Music theory. Musical warehouse and texture

Differences of the warehouse and texture. Warehouse criteria. Monodic, polyphonic and harmonic warehouses.

Warehouse (Satz, Schreibweise; English. Setting, Constitution; Franz. Conformation) - a concept that determines the specifics of the deployment of votes (voice), the logic of them is horizontal, and in the polyphony also a vertical organization.

Factura factor (lat. Factura - making, processing, structure, from Facio - I do, I carry out, form; it. Faktur, Satz - Warehouse, Satzweise, Schreibweise - Master of Letters; Franz. Facture, Structure, Conformation - device, addition; English. Facture, Texture, Structure, Build-Up; Strutture). In a broad sense - one of the sides of the music. Forms, enters the aesthetic-philosophical concept of music. forms in unity with all means of expressiveness; In a narrower and consuming. The sense is a specific design of the music. Fabrics, music. Presentation.

Warehouse and texture correlate as categories of kind and species. For example, the accompaniment (as a functional layer) in a homophone-harmonic warehouse can be made in the form of chord or figurative (for example, arpeggled) texture; Polyphonic play can be sustained in homoritmic (
in which each voice of the multi-way whole moves in the same rhythm) or simulation invitation, etc.

Monodia and its historical forms. The difference between the monodic warehouse from monophonic texture.

Monodia (with Greek - singing or recording alone) - a musical warehouse, the main textured sign of which is one-way (singing or
performance on a musical instrument, in a multi-voiced form - with duplications in octave or unison). In contrast to single-erectly executed (monophonic texture) of new European melodies, one way or another outlines or imply tone functions, the works of the monodic warehouse do not imply any harmonization - the patterns of their sounding structure. Modern science explains immanently, as a rule, from the standpoint of modality. Thus, the monodic compositions are not the same as one-haired compositions (monophonic texture). In the theory of music, the monodia is opposed by homophone and polyphony. Mountain. The warehouse assumes only the "horizontal measurement" without any vertical relationship. In strictly unison monodich. Samples (Grigorian singing, annealed binding) one-lit. MUZ. Fabric and texture are identical. The rich monodic texture is distinguished, for example, the east music. Peoples who did not know the polygolas are: in Uzbek and Tajik Macoma, singing is duplicated by the instrumental ensemble with the participation of drums, executing Usul. The monodic warehouse and texture easily pass into the phenomenon, intermediate between the monoze and the polyphony, is to the heteropal statement, where unison singing in the process of execution is complicated by various melody-textual options.

The monodic warehouse was antique (ancient Greek and ancient Roman) music. Songs of European Menstrels - Trubadurov, Trumpets and Minnesinger, the most ancient traditions of liturgical singing in the Christian Church: Gregorian Choral, Byzantine and Old Russian Digests, Medieval
paralyuturgical Songs - Italian Loughs, Spanish and Portuguese Canties, Single Hare Conducts, All Regional Forms of Eastern Macamate
(Azerbaijani Mugam, Persian Destraments, Arabic Makas, etc.).

In the word "monodia", according to the (false) analogy with an ancient monody, Western music units (since the 1910s) are generalized called solo singing with instrumental
accompaniment (as a rule, limited digital bass), that is, copies of a homophone-harmonic warehouse, which are observed in the Italian and German music of the early baroque (about 1600 and 1640) - Aria, Madrigals, motes, songs, etc.

The term "monodic style" (Stylus Monodicus, instead of the then distributed Stylus recitation) in relation to the music of Kachchini, Per and Monteverdi in 1647
year offered J.B. Donon.

Polyphony and its types. Complicated counterpoint.

Polyphony (from Greek- numerous and - sound) - a warehouse of polyphonic music, characterized by simultaneous sounding, development and interaction of several votes (melodic lines, melodies in a broad sense), equal from the point of view of composite-technical (the same motive techniques for all votes melodic development) and musical and logical (equal carriers of "musical thought"). The word "polyphony" is also called musical and theoretical discipline engaged in the study of polyphonic compositions (previously "counterpoint").

The essence of polyphonic. The warehouse is correlated simultane. Sound melodes. Lines, regardless of self. Development of fucked (more or less independent from the vertical consonance) is the logic of music. Forms. In polyphonic. MUZ. Voices tissue detect a tendency to functional equality, but can be different. Among the quality of polyphonic. F. creatures. The value of the density and sparseness ("viscosity" and "transparency") are adjusted by the polyphonic number. Votes (strict style masters willingly wrote for 8-12 votes, while maintaining one type of F. without a sharp change of the soundness; however, in the messengers it was customary to shade the lighter polyphony with a light two or three-riding polyphony, for example. Crucifixus in Palestrina Massach). Palestrina only outlines, and in their free letter, polyphonic techniques are widely used. Conditions, seals (especially at the end of the production) by increasing and decreasing, Stretti (C-DUR Fugue from the 1st volume "of a well-tempered key" Bach), high-membered combinations (C-MOLL Symphony "code of the C-Moll Taneyev). In the example, the following is characterized by textured condensation due to the rapid pulse of entry and the textual growth of the 1st (thirty) and the 2nd (chords) of the topic elements: F. d \u200b\u200b"Ana. An excerpt from the mott.

The opposite case is polyphonic. F., based on a complete metrohyrmich. Independence of votes, as in Menzoral canons (see example in Art. Canon, column 692); The most common type of complementary polyphonic. F. Defined themed. and rhythm. Similar to independent. votes (in imitation, canons, fugars, etc.). Polyphonic. F. does not exclude a sharp rhythm. The bundles and the unequal ratio of votes: corresponding voices moving relatively small durations form a background for the dominant Cantus Firmus (in the Mesis and Mottas 15-16 centuries, in the organic choral processing of the Bach). In the music of a later time (19-20 centuries), a different-earth polyphony develops, creating an unusually picturesque F. (eg, textured plexus of fire leitmotifs, fate and sleep Brungilda in the conclusion of the Wagner Wagner opera).

Among the new phenomena of music 20 century. Must be marked: F. Linear polyphony (movement of harmonically and rhythmically not correlated votes, see "Camera Symphony" Miyo); P., associated with complex dissonant duplicates of polyphonic. votes and turning into the polyphony of the formation (often in the production of O. Messiana); "Demathedralized" Poentilistism. F. in Op. A. Webern and the opposite polygol. The severity of the orc. A. Berg's counterpoint and A. Schendberg; Polyphonic. F. Aleator (V. Lyutoslavsky) and Sonoristich. Effects (at K. Pendretsky).

O. Massian. Epouvante (Rhythmic Canon. Example NO 50 from his book "Music Tongue Technique").

Polyphony is divided into types:

Podphony polyphonyAt which, together with the main melody, its pegs are sounded, that is, a few different options (this coincides with the concept of heterophony). Characteristic for Russian folk song.

Imitation polyphonyAt which the main topic sounds first in one voice, and then, perhaps, changes appears in other voices (at the same time there may be several the main items). The form in which the topic is repeated without change is called canon. The vertex of the simulation polyphony is fuga.

Contrast Polyphony (or polymelodism), at which different melodies are simultaneously sound. First appeared in the XIX century.

Complicated counterpunk - polyphonic combination of melodically developed votes (different or with imitation of the like), which is designed for counterpunctically modified repeat, reproduce with a change in the ratio of these votes (unlike simple counterpoint - it. Einfacher kontrapunkt - polyphonic. Connections of votes used only in one given to their combination). Abroad The term "S. K." does not apply; in him. MEHRFACHER KONTRAPUKT MEHRFACER KONTRAPUNKT referring to him, denoting only a tripunk counterpart. In S. K. The initial (given, source) melod connection differ. Votes and one or more compounds of compounds - polyphonic. Original options. Depending on the nature of the changes, there are, according to the teachings of S. I. Taneyev, three main types of S. K .: Moving counterpoint (divided on vertically mobile, horizontal and doubly moving), reversible counterpoint (divided into full and incomplete reversible ) and counterpoint allowing doubling (one of the varieties of moving counterpoint). All specified species S. K. are often combined; For example, in Fougal Credo (NO 12) from the Mass H-Moll I. S. Baha two response entry (in the clocks 4 and 6) form an initial connection - Stretta with a distance of 2 clocks (reproduced in the tactics 12-17), Tacka 17-21 sounds a derivative connection in a doubly moving counterpoint (Entry distance of 11/2 clock with a vertical displacement of the bottom. Voices of the initial connection up on a duodetsis, upper - down to the prison), a derivative of the connection from the connection in the tackacles is formed 17-21 in vertically moving counterpoint (IV \u003d - 7 - double counterpoint octave; reproduced at another height in the tactics 29-33), from Tactic 33 it follows Stretta in 4 voices with an increase in the theme in the bass: top. A votes of votes represent a compound derived from the original stretty in a doubly moving counterpoint (the distance of the accession of 1/4 of the clock; reproduced at another height in the tactics 38-41) with doubling the top. Voices in the bottom (the example is lowered by polyphonic. Voices not included in the above compounds, as well as the accompanying 8th voice).

Imitation polyphony. Subject. Imitation characteristics (interval and distance). Types of imitation. Antiposition.Canon. Suggy and rispost.

Imitation (from lat. Imitatio - imitation) in music - polyphonic reception, in which, after presenting the topic in one voice, it is repeated in other voices. In canons and fugas, imitation elements are called - props and rispost, theme and response. The initial voice is called Sappice (from Ital. Proposta - offer (i.e., the topic)), imitating voice - risposta (from Ital. Risposta - answer). Rispost can be somewhat, depending on the number of votes. The imitation interval is distinguished (by initial sound), the distance (for the length of the proposal), and the side (above or below the surprise). The imitation is simple and canonical.

Canonical imitation is a kind of imitation in which the imitating voice repeats not only a single-haired part of the melody, but also appearing in the initial voice of the anticatch. Such imitation is often called continuous.

From the canonical simple imitation differs in that it repeats only one-haired part of the surge.

Rispost can be different: in circulation (each interval in the speed is taken in the opposite direction); in increasing or decreasing (relative to the rhythm of the proposal); in combination of the first and second (eg, in circulation and increasing); in rocker (movement in Rucoste from the end to the beginning of the surge); Inaccurate (incomplete coincidence with quenching).

Antoshibition (Lat. Contrasubjectum, from Contra - against, and Subjicio - padded) in music - a voice concomitant, in a different or imitation polyphony. The main property of anticatch is aesthetic value and technical autonomy in relation to the topic. It is achieved with the help of another rhythm, other melodic pattern, articulation, register, etc. At the same time, the opposition should form an ideal connection with the main voice.

Canon. Polyphonic form based on canonical imitation technique.

Translated from the Greek term canon means the rule, the law. Canon's voices have specific names: Proposta and Risposta. Sappice - the initial voice of the canon, in translation means the offer, I propose. Rispost is a mimic voice of the canon, in translation means continuation, I continue.

According to the technique of writings, the canon and canonical imitation are close, in the process of analysis of these polyphonic techniques, it is not always observed with strict distinction of terms. Nevertheless, it should be borne in mind that the term "canon" is indicated not only the technique of continuous imitation. This is so called an independent composition - the finished form of canonical imitation in the form of a completed partition or a separate work. Note that the canon as an independent composition refers to the most old forms of the polyphonic warehouse. As for canonical imitation, such an element is characteristic of the canon, like a link. The number of links from two minimum can reach up to twenty or more.

Fugue. Subject. The answer and its views. Intermediate. Fugue composition as a whole. Fugues are simple and complex (double, triple). Fugato. Fougette.

Fuga (lat. Fuga - "Running", "Escape", "Fast Flow") - a musical product of a simulation-polyphonic warehouse, based on multiple conducting one or more topics in all voices. The fugue was formed in the 16th and 16th century from the vocal and instrumental motel and became the highest polyphonic form. Fugges are 2, 3, 4, etc. Votals.

The theme of the FOUT - a separate structural unit, quite often develops without any cesura in a core or an opposition. The main sign of the closedness of the polyphonic theme is the presence of a stable melodic cadan (on I, III or V stage). Not every topic ends with this Kadans. Therefore, there are topics closed and unlocked.

The main sections of the Fugue - the exposition and the free part, which may be divided in turn to the average (development) and final (reprzyst).

Exposition. Theme (t) in the main tonality is the leader. Conducting the topic in the degree of dominant - answer, satellite. The answer is the real - the exact transposition of the topic into the tonality D; Or tonal - a little changed at the beginning for the gradual introduction of a new tonality. Antisosite - counterpoint to the first answer. The opposition is cautious, i.e. unchanged to all topics and answers (in the complex counterpoint of octave, - vertically-movable) and unfavorable, i.e. Every time new.

A bundle from the topic to anticatch (two or more sounds) - codetta.

Intermedia is the construction between themes (and response). Intermediates can be in all sections of the Fugue. They can be sequential. Intermedia is a tense plot of action (a variety of semonata developments). The procedure for the entry of votes (soprano, alt, bass) can be different. Additional topics are possible.

Possible counter-exposure is the second exposition.

Middle part. The sign is the appearance of a new tonality (not expositive, not t and not d), often parallel. Sometimes its sign is the beginning of active development: the topic in increasing, strint imitation. Stretta is a compressed imitation, where the topic comes in another voice earlier than its end. Stretta may be in all sections of the Fugue, but more typical for the final part, or the middle part. It creates the effect of "thematic condensed".

Final part (reprise). The sign is the return of the main tonality with the topics in it. Maybe one holding, 2, 3 or more. Possible T - D.

Often the code is a small permissive construction. An organ point is possible, it is possible to add votes.

Foughes are simple (on one topic) and complex (on 2 or 3-threads) - double. Triple. The presence of a free part in which all themes are counterpunctically combine - a prerequisite for the formation of a complex fugue.

Double Fugues There are 2 types: 1) Double Fugges with a joint exposure of topics that sound at the same time. Usually quadband. They are like fugues with a retained anticatch, but, unlike the latter, the double fugues begin with a two-way of both topics (an opposition in conventional fugues sounds only with the answer). Topics are usually contrasting, structurally closed, thematically significant. Approx. "KyRieleison" from "Requiem" Mozart.

2) Double Fugges with separate exposure of topics. The middle part and the final is usually common. Sometimes it is separately exposure and the middle part for each topic with the overall final part.

Numerous forms, including canons, fugues, fugettes, fugato, and such specific techniques, as Stretta, canonical sequence, endless canon, and others are based on imitation.

Fugette is a small fugue. Or a fugue is less than serious content.
Fougato - Fugue exposure. Sometimes exposure and middle part. It is often found in the development of sonatas, symphonies, in the sections of the cycles (cantata, oratorios), in polyphonic (on Basso Ostinato) variations.

Harmonic warehouse. Types of texture in it. Definition of chord. Classification of chords. Input receptions. Nonakkordy sounds.

Most often, the term "texture" apply to the music of a harmonic warehouse. In the immeasurable manifold of types of harmonic textures, the first and simplest is its separation on homophone-harmonic and actually chord (K-paradium is considered as a special case of homophone-harmonic). Chord F. Monoritmichn: All votes are set forth with the sounds of the same duration (the beginning of the fantasy overtures "Romeo and Juliet" Tchaikovsky). In homophone harmonic. F. Drawings of the melody, bass and complementary votes are clearly divided (the beginning of the C-Moll Chopin C-MOLL).

The following main types of presentation of harmonic consonance (TULIN, 1976, Chap 3rd, 4th) are distinguished:

a) the harmonic figure of the chord-figurative type, which represents one or another form of alternately presenting the sounds of the chord (Prelude C-DUR of the 1st volume "of the well-tempered key" Bach ";

b) the rhythmic figuration - the repetition of sound or chord (Poem D-DUR OP. 32 NO 2 Scriabin);

c) Colorist figuration - Split. duplication, for example, to octave with orchestral presentation (Menuet from the symphony of G-Moll Mozart) or long-lasting doubling in a policy, seven, etc., forming a "belt movement" ("Music Mother" 16 NO 3 Rachmaninova);

d) a variety of types of melodic. The figuration, the essence of which in bringing the melod. Movement in harmonic. Voices are a complication of the chord figuration passing and asked. Sounds (Etude C-Moll Op. 10 No 12 Chopin), Melodization (chorus. And Orc. Presentation of the Topics at the beginning of the 4th paintings "Sadko" Roman-Korsakov) and Polyphonization of Votes (entry to "Loingengina" Wagner), Rhythmic rhythmic. "Revival" Org. Point (4th Painting "Sadko", Figure 151).

The reduced systematization of the types of harmonic textures is the most common. There are many specific textured techniques in music, the appearance of which and methods of use are determined by the stylistic norms of this music-historical era; Therefore, the history of invoices is inseparable from the history of harmony, orchestration (wider - instrumentalism), the execution.

Accord (Franz. Accord, letters - consent; IT. Accordo - consonance) - 1) Consonance of three or more sounds, capable of having a different interval structure and purpose, which is the leading structural element of the harmonic system and necessarily possessing in relations with its elements similar three properties as autonomy, hierarchy and linearity; 2) a combination of several sounds of different heights, acting as a harmonic unity, which has an individual colorful essence.

classification of chords:

impressive

on the position in the music system

on the position in tonality

according to the position of the main tone.

by the number of tones included in chord-tro-sober, etc.

at the interval defining the structure of the chord (terrent and intutanentic structure. The latter includes the consonance of three or more sounds located in quarts or having a mixed structure).

chords whose sounds are located in seconds (tones and halftons), as well as in the intervals less than a second (quarterly, third tones, etc.) are called clusters.

Neakkordy sounds- (it. Akkordfremde or Harmoniefremde Tzne, English. Nonharmonic Tones, Franz. Notes ytranngyres, Ital. Note Accidentali Melodiche or Note Ornamentali) - Sounds that are not part of the chord. N. s. Enrich harmonic. Convening, bringing melodes in them. Coming by varying the sound of chords, forming additional melody-functional connections in relations with them. N. s. We are classified primarily depending on the method of interaction with chord sounds: whether N. is falling. On the hard share of the tact, and chords - on a light or vice versa, whether N. Z. To the original accoro or transfers in other accords, whether N. appears. In the flow of movement or takes a jump, whether N. is allowed. Second movement or turns out to be abandoned, etc. differ the following land. Views N. Z.:
1) detention (abbreviated designation: h);
2) Appendability (AP);
3) passing sound (P);
4) auxiliary sound (B);
5) Cambiat (K), or an auxiliary jacket;
6) Scribed tone (SC) - detention or auxiliary, taken without cooking and abandoned. without permission;
7) Items (PM).

Mixing warehouses (polyphon-harmonic). Modulation of the warehouse.

Canon may be accompanied by a harmonious accompaniment. In this case, a mixed polyphon harmonic warehouse occurs. The work, starting in one warehouse, can end in another.

The history of warehouses and the history of musical thinking (the era of the monodius, the epochs of the polyphony, the epoch of harmonic thinking). New phenomena of the 20th century: Sonorno-monodic warehouse, Pointelism.

Evolution and change of musical warehouse are associated with the main stages of development of European professional music; Thus, the epochs of the monody (ancient cultures, Middle Ages), polyphony (later Middle Ages and Revival), Gomophony (New Time) are distinguished. In the 20th century New varieties of the warehouse of musical: sonorno-monodic (characteristic formally multi-voiced, but essentially a single line from unlocked, having a timber meaning of eupicities, see Sonorick), a poontilistic warehouse music (individual sounds or motifs in different registers, formally forming a line, actually belong A variety of hidden voices) and others.

Harmonic. Warehouse and texture originate in the polyphony; For example, Palestrina, who perfectly felt the beauty of the sober, could have used the figuration of the occurrence of chords through the complex polyphonic (canon) for many clocks. Funds (crossing, duplication), admiring the harmony, like a jeweler stone (Kyrie from Mass Pope Marcello, tacts 9-11, 12-15 - five counterpoint). For a long time in the inst. . Composers 17 V. Dependence on choir. F. Strict Letter was obvious (eg, in the Org. Op. Ya. Svelinka), and composers were pleased with relatively simple techniques and drawings of mixed harmonic. and polyphonic. F. (eg, J. Frescobaldi).

The expressive role of the invoice is enhanced into the contract. 2nd floor. 17th century (in particular, the spatial-textured comparisons of Solo and Tutti in Op. A. Korelli). Music I. S. Baha marked the highest descriptive for F. (Chacon D-Moll for Violin Solo, "Goldberg Variations", "Brandenburg Concerts"), and in some virtuoso op. ("Chromatic Fantasy and Fugue"; Fantasy G-DUR for Organ, BWV 572) Bach makes textured discoveries, subsequently widely used by romantics. For the music of Viennese classics, the clarity of harmony is characterized and, accordingly, the clarity of textural patterns. Composers used relatively simple texture tools and were based on common motion forms (eg, figures of the passage type or arpeggio), which was not in conflict with the relation to F. as thematically significant element (see, for example, the middle of the 4th variation from the 1st part of the Sonata NO 11 A-DUR Mozart, K.-V. 331); In the presentation and development of those of the Sonataya Allegri, motivational development occurs in parallel with the textured (eg, in the main and binding parties of the 1st part of the Sonata NO 1 Beethoven). In the 19th century music., First of all, composers-romantics are observed. A variety of types of F. - that lush and multilayer, then in a homely cozy, then fantastically bizarre; Strong textural and stylistics. The differences arise even in the work of one master (cf. diverse and powerful F. Sonata H-Moll for FP. and impressionistic sophisticated FP pattern. Pieces "gray clouds" sheet). One of the most important trends in music is 19 V. - Individualization of textural patterns: The peculiar system of romanticism interest in an extraordinary, unique made a natural refusal of typical figures in F. Special methods of multi-time release of the melody (sheet) were found; Opportunities for updating F. Musicians were primarily in the melodization of broad harmonic. Figures (including in such an unusual form as in the FP finals. Sonates B-Moll Chopin), sometimes turned into almost polyphonic. presentation (theme of the side party in the exposition 1st ballad for FP. Chopin). The textured manifold supported the interest of the listener in the wok. and ins. The cycles of the miniature, it stimulated the composition of music in genres, directly dependent on F., - etudes, variations, rhapsodies. With others. Parties, Polyphonization F. In general (the final Sonata Frank) and Harmonic. The figures in particular (8-goal. Canon in joining the "Gold Rhine" Wagner). Rus. The musicians opened the source of new telephones in the textured receptions Vost. Music (see, in particular, "Islamey" Balakirev). Some of the most means. Achievements 19 V. In the region F. - the strengthening of its motive saturation, themed. Concentration (R. Wagner, I. Brahms): in certain op. In fact, there is not a single tact of nematic. Material (eg, Symphony C-Moll, FP. Quintet Taneyev, Late Opera Roman Corsakov). The extreme point of development of individualized F. was the emergence of P.-harmony and F.-Tomb. The essence of this phenomenon is that when determined. Harmony conditions, as it were, it turns into F., expressiveness is determined not so much by the sound composition as the painting of the location: the correlation of the "floors" of the chord with each other, with the registers of the piano, with Orc. groups; It is more important that not high, but the textual filling of the chord, i.e., how he is taken. Examples of F.-harmony are contained in Op. M. P. Mussorgsky (for example, "clocks with chimes" from the 2nd d. Opera "Boris Godunov"). But in general, this phenomenon is more typically for music 20 W.: F.-harmony is often found in the contract. A. N. Scriabin (beginning of reprises of the 1st part of the 4th FP. Sonatas; Culmination of the 7th FP. Sonates; the last chord of the FP. Pooms "to the flame"), K. Debussy, S. V. Rakhmaninova. In other cases, the merger of F. and Harmony determines the timbre (FP. Piece "Skarbo" Ravel), which is especially clearly manifested in Orc. Reception "Combining such figures" when the sound occurs from the rhythmic connection. Options for one textured figure (reception, known for a long time, but received brilliant development in the scores of I. F. Stravinsky; see the beginning of the ballet "Parsley").

In the statement of 20 century. Different methods of updating F. are coexist. How the most common trends are noted: strengthening the role of F. as a whole, including polyphonic. F., due to the predominance of polyphony in music 20 century. (in particular, as Restoration of F. past epochs in the Merc. Neoclassicist Direction); Further individualization of textural techniques (F. essentially "composed" for each new production., just as individual shape and harmony are created for them); Opening - in connection with new harmonic. standards - dissonating duplications (3 etudes. 65 Scriabin), the contrast is particularly complex and "sophisticated simple" F. (1st part of the 5th FP. Concert Prokofiev), Pictures of improvisation. type (NO 24 "horizontal and vertical" from the "Polyphonic notebook" Shchedrin); Combining the original textural characteristics of Nats. Music with the newest harmonic. and orc. Technique prof. Script (brightly colorful "symphonic dances" Mold. Comp. P. Rivilisa and others. Op.); Complete thematization of F. c) in particular, in serial and serial cit.), leading to the identity of thematicism and F.

The emergence in the new music 20 century. Unconventional warehouse, not related to the harmonic, nor to polyphonic, determines the corresponding varieties of f.: The following fragment is made. Shows the torn characteristic of this music, incoherence F. - register stratification (independence), dynamic. and articulats. Differentiation: P. Bulize. Sonata for piano NO 1, beginning of the 1st part.

The value of F. in the arts of the music. The avant-garde is communicated to logic. The limit when F. becomes almost the only one (in a number of cit. K. Penderetsky) or unity. The goal of the proposal work itself (wok. Sextet "Stimmungen" Shatokhausen is a textured timbre variation of one sober B-DUR). Improvisation F. in the specified high-altitude or rhythm. limits - land. reception of a controlled aleutoric (cit. V. Lyutoslavsky); The area of \u200b\u200bF. applies not to taking into account the many Sonoristic. Inventions (Sonorist collection. Receptions - "Coloristic fantasy" for FP. Slonim). To the electronic and specific music created without traditions. Tools and means of execution, the concept of F., apparently not applicable.

The texture has it means. Forming capabilities (Masel, Zuckerman, 1967, p. 331-342). Communication F. with the form is expressed in that the preservation of this pattern F. contributes to the plugness of the construction, its change - dismemberment. F. has long served as the most important transforming agent in Section. Austic and non-trial variational forms, detecting large dynamics in some cases. Opportunities ("Bolero" Ravel). F. is able to resolutely change the appearance and the essence of the music. The image (holding a leitmotif in the 1st part, in the development and code of the 2nd part of the 4th FP. Sonata Scriabin); Textual changes are often used in the reprises of three-on forms (2nd part of the 16th FP. Beethoven Sonates; Nocturne C-Moll Op. 48 Chopin), in Refrene in Rondo (Final FP. Sonata NO 25 Beethoven). The formative role of F. in the development of semonata forms (especially ORK, writings), in which the sections are determined by changing the processing method and, consequently, F. Themeds. material. Change F. becomes one of the mains. Form membership in the writings of 20 V. ("Pacific 231" Oneguger). In some new essays, F. turns out to be decisive for the construction of a form (for example, in so-called. Readected forms based on the variable return of one construct).

Types of invoice are often associated with the definition. genres (eg, dancing. Music), which is the basis for combining into the contract. Different genre signs that give music artistically effective multi-consciousness (examples of this kind in Chopin's music are expressive: for example, Prelude NO 20 C-Moll is a mixture of Choral, Mourns and Passaveni). F. maintains signs of one or another historical or individual music. Style (and, by association, epoch): etc. Guitar accompaniment allows S. I. Taneyev to create a subtle stylization of early rus. Elegy in the romance "When, circling, autumn sheets"; Berlioz in the 3rd part of the Symphony "Romeo and Julia" to create Nats. and historic. The color is skillfully reproduces the sound of Madrigala A Cappella 16th.; R. Schuman in "Carnival" writes reliable music. Portraits F. Chopin and N. Paganini. F. - the main source of music. Items, especially convincing in cases where K.L. traffic. With the help of F., visual clarity of music is achieved (joining the "Gold Rhine" Wagner), simultane. Full secrets and beauty ("praise the desert" from "Tale of the Invisible Grade Kitege and the Virgin Fevronia" Roman-Korsakov), and sometimes - amazing trepacy ("Heart beats in the romance" In Romance M. I. Glinka "I remember a wonderful moment" ).

Texture (from lat. Factura - production, processing, structure) - 1) design, structure of musical tissue; 2) a certain combination, content, relationship simultaneously and consistently deployed various elements of musical tissue, including tones, harmonic intervals, consonance, sonors, all kinds of rhythmic, dynamic, dynamic and articulation structural units involved in the formation of more or less independent simplistic Linear or melodic voices, sonorous layers or discrete space. In the widest understanding, the term "invoice" volume of the timbre, all three measurements of the musical space - depth, vertical and horizontal and is "sensually perceived, directly audio sound layer of music", capable of acting as the main carrier of her thoughts - Templohem, i.e. . As a relatively independent equivalent of "Topics Melodies" and "Harmony Topics". As a rule, when determining the invoice, it is also characterized by: "The volume and general configuration of the sound mass of the musical tissue (eg," crescent sound flow "and" diminating sound stream ")," weight "of this mass (for example, the texture" heavy "," Massive "," Light "), its density (" discrete "texture," sparse "," dense "," condensed "," compact ", etc.), the nature of voice relations (the texture" Linearny ", including" gammo-shaped "," melodic "," discrete ") and relations of individual votes (" Promotional "or" heterophone "texture," imitation "," contrast-polyphonic "," homophone "," choral "," sonorny "," discrete "and pr.), Instrumental composition (orchestral texture, "choral", "quartet", etc.). They also speak about the texture typical of certain genres ("Facial Marche", "Waltz's texture", etc.) and etc." .
For example:
Accord-ribbon texture - one-haired or multi-voice texture, voices of which are duplicated by chords;
ARPEDZHIO-ASTINA FACTURE - REGULATED ARPEDZHIO;
"Diagonal texture" - a texture that takes the reception of which is "Crescendo-diminuendo as a way of registration of a musical tissue, giving it orderliness and integrity", and composite elements - "total chromatics with a solid filling of halftone" fields ", dodecapon series, consonance-clusters ";
Contrast pair-simulation texture * - the texture in which the voices imitating each other are thematically connected in pairs;
Contrast voice invoice (\u003d contrast-polyphonic voice);
contrast-plastic texture (\u003d contrast-polyphonic plastic);
Linearno-wave-like monomeric texture;
The band is vibrating - the texture, the content of which is developing in the process of relatively slow and regular displacement for a second up and down by a harmonic element, including: interval, chord, sonor. Her options:
1 Accordant-vibrating strip (\u003d vibrato chord),
2 interval-vibrating strip,
3 Sonoro-vibrating strip.
The rehearsal and chord glissanding texture is a texture in which each chord is quickly repeated with acceleration or slowing;
Static Sonsorole - texture folded from a certain set of non-overwhelmed votes from the overall sound; The same thing that sonoro-pedal polylinear texture;
Trelevoid texture - the texture leading the constructive unit of which is a trill;
Allyusian texture - a texture that is only an allusion on any textures, i.e. perceived as their blurred projection;
Fermentation texture - Standard, "Marcate", "Legal", etc. Multiple "disorder" of two or more relatively closely arranged tones, harmonic intervals, chords, resembling the process of fermentation, boiling by viscous fluid, on the surface of which regularly arise regular and irregular, bottled and single-tones "tones-bursts", "splash intervals" and "chords-bursts";

Polyphony (from poly ... and greek φωνη - sound)

1) View of MN-Go-Lo-Sia, for the fact-ro ha-cancer, Rav-But-Gor-Lo-owls, non-owls-pa-de-treatment In the different Go-Lo-Sah Ka-Den-Cius, Tse-Zur, Kul-Mi-Nasi, Ak-price and the other. 2) OS-na-van-naya on this Vi-de Mo-Go-Lo-Lo-Lialine of Music Arts ("Lie-Fo-Nich-Chey Muz-Ka"). In one-vi-vi-fo-nic forms (high of the one-rye - Fu-hectare), the main "building-tel-ny-ni-tsei" Java Te-Ma - Smya-Sla and Stroy Tour Music Tseu. According to the second pro-ve-de-we are accounted by the IS-Paul-Zo-Va Ni-Ki-Ta-ou-no-con-tra -Te-che-ta-ta-ta-ta-ta, a complex con-tra check) and TO-Nal-Na-Gar-Mo-Ni-Skyki (LE-GE-MO -In-ration, Mo Du-lane). Na-naya with the EPO-HA Ba-Rock-Ko-Rob-Co-Mow-of-Smi-Ra-Bo-Speed \u200b\u200bOnce-Viya.

Ele-men-you are polyphony in the folk-lo-re sideways of Ev-Ropai and non-Ev-Pay-Ski-Dov. In the IST-RIA OF PROFESSIONAL EV-ROPEY MUZH-KI, ON LI-CHUM: Polyphonia Wednes-Vya (IX-XIV centuries), WHO Polyphonia WHO-RO-SE (XV-XVI centuries), but-in-th time polyphony (from the XVII century). The first-time of the one-go-go-Lo-Lo, CO-Key-Niv-Sia-Sia in the TA-TAX IX century, pre-becoming a co-battle of OR-Ga- Num. The highest of the Dos-Ti-Essence of the Lie-Fo-National Art of Wednesdays Whea - Mo Tet, Dis-Cant, Con-Dutch (Watch the same in the article ARS AN-TIK -You). The IS-Whether in the Polyphony of this-th time, the OS-BE-MIC CON-TR-hundred go-Lo-owls, the experience of the IS-Paul-Zo - I am aim-tag, ka-na-on, the Washer Nick-no-vehic of Os-Ti-Nut forms (Watch Os-Ti-ON). PE-ROM-OD ARS NO-VA, PE-RE-SOBE-NEY FROM NATIONAL NO-KO-VYA TO WHO-RO-DE-NIU, OZ-NA-NO-VAN ROST TOM Jean-Migra-Mad-Mad-Ri-Gal, Kach-Cha, Ron-to and others), and non-Ni-Ryt Mii, Prak-ticheological and Re-ticked (FI-Lipp de Vit-Ri) of the time-Bot-Ki of various formo-lo-co-deco. The large-scale major Mas-Ra of the medium of non-ve-co-polfony - F. Lan-Di, D. De Ma-sho. In the EPO-Hu Wen-Rh-de-J. The Art of Polyphony Ras-Cea-EN in Ang-Lii, France, Ni-Der-Lan-Dah, Ita Lii, Her Ma-Ma -pasy, che-chi, pol-neck; This is the so-called EPO of the Stroy-go-th letter (or Strai-La), Nor-we-Ro-th-re-de-les J. Tsar-Lee -but. Li-Fo-Niche Com-In-Environment CO-Nya-was the pre-property for Ho Ra and Ka-Pel-la (COOM-DA-WO-MALO-Ma Lo Co-Chi -News with the participation of the EM IN-ST-RUM-MEN-TOV or IN-ST-RUM-MEN-TAL, but once-Viya in-stop-men-talny forms As a Sa-Mo-Stroynaya Obra-Las Polyphony from-no-Sit-Xia to the XVII century). Main Jean-Ry - Mes-Sa, Mo Tet, Mad-Ri-Gal, Du-Khov and Light-Sky Die-Nit. Mas-Te-Ra Stroy-la van-de-li all medi-va-kon-trap-ta, once-ra-b-ta-whether Prak-Thi - All the forms of them-tag and ka-na-on, shi-ro-ko-zo-vow-va-va-va-like-zoic pre-circuit-zo-va (OB-RA-SPI, RA-KOP, UVE-LI-NIE, reduction). Stroy-Goy Writing Opi-Ra-Mo-Mo-Thu-Musy Dia-Nic Mother Lit (Watch Mo Daluity, Cercovye La). The Maspical Os-No-Ho-Ry-Ri-An-Ho Ral, one-na-ko-zo-zo-vow and the light-ski mea-dii. In the XV-XVI century, Sa-my pre-Sta-Vitel-Noa would Nich-Der-Land-Schco Land (G. Du Fai, J. Ben-Shua, Y. OK-GEM, Jos-Ken De Ply, O. Di Las-Co, H. Izak, P. de La Ru, J. Obt, Ya. Ar-Ka-Delta and others). In the 2nd half of the XVI century, the vessel in the Lo-Nie-la-La Italian Muz-Ka: Rome-Schal Schco Lou Wet Charm-Lied J. P. Da Pa-les-St-Ri-on, his tra di-di-weeks-whether is-pan-tsy T.L. de Vid-Triya, K. de Mo-Ra-Forest; Nor-Der-Lan-dech A. Vil-Lart has become OS-but-in-lifesty-novel, non-Qi-An-Schco-lies, Ras-Color With A. Gab Rie Lie and J. Gab Rie Lie. OS-BEA-ZA-TEL-NO-POCH-Ma Tel in co-chi-non-Ni-K. John-Zu-Al-to and L. Ma-Ren-Qio They are their pro-WHO ve-eta-ni-ki Ba-rock-ko.

The Polyphony of the EPO-Hee of Ba-Rock Ko and the XVIII century has a "free-bodie-lem-like", for which-ro-th character In-di-Vi Dua-Li-Ma-Norm. Pre-OB-La Da-Liz-Ma-Men-Ta-Liz-Ma Stub-Mu-Li-Wa-Lo-Wi-Raal Obro-Ra Bot , Lie-Fo-Nichki Va-Ria -si (including PAS-SA-Qa-Lii), as well as fan ta-zi, current-ka-you, can We, Ri-Cher-Ka-Ra, from the Sori-Mi-Ro-Vasha Fu-hecta to the middle of the XVII century. La-Du-Os-Nov-Milnifunction of Sta-La Clas-Sis-Thai-Nal-Naya Sis-Te Ma-Jo-Ra and Mi-Ra. Milia of polyphonies with Ak-Cor-Diva Gar-Mo-Ni-her in Prak-Ke, ge-non-Ral-Ba-Ca, at the time of Ta-Nal-Na-Gar Mosnic once-Viya, mutual-Mi-Dei-St-Vie, Lie-Fo-Nichki (Fu-hectare and others) and th-Mo-background (hundred-rin-noy 2-cha - Stroy, Kon-core) Forms from-Kry-Lee Per-Speed-Ti-you - Need-New-lesions of the Polyphony, the main ten densences of -Tho-ro-th Skon-Prica-three-Ro-Vasha in the Creative Creator I.S. Ba ha and G.F. Gene de la. In Muz-Ke Ba ha Polyphony of Dos-Tig-La High Speed \u200b\u200bof his own time-Viya. Mas-Te-Ra of the Venosky Clast-Si-Schco-Li Ko-Ni-Tel-Ko-Ko-Sa-La Sa-Mo-Co-Ca. Lie-Fo Niche -New, but their knowledge of Ve-Li-Ko: they are no-va-torque, and whether polyphony in SIM-FO-NII, co-on-those and other MAK, IS-POL-ZO-VAS-VI-VI-FO-NECIAL WIRT-VA (IMI-TAZATION, KA-NO-NI-SKY CE-Q-WHOLE AND OTHER) Once-Ra-Bot-ki Ma-Te-Ria-la in a time-ra--bit-al-de-lah, COP-MO-DI-SHALY-MO-MO-FOUND Lee-Fo-nic forms and others.

In the ES-TIM-MA-TE-MA RO-MAN-TIZ-MA Polyphony of OB-D-La Non-Pred-Vita, Ras-Shi-Ri-si Pre-becoming about the Lie-Fo Netic Te-Ma-Tees (PE-SE-NIF SHU-BER-TA, Under-Scherk-Well-of-Step Men-Talny on Ak-D. Os-no-ve in F. Lis-Ta, A. Brook-non-RA), EAST-LODFUTION PRI-QU-QU-MO -pon-but-th form-Mo-circa-zo-via in fu-gakh. A-RATT-NAY TEN-DENGUATION OF SUB-SE-ON WITH ON-MEV-SHEY-XI, in the XVIII century, in the Li-Fo-Ni-Qi-her-Mo-background -To-ry (R. Shu-Man, R. Vag-Ner and others).

In the professional Russian Muz-KE SA-MO-GUY-Li-Vi-Fo-Nicheic Fort-Wi-Vi-Washa in the XVII - 1st half of the XVIII centuries (pairs-tested con-core , Kant and others). Os-no-you are the cool-blue Russian polyphony in the Lo-we - us M.I. Glyn-Koy, which co-chel-tal of the TR-Di-Di-Loous Polyphony and Professional Russian Polyphony (M.S. Be-Re-Zov-Sky, D.S. . Borch-Nyanyky) with the experience of West-Ev-Ropyi in Lee-Fo-Niche Kul-Tuh. In the Russian Mu-Zya XIX - the beginning of the 20th centuries, the polyphonium is from-Li-Es, the MNO-OB-RA-ZI-Ti-Di-Di (Kan-Ti-Le on in ka-nah-na clay ki, A.P. Bo-Ro-di-n), SIM-FO-N. But-Stew forms (P.I. Tea-Kov-sky), Te-Ni-Mo-Men-Tal-No-Mu-Liu (A.K. Glaz-Nov, S.I. Ta-Neu-EB), non-usual-no-fair forms at least (M.P. Mo-Sorg-sky and others). Russian Polyphony trades of the Russian Polyphony in Li-Chi-Rho-Society in Soviet Muz-Ke (N.Y. Meats-Sky, S.S. Pro-Kof- Ev, D.D. SCO-KO-KO-HIV and others).

The effluent of the polyphony of ha-cancer-ter - but for the entire XX century. It is ourselves, it is an o'clock-in-law to fu-ge, in the Lee-Fo-National Va Ria-Nam, including FO-NICE or DI-FO-NI-ZI-PO-WHI-WHI-TEY in SO-NAT-NO-SIM-FO-NICKY CYCLE, SYU-TU, CAN-TA, OPE-RU. In-Te-res to the complex poly-pho-niche ne-key-casic-czyssism (I.F. Stry-Sky, P. Hin de Mit). Musical language of the Polyphony of Us-Lyal-Sia, Boga-Da-Rya-Ren-Na-Nal-Na-Pie, SIM-MET-Rich La Dov ( O. Mes-Sia-on), non-trap-diving space-co-bov Var-I-Ro-Vasya Te-We (sound-co-cells-no-th, RIT-Mi-Che --go). In the polyphony, there was a pre-moth-ne-e-ni-ki (lio-si-oh, the rite-mical pro-Gres, and others) 2nd half of the XX century Polyphony of HS-Ly-Ni-Nasa at-Ya-Ma-Co-Na-Ri (V. Liu-Slav-Sky). In Muz-Ke, Ru-May XX-XXI centuries Polyphony Os-ta is one of the important forms of musical muling.

As a trading pre-methonium polyphony in the SI-S-TU-MU musical and theo-re-tickey circuit.

In the music play of the polyphonic warehouse (for example, in the canon of Zoshen Dere, in Fouga I. S. Baha), the voices are equal in the compositional and technical (the same for all votes of motive-melodic development) and the logical (equal carriers of "musical thought") relations. The word "polyphony" is also referred to as a musical and theoretical discipline, which is taught in courses of medium and higher musical education for composers and musicologists. The main problem of the discipline of polyphony is a practical study of polyphonic compositions.

Emphasis

The emphasis in the word "Polyphony" is experiencing fluctuations: Russian generalscal dictionaries of the 2nd half of the 20th century and the beginning of the XXI century, as a rule, expose the only stress on the second from the end of the syllable. Musicians (composers, performers, teachers and musicologists) usually put an emphasis on "O"; The same orthoepic norm adhere to the newest (2014) large Russian encyclopedia and "Musical Specographic Dictionary" (2007). Some profile dictionaries and encyclopedias allow orphoepic options.

Polyphony and harmony

The concept of polyphony (as a warehouse) is not a correlative concept of harmony (sounding structure), therefore, it is fair to speak, for example, about polyphonic harmony. With all the functional (musical-semantic, musical and logical) independence of individual votes, they are always agreed by vertical. In a polyphonic play (for example, in a perfume organum, in Masho Mott, in Madrigal Jesualdo), hearing allocates consonances and dissonsants, chords and (in the old polyphony) concords, and their connections that are manifested in deploying music in time, are subject to the logic of one or another Lada. Thus, the polyphonic play has a sign of the integrity of the sound structure, musical harmony.

Polyphony and polyphony

In some Western traditions, for the designation of polyphony (more than one vote in the musical "vertical") and for the designation of a special music warehouse, the same word is used, for example, in English-speaking music auctive Polyphonic (in German, on the contrary, there are adjectives Mehrstimmig and Polyphon) - In such cases, the specifics of the word can be installed only from the context.

In Russian science, the polyphonic attribute refers to the specifics of the musical warehouse (for example, a "polyphonic play", "composer-polyphonist"), while the "multi-voiced" attribute does not contain such a specific clarification (for example, "Chanson - a multi-voice song", "Bach is the author of multi-voice choralov treatments"). In modern non-consumer literature (as a rule, due to the "blind" translation from English), the word "polyphony" is used as an accurate synonym for the word "multi-beam" (for example, compilers of advertising texts are "polyphony" in mobile phones), and in such a (non-monitor) Drinking accent is often set to the penultimate syllable - polyphony.

Typology

Polyphony is divided into types:

• Podpochnye Polyphony, at which, together with the main melody, it sounds podonic, that is, a few different options (this coincides with the concept of heterophony). Characteristic for Russian folk song.
• Imitation The polyphony at which the main topic sounds first in one voice, and then, perhaps, changes, appears in other voices (at the same time there may be several mainstream). The form in which the topic is repeated unchanged is called a canon. The vertex forms in which the melody varies from voice to voice is a fugue.
• Contrast-thematic Polyphony (or polymelodism), at which different melodies are simultaneously sound. First appeared in the XIX century.
• Hidden polyphony - Hiding thematic intonations in the texture of the work. It is applied to the free-style polyphony, starting with small polyphonic cycles I. S. Baha.

Historical essay

The first preserved samples of European polyphonic music are non-parallel and melmamatic organs (IX-XI century). In the XIII-XIV centuries, the polyphony brighted everything in the mott. In -XVI centuries, polyphony becomes the norm for all European music, both church (polyphonic) and secular. The highest heyday polyphonic music reached in the work of Handel and Bach in the XVII -XVIII centuries (mainly in the form of fugues). In parallel (starting at about the XVII century), a homophonic warehouse developed quickly, during the time of the Vienna classics and in the era of romanticism, clearly dominated over polyphonic. Another approach of interest in the polyphony began in the second half of the XIX century. The imitation polyphony, focused on Bach and Handel, was often used by composers of the 20th century (Hindemite, Shostakovich, Stravinsky, etc.).

In Russian XIX - early XX century. In a similar modern polyphony, the meaning was used (along with the term "polyphony") the term "polyphonism" (). In the literary critic XX century (M. M. Bakhtin and his followers) The word "Polyphonism" is used in the sense of the discharge, simultaneous "sound" of the author's "voice" and "votes" of literary heroes (for example, they say o).

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Notes

1. Large Russian encyclopedia (T.26. Moscow: BDE, 2014, P.702) records in this word the only emphasis on "O".
2. Music spelling dictionary (M.: Modern music, 2007, p.248) shows only one emphasis - on "O".
3. M. V. Garva. Russian verbal emphasis (2001, p. 388) fixes the only emphasis on "and"
4. Large explanatory dictionary of the Russian language (ch. Ed. S. A. Kuznetsov. Norint 2000. P. 902) Fixes the only emphasis on "and"
5. Superanskaya A.V. . - Science, 1968. - P. 212. Fixes the only emphasis on "and" with the reservation that "in the speech of the musicologist K. Ajemova recorded emphasis on" O ".
6. . - 1966. - P. 79.. Article author? Article title?
7. M. V. Garva. Russian verbal emphasis (2001, p. 388)
8. Large explanatory dictionary of the Russian language (ch. Ed. S. A. Kuznetsov. Norint 2000. P. 902)
9. Fraenov V. P. Polyphony // Large Russian Encyclopedia. T.26. Moscow: BDE, 2014, p.702.
10. Music spelling dictionary. M.: Modern music, 2007, p.248. ISBN 5-93138-095-0.
11. / T. V. Taktashova, N. V. Basco, E. V. Barinova. - Science, 2003. - P. 229. - ISBN 5-89349-527-6.
12. Protopopov V. V. Polyphony // Music Encyclopedia / Ed. Yu. V. Keldysh. - m .: Soviet encyclopedia, 1978. - T. 4. - P. 344.

Literature

• Motte D. de la . Kontrapunkt. EIN LESE- UND ARBEITSBUCH. Kassel, Basel: Bärenreiter, 1981; 9Te aufl., 2014.
• Evdokimova Yu. K. Multifolor medieval. X-XIV centuries. M., 1983 (History of Polyphony, T.1).
• Fedotov V. A. The beginning of the Western European polyphony. Vladivostok, 1985.

see also

Polyphony

"But you know your Excellency, a wise rule, prescribing to assume the worst," said the Austrian general, apparently wanting to end the jokes and proceed with the case.
He involuntarily looked at the adjutant.
"Sorry, General," Kutuzov interrupted him and also turned to the prince Andrei. - That's what my kind, take you all the reports from our clutchors from Kozlovsky. Here are two letters from the count of Nostitsa, here is a letter from His Highness of the Ertzgerce Ferdinand, "He said, gives him several papers. - And from all this clean, in French, make MEMORANDUM, notification, for visibility of all those news that we have about the actions of the Austrian army. Well, then, and imagine His Excellency.
Prince Andrei tilted his head as a sign that he understood from the first words not only what was said, but also that wish to tell him Kutuzov. He gathered paper, and, giving a common bow, quietly stepping on the carpet, went to the reception.
Despite the fact that not much time has passed since Prince Andrei left Russia, he changed a lot during this time. In the expression of his face, in movements, in the gait almost no noticeable presence, fatigue and laziness; He had the kind of a man who had no time to think about the impression of which he produces on others, and busy pleasant and interesting. His face expressed more content with himself and others; Smile and his eyes were more fun and more attractive.
Kutuzov, whom he caught up yet in Poland, accepted him very affectionately, promised him not to forget him, distinguished from other adjutants, took him to Vienna and gave more serious instructions. From Vienna Kutuzov wrote his old comrade, the father of Prince Andrei:
"Your son," he wrote, "the hope of being to be an officer, out of a number of leaving for his classes, hardness and execution. I consider myself happy, having under the hand of such a subordinate. "
In the headquarters of Kutuzov, between comrades colleagues and in general, Prince Andrew, as well as in St. Petersburg society, had two completely opposite reputation.
Some, a smaller part, recognized the prince of Andrei with something special from themselves and from all other people, expected great success from him, listened to him, admired them and imitated him; And with these people, Prince Andrei was simple and pleasant. Others, most, did not love Prince Andrew, considered him an inflated, cold and unpleasant person. But with these people, Prince Andrei knew how to put himself so that he was respected and even afraid.
Going to the reception from the Cutuzov's office, Prince Andrei with papers approached his friend, duty adjutant Kozlovsky, who was sitting at the window with a book.
- Well, what, prince? - asked Kozlovsky.
- It is ordered to draw up a note, why neudum forward.
- And why?
Prince Andrey shrugged.
- No news from poppy? - asked Kozlovsky.
- Not.
- If it would be true that he was broken, it would have come to the news.
- Probably - said Prince Andrei and headed for the day off; But at the same time, to meet him, slamming the door, quickly entered the receptionive high, obviously visits, the Austrian general in Surtuk, with a black headscarf head and with the Order of Mary Teresia on her neck. Prince Andrei stopped.
- General Annef Kutuzov? - Quickly said the arrivals, General with a sharp German reprimand, looking back on both sides and without stopping passing to the cabinet door.
"General Ansef is busy," said Kozlovsky, hastily approaching the unknown general and sunbathing his way from the door. - How do you order to report?
An unknown general contemptively looked down from top to bottom at the lowest growth of Kozlovsky, as if wondering that he could not know him.
"General Annef is busy," Kozlovsky repeated calmly.
The face of the general frowned, his lips jerked and trembled. He took out a notebook, quickly drawing something with a pencil, snatched a piece of leaf, gave, quick steps came up to the window, threw his body to the chair and looked like the former in the room, as if asked: why do they look at him? Then the general raised his head, pulled the neck, as if intending to say something, but immediately, as if he was careless, he had a strange sound, which was immediately prevented. The cabinet door turned away, and Kutuzov seemed on the threshold. The general with a tied head, as if running away from the danger, hitting, large, the rapid steps of thin legs approached Kutuzov.
- Vous Voyez Le Malheureux Mack, [You see the unfortunate poppy.] - he touched his voice.
The face of Kutuzov, who stood in the door of the Cabinet, a few moments remained completely motionless. Then, like a wave, a wrinkle sang on his face, the forehead was smoothed; He talked to the head respectfully, closed his eyes, silently missed his poppy and helped the door for himself.
The rumor, already common before the breakdown of the Austrians and the surrender of the entire army under Ulm, was fair. In half an hour, the adjutants with orders, arguing that the Russian troops were soon sent out, which was still inactive, who were still inaction, will have to meet with the enemy.
Prince Andrei was one of those rare officers in the headquarters, which believed his main interest in the general course of war. Having seen Poppy and hearing details of his death, he realized that half the campaign was lost, I understood the difficulty of the position of the Russian troops and vividly imagined what he would expect an army, and the role he would have to play in her.
Involuntarily, he was experiencing an exciting joyful feeling at the thought of the admission of arrogant Austria and that in a week, maybe he will have to see him and take part in the collision of Russians with the French, for the first time after Suvorov.
But he was afraid of the genius of Bonaparte, who could be the strongest of the entire courtyard of Russian troops, and at the same time could not allow a shame for his hero.
Excited and annoyed by these thoughts, Prince Andrei went to his room to write his father to whom he wrote every day. He came down in the corridor with his cohabitant Nesvitsky and Jerkov's joker; They, as always, were laughing.
- What are you so gloomy? - Nesvitsky asked, noticing the face of Prince Andrew's brilliant eyes.
"There is nothing to have fun," Bolkonsky answered.
While Prince Andrei fell asleep with Nesvitsky and Zherkov, on the other hand the corridor was going on with a penny, the Austrian General, who consisted of Kutuzov's headquarters to observe the food of the Russian army, and a member of the corrugation, who came on the eve. On a wide corridor, there was enough space that the generals could freely disperse with three officers; But the stump, repulcing the hand of Nesvitsky, said the worried voice:
- Go! ... go! ... will be down, the road! Please do!
The generals passed with the type of desire to get rid of driving honors. A suddenly stupid smile of joy, which he as if he could not keep suddenly on the face of Jerkova.
"Your Excellency," he said in German, putting forward and referring to the Austrian General. - I have the honor to congratulate.
He tilted his head and embarrassing, as children who learn to dance, began to darken the one, then the other foot.
General, a member of the Gofcrigsrat, strictly looked at him; Without noticing the seriousness of a stupid smile, could not refuse a minute attention. He squinted, showing what he listens.
"I have the honor to congratulate, the general poppy came, completely healthy, only a little bit here," he added, shining a smile and pointing to his head.
The general frowned, turned away and went on.
- GOTT, WIE NAIV! [My God, as it is simple!] - He said angrily, walking out a few steps.
Nesvitsky and laughter hugged Prince Andrew, but Bolkonsky, even more pale, with an evil expression in his face, pushed him out and turned to Zherekov. That nervous irritation, in which he led to the view of Mac, news about his defeat and thought about what the Russian army expects, there was an outcome in the angry on an inappropriate joke of Zherkov.

Polyphony

(from Greek. Polus - many and ponn - sound, voice; letters. - Multiforous) - a type of polyphony based on simultaneous. The sound of two or more melodic. lines or melodic. votes. "Polyphonia, in her supreme sense," said A. N. Serov, - to need to understand the harmonious merger together several. Independent melodies going in several voices at the same time, together. In the reasonable speech, it is unthinkable to, for example, several persons spoke together, each Its, and so that the confusion did not come out of this, incomprehensible nonsense, but, on the contrary, an excellent overall impression. In music, such a miracle is possible; it is one of the aesthetic specialties of our art. " The concept of "P." Coincides with a wide value of the term counterpoint. N. Ya. Mäskovsky referred to the field of counterpoint. Mastery combination of melodically independent votes and the connection in the simultaneity of several. Themed. Elements.
P. - One of the most important means of the music. Compositions and art. expressiveness. Numerous Receptions P. serve the versatile disclosure of the maintenance of the music. Production, embodiment and development of art. images; Means P. can be modified, compared and unite music. Topics. P. Rely on the patterns of melodics, rhythm, Lada, harmony. The expressiveness of the receptions of P. also affects the tools, dynamics and other components of music. Depending on the definition. MUZ. Context can change art. The meaning of various means of polyphonic. presentation. There are spokes. MUZ. Forms and genres used to create a contract. Polyphonic. Warehouse: Fugue, Fugette, Invention, Canon, Polyphonic Variations, in 14-16 centuries. - Motet, Madrigal and others. Polyphonic. Episodes (eg, Fugato) are found within the framework of other forms.
Polyphonic. (Counterpoint) warehouse music. . He opposes homophone-harmonic (see Harmony, Gomophony), where the voices form chords and it is distinguished by ch. melodic The line is most often in the upper voice. Indigenous feature of polyphonic. The invoice that distinguishes it from homophone-harmonic - fluidity, K-paradium is achieved by erasing the cesur separating the construction, the inconsistency of transitions from one to another. Polyphonic voices. The constructions are rarely kalidated at the same time, usually their kazdasses do not coincide, which causes a sense of continuity of movement as special express. Quality inherent in P. while some votes begin to present a new or repetition (imitation) of the former melodies (themes), others have not yet graduated from the previous one:

Palestrina. Racherkar in i tone.
At such moments, nodes of complex structural plexuses are formed, which combine various functions of the music in the simultaneum. Forms. Following the more competed. The randration of tension, the movement simplifies up to the next node of complex plexuses, etc. In such dramagic. Conditions leaks the development of polyphonic. Production, especially if they allow big art. Tasks, the depth of content is distinguished.
The combination of votes vertically is regulated in P. The laws of harmony inherent in the definition. Epoch or style. "As a result, no counterpoint can be without harmony, because every connection of simultaneous melodies at the individual points forms a consonance or chords. In the genesis, no harmony is possible without counterpart, since the desire to connect several melodies at the same time exactly and caused the existence of harmony" ( . A. Laros). In P. Strict Style 15-16 centuries. The dissonances were located between the Connce and demanded a smooth movement, in P. free style of 17-19 centuries. The dissonances were not bound by smoothness and could move one to another, pushing the lade-melodic resolution at a later time. In Sovr. Music, with its "emancipation" of dissonance, dissonating combinations of polyphonic. Votes are allowed at any distance.
Types of P. are diverse and difficult to classify due to large yields inherent in this kind of music. Iska
In some nar. MUZ. Cultures are spread by a grain type of P., which is based on ch. melodic Voice, from which melodic is branched off. Turns of other votes, pegs, varying and replenishing land. Hanging, sometimes merging with him, in particular in the Kadansa (see heterophony).
In prof. The statement of P. developed other melodes. Relationships that promote expressiveness of votes and all polyphony. whole. Here, the view of P. depends on what the terms are horizontally: with the identity of the melody (themes), imitationally conducted in different voices, the simulation P. is formed, with the difference in combined melodies - P. contrast. This distinction is conditional, because When simulating in circulation, increasing, decreasing, and especially in a stubble movement, the difference in the horizontal melodies is enhanced and approximate by P. to contrast:

I. S. Bach. Organ Fusion C-DUR (BWV 547).
If the contrast of the melodet. Votes are not very strong and kinship is used in them. Turns, P. approaching simulation, like, for example, in the four-mete Racherkar, J. Frescobaldi, where the topics are intonational homogeneous:

In some cases, polyphonic. The combination, starting as imitation, in the definition. The moment goes into a contrast and vice versa - a transition to simulation is possible from the contrast. So the inseparable connection of two species of P. is found.
In the pure form of imitation. P. presented in a single-month canon, for example. In the 27th variation from the Cycle "Goldberg Variations" Bach (BWV 988):

In order to avoid monotony to the music. The kennel of the canon is constructed here so that there is a systematic alternation of melody rhythmich. figures. When conducting rpospost, they lag behind the projected figures, and Intonats occurs vertically. Contrast, although horizontally melodies are the same.
Method of increasing and recession intonats. Activity in the proposal of the canon, which ensures the intensity of the form as a whole, was known in P. strict style, as evidenced, for example, Trudogol. Canon "Benedictes" Mass "AD Fugam" Palestrina:

T about., Imitz. P. in the form of a canon is not alien to contrast, but this contrast arises vertically, whereas horizontally, its terms are deprived of contrast due to the identity of the melodies in all vice. It is fundamentally different from contrasting P., K-paradium combines horizontally unequal melodes. Elements.
The final one-day canon as a form of imitation. P. In the case of a free extension of his votes, it turns into a contrasting P., K-paradium in turn can go to the canon:

Dufai. Duo from Mass "Ave Regina Caelorum", Gloria.
The form described links the views of P. in time, horizontally: followed by another. However, the music of various eras and styles are rich and their simultaneous combinations vertically: the simulation is accompanied by contrast, and vice versa. Some voices are impeded simitationally, others create contrast to them either in free counterpunction;

The combination of the proposal and Risposta recreates the form of an old organ), or in turn forming the simtance. Building.
In the latter case there is a double (triple) imitation or canon, if the imitation extends to the length. time.

D. D. Shostakovich. 5th Symphony, Part I.
The relationship of simulation and contrasting P. in double canons sometimes leads to the fact that their initial sections are perceived as one-month-imitation, and only gradually the proposals begin to differ. This happens when all the work is characterized by the community of mood, and the difference of two reguses is not only not emphasized, but, on the contrary, masked.
In the Et Resurrexit of the Canonical Palestrina Mass double (dual volume), the canon is triggered by the similarity of the initial partitions regained, as a result of which the simple (one-time) four-voice canon is heard at the first moment and only subsequently becomes a noticeable difference in the reginition and aware of the two-volume canon form:

How diverse in music the concept and manifestation of contrast, is just as diverse and contrasting P. In the simplest cases of this type of P. votes are quite equal, which is especially related to counterpoint. Fabrics in the man. Strict style where the polyphonic has not yet been developed. Theme as a concentrated one-door. Expression of the Osn. Thoughts, Osn. Music content. With the formation of such a topic in the work of I. S. Baha, G. F. Handel and their large predecessors and followers Contrast P. admits the topics of the topic over the votes associated with it - anticatch (in Foug), counterpoints. At the same time in Cantahs and the Production. Other genres at the Bach is diverse a contrasting P. dr. genus, formed from a combination of a choral melody with a multi-head. Fabric of other votes. In such cases, the differentiation of components of the contrasting P., brought to the genre characteristic of the votes of polyphonic, becomes even clearer. whole. In the instr. Music of later time, the distinction of the functions of votes leads to a special kind of "P. Plastic", combining one-board. Melodies in octave doubling and, often, imitation with integer harmonic. Complexes: top layer - melodic. Vehicle of themed, medium - harmonic. Complex, lower - melodized mobile bass. "P. Plastic" is extremely effective in Dramaturgić. The relationship is not applied in a single stream at a long distance, but in the definition. The nodes are made., in particular in the culmination sections, being the result of increments. Such is the culmination in the first parts of the 9th Symphony of Beethoven and the 5th Symphony of Tchaikovsky:

L. Beethoven. 9th Symphony, Part I.

P. I. Tchaikovsky. 5th Symphony, Part II.
Dramatically tense "P. Plastic" can be opposed to calm-epic. connection independent. Those, an example of which the reprise of the Symph is served. Pictures of A. P. Borodin "In Central Asia", combining two variekteric topics - Russian and oriental - and also being a vertex in the development of the work.
Very rich in manifestations of contrasting P. Opera music, where it is widely applied. The genus combined off. Votes and complexes characterizing images of heroes, their relationship, confrontation, conflicts, and in general the entire action situation.
The manifold of the forms of contrasting P. cannot serve as a basis for refusing this generalizing concept, as musicology from the term, for example, "Sonataya Form", although the interpretation and application of this form in I. Gaidna and D. D. Shostakovich, L. Beethoven and P. Hindemit are very different.
In Europe. P. Music was originated in the depths of early polyphony (organs, a platter, mott, etc.), gradually drawing up in his own. view. The earliest rendered information about the domestic polyphony in Europe belongs to the British Islands. On the continent, the polyphony developed not so much under the influence of English as in force. reasons. Previously, it takes shape, apparently, a primitive form of contrasting P., which is formed from counterpunctioning to this choral or other melody genre. John Cotton theorist (Kon. 11 - Nach. 12 centuries), expecting the theory of multi-beam (binding), wrote: "The diaphony there is a consistent discrepancy between the votes performed at least two singers so that one leads the main melody, and the other is skillfully wanders Other sounds; both in some points converge in unison or octave. This method of singing is usually called an organ, because the human voice, skillfully disperse (with the main one), sounds like a tool called the body. The word diaphony means a double voice or the discrepancy of the votes ". The form of imitation, apparently, of folk origin - "very early in the people were able to sing strictly canonically" (R. I. Gruber), which led to education altera. . using simulation. Such is a double hexagol. Endless "Summer Canon" (approx. 1240), written by J. Fornset, monk from the Ritch (England), indicating not so much about maturity, how much about the prevalence of simulation (in this case canonical) technique is already to ser. 13 V. Scheme of the "Summer Canon":

Etc.
The primitive form of contrasting P. (S. S. Screbkov refers it to the region of the heterophonia) is found in an early mott of 13-14 centuries., Where polyphonicity was expressed in unification of several. Melodies (usually three) with different texts, sometimes in different languages. An example is an anonymous Motet 13 W.:

MARIAC Assumptio - Huius Chori motet.
The choral melody "Kyrie" is placed in the lower voice, on average and upper - counterpoints to it with texts on the lat. And Franz. Languages \u200b\u200bmelodically close to chorals, but still possessing some independent self. Intonation Rhythmich. Pattern. The form of a whole - variations - folded on the basis of the repetition of the choral melody serving as Cantus Firmus with melodically variable upper voices. In the Masho Masho Mott, "Trop Plus Est Bele - Biaut Paree - Je Ne Suis Mie" (approx. 1350) Each voice has its own melody from his own. The text (all to Franz. Language), and the bottom, with its more even movement, also represents a repeating Cantus Firmus, and the form of polyphonic is also formed. variations. This is typical. Samples of an early motel - a genre that undoubtedly played an important role in the way to mature form P. The generally accepted separation of mature polyphonic. The claim for strict and free styles corresponds to both theoretical. and historical. Signs. P. Strict style is characteristic of the Netherlands, Italian and other schools of 15-16 centuries. It was replaced by P. free style, continuing to develop and so on. In the 17th century put forward along with other it. nat. School, in the work of the greatest polyphonists Baha and Handel reached in the 1st floor. 18 V. Polyphonic vertices. Iska Both styles under their eras were determined. Evolution, which is closely associated with the general development of the music. The lawsuit and the laws of harmony, Lada and others. Muz.-express. funds. The border between the styles is the border of the 16-17 centuries, when, in connection with the birth of the opera, the homoform-harmonic homoform was clearly formed. The warehouse and established two Lada - Major and Minor, all of Europe began to navigate. music, incl. and polyphonic.
The works of the era of a strict style "are striking the elevation of flight, harsh magnitude, some kind of azure, serene purity and transparency" (Laros). They were used to be used. wok. Genres, tools were attracted to duplicate Pevch. Votes and extremely rare - for self. execution. The system of vintage diatonic dominated. Ladov, in which the introductions of the future major and minor were gradually began to make their way. The melody was characterized by smoothness, the jumps were usually balanced by the subsequent move in the opposite direction, the rhythm, submitted by the laws of the Menzural theory (see Menzular Notation), was calm, leisurely. In combinations of votes, Connce prevailed, Dzonsennce rarely performed as an alteration. Consonance, usually formed in passing and asked. Sounds on weak stakes of the tact or cooked detention on a strong share. "... All parties in RES Facta (here - recorded counterpoint, unlike improvised) - three, four or more, - all depend on each other, i.e., the procedure and laws of Conncers in any voice should be applied in relation to To all other votes, "Johannes Tinktoris (1446-1511) wrote (1446-1511). OSN. Genres: Chanson (Song), Motet, Madrigal (small forms), Mass, Requiem (large forms). Takes themed. Development: repetition, most represented by strint imitation and canon, counterpunction, incl. Moving counterpoint, contrast of the compositions of pev. votes. Distinguishing the unity of mood, polyphonic. . Strict style was created by the variationality method, K-ry admits: 1) variational identity, 2) variation germination, 3) variational update. In the first case, the identity of some components of polyphonic remained. whole when varying others; In the second - melodic. The identity with the previous construction remained only in the initial section, the continuation was different; In the third - the update was updated. material while maintaining the general nature of intonation. The variation method spread to the horizontal and vertical, for small and large forms, assumed the possibility of a melod. Changes made by circulation, stabbed movement and its appeal, as well as variation of metrolastam - increase, decrease, passes Pause, etc. The most simple forms of the variation identity are the transfer of finished counterpoint. combinations on dr. Height (transposition) or attributing to such a combination of new votes - see, for example, in "Missa Prolationum" Y. de Okhemema, where a melody. The phrase on the words "Christe Eleison" will first be at first alt and bass, and then repeated by soprano and tenor second. In the same op. Sanctus consists of repetition on the seques above the parties of the soprano and the tenor of what was previously charged with the alto and bass (a), which are now counted now (c) to imitating voices, changes in duration and melodium. The figure of the initial combination does not occur:

The variational update in large form was achieved in cases where Cantus Firmus changed, but came from the same source as the first (see below for the Mass "Fortuna desperata" and others).
The main representatives of P. strict style - Dufai, J. Okhem, Ya. Oberech, Zoskien Depe, O. Lasso, Palestrina. Staying within this style, their production. Demonstrate Split. Attitude to the forms of music.-Themed. Development, simulation, contrast, harmonic. The completeness of the sound is used differently and Cantus Firmus. So, the evolution of the simulation, the main one of the polyphonic, is visible. Music funds expressiveness. It was originally used simulating in unison and octave, then the other intervals were used, among which the quint and quarts were especially important as a comprehensive presentation. Imitation developed thematic. Material and could appear anywhere in the form, but gradually began to be established by their dramagic. Purpose: a) as the forms of the initial, exposition presentation; b) as a contrast to non-satuation constructions. Dufai and Okhem almost did not use the first of these techniques, while he became permanent in the contract. Obrecht and Zoshen Dew and almost mandatory for polyphonic. Lasso and Palestrina forms; The second originally (Dufai, Okhem, Obrecht) advanced when shelving the voice leading Cantus Firmus, and later began to cover whole sections of a large form. Such are Agnus Dei II in Messe Zoshen Dere "L" Homme Army Super Voces Musicales "(see a new example from this Mass in the Cranic Article) and in the Massah Palestrina, for example, in the six-breeding" Ave Maria ". Canon in its various forms (in A clean form or accompanied by free voices) is introduced here and the same. Samples at the final stage of a large composition as a factor of generalization. In such a role in the future, in the practice of free-style, Canon has not appeared almost. In four rounds. Messe "Oh, Rex Gloriae "Palestrina Two sections - ve-nedictus and agnus - written as accurate two-chairs. Canons with free voices, creating a contrast of sincere and smooth to more energetic sounding of the previous and subsequent buildings. In a number of canonic. Mass Palestrina is also the opposite reception: lyrical content Crucifixus And Benedictus is based on the unscrewing P. than and contrasted with other (canonical) parts of the work.
Large polyphonic. Shapes of a strict style in theme. The relationship can be divided into two categories: having Cantus Firmus and not having it. The first were more often created in the early stages of style development, on the next same Cantus Firmus gradually begins to disappear from the work. Practices, and large forms are created on the basis of the free development of theme. material. At the same time, Cantus Firmus becomes the basis of an ins. . 16 - 1st floor. 17 centuries. (A. and J. Gabriel, Frescobaldi et al.) - Racherkara, etc. and receives a new embodiment in the chorast handlers of Baha and its predecessors.
Forms, in which there are Cantus Firmus, are cycles of variations, since the same theme is carried out in them several. Once only. Counterpoint. Surrounding. Such a large form usually has an intermediate intermediate sections, where there is no Cantus Firmus, and the presentation is based either on its intonations or on neutral. In some cases, the relationship of sections containing Cantus Firmus, with intermediate intermediates are subject to a certain numerical formulas (Mass J. Okhemema, Ya. Obrecht), in others are free. The length of the intermediate intermediate and containing Cantus Firmus constructions can change, but may be constant for the whole work. The last one belongs, for example, the Palestrina Mass mentioned above, where both constructions have 21 times (in conclusions, the last sound is sometimes stretched by several. Clocks), and so develops the whole form: 23 times Cantus Firmus is conducted and so much same intermedia constructions. To such form P. strict style came as a result of a long time. The evolution of the principle of variationality. In a number of Cantus Firmus conducted a borrowed melody in parts, and only in conclude. The section she appeared in full form (Oberacht, Mass "Maria Zart", "Je Ne Demande"). The latter was the admission of theme. The synthesis, very important for the unity of the whole essay. Normal for P. Strict-style change made in Cantus Firmus (Rhythmic. Increase and decrease, circulation, stittle movement, etc.), hid, but did not destroy the variation. Therefore, the variation cycles appeared in a very dissimilar form. Such, for example, the cycle of the Mass "Fortuna desperate" Obrecht: Cantus Firmus, taken from the middle voice of the same name, is divided into three parts (ABC) and then the Cantus from the upper voice is introduced (DE). The overall structure of the cycle: Kyrie i - A; Kyrie II - A in C; Gloria - in the AC (in A - in stitching movement); CREDO - CAB (C - in stitching movement); Sanctus - A B with D; Osanna - ABC; Agnus I - and in C (and the same in reducing); AGNUS III - D E (and the same in reducing).
Variationity is represented here in the form of identity, in the form of germination and even in the form of an update, because In Sanctus and Agnus III, Cantus Firmus is changing. Similarly, in Messe "Fortuna desperate", three types of variationsight are used: Cantus Firmus is first taken from the middle voice of the same chanson (Kyrie, Gloria), then from the top (Credo) and from the lower voice (Sanctus), in the 5th Parts Massa used to appeal to the top voice of Chanson (Agnus i) and in conclusion (Agnus III) Cantus Firmus returns to the first melody. If you designate each Cantus Firmus symbol, it will turn out to be a scheme: and in with B1 A. The form of the whole is based, therefore, on different types of variations and involves more reprisality. The same method was applied in Messe Zoshen Dew "Malheur Me Bat".
Opinion about neutralization themes. Material in polyphonic. . Strict style due to the stretching of durations in a voice leading Cantus Firmus, justly partly. In MN. Cases composers resorted to this reception only in order to gradually approach the genuine rhythm of the household melody, alive and immediate, make her sound as if the culmination of the themch. development.
So, for example, Cantus Firmus in Mass Dufai "La Mort De Saint Gothard" sequentially passes from long sounds to short:

As a result, the melody sounded, apparently, in that rhythm, in what was known in everyday life.
The same principle was used in Malheur Me Bat Messe. We bring it to Cantus Firmus along with the published primary source - Trudogol. Shanson Okhemema:

J. Oberecht. Mass "Malheur Me Bat".

J. Okhem. Chanson "Malheur Me Bat".
The effect of gradual detection of the true basis of the production. It was extremely important in the conditions of that time: the listener suddenly recognized the familiar song. Secular lawsuit confluence with the requirements for church. Music with clergy, which caused the persecution of clergy on P. Strict Style. From the historical point of view, the most important process of releaseing music from the power of the Relig took place. ideas.
The variational method of the development of thematism was distributed not only to a large composition, but also on its part: Cantus Firmus in the form of depth. Small revolutions were completely repeated, and subvariation cycles were seized inside a large form, especially frequent in the contract. Obrecht For example, Kyrie II Mass "Malheur Me Bat" is a variation on a brief theme of UT-UT-RE-MI-MI-LA, A AGNUS III in Messe "Salve Dia Parens" - on the brief formula LA-SI-DO-SI , gradually shrinking from 24 to 3 clocks.
One-time repetitions, following their "subject," form a period of two sentences, which is very important with historical. point of view, because Prepares homophone form. Such periods, however, are very fluid. They are rich in the contract. Palestrina (see an example on column 345), they are found at Ombrecht, Zososen Dew, Lasso. Kyrie from Op. The last "Missa AD Imitationem moduli" Puisque J "Ai Perdu" "is a period of classic. Type from two suggestions of 9 closures.
So inside the music. The forms of strict style were granted the principles, which in the later classic. Music, not so much in polyphonic, as in homophone-harmonic, was the main. Polyphonic. . Sometimes they included chord episodes, also gradually prepared the transition to homophone. In the same direction, ladhotonal relations were evolved: the exposure sections of the forms of Palestrina as a strict style ender clearly to tonic dominant relationships, then care for the subdominant and return to the main order. In the same spirit, the scope of the Kandasov large form is deployed: the median kazdasses are usually completed authentic in the tonality of V Art., Final Kadans on Tonic are often plans.
Small forms in P. Strict Style were depending on the text: Inside the structure of the text, the development occurred at the repetition (imitation) of the topic, the change of the text attributed to the update of theme. Material, to-ry, in turn, could be imitated simulating. Music promotion. Forms happened as text promotion. This form is especially characteristic of Motten 15-16 centuries. And got the name of the photon form. So built and Madrigals of the 16th century, where the occasion of the reprisal type occurs occasionally, for example. In Madrigal Palestrina "I Vaghi Fiori".
Large forms of P. Strict Style, where there is no Cantus Firmus, develop on the same narrowing type: each new text phrase leads to the formation of a new music. Themes developed simulating. With brief text, he repeats with new music. Themes introduce a variety of shades will express. character. The theory does not yet have other generalizations on the structure of this kind of polyphonic. forms.
The binder between P. strict and free styles can be considered the work of composers con. 16-17 centuries. Ya. P. Swelinka, J. Frescobaldi, Shyuz, K. Monteverdi. Swalink often used the variational admission of strict style (the topic in magnification, etc.), but at the same time he has flavored chromatisms, possible only in free-style; "Fiori Musicali" (1635) and others. Organ Frescobaldi contains variations on Cantus Firmus in a variety of modifications, but they have rigs and fugated forms; Diathonism of the vintage lands was cleaned with chromatims in the topics and their development. At Monteverdi Depth. Production, ch. arr. Church, wear a strict style (Mass "in Illo Tempore", etc.), Madrigals are almost rummaged with him and should be attributed to the free style. Contrast P. is related to characteristics. intonations that transmit the meaning of the word (joy, sadness, sigh, flight, etc.). Such Madrigal "Piagn" E Sospira "(1603), where the initial phrase" crying and sigh "is especially underlined, contrasting the rest of the narrative:

In the instr. . 17th century - Suits, ancient Sonatas Da Chiesa and others - usually polyphony. Parts or at least polyphonic. Takes, incl. Fugged order, which prepared the formation of an ins. Foughes like self. genre or in conjunction with the prelude (Toccata, Fantasy). Creativity I. Ya. Frombersger, Moffhat, Peressella, D. Buxthehude, I. Pakhelbel, and others. Composers were an approach to the high development of P. free style in the contract. I. S. Baha and G. F. Handel. P. Free Style is stored in the wok. genres, but the main thing is its conquest - ins. Music, to 17 century. Separated from vocal and rapidly developed. Melody - OSN. Factor P. - in Instrase The genres was released from the limiting environmental conditions. Music (Range of Pevch. Votes, ease of intonation, etc.) and in its new form contributed a variety of polyphonic. combinations, latitude polyphonic. compositions, in turn, affecting the wok. P. Vintage Diatonic. The fretsmen gave way to the two dominant - Major and Minor. Greater freedom was received by the dissonance, which became the strongest means of the lade tension. The moving counterpoint, imitation was fully used. Forms, among the proof (Inversio, Moto Contraria) and an increase (Augmentation, but almost disappeared, the stabbed movement and its appeal, dramatically changed the entire appearance and express the meaning of a new, individualized free style theme. The system of variational forms based on santus Firmus, gradually sued no, replaced by a fugue that anticipated in the bowels of the old style. "Of all the birth of the musical composition of the Fugue, there is a single genus, who can always withstand all kinds of fashion. Whole centuries could no longer make it change their shape in any way, and fugues , one hundred years ago, the works are still so new, as if they were composed in our days, "said F. V. Marpurg.
The type of melody in P. free style is completely different than in a strict style. The unprecedented carnation of melody-linear votes is caused by the introduction of an ins. genres. "... In a vocal letter, melodic formation is limited to a narrow framework of the volume of votes and their smaller mobility compared to the tools, indicated E. Kurt. - And historical development came to the genuine linear polyphony only with the development of instrumental style, starting from 17 centuries. Togo, vocal works, not only as a result of a smaller volume and movement of votes, are generally inclined to chord roundabouts. The vocal letter cannot have the same independence from the chord phenomenon, as the instrumental polyphony in which we find samples of the free connection of lines. " However, the same can be attributed to wok. . Baha (Cantata, Massa), Beethoven ("Missa Solemnis"), as well as to polyphonic. . 20 V.
Intonational themes of P. free style to a certain extent prepared strict style. These are the declamance. melodic Rapidity with sound repetition, starting with a weak share and going to a strong for a second, the Terration, Queint, etc. Intervals up, moves to Kwint from tonic, outlining the lade foundations (see examples), - these and these intonations were subsequently formed in The free style of the "core" of the themes, for K-Ry there was a "deployment", based on the general forms of melodic. Movement (gammothitude, etc.). The fundamental difference between the free style from the topics of strict style is to design them into independent, one-heading and completed constructions, compressed the main content of the production, while themes are strictly styled with tech, strokes strictly in aggregate with other imitating voices and only in The complex with them revealed its content. The contours of the strict style theme lost in continuous movement and votes entry. In the following example, the example of the intonational similar patterns of strict and free-style thematis are compared - from the Mass "Pange Lingua" Zosken Dew and from the Fugue Bach on the topic of J. Legnitzi.
In the first case, the two-age is deployed. Canon, the capital turns are flowing into common melodes. The forms of the wildenuance movement, in the second - is shown a clearly defined topic that is modulating in the tonality of dominants with the kandex conclusion.

T. about., Despite the intonats. Similarity, the thematism of both samples is very different.
Special quality of Bahhovsky polyphonic. Thematicism (referred primarily to the topics of fugues) as the peaks of P. free style consists in the collaboration, wealth of potential harmony, in the latitude, rhythmic and sometimes genre definition. In polyphonic. topics in their one-door. Bach projections summarized the lade harmonic. Forms created by his time. Such: TSDT formula, emphasized in the topics, latitude of sequences and tonal deviations, introduction of II low ("Neapolitan") stage, the use of reduced septim, reduced quarts, reduced flares and quints, resulting from mating input tone in Minor with others. Lada steps. Bakhovsky rates inherent in the title originating from the Nar. intonations and choral melodies; At the same time, the culture of Instrases is strong in it. melodics. Entry starts may be characteristic of an ins. Topics, instrumental - vocal. An important link between these factors creates a hidden melody. The line in themes - it proceeds more measuringly, giving the topic of empowerment properties. Both intonats. The source is particularly obvious in cases where the inlet "core" finds development in the rapid movement of the continuing part of the topic, in "deploying":

I. S. Bach. Fugue C-DUR.

I. S. Bach. Duet A-Moll.
In difficult fugas, the function of the "kernel" often takes over the first topic, the deployment function is the second ("well-tempered key", t. 1, a CIS-MOLL fugue).
Fugu is usually referred to by the kind of imitation. P., which is generally true, because A bright topic and its imitation dominate. But in the general revelation. Fugue Plan is a synthesis of imitation and contrasting P., because Already the first imitation (answer) is accompanied by an anticatch, not identical topic, and when joining other votes, the contrast is even more enhanced.

Music encyclopedia. - M.: Soviet Encyclopedia, Soviet composer. Ed. Yu. V. Keldysh. 1973-1982 .

Questions:

1. Simple polyphonic forms.

2.Sevelops in polyphony.

3. Polyphonic genres in instrumental music.

Polyphonic periodit is called a relatively complete musical thought completed by cadence in the initial or new tonality. Feature - continuity of polyphonic presentation, lack of cesur. The cesura of one votes do not coincide with the rest of the rest, due to which continuity arises. Combined cadence of all votes, i.e. Their complete stop is usually found in the independent period. In artistic practice, there are almost no independent polyphonic periods.

Polyphonic 2-private form.

A form consisting of two periods is called a two-party. If its second part is the development of the material of the first part, it is called development or educational 2-private form. Pieces in this form can construction on imitationBut often costs without it.

Unity of thematic material Promotes unity of the form. The continuity of the presentation in 2 private form is achieved by the fact that the cadence of the first period is masked in continuous motion at least one vote. In addition, the unification of parts of the form is achieved by planning the waves of melodic development - single line with main climax, usually located in the second part. Culmination is usually placed in the upper voice.

Polyphonic 2-private form constructed on the basis of ordinary imitation. In each part, one topic is carried out, charged alternately in all voices. Antications to the themes are usually free and not repeated.

Parts are usually not equal in size, the second part is more than a weight, its climax has the importance of the main thing in all form.

Threads of parts in terms of motive content have community melodic elements. The second theme usually grows from the motifs of the first. In the second theme noticeable fixtures. The second theme is usually more relief, is defined and clear in nature than the first. In the second part there is more a variety of imitation conducts. If in the first part they are limited to tonic dominant relations, then meditative moves are used in the second.

Polyphonic 3-private form.

This is a form of three periods.

Development can be developer or contrast. The main task is to achieve the unity of the whole. The most effective remedy in this - reprise.

A fundamental difference from 2-private - in the ability to show more thoroughly in the third part, and, therefore, more intensive development in the middle.

Genres.

In a strict letter, the term Fugue (Run) in the 15th century indicated the form, which is now called canon.

At this time, Canon was called kachchia (hunting). Canon was an ancient imitation form.

From the 17th century a fugue - a polyphonic form based on non-canonical imitation, i.e. plain.

The principles of simple imitation lie at the Motta, Chastsona, Madrigala.

Motet- An independent vocal product consisting of several parts, where each part has its own theme and makes up a simulation polyphonic period. Periods were connected by intermediates. The number of periods corresponded to the number of rows in the text. Comes from FR. ILO - word. Lasso. Palestrina.

Madrigal- A variety of Italian vocal play is usually a love content. Initially, it was one-haired, in the era of revival - a multi-voice. According to Isalyanski - the song in the native language. He had a secular character. Authors - Venosa, Monteverdi.

Kantsonain the era of the Renaissance - a multi-voice vocal play, close by the nature of the folk song. Since the end of the 16th century, Kantsona is an instrumental play of a polyphonic warehouse. In the homophone style - Chancend - at the beginning of the vocal play, since the 19th century - a tool play with a singement, a song melody.

Kanzonetta- Small chancests.

Mesa.- a multi-voice product of cult music for choir, sometimes with the participation of soloist singers, and instrumental support. Performed in Catholic church. The name comes from the Latin phrase: ITE, Missa eats Eklesia (go, the meeting is dissolved) - these words at the dawn of Christianity from the church were removed before the worship of the person who took the test, only members of the community could remain in the church.

The form of the Mass developed in the 14th century. Mass Mass wrote the great composers of the Renaissance - Palestrina, Delera, from the 18th century - Bach, Mozart, Beethoven, Schubert, Rossini, Leaf.

Instrumental forms.

Prelude- A small play of the improvisational warehouse, which served as entry into the next play and associated community of mood.

Investment - A small polyphonic play based on imitation technique (with lat. - invention, fiction).

Variations on Basso Austinate - Supported bass, play, based on continuously repeated in the bass melodic intonation with a distinct genre base.

For all these genres, a free presentation, improvisability, the figurative nature of thematism is characteristic.

Questions for self-control:

1. What does the polyphonic form mean, what is its specificity.

2. Features of the polyphonic period.

3. Polyphonic 2 and 3 private forms.

4. Instrumental genres of polyphony.

5. Vocal genres of polyphony.