Seriality, serialism |
Ihe egwu French serielle, German. serielle Musik – Oghere Usoro, ma ọ bụ Oghere Usoro, egwu
Otu n'ime ndị iche Oghere Usoro technology, nke a usoro nke decomp. paramita, dịka ọmụmaatụ. usoro ụda olu na ụda olu ma ọ bụ ọkwa, ụda olu, ike ike, nkwupụta okwu, agogics na tempo. S. kwesịrị iche site na polyseries (ebe abụọ ma ọ bụ karịa usoro nke otu, na-emekarị elu elu, parameter na-eji) na site na seriality (nke pụtara ojiji nke Oghere Usoro Usoro na sara mbara, nakwa dị ka usoro nke naanị a elu. -elu usoro). Ọmụmaatụ nke otu n'ime ụdị usoro S. kachasị mfe: a na-ahazi usoro nke ọkwa site na usoro nke onye na-ede egwú (pitch) họọrọ, na ogologo oge nke ụda na-ahazi site na usoro nke oge a họọrọ ma ọ bụ nweta ya n'efu. usoro pitch (ya bụ, usoro nke oke ọzọ). Ya mere, usoro nke 12 pitches nwere ike ghọọ usoro nke 12 durations - 7, 8, 6, 5, 9, 4, 3, 10, 2, 1, 11, 12, na-eche na nke ọ bụla digit na-egosi ọnụ ọgụgụ nke iri na isii. (nke asatọ, nkeji iri atọ na abụọ) n'ime oge enyere:
Mgbe a na-atụkwasị usoro pitch n'ụdị ụda, ọ bụghị usoro, kama akwa ákwà na-ebili:
Ụlọ ọrụ AG Schnittke. Concerto No 2 maka violin na egwu egwu.
S. bilitere dị ka ndọtị nke ụkpụrụ nke usoro usoro (elu-pitched usoro) ndị ọzọ parameters na-anọgide free: oge, aha, articulation, timbre, wdg N'otu oge ahụ, ajụjụ nke mmekọrịta dị n'etiti parameters na-ebilite na a. ụzọ ọhụrụ: na nhazi nke egwu. ihe onwunwe, ọrụ nke ọganihu ọnụọgụgụ, ọnụọgụ ọnụọgụ na-abawanye (dịka ọmụmaatụ, na akụkụ nke atọ nke EV Denisov's cantata "Sun of the Incas", ihe a na-akpọ nọmba nhazi - 3 ụda nke usoro, 6 dynamic. shades. , 6 osisi). E nwere ọchịchọ kwupụta na-agbanwe agbanwe na mkpokọta ojiji nke dum nso nke n'aka nke ọ bụla nke parameters ma ọ bụ na "interchromatic", ie ka merging nke dị iche iche parameters - nkwekọ na timbre, pitch na oge (nke ikpeazụ a tụụrụ ime dị ka akwụkwọ ozi. nke usoro ọnụọgụgụ, oke; lee ihe atụ n'elu) . K. Stockhausen tinyere echiche nke ịbanye n'akụkụ abụọ nke muses. oge - microtime, nke ụda ụda na-anọchi anya ya, na macrotime, nke ogologo oge na-anọchi anya ya, ma si otú ahụ gbasaa ma n'otu ahịrị, na-ekewa mpaghara nke oge n'ime "ogologo octaves" (Dauernoktaven; pitch octaves, ebe pitches dị. metụtara dị ka 6: 2, na-aga n'ihu na ogologo octaves, ebe a na-ejikọta oge ndị ahụ n'otu ụzọ ahụ). Ntugharị gaa na nkeji oge ka ukwuu na-egosi mmekọrịta na-etolite n'ime ihe ngosi nka. ụdị (ebe ngosipụta nke 2: 1 ruru bụ oke nke squareness). Mgbatị ụkpụrụ nke seriality na mpaghara egwu niile ka a na-akpọ mkpokọta egwu egwu (ihe atụ nke egwu egwu multidimensional bụ Stockhausen's Groups for Three Orchestras, 2). Otú ọ dị, omume nke ọbụna otu usoro na dị iche iche parameters na-adịghị aghọta dị ka yiri, Ya mere mmekọrịta nke parameters na onye ọ bụla ọzọ bh tụgharịa na-a akụkọ ifo, na-esiwanye ike nzukọ nke parameters, karịsịa na ngụkọta S., na eziokwu pụtara na-eto eto ihe ize ndụ nke incoherence na ọgba aghara, automatism nke mejupụtara usoro, na ọnwụ nke onye dere si auditory ịchịkwa ọrụ ya. P. Boulez dọrọ aka ná ntị megide "iji nhazi dochie ọrụ ahụ." Total S. pụtara ọgwụgwụ nke nnọọ mbụ echiche nke usoro na serialization, na-eduga na a yiri na-atụghị anya mgbanwe n'ime ubi nke free, kensinammuo music, na-emepe ụzọ aleatorics na ngwá electronic (teknụzụ music; ịhụ Electronic music).
Otu n'ime ahụmahụ mbụ S. nwere ike ịre ụdọ. trio nke E. Golyshev (nke e bipụtara na 1925), ebe, na mgbakwunye na ogige 12-tone, ejiri rhythmic mee ihe. ahiri. A. Webern bịara n'echiche nke S., onye, Otú ọ dị, ọ bụghị a serialist n'ụzọ ziri ezi nke okwu; n'ọtụtụ ọrụ serial. ọ na-eji mmeju. nhazi pụtara - debanye aha (dịka ọmụmaatụ, na akụkụ 1 nke symphony op. 21), dynamic-articulatory ("Variations" for piano op. 27, 2nd part), rhythmic (quasi-usoro nke rhythm 2, 2, 1 , 2 na "iche" maka ndị egwu egwu, op.30). N'iji akọ na uche S. tinye O. Messiaen na "4 rhythmic studies" maka piano. (dịka ọmụmaatụ, na Fire Island II, Mba 4, 1950). Ọzọkwa, Boulez tụgharịrị na S. ("Polyphony X" maka 18 ngwá, 1951, "Structures", 1a, maka 2 fp., 1952), Stockhausen ("Cross Play" maka otu ensemble nke ngwá, 1952; "Ntụgharị uche" maka Ngwakọta ngwá ọrụ, 1953; Otu maka ìgwè egwú atọ, 1957), L. Nono (Nzukọ maka ngwá egwú 24, 1955, cantata Interrupted Song, 1956), A. Pusser (Webern Memory Quintet, 1955), na ndị ọzọ. na mmepụta ikwiikwii . ndị na-agụ egwú, dịka ọmụmaatụ. site Denisov (Ọ dịghị 4 si ụda olu "Abụ ndị Ịtali", 1964, Ọ dịghị 3 si "5 Akụkọ banyere Mr. Keuner" maka olu na nchịkọta nke ngwá, 1966), AA Pyart (2 akụkụ si 1 na 2 th symphony, 1963). .
References: Denisov EV, Dodecaphony na nsogbu nke usoro ihe odide ọgbara ọhụrụ, na: Music and Modernity, vol. 6, M., 1969; Shneerson GM, Serialism na aleatorics - "njirimara nke ndị na-emegide", "SM", 1971; mba 1; Stockhausen K., Weberns Konzert für 9 Instrumente op. 24, “Melos”, 1953, Jahrg. 20, H. 12, otu ahụ, n’akwụkwọ ya: Texte…, Bd l, Köln, (1963); nke ya, Musik im Raum, n’akwụkwọ: Darmstädter Beiträge zur neuen Musik, Mainz, 1959, (H.) 2; nke onwe ya, Kadenzrhythmik bei Mozart, ibid., 1961, (H.) 4 (Ukrainian translation – Stockhausen K., Rhythmichni kadansi nke Mozart, na mkpokọta: Ukrainian musicology, v. 10, Kipv, 1975, p. 220 -71 ); nke ya, Arbeitsbericht 1952/53: Orientierung, n’akwụkwọ ya: Texte…, Bd 1, 1963; Gredinger P., Das Serielle, na Die Reihe, 1955, (H.) 1; Pousseur H., Zur Methodik, ibid., 1957, (H.) 3; Krenek E., Ọ bụ "Reihenmusik"? "NZfM", 1958, Jahrg. 119, H. 5, 8; nke ya, Bericht über Versuche na ngụkọta determinierter Musik, "Darmstädter Beiträge", 1958, (H.) 1; ya, Mgbakwunye na oke nke usoro usoro "MQ", 1960, v. 46, No 2. Ligeti G., Pierre Boulez: Entscheidung und Automatik na der Structure Ia, na Die Reihe, 1958, (N.) 4 nke otu ihe ahụ. , Wandlungen der musikalischen Form, ibid., 1960, (H. ) 7; Nono L., Die Entwicklung der Reihentechnik, “Darmstädter Beiträge”, 1958, (H.) 1; Schnebel D., Karlheinz Stockhausen, na 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, na 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, n'okpuru aha: Novodobé skladebné smery n hudbl, Praha, 1963 (nsụgharị Russian — Kohoutek Ts., Usoro ihe mejupụtara na Music nke 1962 M. ; Stuckenschmidt HH, Zeitgenössische Techniken na der Musik, “SMz”, 1965, Jahrg. 1976; Westergaard P., Webern na "Nchịkọta nzukọ": nyocha nke mmegharị nke abụọ nke Piano Variations, op. 1963, "Elele anya egwu ọhụrụ", NY - Princeton, 103 (v. 27, Mba 1963); Heinemann R., Unterschungen zur Rezeption der seriellen Musik, Regensburg, 1; Deppert H., Studien zur Kompositionstechnik im instrumentalen Spätwerk Anton Weberns, (Darmstadt, 2); Stephan R., Bber Schwierigkeiten der Bewertung und der Analyze neuester Musik, “Musica”, 1966, Jahrg 1972, H. 1972; Vogt H., Neue Musik seit 26, Stuttg., (3); Fuhrmann R., Pierre Boulez (1945), Structures 1972 (1925), na Perspektiven neuer Musik, Mainz. (1); Karkoschka E., Hat Webern seriell komponiert?, TsMz, 1952, H. 1974; Oesch H., Pioniere der Zwölftontechnik, na Forum musicologicum, Bern, (1975).
Yu. H. Kholopov
