Ihe na-ese onyinyo |
symmetrical frets - frets, akpịrịkpa nke na-adabere na nha nha nke octave. Dị ka ndị ọzọ frets, S.l. a na-ewu na ndabere nke otu etiti. element (nke dị ka CE). Otú ọ dị, n'adịghị ka, dịka ọmụmaatụ, site na isi ma ọ bụ obere, S.l. Emebere ọ bụghị na ndabere nke isi ma ọ bụ obere triad, kama na ndabere nke consonance (ma ọ bụ mmekọrịta etiti) sitere na nkewa nke 12 semitones n'ime akụkụ 2, 3, 4 ma ọ bụ 6 nhata. N'ihi ya, 4 ohere - 12: 6, 12: 4, 12: 3, 12: 2 na, ya mere, 4 isi. ụdị S.l. Akpọrọ ha aha dị ka CE ha si dị (dị ka a na-akpọ isi n’aha CE – isi triad): I – ụda dum (OA 12:6 = ụda isi isii); II - belata, ma ọ bụ obere ugboro (CE 12: 4 = smart nke asaa); III - ụbara, ma ọ bụ karịa terts (CE 12: 3 = ụbara triad); IV - tritone (ma ọ bụ ọnọdụ abụọ, okwu BL Yavorsky) (CE 12: 2 = tritone). Dabere kpọmkwem. A na-ekewa ihe owuwu nke ọkwa III na IV ụdị frets n'ọtụtụ. subtypes. N’ụzọ echiche, nkewa 12:12 na-enye otu ụdị S.l. (V) - njedebe, ma enweghị ihe onwunwe. bughi ya mere guzo iche. Okpokoro pivot S.l .:
Theoretical S. nkọwa nke l. nata n'ahịrị na aesthetic. Omenala nke tiori nke oke, nke na-etinye ha na njikọ okike na ụdị usoro modal ndị ọzọ - ụdị nke usoro isi-obere na Middle Ages. iwe iwe. Nkọwa nke mmadụ niile na-enwekarị bụ na ụdị ọnọdụ ọ bụla dabere na CE ya, dabara na otu n'ime ọganihu ọnụọgụ mara kemgbe oge ochie - mgbakọ na mwepụ, harmonic na geometric. Usoro ọnụọgụgụ nke ha hibere, nke na-enye CE nke sistemu ndị a, n'usoro ọnụọgụgụ ọnụọgụgụ. mgbanwe.
Ihe atụ ngwa S. l. n'ime egwu liter-re (nọmba ndị ahụ na-egosi ọnụọgụ S. l. na ọmụmaatụ egwu):
1. MI Glinka. "Ruslan na Lyudmila", ọnụ ọgụgụ nke Chernomor. 2. NA Rimsky-Korsakov. "Sadko", eserese nke abụọ. 2. NA Rimsky-Korsakov. "Ọkụkụ Ọlaedo", oké ọkpa akwa (nọmba 3, Ogwe 76-5). 10. NA Rimsky-Korsakov. “Nwa agbọghọ Snow”, isiokwu Leshy (nọmba 4-56). 58. AN Cherepnin. Ọmụmụ maka piano. op. 5 mba 56. 4. IP Stravinsky. "Firebird" (nọmba 6-22). 29. Ọ BỤRỤ na Stravinsky. "Parsley", isiokwu nke Petrushka (lee na Art. Polyaccord). 7. SV Protopov. "Crow and Cancer" maka olu na piano. 8. O. Mesaịa. "9 echiche...", Mba 20 (lee isiokwu Polymodality). 5. AK Lyadoi. "Site na apocalypse" (nọmba 10). 7. O. Mesaịa. L'rịgoro maka akụkụ ahụ, mmegharị nke anọ. 11. A. Webern. Ọdịiche maka fp. op. 4, akụkụ anọ (lee na Art. Dodecaphony).
Hụkwa akụkọ akụkọ Tritone, ọnọdụ abawanyela, ọnọdụ ewelatalata, ọnọdụ ụda dum.
S. l. - otu n'ime ụdị modality (modality) yana pentatonic, diatonic, decomp. ụdị mgbagwoju anya frets. S. l. alaka si na European nkịtị usoro nke isi na obere (ihe preforms nke sl bụ transposing usoro, tert cycles nke tonalities, ihe atụ, na anharmonicity nke hà-etiti etiti consonances). Ọnụahịa ahịa kachasị elu nke S.l. bụ random na ọdịdị (nke mbụ, tupu 1722, na sarabande nke 3rd English suite nke JS Bach, Ogwe 17-19: des2 (ces2) -bl-as1-g1-f1-e1-d1-cis1. Iji C. L. dị ka a pụrụ iche nkwuwa okwu pụtara malitere na narị afọ nke 19 (mmụba mode na dum ụda ọnụ ọgụgụ na bass Sanctus of the mass Es-dur site Schubert, 1828; ụba mode na dum ụda ọnụ ọgụgụ na bass na opera Chineke na Bayadere site na Auber, 1830, na 1835 post na St. Petersburg n'okpuru aha La Bayadère in Love; nakwa site na Chopin). Dargomyzhsky, NA Rimsky-Korsakov, PI Tchaikovsky, AK Lyadov, VI Rebikov, AN Skryabin, IF Stravinsky, AN Cherepnin, na kwa SS Prokofiev, N. Ya. Myaskovsky, DD Shostakovich, SV Protopopov, MIVerikovsky, SE Feinberg, AN Alexandrov na ndị ọzọ. ndị na-agụ akwụkwọ S.l. F. Liszt, R. Wagner, K. Debussy, B. Bartok kwuru; karịsịa n'ọtụtụ ebe na n'ụzọ zuru ezu S. l. nke O. Messiaen mepụtara. Na egwu S. tiori nke l. na mbụ kọwara dị ka pụrụ iche ọbịa ụdịdị (dịka ọmụmaatụ, na G. Kapellen, 1908, "Chinese whole-tone music" e gosiri na sample nke odee dere dị ka "oke exoticism"). Na Russian theoretical musicology nkọwa mbụ nke S. l. (n'okpuru aha "okirikiri" modulating usoro, "okirikiri" nke isi na obere ụzọ atọ) bụ nke Rimsky-Korsakov (1884-85); nke mbụ theoretical S. nkọwa nke l. BL Yavorsky tụrụ aro na mbido. narị afọ nke 20 Site ná mba ọzọ. theorists echiche nke S. l. Mesaen mebere nke ọma (“Ụdị Mgbanwe Na-adịchaghị Mma”, 1944) na E. Lendvai (“Sistemụ Axes”, n'ihe atụ nke egwu Bartok, 1957).
References: Rimsky-Korsakov NA, Akwụkwọ ọgụgụ bara uru nke nkwekọrịta, St. Petersburg, 1886, otu, Poln. kọlụm. so., vol. IV, M., 1960; Yavorsky BL, Ọdịdị nke okwu egwu egwu, akụkụ 1-3, (M., 1908); Kastalsky AD, Akụkụ nke usoro egwu ndị mmadụ-Russian, M. - Pg., 1923, 1961; AM, A. Cherepnin (notography), "Egwu oge a", 1925, Mba 11; Protopopov SV, Ihe nhazi nke okwu egwu egwu, akụkụ 1-2, M., 1930; Tyutmanov IA, Ụfọdụ atụmatụ nke modal-harmonic style nke HA Rimsky-Korsakov, n'akwụkwọ: Scientific na methodological ndetu nke Saratov ala. ụlọ nchekwa, vol. 1-4, Saratov, 1957-61; Budrin B., Ụfọdụ ajụjụ nke asụsụ harmonic Rimsky-Korsakov na operas na ọkara mbụ nke 90s, Usoro nke Ngalaba Music Theory nke Moscow Conservatory, vol. 1, 1960; Sposobin IV, Nkuzi gbasara usoro nkwekọ, M., 1969; Kholopov Yu. N., Symmetric ụdịdị na usoro iwu nke Yavorsky na Messiaen, n'akwụkwọ: Music na Modernity, vol. 7, M., 1971; Mazel LA, Nsogbu nke nkwekọrịta oge gboo, M., 1972; Tsukkerman VA, Ụfọdụ ajụjụ nkwekọ, n'akwụkwọ ya: Musical-theoretical essays and etudes, vol. 2, M., 1975; Capellen G., Ein neuer exotischer Musikstil, Stuttg., 11; nke ya, Fortschrittliche Harmonie- und Melodielehre, Lpz., 1906; Busoni F., Entwurf einer neuen Дsthetik der Tonkunst, Triest, 1908 (Nsụgharị Russia: Busoni F., Sketch of a new aesthetics of musical art, St. Petersburg, 1907); Schönberg A., Harmonielehre.W., 1912; Setacio1911i G., Rịba ama ed appunti al Trattato d'armonia di C. de Sanctis…, Mil. - NY, (1); Weig1923 B., Harmonielehre, Bd 1-1, Mainz, 2; Hbba A., Neue Harmonielehre…, Lpz., 1925; Messiaen O., Usoro egwu de mon langage, v. 1927-1, P., (2); Lendvai E., Einführung na anwụ Formenund Harmoniewelt Bartoks, na: Byla Bartuk. Weg und Werk, Bdpst, 1944; Reich W., Alexander Tcsherepnin, Bonn, (1957).
Yu. H. Kholopov
