Oge ochie frets |

Oge ochie, ọzọ n'ụzọ ziri ezi Ụka ụka, ụda ụka

lat. modi, toni, tropi; German Kirchentöne, Kirchentonarten; Ụdị French gregoriens, tọn ecclesiastiques; Ụdị ụka Bekee

Aha asatọ (iri na abụọ na njedebe nke Renaissance) ụdịdị monodic nke na-adabere na egwu ọkachamara (ch. arr. Church) egwu nke Western Europe. etiti oge gboo.

Akụkọ ihe mere eme, 3 usoro nke nhọpụta nke S.l .:

1) ọnụ ụlọ uzuoku nwere nọmba (nke kacha ochie; a na-egosipụta ụdịdị site na ọnụọgụ Greek nke Latinized, dịka ọmụmaatụ protus - nke mbụ, deuterus - nke abụọ, wdg, na nkewa ụzọ abụọ nke nke ọ bụla n'ime ezigbo - isi na plagal - nke abụọ);

2) ọnụọgụgụ dị mfe (ụdị na-egosi ọnụọgụ Rome ma ọ bụ ọnụọgụ Latịn - site na I ruo VIII; dịka ọmụmaatụ, ụda primus ma ọ bụ I, secudus toneus ma ọ bụ II, ụda tertius ma ọ bụ III, wdg);

3) nominal (nominative; n'usoro nke Greek musical theory: Dorian, Hypodorian, Phrygian, Hypophrygian, wdg). Usoro nhazi aha maka asatọ S.l .:

I – дорийский – protus authenticus II – Hypodorian – protus plagalis III – Phrygian – authentic deuterus IV – hypophrygian – deuterus plagalis V – лидийский – authentic tritus VI – Hypolydian – tritus plagalis VII – tetraxous plagalis VII – tetraxolydvidian

Isi ụdị modal S.l. – finalis (ụda ikpeazụ), ambitus (ụda olu) na – n’abụ e jikọtara ya na abụ ọma, – nrụgharị (nakwa tenor, tuba – ụda nkwughachi, abụ ọma); na mgbakwunye, abụ olu ụtọ na S. l. Ọtụtụ mgbe ji ụfọdụ melodic mara. usoro (nke sitere na abụ abụ). Oke nke finalis, ambitus na repercussion bụ ntọala nke usoro nke ọ bụla nke S.l .:

Melodich. usoro S.l. n'abụ abụ olu ụtọ (ụda abụ) - mmalite (usoro mmalite), finalis (ikpeazụ), onye mgbasa ozi (n'etiti cadence). ihe atụ melodic. usoro na egwu dị na S.l .:

Abụ "Ave maris Stella."

Onyinye “Ewere m mkpu site na omimi.”

Antiphon “Iwu ọhụrụ ahụ”.

Hallelujah na amaokwu "Laudate Dominum".

Nke nta nke nta "Ha hụrụ".

Kyrie eleison nke Mass "Paschal season".

Mass maka Ndị Nwụrụ Anwụ, na-aba n'izu ike ebighị ebi.

Maka njirimara S.l. tinyekwara iche iche (lat. differentiae tonorum, diffinitiones, varietates) - cadence melodic. usoro nke psalmody antiphonal na-adaba na nkwubi okwu isii. nkebiokwu a na-akpọ. “obere doxology” (seculorum amen – “na ruo mgbe ebighị ebi amen”), nke a na-egosipụtakarị na mwepu nke consonants: Euouae.

Nwa atụrụ Chineke nke Mass "N'ụbọchị nke biakwa obibia na lenti".

Ihe dị iche iche na-eje ozi dị ka mgbanwe site n'amaokwu nke abụ ọma gaa na antiphon na-esote. N'ụzọ dị ụtọ, a na-agbaziri ọdịiche ahụ site na njedebe nke ụda abụ ọma (ya mere, a na-akpọkwa njedebe nke ụda abụ ọma dị iche iche, lee "Antiphonale monasticum pro diurnis horis ...", Tornaci, 1963, p. 1210-18).

Antiphon “Ad Magnificat”, VIII G.

Na ụwa na ndị mmadụ. egwu nke Middle Ages (karịsịa Renaissance), o doro anya na enwere ụdịdị ndị ọzọ mgbe niile (nke a bụ ezighi ezi nke okwu ahụ bụ "S.l." - ha na-ahụkarị ọ bụghị maka egwu egwu oge ochie niile, mana tumadi maka egwu ụka, ya mere, okwu a bụ "ụdị ụka", "ụda ụka" ka zie ezi). Otú ọ dị, a leghaara ha anya na egwu na sayensị. akwụkwọ, bụ́ ndị chọọchị na-eduzi. J. de Groheo (“De musica”, c. 1300) rụtụrụ aka na egwu ụwa (cantum civilem) “anaghị eme nke ọma” na iwu nke ụka. iwe iwe; Glarean (“Dodekachordon”, 1547) kwenyere na ọnọdụ Ionian dị ca. Afọ 400. Na kasị ochie Middle Ages nke gbadara anyị. A na-ahụ egwu ụwa, nke na-abụghị nke akwụkwọ nsọ, dịka ọmụmaatụ, pentatonic, ụdị Ionian:

German song banyere Peter. Con. nke 9 c.

Mgbe ụfọdụ, a na-ahụkwa ụdị Ionian na Aeolian (nke dabara na isi na obere) na abụ Gregorian, dịka ọmụmaatụ. dum monodic mass "Na Festis solemnibus" (Kyrie, Gloria, Sanctus, Agnus Dei, Ite missa est) ka edere na XI, ntụgharị Ionian, iwe:

Kyrie eleison nke Mass "N'ememme dị nsọ."

Naanị na Ser. Narị afọ nke 16 (lee “Dodekachordon” Glareana) na usoro nke S.l. Agụnyere frets 4 ọzọ (ya mere enwere frets 12). Ọhụụ ọhụrụ:

Na Tsarlino ("Dimostrationi Harmoniche", 1571, "Le Istitutioni Harmoniche", 1573) na ụfọdụ French. na German. ndị na-egwu egwu nke narị afọ nke 17 taxonomy dị iche iche nke iri na abụọ S. l. Enyere ya tụnyere Glarean. Na Tsarlino (1558):

G. Zarlin. “The Harmonic Institutions”, IV, isi. 10.

M. Мерсенна («Universal Harmony», 1636-37):

Enwere m iwe - ezigbo. Dorian (s-s1), ụdị II – plagal subdorian (g-g1), nke III fret – ezigbo. Phrygian (d-d1), ụdị IV – plagal sub-Phrygian (Aa), V — bụ eziokwu. Lydian (e-e1), VI - Plagal Sublydian (Hh), VII - ezigbo. mixolydian (f-f1), VIII - plagal hypomixolydian (c-c1), IX - ezigbo. hyperdoric (g-g1), X - Plagal Sub-Hyperdorian (d-d1), XI - ezigbo. hyperphrygian (a-a1), XII - plagal subhyperphrygian (e-e1).

Maka onye ọ bụla S.l. kwuru kpọmkwem okwu nke ya. agwa. Dịka ntụzịaka nke Nzukọ-nsọ ​​si dị (karịsịa na mmalite oge emepechabeghị anya), ekwesịrị ịwepụ egwu site na ihe niile nke anụ arụ, “nke ụwa” dịka ndị mmehie na ibuli mkpụrụ obi dị elu n'ime mmụọ, elu-igwe, nke Ndị Kraịst. Ya mere, Clement nke Aleksandria (c. 150 – c. 215) megidere oge ochie, na-ekpere arụsị Phrygian, Lydian na Dorian "nomes" kwadoro "abụ abụ ebighị ebi nke nkwekọrịta ọhụrụ, aha Chineke", megide "ụda ndị na-adịghị mma" na " rhythms iti mkpu, ka -ry “mebie mkpụrụ obi” wee tinye ya na “ọñụrị” nke komos, maka “ọńụ ime mmụọ”, “n’ihi ime ka mmadụ nwee obi ụtọ na imetụ iwe ya.” O kwenyere na “nkwekọrịta (ya bụ ụdịdị) kwesịrị ijidesi ike na ịdị ọcha.” Ụdị Dorian (ụka), dịka ọmụmaatụ, ndị ọkà mmụta sayensị na-ejikarị eme ihe dị ka ihe dị nsọ, dị ebube. Guido d'Arezzo na-ede maka "ịhụnanya nke 6th", "okwu nke 7th" iwe. A na-enyekarị nkọwa nke nkọwa nke ụdịdị ahụ n'ụzọ zuru ezu, na-acha agba (a na-enye njirimara n'akwụkwọ: Livanova, 1940, p. 66; Shestakov, 1966, p. 349), nke na-egosi nghọta dị egwu nke modal intonation.

Akụkọ ihe mere eme S.l. obi abụọ adịghị ya na-abịa site na usoro nke frets nke ụka. egwu nke Byzantium - ihe a na-akpọ. oktoiha (osmosis; Greek oxto - asatọ na nxos - olu, mode), ebe enwere ụdịdị 8, kewara n'ime ụzọ anọ, nke akpọrọ dị ka ezigbo na plagal ( mkpụrụedemede 4 mbụ nke mkpụrụedemede Greek, nke dabara na usoro: M. – II – III – IV), a na-ejikwa ya na Grik. aha ọnọdụ (Dorian, Phrygian, Lydian, Mixolydian, Hypodorian, Hypo-Phrygian, Hypolydian, Hypomixolydian). Nhazi nke ụka Byzantine. frets bụ nke John nke Damaskọs (ọkara nke mbụ nke narị afọ nke asatọ; lee Osmosis). Ajụjụ nke Jenesis akụkọ ihe mere eme nke usoro modal nke Byzantium, Dr. Russia na Western Europe. S.l. Otú ọ dị, chọrọ nyocha ọzọ. Muses. Ndị ọkà mmụta sayensị nke mmalite oge emepechabeghị anya (narị afọ nke isii - mmalite nke 4th) ekwubeghị ụdịdị ọhụrụ (Boethius, Cassiodorus, Isidore nke Seville). Na nke mbụ a kpọtụrụ ha aha n'akwụkwọ akụkọ, nke M. Herbert (Gerbert Scriptores, I, p. 1-8) bipụtara iberibe ya n'okpuru aha Flaccus Alcuin (6-8); Otú ọ dị, a na-enyo enyo na odee ya. Akwụkwọ kacha ochie na-ekwu maka S.l. kwesiri ka ewere ya dika akwukwo Aurelian sitere na Rheome (narị afọ nke itoolu) "Musica disciplina" (c. 26; "Gerbert Scriptores", I, p. 27-735); mmalite nke isi nke 804 ya "De Tonis octo" na-emepụtaghachi ihe fọrọ nke nta ka ọ bụrụ verbatim n'iberibe Alcunnos dum. A kọwara ọnọdụ (“ụda”) ebe a dị ka ụdị ụzọ abụ (nke dị nso na echiche nke modus). Onye ode akwụkwọ anaghị enye atụ egwu na atụmatụ, kama ọ na-ezo aka na abụ nke antiphons, nzaghachi, onyinye, nkwukọrịta. N'ime akwụkwọ ndekọ aha na-amaghị aha nke 9th (?) c. "Alia musica" (nke Herbert bipụtara - "Gerbert Scriptores", I, p. 850-28) egosilarị oke oke nke ọ bụla n'ime 63 S. l. Ya mere, a na-akpọ fret nke mbụ (primus tonus) dị ka "nke kasị ala" (omnium gravissimus), na-eburu octave na mesa (ie Aa), a na-akpọkwa ya "Hypodorian". Nke na-esote (octave Hh) bụ Hypophrygian, na ihe ndị ọzọ. (“Gerbert Scriptores,” I, p. 8a). Boethius bufere (“De institutione musica”, IV, capitula 9) nhazi nke Greek. transpositional akpịrịkpa nke Ptolemy (transpositions nke "zuru okè usoro", nke reproduced aha nke ụdịdị - Phrygian, Dorian, wdg - ma naanị na agbara, ịrị elu iji) na "Alia musica" e hiere ụzọ maka systematization nke ụdịdị. N'ihi ya, Grik aha nke ụdịdị ahụ tụgharịrị na-ejikọta ya na akpịrịkpa ndị ọzọ (lee ụdị Greek ochie). Ekele maka ichekwa nhazi nke ọnụ ọgụgụ nke modal, usoro nke usoro nke ụdịdị na usoro abụọ ahụ nọgidere bụrụ otu, naanị ntụziaka nke usoro gbanwere - n'ime usoro nchịkwa abụọ-octave nke usoro Greek zuru oke - site na A ruo a125.

Tinyere n'ihu mmepe nke octave S.l. na mgbasa nke solmization (ebe ọ bụ na narị afọ nke 11), usoro hexachords nke Guido d'Arezzo chọtakwara ngwa.

Nhazi nke polyphony nke Europe (n'oge emepechabeghị anya, karịsịa n'oge Renaissance) mebiri usoro nke ngwá egwú. ma mechaa dugara mbibi ya. Isi ihe ndị kpatara ndakpọ nke S. l. bụ ọtụtụ ihe mgbaru ọsọ. ụlọ nkwakọba ihe, iwebata ụda na mgbanwe nke consonant triad n'ime ndabere nke mode. Polyphony kwalitere uru ụfọdụ ụdị S.l. - ambitus, repercussions, kere ohere nke ịkwụsị n'otu oge na abụọ (ma ọ bụ ọbụna atọ) decomp. ụda (dịka ọmụmaatụ, na d na a n'otu oge). Ụda okwu mmeghe (musiсa falsa, musica ficta, see Chromatism) mebiri diatonism siri ike nke S.l., belata ma mee ọdịiche na-enweghị njedebe na nhazi nke S.l. nke otu ọnọdụ ahụ, na-ebelata ọdịiche dị n'etiti ụdịdị ahụ na njirimara njirimara - isi ma ọ bụ obere. atọ. Nkwenye nke consonance nke ụzọ atọ (na nke isii) na narị afọ nke 13. (site na Franco nke Cologne, Johannes de Garland) dugara na narị afọ 15-16. na iji consonant triads mgbe niile (na ntụgharị ha) wee si otú ahụ ext. nhazigharị nke usoro modal, na-ewu ya na isi na obere ụda.

S. l. Egwu polygonal malitere na nkwekọ modal nke Renaissance (narị afọ 15-16) wee gaa n'ihu na "harmonic tonality" (nkwekọ na-arụ ọrụ nke isi obere usoro) nke narị afọ nke 17-19.

S. l. Egwu polygonal na narị afọ nke 15-16. nwere ụcha a kapịrị ọnụ, nke na-echetara nke ọma usoro modal isi-obere agwakọtara (lee Major-minor). Dịka ọmụmaatụ, njedebe na nnukwu triad nke mpempe akwụkwọ edere na nkwekọ nke obere ọnọdụ (D-dur - na Dorian d, E-dur - na Phrygian e). Na-aga n'ihu na-arụ ọrụ nke harmonics. ọcha nke a kpamkpam dị iche iche Ọdịdị — chords — pụta na a modal usoro nke dị iche sharply si mbụ monody nke oge gboo music style. Usoro modal a (mmekọrịta nke renaissance modal) bụ nke nwere onwe ya na ọkwa n'etiti usoro ndị ọzọ, yana sl na isi-obere tonality.

Site na nguzobe nke ọchịchị nke usoro isi obere (narị afọ 17-19), onye bụbu S.l. jiri nwayọọ nwayọọ na-efunahụ ihe ha pụtara, nke fọdụrụ na ndị Katọlik. ndụ ụka kwa ụbọchị (obere oge - na Protestant, dịka ọmụmaatụ, abụ Dorian nke choral "Mit Fried und Freud ich fahr dahin"). Ihe atụ dị iche iche na-egbuke egbuke nke S.l. hụrụ tumadi na 1st floor. Narị afọ nke 17 Àgwà mgbanwe mgbanwe nke S.l. bilie site na JS Bach na nhazi nke ochie abụ olu ụtọ; Enwere ike idobe akụkụ niile n'otu n'ime ụdịdị ndị a. Ya mere, egwu egwu nke chorale "Herr Gott, dich loben wir" (edemede ya bụ nsụgharị German nke abụ Latin ochie, nke M. Luther mere na 1529) na ụdị Phrygian, nke Bach na-ahazi maka ndị ukwe (BWV 16). . usoro nke Wed.-Century. ụda.

JS Bach. Choral mmalite maka akụkụ.

Ọ bụrụ na ihe ndị S. l. n'ikwekọ na narị afọ nke 17. na egwu nke oge Bach - ihe fọdụrụ nke omenala ochie, wee malite na L. Beethoven (Adagio "In der lydischen Tonart" site na quartet op. 132) enwere mmụghachi nke usoro modal ochie na ndabere ọhụrụ. . Na oge nke romanticism, ojiji nke gbanwetụrụ ụdị S. l. ejikọrọ na oge nke stylization, na-amasị music nke oge gara aga (nke F. Liszt, J. Brahms; na 7th mgbanwe si Tchaikovsky si dị iche iche maka piano op. 19 No 6 – Phrygian mode na a ahụkarị isi tonic na njedebe) na merges na-amụba anya composers ka ụdịdị nke ndiife music (lee Natural ụdịdị), karịsịa F. Chopin, B. Bartok, Russian composers nke 19-20 narị afọ.

References: Stasov V. V., N'ụdị egwu ọhụrụ nke oge a, Sobr. op., vol. 3 St. Petersburg, 1894 (1st ed. Na ya. yaz. – “Bber einige neue Formen der heutigen Musik…”, “NZfM”, 1858, Bd 49, Mba 1-4), otu ahụ n’akwụkwọ ya: Akụkọ gbasara egwu, mba. 1, M., 1974; Taneev S. I., Ntụgharị nke ederede siri ike, Leipzig, 1909, M., 1959; Braudo E. M., Akụkọ gbasara egwu izugbe, vol. 1, P., 1922; Catuar H. L., Usoro nkwekọ, akụkụ. 1, M., 1924; Ivanov-Boretsky M. V., Na modal ndabere nke polyphonic music, "Proletarian musician", 1929, Mba 5; nke ya, Musical-Historical Reader, vol. 1, M., 1929, edegharịrị, M., 1933; Livanova T. N., History of Western European Music ruo 1789, M., 1940; nke ya, Music (ngalaba na isi nke Middle Ages), n'akwụkwọ: History of European Art History, (akwụkwọ. 1), M., 1963; Gruber R. I., Akụkọ omenala egwu, vol. 1, h. 1, M., 1941; ya, General History of Music, vol. 1, M., 1956, 1965; Shestakov V. AP (comp.), Egwu egwu nke Western European Middle Ages na Renaissance, M., 1966; Sposobin I. V., Nkuzi nkuzi gbasara usoro nkwekọ, M., 1969; Kotlyarevsky I. A., Diatonics na chromatics dị ka ụdị echiche egwu egwu, K., 1971; Glareanus, Dodekachordon, Basileae, 1547, reprografischer Nachdruck, Hildesheim, 1969; Zarlino G., Le Istitutioni Harmoniche, Venetia, 1558, 1573, N. Y., 1965; ọzọ, Ngosipụta Nkwekọ, Venice, 1571, Facs. ed., N. Y., 1965; Mersenne M., Universal Harmony, P., 1636-37, ed. ihu ihu. P., 1976; Gerbert M., Ndị ode akwụkwọ gbasara egwu dị nsọ karịsịa, t. 1-3, St. Blasien, 1784, reprographic reprint Hildesheim, 1963; Onye nkuzi E. de, Histoire de l'harmonie au moyen vge, P., 1852; Ego že, usoro ihe odide ọhụrụ na egwu nke Middle Ages, t. 1-4, Parisiis, 1864-76, mbipụtagharị Hildesheim, 1963; Boethius, De institutione musica libri quinque, Lipsiae, 1867; Paul O., Boethius na Greek Harmony, Lpz., 1872; Brambach W., Usoro ụda olu na ọtụghe ụzọ nke Ndị Kraịst West na Middle Ages, Lpz., 1881; Riemann H., Catechism of Music History, Tl 1, Lpz., 1888 (рус. kwa. — Riemann G., Catechism of Music History, ch. 1, M., 1896, 1921); его же, History of Music Theory na IX. - XIX. Narị afọ, Lpz., 1898, B., 1920; Wagner P., Okwu Mmalite nke Gregorian Melodies, Vols. 1-3, Lpz., 1911-21; его же, Na tiori nke tonality nke etiti oge ochie, в кн.: Festschrift G. Adler, W. und Lpz., 1930; Mühlmann W., Die Alia musica, Lpz., 1914; Auda A., Les modes et les tons de la musique et spécialement de la musique medievale, Brux., 1930; Gombosi O., Studien zur Tonartenlehre des frьhen Mittelalters, «Acta Musicologica», 1938, v. 10, Mba 4, 1939, v. 11, Mba 1-2, 4, 1940, v. 12; eго жe, Igodo, ọnọdụ, ụdị, «Akwụkwọ akụkọ nke American Musicological Society», 1951, v. 4, Mba 1; Reese G., Egwu n’oge emepechabeghị anya, N. Y., 1940; Jоhner D., Okwu na ụda na Chorale, Lpz., 1940, 1953; Arel W., abụ Gregorian, Bloomington, 1958; Hermelink S., Dispositiones Modorum…, Tutzing, 1960; Mцbius G., Sistemụ ụda sitere na tupu 1000, Cologne, 1963; Vogel M., The ntoputa nke ụka ụdịdị, в сб.: Akuko na International Musicological Congress Kassel 1962, Kassel u.

Yu. H. Kholopov