Istitutioni harmoniche", raws li zoo raws li ib tug xov tooj ntawm tej hauj lwm los ntawm lwm yam muses. theorists ntawm lub xyoo pua 16th. Methodical lub hauv paus ntawm chav kawm ntawm polyphony S. s. tau txhais los ntawm I. Fuchs nyob rau hauv phau ntawv “Gradus ad Parnassum” (1725). Lub kaw lus ntawm kev tawm tsam tawm tsam tsim los ntawm Fuchs yog khaws cia hauv txhua qhov kev ua haujlwm tom ntej. guides, np. nyob rau hauv cov phau ntawv ntawm L. Cherubini, G. Bellerman, nyob rau hauv lub xyoo pua 20th. – K. Eppesen (Kph.-Lpz., 1930; last ed. – Lpz., 1971). Kev mloog zoo rau kev txhim kho ntawm S. txoj kev xav ntawm nplooj ntawv. muab Russian. kws ntaus nkauj; Piv txwv li, Tchaikovsky's Guide to the Practical Study of Harmony (1872) suav nrog ib tshooj uas tau mob siab rau lub ntsiab lus no. Thawj phau ntawv tshwj xeeb ntawm S. s. nyob rau hauv Russia. yog ib phau ntawv nyeem los ntawm L. Busler, luam tawm nyob rau hauv kev txhais lus ntawm SI Taneyev nyob rau hauv 1885. S. txoj kev qhia yog. Cov kws ntaus nkauj loj tau koom nrog - SI Taneev, AK Lyadov, RM Glier; pedagogical S. tus nqi nrog. sau los ntawm P. Hindemith, IF Stravinsky thiab lwm tus neeg sau. Sij hawm dhau mus, Fuchs cov txheej txheem ntawm kev tso tawm tsis ua raws li cov kev xav tau tsim los ntawm qhov xwm txheej ntawm qhov tsis sib xws (nws qhov kev thuam tau muab los ntawm E. Kurt hauv phau ntawv "Fundamentals of Linear Counterpoint"), thiab tom qab kev tshawb fawb. Taneyev cov kev tshawb fawb, qhov xav tau los hloov nws tau pom tseeb. Ib txoj kev tshiab ntawm kev qhia S. s., qhov twg lub ntsiab. kev saib xyuas yog them rau txoj kev kawm ntawm cov ntaub ntawv imitation thiab complex counterpoint nyob rau hauv polyphonic tej yam kev mob. polyphony, tsim owls. Cov kws tshawb fawb SS Bogatyrev, Kh. S. Kushnarev, GI Litinsky, VV Protopopov, thiab SS Skrebkov; sau ib tug xov tooj ntawm cov phau ntawv, xav txog kev saws nyob rau hauv lub Soviet. uch. cov tsev kawm ntawv, kev coj ua ntawm kev qhia S. s., nyob rau hauv kev tsim kho ntawm cov chav kawm rau-rogo, ob lub ntsiab lus sawv tawm: lub creation ntawm ib tug rational pedagogical. system tsom feem ntau ntawm cov tswv yim. mastering kev txawj sau ntawv (sawv cev, tshwj xeeb, hauv phau ntawv kawm ntawm GI Litinsky); ib chav kawm tsom rau kev ua tau zoo thiab theoretical. mastering nruj kev sau ntawv raws li kev kawm ntawm kos duab. cov qauv ntawm cov suab paj nruag ntawm 15th-16th centuries. (piv txwv li, nyob rau hauv cov phau ntawv ntawm TF Muller thiab SS Grigoriev, SA Pavlyuchenko).
References: Bulychev V. A., Suab paj nruag ntawm ib tug nruj style thiab classical lub sij hawm raws li ib tug kev kawm ntawm lub Moscow Symphony Chapel, M., 1909; Tanev S. I., Movable counterpoint of nruj sau ntawv, Leipzig, 1909, M., 1959; Sokolov H. A., Imitations on cantus firmus, L., 1928; Konyus G. E., Course of counterpoint of nruj sau in frets, M., 1930; Skrebkov C. S., Textbook of polyphony, M.-L., 1951, M., 1965; nws, Artistic hauv paus ntsiab lus ntawm cov suab paj nruag, M., 1973; Grigoriev S. S., Muller T. F., Phau ntawv ntawm polyphony, M., 1961, 1969; Pavlyuchenko S. A., Phau ntawv qhia ua piv txwv txog kev sau ntawv nruj, L., 1963; Protopopov V. V., Keeb kwm ntawm polyphony nyob rau hauv nws cov phenomena tseem ceeb tshaj plaws, (vol. 2) - Western European classics ntawm XVIII-XIX centuries, M., 1965; nws, Teeb meem ntawm daim ntawv hauv polyphonic tej hauj lwm ntawm nruj style, "SM", 1977, Tsis muaj 3; nws, Ntawm cov lus nug ntawm tsim nyob rau hauv polyphonic tej hauj lwm ntawm ib tug nruj style, nyob rau hauv phau ntawv: S. C. Scrapers. Cov ntawv thiab nco, M., 1979; Konen V. D., Etudes txog suab paj nruag txawv teb chaws, M., 1968, 1975; Ivanov-Boretsky M. V., Ntawm lub hauv paus ntawm cov suab paj nruag polyphonic, Proletarian Musician, 1929, No. 5, tib yam, hauv: Cov Lus Nug Txog Kev Tshawb Fawb, vol. 2, M., 1970; ib. Kushnarev X. S., O polyphony, M., 1971; Litinsky G. I., Kev tsim cov imitations ntawm kev sau ntawv nruj, M., 1971; Tyulin Yu. N., Natural and alteration modes, M., 1971; Stepanov A., Chugaev A., Polyphony, M., 1972; Milka A., Hais txog kev ua haujlwm hauv polyphony, hauv kev sau: Polyphony, M., 1975; Chugaev A., Qee qhov teeb meem ntawm kev qhia polyphony hauv lub tsev kawm suab paj nruag, ntu XNUMX. 1, Tsab ntawv nruj, M., 1976; Evdokimova Yu. K., Qhov Teeb Meem Ntawm Qhov Tseem Ceeb, “SM”, 1977, No 3; Kev soj ntsuam theoretical ntawm keeb kwm ntawm suab paj nruag. (Sb. Art.), M., 1978; Fraenov V. P., Counterpoint of nruj sau ntawv nyob rau hauv lub tsev kawm ntawv cov chav kawm ntawm polyphony, nyob rau hauv phau ntawv: Methodical sau ntawv ntawm suab paj nruag kev kawm, vol. 2, M., 1979; ib. Viсеntino N., Ancient music txo rau niaj hnub xyaum, Rome, 1555, Zarlino G., Istitutioni harmoniche, Venice, 1558, факсимиле в изд .: Monuments of music and music literature in facsimile, 2 ser. — Cov ntaub ntawv suab paj nruag, 1, N. Y., 1965; Artusy G. M., Art of counterpoint, 1-2, Venice, 1586-89, 1598; Bernardi S., Suab paj nruag qhov rooj uas thaum pib…, Venice, 1682; Berardi A., Harmonic cov ntaub ntawv, Bologna, 1687; Fux J. J., Gradus ad Parnassus, W., 1725 (English per. – TSIS TAU. Ib., 1943); Сcherubini L., Cours de contrepoint et de fugue, P., 1835; Bellermann H., Der Contrapunkt, V., 1862, 1901; Vubler L., Der Strenge Satz, V., 1877, 1905 (rus. ib. C. THIAB. Taneva - L. Busler, nruj style. Phau ntawv ntawm qhov yooj yim thiab complex counterpoint …, M., 1885, 1925); Kurth E., Grundlagen des linearen Kontrapunkts. Taw qhia rau cov qauv thiab cov txheej txheem ntawm Bach's melodic polyphony, Bern, 1917, 1956 (рус. ib. - Cov ntsiab lus ntawm linear counterpoint. Bach's melodic polyphony, nrog ib tug preface. thiab nyob rau hauv kev txiav txim. B. AT. Асафьева, M., 1931); Jeppesen К., Lub Palestrina style thiab dissonance, Lpz., 1925; его же, counterpoint, Kph., 1930, Lpz., 1935; Меrritt A., kaum rau-xyoo pua poliphony, Camb., 1939; Lang P, Suab paj nruag ntawm western civilization, N. Ib., 1942; Reese G., Suab paj nruag ntawm Renaissance, N. Ib., 1954; Chominski J.
VP Frayonov
