Ọgụgụ |

site na lat. ihe atụ - nkọwapụta mpụga, onyonyo, onyonyo, ụzọ, agwa, ihe onwunwe

1) Otu njirimara nke ụda (melodic. F.) ma ọ bụ rhythmic. òkè, durations (rhythm. F.), na-emekarị ugboro ugboro ugboro ugboro.

2) Ihe atụ ihe atụ.

3) A dịtụ okokụre akụkụ nke ịgba egwú, wuru na ugboro ugboro ugboro ugboro nke ya àgwà choreographic. F., sonye na egwu site na nkọwa. rhythmic F.

4) Eserese. ngosipụta nke ụda na nkwụsịtụ nke akara nsọ nsọ; echiche ahụ jigidere ihe ịrịba ama egwu pụtara ruo n'ala nke mbụ. Narị afọ nke 1 (lee Spiess M., 18).

5) F. muz.-retorical - echiche eji ezo aka n'ọtụtụ muses. usoro mara na Middle Ages (na ọbụna tupu), ma nke aghọwo a e ji mara akụkụ nke muses. okwu naanị na con. 16 - 1st ala. Narị afọ nke 17 F. tụlere echiche nke egwu 17-18 narị afọ. na usoro echiche nke egwu nke oge ahụ dị ka ntụnyere kpọmkwem na ọnụ okwu. Nke a jikọtara ya na ịnyefe na tiori nke egwu (nke bụ German) nke echiche nke akụkụ ndị bụ isi nke oge ochie. nkwuputa okwu: ihe okike nke ihe eji ekwu okwu, nhazi ya na mmepe ya, icho mma na ikwu okwu. Nke ahụ. egwu bilitere. ikwu okwu. Ozizi nke F. dabere na akụkụ nke atọ nke nkwupụta okwu - ihe ndozi (de-coratio).

Echiche nke egwu egwu. F. yiri nke isi. echiche nke ikwu okwu. decoratio - gaa n'ụzọ na F. (lee akwụkwọ ntuziaka nke I. Burmeister, A. Kircher, M. Spies, I. Mattheson, na ndị ọzọ). Ka F. kwuru nkọwa. usoro (tumadi iche iche iche nke melodic na harmonic ntụgharị), "na-ahapụ a mfe ụdị nke mejupụtara" (Burmeister) na-eje ozi na welie expressiveness nke music. A na-enwekarị nkwuwa okwu. F. Aghọtara ụkpụrụ nke nkwuwapụta dị iche site na nke a na-anabatakarị na muses. nkwupụta okwu n'ụzọ dị iche iche: n'otu oge, nke a bụ ihe dị iche iche site na ụdị ngosi dị mfe, "na-adịghị mma", na nke ọzọ, site na iwu nke ederede siri ike, na nke atọ, site na kpochapụ. ụkpụrụ nke harmonic homophonic. ụlọ nkwakọba ihe. N'ozizi nke egwu egwu. Edekọwo ihe karịrị ụdị 80 nke F. (lee ndepụta na nkọwa nke F. n'akwụkwọ nke onye na-agụ egwú German GG Unter, 1941). Ọtụtụ n'ime ha ka ndị ọkà mmụta sayensị n'oge gara aga lere anya dị ka ihe yiri akwụkwọ ozi. rhetorical F., nke ha nwetara Grik ha. na lat. aha. Akụkụ dị nta nke F. enweghị nkọwa nkọwa. prototypes, ma ekwuru na muz.-okwu okwu. aghụghọ. G. Unger na-ekewa okwu egwu egwu. F. site na ọrụ na mmepụta. n'ime otu atọ: eserese, "na-akọwa okwu ahụ"; na-emetụta mmetụta, "na-akọwa mmetụta"; "grammatical" - usoro, nke na-ewuli elu, ezi uche na-abịa n'ihu. Malite. Ngosipụta. na mmetụta F. kpụrụ na wok. egwu, bụ́ ebe e mere ha iji mee ka ihe odide ọnụ pụtara pụta ìhè. Aghọtara okwu nke ederede dị ka onye inyeaka. pụtara, isi iyi egwu. "ihe mepụtara"; n'ime ya. akụkọ ihe mere eme nke narị afọ nke 3. (I. Nucius, W. Schonsleder, I. Herbst, D. Shper) debere ndepụta okwu, nke mmadụ kwesịrị itinye uche pụrụ iche mgbe ọ na-ede egwu.

O. Lasso. Motet “Exsurgat Deus” sitere na Sat. Magnum Opus Musicum.

Na okike ahaziri n'ụzọ dị otú a. N'ime usoro ahụ, e gosipụtara usoro nduzi mmetụta na onye na-ege ntị (onye na-agụ akwụkwọ, onye na-ekiri ihe nkiri), àgwà nke nkà Baroque, nke a na-akpọ onye edemede edemede AA Morozov "Rationalism rhetorical".

A na-eji otu F. ndị a na-egwu egwu n'ụdị muses dị iche iche. aghụghọ. N'okpuru bụ nhazi ọkwa ha dabere na nchikota X. Eggebrecht:

a) gosi. F., nke gụnyere anabasis (nrịgo) na catabasis (mkpọda), circulatio (okirikiri), fuga (na-agba ọsọ; A. Kircher na TB Yanovka gbakwunyere okwu ndị ahụ "n'ụzọ dị iche" n'aha ya, na-akọwapụta F. a na nke ọzọ. , "na-enweghị nkọwa" F. fugue; lee n'okpuru ebe a), tirata, wdg; ihe kacha mkpa nke F. ndị a - na mgbago ma ọ bụ na-arịda, okirikiri ma ọ bụ "na-agba ọsọ" abụ olu ụtọ. mmegharị na njikọ na okwu kwekọrọ nke ederede; maka ọmụmaatụ ojiji F. fuga, lee kọlụm 800.

N'okwu egwu a na-akọwakwa F. hypotyposis (onyinyo), na-atụ aro Sec. ikpe nke egwu ihe atụ.

b) Dị ụtọ, ma ọ bụ, dị ka G. Massenkail si kwuo, etiti oge, F .: exclamatio (mkpu) na ajụjụ ọnụ (ajụjụ; lee ihe atụ n'okpuru), na-ebuga ụda okwu kwekọrọ; passus na saltus duriusculus - mmeghe nke egwu chromatic. etiti oge na jumps.

C. Monteverdi. Orpheus, Act II, akụkụ Orpheus.

c) F. kwụsịtụrụ: abruptio (nkwụsịtụ egwu egwu a na-atụghị anya ya), apocope (mbelata na-adịghị ahụkebe nke oge nke ụda ikpeazụ nke abụ abụ), aposiopesis (nkwụsị izugbe), suspiratio (na usoro egwu Russia nke narị afọ nke 17-18 " suspiria” – kwụsịtụ – “na-asụ ude”), tmesis (nkwụsịtụ na-agbaji abụ olu ụtọ; lee ihe atụ n'okpuru).

JS Bach. Cantata BWV 43.

d) F. ikwugharị, tinye usoro ikwugharị olu ụtọ iri na ise. ihe owuwu n'usoro dị iche, dịka ọmụmaatụ. anaphora (abac), anadiplosis (abbc), palillogia (nkwughachi kpọmkwem), njedebe (nkwugharị n'usoro), wdg.

e) F. nke klas fugue, nke nṅomi bụ njirimara. usoro: hypallage (iṅomi na mmegide), apocope (nṅomi ezughị ezu n'ime otu olu), metalepsis (fugue na isiokwu 2), wdg.

f) Ahịrịokwu F. (Satzfiguren) - echiche nke agbaziri site na nkwuputa okwu, nke ejiri ya na "F. okwu"; Ndabere nke otu a dị ọtụtụ na ụdị dị iche iche bụ F., nke na-eme ma ngosipụta na nkwupụta. ọrụ; njirimara njirimara ha - na nkwekọ. asụsụ Satzfiguren gụnyere Dec. usoro maka iji dissonances megidere iwu siri ike: catachrese, ellipsis (mkpebi na-ezighị ezi nke dissonance ma ọ bụ enweghị mkpebi), extensi (dissonance kwadoro ogologo oge karịa mkpebi ya), parrhesia (ndepụta, iji nkwalite na ibelata oge, ụfọdụ ikpe na-akwadoghị ma ọ bụ na-ezighị ezi. dissonances; lee ihe atụ n'okpuru); Ozi gbasara dissonant F. ka ewepụtara nke ọma n'ọrụ nke K. Bernhard.

G. Schutz. Symphony dị nsọ “Singet dem Herren ein neues Lied” (SWV 342).

Otu a na-agụnyekwa ụzọ pụrụ iche nke iji consonances: congeries (ha "mgbakọ" ha na mmegharị nke olu kpọmkwem); noema (mwebata nke ngalaba consonantal homophonic n'ime okwu polyphonic iji mee ka echiche CL pụta ìhè nke ederede okwu), wdg. Ahịrịokwu Ph. tinyekwara ihe dị oke mkpa na egwu nke narị afọ nke 17-18. F. antitheton - mmegide, mbelata nwere ike igosipụta n'ụda, nkwekọ, egwu, wdg.

g) Omume; n'obi otu F. bụ decomp. ụdị egwu, akụkụ (bombo, groppo, passagio, superjectorio, subsumptio, wdg), nke dị na ụdị 2: edere na ndetu na edekọghị, improvised. A na-atụgharịkarị ụkpụrụ omume site na njikọ okwu ọnụ. F.

6) F. - egwu. ịchọ mma, ihe ịchọ mma. N'adịghị ka Manieren, a na-aghọta ihe ịchọ mma na nke a n'ụzọ dị warara na n'enweghị mgbagha - dịka ụdị mgbakwunye na isi ihe. ederede egwu. Ngwakọta nke ihe ịchọ mma ndị a na-ejedebe na mbelata, melismas.

7) Na Anglo-Amer. musicology, okwu "F." A na-eji (ọnụọgụ bekee) mee ihe n'ụzọ abụọ ọzọ: a) ebumnobi; b) digitization nke bass izugbe; bass chepụtara ebe a pụtara bass dijitalụ. N'okwu egwu egwu, a na-eji okwu ahụ bụ "egwu ihe atụ" (lat. cantus figuralis) mee ihe, bụ nke a na-eji na mbụ (ruo na narị afọ nke 2) na-etinye aka na ọrụ ndị e dere na nrịanrịa nke mensural na ndị pụrụ iche site na ụda. di iche iche, n'adịghị ka cantus planus, rhythmically edo ịbụ abụ; na 17-17 narị afọ. ọ pụtara abụ olu ụtọ. ihe atụ nke chorale ma ọ bụ ostinato bass.

References: Egwu egwu nke Western Europe na narị afọ 1971-1972, comp. VP Shestakov. Moscow, 3. Druskin Ya. S., Banyere usoro nkwuwa okwu na egwu nke JS Bach, Kipv, 1975; Zakharova O., Okwu egwu egwu nke 4th - ọkara mbụ nke narị afọ nke 1980, na mkpokọta: Nsogbu nke Sayensị Egwu, vol. 1975, M., 1978; nke ya, egwu egwu egwu nke narị afọ nke 1606 na ọrụ G. Schutz, na nchịkọta: Site na akụkọ ihe mere eme nke egwu mba ọzọ, vol. 1955, M., 1; Kon Yu., Ihe dị ka fugues abụọ nke I. Stravinsky, na mkpokọta: Polyphony, M., 2; Beishlag A., Ihe ịchọ mma na egwu, M., 1650; Burmeister J., Musica poetica. Rostock, 1690, mbipụtaghachi, Kassel, 1970; Kircher A., ​​Musurgia universalis, t. 1701-1973, Romee, 1738, 1745, Mkpu. Hildesheim, 1739; Janowka TV, Clavis ad thesaurum magnae artis musicae, Praha, 1954, ebigharịrị. Amst., 1746; Scheibe JA, Der Critische Musicus, Hamb., 1, 1788; Mattheson J., Der vollkommene Capellmeister, Hamb., 1967, e bigharịrị ọzọ. Kassel, 22; Spiess M., Tractatus musicus compositorio -practicus, Augsburg, 1925; Forkel JN, Allgemeine Geschichte der Musik, Bd 1926, Lpz., 1963, ebigharịrị. Graz, 18; Schering A., Bach und das Symbol, na: Bach-Jahrbuch, Jahrg. 1932, Lpz., 33; Bernhard Chr., Ausführlicher Bericht vom Gebrauche der Con-und Dissonantien, na Müller-Blattau J., Die Kompositionslehre H. Schützens na der Fassung seines Schülers Chr. Bernhard, Lpz., 15, Kassel-L.-NY, 7; nke ya, Tractatus compound bụ augmentatus QDBV, ibid .; Ziebler K., Zur Aesthetik der Lehre von den musikalischen Figuren im 16. Jahrhundert, "ZfM", 1935/1939, Jahrg. 40, H. 3; Brandes H., Studien zur musikalischen Figurenlehre im 1. Jahrhundert, B., 2; Bukofzer M., Allegory na egwu baroque, "Akwụkwọ akụkọ nke Warburg na Courtauld Institutes", 16/18, v, 1941, Mba 1969-1950; Unger H, H., Die Beziehungen zwischen Musik und Rhetorik im 1955.-1708. Jahrhundert, Würzburg, 1955, ebigharịrị. Hildesheim, 1959; Schmitz A., Die Bildlichkeit der wortgebundenen Musik JS Bachs, Mainz, 1959; Ruhnke M., J. Burmeister, Kassel-Basel, 1965; Walther JG, Praecepta der Musicalischen Composition, (1967), Lpz., 1972; Eggebrecht HH, Heinrich Schütz. Musicus poeticus, Gött., 16; Rauhe H., Dichtung und Musik im weltlichen Vokalwerk JH Scheins, Hamb., 18 (Diss.); Kloppers J., Die Interpretation und Wiedergabe der Orgelwerke Bachs, Fr./M., 1973; Dammann R., Der Musikbegriff im deutschen Barock, Köln, 5; Polisca CV, Ut oratoria musica. Ndabere nkwuwa okwu nke ụdị egwu egwu, na nkọwa nke ụkpụrụ, Hannover, 2; Stidron M., Existuje v cesky hudbe XNUMX.-XNUMX. stoletн obdoba hudebne rеtorickych figur?, Opus musicum, XNUMX, r. XNUMX, enweghị XNUMX.

OI Zakharova