Mufananidzo |

kubva lat. figura - zviratidziro zvekunze, mufananidzo, mufananidzo, nzira, hunhu, pfuma

1) Boka remanzwi (melodic. F.) kana rhythmic. migove, durations (rhythm. F.), kazhinji inodzokororwa.

2) Chinhu chekufananidzira.

3) Chikamu chakapedzwa chekutamba, chakavakirwa pakudzokorora kwakadzokororwa kwehunhu hwayo choreographic. F., inoperekedzwa mumimhanzi netsanangudzo. rhythmic F.

4) Graphic. kuratidzwa kwemanzwi uye kumbomira kwe mensural notation; iyo pfungwa yakachengetedza zvinoreva zviratidzo zvemimhanzi kusvika pasi 1st floor. 18th century (ona Spiess M., 1745).

5) F. muz.-rhetorical - chirevo chinoshandiswa kureva huwandu hweminyuziyamu. hunyanzvi hunozivikanwa muMiddle Ages (uye kunyangwe kare), asi izvo zvave hunhu chikamu chemuses. vocabulary chete mu con. 16 - 1st floor. 17th century F. yakafunga dzidziso yemimhanzi 17-18 mazana emakore. muhurongwa hwemaonero pamimhanzi yakajairika yenguva iyoyo sekuenzanisa kwakananga kukutaura. Izvi zvakabatana nekuendeswa kune dzidziso yemimhanzi (kunyanya chiGerman) yepfungwa dzezvikamu zvikuru zvekirasi. rhetoric: kugadzirwa kwezvinhu zvekutaura, kurongeka uye kukura, kushongedza uye kuburitsa kutaura. Izvozvo. mumhanzi wakasimuka. rhetoric. Dzidziso yeF. yaivimba nechikamu chechitatu chemashoko - decoration (de-coratio).

Pfungwa yemimhanzi-rhetoric. F. yakanga yakafanana neyo huru. pfungwa dze rhetoric. decoratio - kunzira uye F. (ona zvinyorwa zveI. Burmeister, A. Kircher, M. Spies, I. Mattheson, nevamwe). Kuna F. akati tsananguro yacho. unyanzvi (zvikurukuru marudzi akasiyana-siyana ezvinonzwika uye matenderedzwa anowirirana), "kutsauka pamhando yakapfava yekuumbwa" (Burmeister) uye kushumira kuwedzera kuburitsa kwemimhanzi. Zvakajairika nekutaura. F. musimboti wekutsauka kubva kune inogamuchirwa kazhinji wakanzwisiswa muminyuziyamu. rhetoric nenzira dzakasiyana: mune imwe nyaya, uku ndiko kutsauka kubva kune yakareruka, "isina kushongedza" mhando yemharidzo, mune imwe, kubva kumitemo yekunyora kwakasimba, mune yechitatu, kubva kukirasi. maitiro ehomophonic harmonic. warehouse. Mudzidziso yemimhanzi-rhetoric. Anopfuura makumi masere marudzi eF. akanyorwa (ona rondedzero uye tsananguro yaF. mubhuku reGerman musicologist GG Unter, 80). Mazhinji acho aitorwa neve theorists vekare seanofananidzwa netsamba. rhetorical F., kwavakagamuchira chiGiriki chavo. uye lat. mazita. Chikamu chidiki cheF. chaive chisina kutaura chaiko. prototypes, asi zvakanziwo zvakakonzerwa nemuz.-rhetoric. tricks. G. Unger anopatsanura rhetoric yemimhanzi. F. nebasa mukugadzira. mumapoka matatu: mufananidzo, “kutsanangura shoko”; zvine chekuita, "kutsanangura zvinokanganisa"; "Gramatical" - maitiro, umo inovaka, inonzwisisika inouya mberi. Tanga. Display. uye Affective F. akaumbwa muna wok. mumhanzi, kwadzakagadzirirwa kuburitsa revo yeshoko remashoko. Shoko rorugwaro rwacho rakanzwisiswa somubetseri. zvinoreva, manyuko emimhanzi. "zvakagadzirwa"; maari. zviitiko zvezana remakore rechi1941. (I. Nucius, W. Schonsleder, I. Herbst, D. Shper) akaisa ndaza dzamashoko, ayo munhu anofanira kupa ngwariro chaiyo pakunyora nziyo.

O. Lasso. Motet "Exsurgat Deus" kubva kuSat. Magnum Opus Musicum.

Mukusika kwakarongeka nenzira iyi. Muchiitiko ichi, nzira yekufambisa yakananga kumuteereri (muverengi, muoni), unhu hweunyanzvi hweBaroque, yakaratidzwa, inonzi muongorori wezvinyorwa AA Morozov "rhetorical rationalism".

Aya mapoka eF anoshandiswa mumimhanzi nenzira yemhando dzakasiyana-siyana dzemamozi. tricks. Pazasi pane kupatsanurwa kwavo kunoenderana neboka reX. Eggebrecht:

a) mufananidzo. F., iyo inosanganisira anabasis (kukwira) uye catabasis (kudzika), circulatio (denderedzwa), fuga (inomhanya; A. Kircher uye TB Yanovka vakawedzera mazwi okuti "mune imwe pfungwa" kune zita rayo, kusiyanisa F. , “zvisingaratidzi” F. fugue; ona pazasi), tirata, zvichingodaro; hunhu hweizvi F. - mukukwira kana kudzika, denderedzwa kana "kumhanya" melodic. kufamba kwakabatana nemazwi anoenderana nechinyorwa; kune muenzaniso wekushandiswa kweF. fuga, ona chikamu 800.

Mumhanzi rhetoric inotsanangurwa zvakare naF. hypotyposis (mufananidzo), zvichiratidza Sec. nyaya dzemimhanzi yokufananidzira.

b) Melodious, kana, maererano naG. Massenkail, interval, F .: exclamatio (kushevedzera) uye interrogatio (mubvunzo; ona muenzaniso uri pasi apa), ichipa mataurirwo anoenderana; passus uye saltus duriusculus - sumo yechromatic rwiyo. nguva uye kusvetuka.

C. Monteverdi. Orpheus, Chiito II, Orpheus chikamu.

c) F. kumbomira: abruptio (kuvhiringwa kusingatarisirwi kwerwiyo), apocope (kupfupisa kusingajairike kwenguva yekurira kwekupedzisira kwerwiyo), aposiopesis (kumbomira kwese), suspiratio (muRussia mimhanzi dzidziso yezana ramakore rechi 17-18 " suspiria” – kumbomira – “kugomera”), tmesis (kumbomira kunotyora mutinhimira; ona muenzaniso uri pazasi).

JS Bach. Cantata BWV 43.

d) F. dzokororo, sanganisira gumi neshanu nzira dzekudzokorora. zvivakwa mune zvakasiyana kutevedzana, semuenzaniso. anaphora (abac), anadiplosis (abbc), palillogia (kudzokorora chaiko), mhedziso (kudzokorora mukutevedzana), nezvimwe.

e) F. yeboka refugue, iyo kutevedzera kune hunhu. maitiro: hypallage (kutevedzera mukupikisa), apocope (kutevedzera kusina kukwana mune rimwe remazwi), metalepsis (fugue pa 2 themes), nezvimwewo.

f) F. mitsara (Satzfiguren) - pfungwa yakakweretwa kubva mukutaura, umo yakashandiswa pamwe chete ne "F. mashoko”; Hwaro hweboka iri rakawanda uye rakasiyana-siyana rinoumbwa neF., iyo inoita zvese zvinoratidzira uye kutaura. mabasa; hunhu hwavo - mukuwirirana. mutauro Satzfiguren inosanganisira dec. nzira dzekushandisa dissonances zvinopesana nemitemo yakasimba: catachrese, ellipsis (kugadziriswa kusina kunaka kwe dissonance kana kushaya kugadziriswa), extensio (dissonance yakagara kwenguva yakareba kupfuura kugadziriswa kwayo), parrhesia (kuronga, kushandisa kuwedzera uye kuderedza nguva, dzimwe nyaya dzisina kugadzirira kana kugadziriswa zvisina kururama. dissonances ; ona muenzaniso pazasi); Ruzivo nezve dissonant F. runoratidzwa zvizere mumabasa aK. Bernhard.

G. Schutz. Sacred Symphony "Singet dem Herren ein neues Lied" (SWV 342).

Iri boka rinosanganisirawo nzira dzakakosha dzekushandisa consonances: congeries ("kuunganidza" kwavo mukufamba kwakananga kwemanzwi); noema (kusumwa kwehomophonic konsonanti chikamu muchimiro chepolyphonic kuitira kusimbisa pfungwa dzeCL dzechinyorwa chemashoko), etc. Ph. mitsara inosanganisirawo yakakosha mumimhanzi yezana ramakore rechi 17-18. F. antitheton - kushorwa, kucheka kunogona kuratidzwa murhythm, kuwirirana, rwiyo, nezvimwewo.

g) Tsika; pamwoyo weboka iri F. vari decomp. mhando dzenziyo, ndima (bombo, groppo, passagio, superjectio, subsumptio, nezvimwewo), yaivepo mumhando mbiri: yakanyorwa mumanotsi uye isina kurekodhwa, yakagadziridzwa. Tsika dzaiwanzodudzirwa kunze kwekubatana kwakananga nekutaura. F.

6) F. - mimhanzi. ukomba, chishongo. Kusiyana neManieren, kushongedza munyaya iyi kunonzwisiswa zvakanyanya uye zvisina kujeka - semhando yekuwedzera kune zvakakosha. music text. Kuumbwa kwezvishongedzo izvi kwaive kwakaganhurirwa kune diminutions, melismas.

7) MuAnglo-Amer. musicology, izwi rokuti "F." (Mufananidzo wechirungu) rinoshandiswa mune zvimwe zvirevo zviviri: a) vavariro; b) digitization yeiyo general bass; figured bass apa kureva bhesi redhijitari. Mudzidziso yemimhanzi, izwi rokuti "mimhanzi yokufananidzira" (lat. cantus figuralis) rakashandiswa, iro pakutanga (kusvikira muzana remakore rechi2) raishandiswa kumabasa akanyorwa mu mensural notation uye aisiyaniswa ne rhythm. kusiyana-siyana, kunopesana ne cantus planus, kuimba kwe rhythmically yunifomu; mumazana emakore 17-17. zvaireva mutinhimira. mufananidzo wechorale kana ostinato bass.

References: Mimhanzi aesthetics yeWestern Europe mu1971th-1972th mazana emakore, comp. VP Shestakov. Moscow, 3. Druskin Ya. S., Nezve nzira dzekutaura mumhanzi waJS Bach, Kipv, 1975; Zakharova O., Mimhanzi rhetoric yechina - hafu yekutanga yezana ramakore re4, muunganidzwa: Matambudziko eMumhanzi Sayenzi, vol. 1980, M., 1975; yake pachake, Musical rhetoric yezana remakore re1978 uye basa raG. Schutz, muunganidzwa: Kubva munhoroondo yemimhanzi yekunze, vol. 1606, M., 1955; Kon Yu., Anenge maviri fugues naI. Stravinsky, muunganidzwa: Polyphony, M., 1; Beishlag A., Chishongo munziyo, M., 2; Burmeister J., Musica poetica. Rostock, 1650, kudhindazve, Kassel, 1690; Kircher A., ​​Musurgia universalis, t. 1970-1701, Romae, 1973, 1738, rev. Hildesheim, 1745; Janowka TV, Clavis ad thesaurum magnae artis musicae, Praha, 1739, akadhindwa zvakare. Amst., 1954; Scheibe JA, Der critische Musicus, Hamb., 1746, 1; Mattheson J., Der vollkommene Capellmeister, Hamb., 1788, yakadhindwa zvakare. Kassel, 1967; Spiess M., Tractatus musicus compositorio -practicus, Augsburg, 22; Forkel JN, Allgemeine Geschichte der Musik, Bd 1925, Lpz., 1926, yakadhindwa zvakare. Graz, 1963; Schering A., Bach und das Symbol, in: Bach-Jahrbuch, Jahrg. 18, Lpz., 1932; Bernhard Chr., Ausführlicher Bericht vom Gebrauche der Con- und Dissonantien, in Müller-Blattau J., Die Kompositionslehre H. Schützens in der Fassung seines Schülers Chr. Bernhard, Lpz., 33, Kassel-L.-NY, 15; yake pachake, Tractatus compositionis augmentus QDBV, ibid.; Ziebler K., Zur Aesthetik der Lehre von den musikalischen Figuren im 7. Jahrhundert, “ZfM”, 16/1935, Jahrg. 1939, H. 40; Brandes H., Studien zur musikalischen Figurenlehre im 3. Jahrhundert, B., 1; Bukofzer M., Allegory mumhanzi webaroque, "Journal of the Warburg uye Courtauld Institutes", 2/16, v, 18, No 1941-1969; Unger H, H., Die Beziehungen zwischen Musik und Rhetorik im 1950.-1955. Jahrhundert, Würzburg, 1708, rakadhindwazve. Hildesheim, 1955; Schmitz A., Die Bildlichkeit der wortgebundenen Musik JS Bachs, Mainz, 1959; Ruhnke M., J. Burmeister, Kassel-Basel, 1959; Walther JG, Praecepta der Musicalischen Composition, (1965), Lpz., 1967; Eggebrecht HH, Heinrich Schütz. Musicus poeticus, Gött., 1972; Rauhe H., Dichtung und Musik im weltlichen Vokalwerk JH Scheins, Hamb., 16 (Diss.); Kloppers J., Die Interpretation und Wiedergabe der Orgelwerke Bachs, Fr./M., 18; Dammann R., Der Musikbegriff im deutschen Barock, Köln, 1973; Polisca CV, Ut oratoria musica. The rhetorical basis of musical mannerism, in The meaning of mannerism, Hannover, 5; Stidron M., Existuje v cesky hudbe 2.-XNUMX. stoletн obdoba hudebne rеtorickych figur?, Opus musicum, XNUMX, r. XNUMX, kwete XNUMX.

OI Zakharova