Polyphonia - Yuntsiklopedia. Polyphonic create

polyphonia

(From the Greek. Polus - richly і ponn - sound, voice; lit. - richly voiced) - a kind of richly voiced, overnight. sounded two and more melodic. lіnіy abo melodic. voices. "Polyphony, in great meaning," A. N. Surov ordered, "the demand for the harmonious harmony of the deceased melodies to be heard in decilky voices at once, at once. skinny, and not a rogue, not a rogue, nezuzulya nisenitnitsa, but, navpaki, a miraculous enmity. The musicians are also wonderfully able to become one of the natural specialties of our artisan. " Understand "P." stand out with wide meanings of the term counterpoint. N. Ya. Myaskovskiy brought counterpoint to the region. maisternosti of melodiously independent voices and singing in one hour dec. thematic elements.
P. - one of the most important musicians. compositions and mystery differences. Bagatochiselnykh. priyomi P. to serve as a kind of razkrittya to the zmist of muses. production, engagement and development of mystery images; With the help of P. it is possible to vidozmіnyuvati, to set and ob'єnuvati muses. those. P. spiral on the laws of melody, rhythm, harmony, harmony. On the variability of P.'s reception, they also incorporate instruments, dynamism and other components of music. Longing is always there. muses. context can be changed. sense of quiet chi іnshih zasobіv polyphonic. wiklade. Run decomp. muses. Forms and genres, which are stagnant for the establishment of production. polyphonic. warehouse: fugue, fughetta, invention, canon, polyphonic variations, in the 14-16 centuries. - motet, madrigal і ін. Polyphonic. epizodi (for example, fugato) are created within the framework of other forms.
Polyphonic. (Counterpoint) Warehouse muses. manuf. protist to homophonic-harmonic (div. Harmony, Homophony), de voices and approve the chords and see ch. melodic. line, most often in the upper voice. The core specialty is polyphonic. invoices, which appear from homophonic-harmonious, - the plinth, to-paradise to reach the erasures of the caesur, which will inspire, do not remember the transition from one to the last. Voice polyphonic. induce a quick cadence at once, beckon them cadansy do not get stuck, but wickedly see them without interruptions to catch a special one. At that time, as one voices and mend the viclades of the new, or the repetition (imitation) of the colossal melody (those), they have not yet finished the previous one:

Palestrina. Richerkar in the 1st ton.
At such a moment, institutions of folding structural gossip are set up, so that one can experience the development of the muses' functions in one hour. form. Follow the team's insistence. razrіdzhennya tension, crash to say goodbye right up to the offensive university of folding gossip, etc. Have some playwrights. minds of development are polyphonic. production, especially as the stench allows great mystery. zavdannya, vіdrіznyayutsya glibinoy zmіstu.
The additional voices along the vertical are regulated in P. by the laws of harmony, which govern the pressure. for style. "As a result, there can be no counterpoint without harmony, for be it the singularity of one-hour melodies on the edges of their sounding, or an acord. In the genesis of the same harmony, it is not merciful without counterpoint, so as Inspiration of harmony "(G. A. Laroche). In P. strict style 15-16 Art. dissonance roztashovuvalis mіzh consonance і vimagali smooth flow, in P. vіlnogo style 17-19 Art. the dissonance did not pop, the ringing smoothly, and could go one into the first one, it didn’t seem to melodiously for a longer hour. In the bitch. music, from її "emancipation" to dissonance, dissonant present polyphonic. voices are allowed on any protagonism.
Vidi P. evangelical and practical not to be classed because of the great power of the powerful family of muses. call.
Do deyaky bunks. muses. cultures of broadening podgolosochnaya type P., yakiy maє in the basis of hl. melodic. a voice that sounds melodic. turnover ін. voices, voices, how to change and update basic. nasp, an hour to be angry with him, zokrema in cadances (div. Heterophony).
In prof. pose-ve P. viroblenі іnshі melodic. spivvidnoshennya, how to accept the differences in voices and everything is polyphonic. whole. Here P.'s view is to lie down from the warehouse along the horizontal: with the same melody (by those), it is imitationally carried out in the young voices, the P. is adopted, when the melodies are used, P. is contrasting. The price of the interconnection is clever, for that, when there is a change in the beast, the increase, the change, and even more in the crustacean Rus, the melodies in the horizontal direction are perceived and close to the contrast:

І. S. Bach. Organ fugue C-major (BWV 547).
The contrast is melodic. voices are not even strong and in them kinship is victorious. turnover, P. come close to іmіtatsіynoі, like, for example, in the four-dark line of J. Frescobaldі, de those іntonationally one-sided:

A number of people are polyphonic. poєdnannya, rozpochavshis yak іmіtatsіyne, in def. the moment to pass in contrast and navpaki - from a contrasting possible transition to an imitational one. This is how the nervous call of two species of P.
At the pure viglyadі іmіtatsії. P. is presented in one-dark canon, for example. in the 27th variation of the cycle "Goldberg variations" by Bach (BWV 988):

Schob uniknuty odnanitnostі in muses. According to the canon, the propost is prompted here so that one can see the melodic-rhythmic ones in a planned way. figur. When carrying out the growth, the stench appears from the figures of the drink, and vertically from the figures of the singers. contrast, I want the same melodies along the horizontal.
The method of growth and recession of anthropologists. activity in the preaching of the canon, which will preserve the intensity of the form as a whole, but in the form of a strict style in P. canon "Benedictes" mesi "Ad fugam" Palestinі:

So, Іmіtatsіya. In the form of the canon, it is not alien to the contrast, the contrast is red in the vertical, while in the horizontal and in the warehouses, the contrast has been added to the contrast due to the same melodies in all voices. Tsim won principally appear as a contrasting P., to-paradise united horizontally different melodic. elements.
Kintseviy one-dark canon yak form іmіtatsії. P., in every vilny continuation of his voices, go into contrast P., to-paradise in his sergey, you can go into the canon:

G. Dufay. Duo from "Ave regina caelorum", Gloria.
The form of po'yazuє vidi P. in the hour is described, along the horizontal: behind one type of postinche. On the other hand, the music of the early epochs and styles of bagat and one-hour single-hour verticals: іmіtatsіyne supervodzhu contrast, і navpaki. Some voices grow out of focus, and they create a contrast to them, for example, in a vivid counterpoint;

By the end of the message and the growth of creating here the form of an old-wine organum), otherwise, in its own right, we are creating an imitation. pobudova.
In the rest of the fall, there will be a subway (pot) imitation or a canon, as an imitation can be used for three. hour.

D. D. Shostakovich. Symphony 5, movement I.
Interconnection of imitational and contrasting P. in the subordinate canons should be done before the cobs are sorted out as the same-dark-imitations, and if you do not need to fix the steps, you will fix it. Don't be fooled, since the whole TV is characterized by a spirit of spirituality, and the idea of ​​two postings is not just not to be fond of, ale, navpaki, to mask.
Et resurrexit of the canonical mix of the Palestinian subaltern (two-volume) canon of veiling the similarity of cob distributions of proposes, as a result of which at the first moment one feels the simple (one-volume) of the two-volume canon

In the simplest forms of P., in the simplest forms of P., the voice is completely equal, especially to counterpoint. fabrics in production Suvorogo style, not yet polyphonic. yak theme is concentrated one-legged. viraz osn. dumki, main. to the music. To form such those in the creativity of I. S. Bach, G. F. Handel and the great successors and epichetes is contrasted by P. admitting the supremacy of those over the fellow voices - opposites (in fugues), counterpoints. At the same hour in cantatas and productions. Bach's genres are distinguished by contrasting P. іn. to a family that is established as a singular choral melody from many voices. with the fabric of their voices. In such vipadkas even more clear differentiation of the components of contrasting P., brought to the genre characteristic of polyphonic voices. whole. In instr. the music of the beginning of the hour, the interdependence of the functions of the voices, to produce a special kind of "P. Plastiv" melodies in octave tales і, uneasy, іmіtatsії with tsіlmi harmonious. complexes: the top ball is melodic. wear thematic, middle - harmonious. complex, lower - melodious ruhlivanny bass. "P. Plastiv" is viciously divine in dramaturgic. wedding and stagnation not in one sweat on a trivial stretch, but in definition. universities of production Such culminations in the first parts of Beethoven's 9th symphony and Tchaikovsky's 5th symphony:

L. Beethoven. Symphony 9, movement I.

P. I. Tchaikovsky. Symphony 5, movement II.
Dramatically stressed "P. Plastiv" can be protistavity spokiyno-epich. z'єdnannya independently. Tim, but what to serve as a reprise of the symphonic. paintings by A.P. Borodin "At Central Asia", which, one by one, two different characteristics - Russian and one-sided - and also create a top in development.
Doughe rich in manifestations of contrasting P. opera music, de widely zasosovyutsya diff. kind after dnannya dep. voices and complexes, which characterize the images of heroes, their mutual relations, opposition, confrontation and the whole atmosphere of the event.
Riznomanittya forms of contrasting P. can not serve as a guide for the visionary and public witness, since music knowledge cannot be perceived as a term, for example, "Sonata form", if D. Beethoven and P. Hindemita even more.
In Europe. P.'s music originated in the nadra of an early rich voice (organum, treble, motet and іn.), step by step took shape in its own self. view. Most of the early ones came to us about the drive-by-turn bagatogolossy in Europe to the British Isles. On the continent, a lot of voices were developing not only because of the English, but because of the internal. reasons. Persh, for everything, is, apparently, a primitive form of contrasting P., who pretends to counterpoint to a given choral or genre of melody. The theorist John Cotton (kn. 11 - almost 12 centuries), Vikladyuchi the theory of rich voices (two voices), writing: sounds; the offense of a stench in the vicinity of the moment converge into an unison or an octave. ... The form of іmіtatsії, mabut, folk proclamation - "even early in the people they were in strict canonical way" (R. I. Gruber), which called to the adoption independently. manuf. from the stasis of the imagination. Such a sub-six-head. The indefinite "Literary Canon" (bl. 1240), written by J. Fornset, a Chent from Reading (England), not to mention the style of maturity, but to the extent of the imagination (in this particular type) to the technology of the canon. 13th century Scheme of "Literary Canon":

І etc.
The primitive form of contrasting P. (S.S.Skrebkov brings it to the region of heterophony) is seen in the early motety of the 13-14th century. melodies (ring three) with different texts, one on rіznykh movakh... Anonymous motet of the 13th century can be used as an application:

Motet "Mariac assumptio - Huius chori".
The lower voice has the choral melody "Kyrie", the middle and upper - counterpoint to her with texts in lat. і French movah, melodiously close to the chorale, but nevertheless, the volodyut is incompletely independent. іntonation-rhythmic. small. The form of the whole - variacy - is based on the repetition of the choral melody, which is played as cantus firmus with melodiously shifting upper voices. The motet by G. de Machaut "Trop plus est bele - Biauté paree - Je ne suis mie" (Bl. 1350) has a skinny voice that has its own melody from the power. text (all in French), moreover, the lower one, with a larger ruch, can be repeated cantus firmus, and the polyphonic form is also adopted in the bag. variacy. Tse typical. The early motet is a genre that has insanely played an important role on the road to adulthood. a call to the strict and vilny styles from both theoretical and historical. signs. P. austere style is typical for the Netherlands, Italian and in. School 15-16 centuries. She changed P. to the style, and continued to develop and develop. At 17 st. hung up the order with the new ones. nat. school, in the creativity of the greatest polyphonists of Bach and Handel, reached the end in the 1st half. 18th century the peaks are polyphonic. call. The insult to the style has passed the strain within the framework of its epochs. Evoluciya, tied with a high rank, from the out-of-the-way development of muses. the call і by the powerful laws of harmony, harmony and іn. to play music. kost_v. The cordon of the 16th-17th centuries serves as a cordon of styles, if, in conjunction with the folk opera, a homophonic-harmonic form clearly took shape. warehouse and two frets were established - major and minor, on which the whole of Europe began to operate. music, incl. and polyphonic.
Create epochs with the suvorious style of "feuding the temporal pleasures, suvoric grandeur, as blakitnoy, carefree purity and foresight" (Laroche). They had a lot of vikorists. wok. genre, instruments were used for dubbing the singers. voices і vkray іrko - for self-reliance. visonannya. Panuvala system of old-fashioned dіatonіch. freaks, in which they took a step, they began to make their way into the tone of the tone of the Maybut major and minor. The melody was flowing smoothly, the jumps were jittery, the jumps were slowed down at a rapid pace, rhythmically, like in accordance with the laws of mensural theory (divine mensural note), bule calm, unmoved. In the resulting voices, they overwhelmed the consonance, the dissonance was rather self-evident. sp_vzvuchya, beckon, and pretend to pass and additional. with sounds on weak beats to the beat or prepare for the trick on strong beats. "... All parties are in res facta (here - a counterpoint of recordings, in the opinion of those who are being instigated) - three, or perhaps a larger number, - all lie in one form of one, that is. according to the opinion of all the voices "- wrote the theorist Johannes Tinktoris (1446-1511). Main genres: chanson (song), motet, madrigal (mali form), mesa, requiєm (great form). Priyomi thematic development: repetition, most represented by a straightforward imitation and canon, counterpoint, incl. rukhomiy counterpoint, contrast of warehouses. voices. Vіdrіznyayuchis in the same mood, polyphonic. manuf. Suvorogo style was set up by the method of variation, to-riy admittance: 1) variability, 2) variability of germination, 3) variance of improvement. At the first glance, the sameness of some components is polyphonic. whole in case of variance of others; the other is melodic. the same thing with an earlier inducement has been deprived of a deprivation in the cob rasp, continued and bulo іnshe; in the third - added thematic update. material with the preservation of the extravagant nature of the antonomy. The method of variation is widened on horizontal and vertical, on small and large forms, allowing for the possibility of melodic. change, which should be brought in for the help of furrowing, crustaceous ruin and thousness, such as variation of the metro rhythm - increase, decrease, skipping pauses, etc. One of the simplest forms of variaats_yaynosti - transferring the finished counterpoint. a day on ін. visota (transposition) or ascribed to such a new voice - div., for example, in "Missa prolationum" by J. de Okegema, de melodic. the phrase on the words "Christe eleison" is paired with a combination of alto and bass, and then soprano and tenor are repeated for a second. In addition, Op. Sanctus is made up of the repetition on the sixth by the soprano and tenor parts of the one that was previously completed with the alto and bass (A), which now counterpoint (B) to the imitated voices, while the other is trivial and melodious. do not see a little cob:

Variation of improvement in the great form reached in quiet droppings, if cantus firmus changed, but resembled from the same dzherel, but first (div. Lower about the months "Fortuna desperata" and in.).
Nigholovnіshі representatives of P. strict style - G. Dufay, J. Okegem, J. Obrecht, Josquin Despres, O. Lasso, Palestrina. Zalishayuchis within the framework of the tsy style, їх production. demonstrate decomp. shrine to forms of musical-thematic. development, іmіtatsіyna, contrast, harmonious. Povnoti sounding, in a vikorist way і cantus firmus. So, you can see the evolution of the imitational, the most polyphonic. kost_v muses. differences. A lot of іmіtatsії stashed in the unison and octave, then they began to vikoristovuvatisya and ін. Intervals, in the middle of the most important quinta and quart, yak prepared a fugated viclad. Імітації developed thematic. material and could have appeared in any kind of form, but it became a step to become involved in the dramaturgists. designation: a) yak form of cob, expository wiklade; b) as a contrast to unimaginable motives. Dyufa and Okegem mayzhe did not become the first to be the first one from the cich priyom, so that they became permanent in the production. Obrecht and Josquin Despres and mayzhe are obligatory for polyphonic. Lasso and Palestinian forms; the other one (Dyufa, Okegem, Obrecht) hanging at the silence of the voice, the provocative cantus firmus, and after becoming gnawed on the part of the great form. Such Agnus Dei II in the Mesh of Josquin Despres "L" homme armé super voces musicales "(div. Notny butt from the center of the mesa in the statty Canon) and in the months of Palestine, for example, in the six-voice" Ave Maria ". Canon in its various forms (in pure vigor, for the superconductor of vilny voices) introductions here and in a similar way at the final stage of a great composition as a factor of attention. Rex gloriae "Palestinian two parts - Be-nedictus and Agnus - written like the exact two-headed canon with strong voices, flashing the contrast of soulful and smooth to more energetic sounding in front of a series of opposing canons. With crucifixus and Benedictus, it is primed on unmatched P., but it contrasts with the other (canonical) parts of the art.
Great polyphonic. form suvorogo style in thematic. The relationship can be divided into two categories: cantus firmus and not. The first part of the development of the style at the early stages, but at the beginning of the cantus firmus step-by-step start to learn about the creative. practice, and great forms are established on the basis of the development of thematic. material. At the same hour, the cantus firmus becomes the basis of the instrument. manuf. 16 - 1st floor. 17 Art. (A. and J. Gabrieli, Frescobald and I.) - richerkara and I. I will reject the new entrainment in the choral remakes of Bach and the first one.
The forms, in which it took є cantus firmus, are cycles of variations, the examples are the same and the same theme is carried out in them in December. once in a diff. counterpoint otochennі. Likewise, a great form makes me feel great, I cantus firmus, every day cantus firmus; In some cases, the distribution of razdiliv, which reveals the cantus firmus, with the introductory-intermedial numbered formulas (mesi Y. Okegem, Y. Obrecht), in the same vilny. The length of the intermedia and the revenge of the cantus firmus of motives can change, or can be and permanent for the whole creation. Until the rest of them, for example, Zgaduvana vishche mesa "Ave Maria" Palestrini, de offending a kind of inducement to be done at 21 bars (in the case of the new ones, the last sound is only stretched out on a spike. g Introductory-intermedia incentives. To a kind of form P. strict style came in the results of others. Evolution of the very principle of variation. In a number of products. cantus firmus, carrying out the suspected melody in parts, or less in the way. razdіlі won was in the main viglyadі (Obrecht, mesi "Maria zart", "Je ne demande"). Ostannє bulo priyom thematic. synthesis, even more important for the unity of all creation. For P. the strict style of the snake, which is introduced to the cantus firmus (rhythmic. Zbіlshennya і change, furrowing, crustaceous ruch, etc.), was primed, but variability was not appreciated. To that, the variacyyni cycles were put in to complete the developmental viglyadi. Such, for example, the Mesh Cycle "Fortuna desperate" by Obrecht: cantus firmus, taking from the middle voice of the same chanson, breaking into three parts (ABC) and giving introductions of cantus from the upper voice (DE). Zagalny structure to the cycle: Kyrie I - A; Kyrie II - A B C; Gloria - В АС (В А - in Rakokhid-nom Rusі); Credo - CAB (C - in crustacean rusі); Sanctus - A B C D; Osanna - ABC; Agnus I - А В С (also in changes); Agnus III - D E (also in a change).
Variation is presented here in the form of identity, in the form of germination and in the form of renewal, and in Sanctus and Agnus III cantus firmus changes. In the same way, in the "Fortuna desperate" by Josquin Desperate, there are three types of variations: cantus firmus - a collection of taps from the middle voice of this chanson (Kyrie, Gloria), then from the upper (Credo) and from the lower voice (Sanctus), in the 5th parts of the mixture vicoristano the beating of the upper voice chanson (Agnus I) and at the end (Agnus III) cantus firmus turn to the first melody. If you designate the skin cantus firmus with a symbol, then you will see the diagram: А В С В1 А. different types variability and getting more reprisal. The same method of zastozovaniya in the mesі of Josquin Despres "Malheur me bat".
Thought about neutralization thematic. material in polyphonic. manuf. Suvorogo style impressed by the triviality in the voice, the provocative cantus firmus, justly deprived of chastkovo. Pl. In the fall, the composers went to the whole reception only in order to, from the great trivialities, step by step to the rhythm of the beat-by-beat melody, lively and without interruption, sounding like bi culmination thematic. development.
So, for example, Cantus firmus in Dufa's mes "La mort de Saint Gothard" lastly go from all sounds to short:

As a result, the melody sounded, mabut, in that rhythm, in what was a bullet from a house in a bout.
The same principle of vikoristany in Obrecht's "Malheur me bat". Presumably її cantus firmus at once published by the perchodzherel - three-headed. Okegem's single chanson:

J. Obrecht. Mesa "Malheur me bat".

J. Okegem. Chanson "Malheur me bat".
The effect of stepwise detection of the true basis of the production. Buv superbly important in the minds of that hour: the listener of the raptor knows the familiar song. Svitske pozov-pid entered into a fight with vimogs, which were presented to the church. music by the clergy; From the historical point of view, the most important process of evolving music from the standpoint ideas.
A varied method of developing thematicism, broadened not only on the great composition, but on the її part: cantus firmus at the viglyadі dep. small turns ostinatnoy repeated, and in the middle of the great form subvariety cycles were formed, especially parts in the production. Obrecht. For example, Kyrie II Mesi "Malheur me bat" is an option for short topic ut-ut-re-mi-mi-la, a Agnus III in the "Salve dia parens" - for a short formula la-si-do-si, step by step shrink from 24 to 3 bars.
One-time repetition, such as immediately after its own "theme", confirms a series of two propositions, which is even more important from history. point of view, that also prepares homophony form. Such period, prote, even more fluid. Nimi production Palestrin (div. Butt on the column 345), the stench is seen in Obrecht, Josquin Despres, Lasso. Kyrie s op. The rest of the "Missa ad imitationem moduli" Puisque j "ai perdu" "- a classic type of two sentences of 9 bars.
So all the middle muses. forms of the suvorogo style were imbued with a principle, to-yaki in the new classic. music, not styles in polyphonic, but in homophonic-harmonic, became the main ones. Polyphonic. manuf. Inodi included the Achorda Epizodi, in the same way the transition was made to homophony. At the same time, the palatal appearance of the blues was directly evolved: the exposition of the forms in Palestine, which completes the suvorious style, is clearly heavy to the subtle dominant appearance, the more reminiscent of the direction towards the subdomain. The sphere of cadences of the great form is growing at the end of the day: the middle cadence is called to end authenticly in the tonality of the V century.
Small forms in P. of the strict style were kept in the presence of the text: in the middle of the strophes of the text, the developments were repeated for other purposes by those who changed the text to the new thematic. material, to-riy, in its own devil, mіg vicladatisya іmіtatsіyno. Suvannya muses. the form was introduced into the world of penetrating the text. This form is especially characteristic of the motet 15-16 st. I rejected the name of the motet form. This is how the madrigals of the 16th century were stimulated. in Madrigal Palestinian "I vaghi fiori".
Great formations of P. in a strict style, de vidsutnya cantus firmus, evolve after the same motet type: a skin is a new phrase to the text of the Veda before the adoption of new muses. those who are able to develop іmіtatsіyno. With a short text, vin is repeated with new muses. topics to bring in useful news. character. The theory is not, in its own way, ordered by others about the structure of this kind of polyphonic. forms.
With the help of a good lanka, along with P. strict and vilny styles, it is possible to respect the creativity of the composers of the cinema. 16-17 centuries J. P. Sweelinka, J. Frescobald, G. Schutz, K. Monteverdi. Svelinka often corroborated with varied priyoms in a suvorogo style (the theme is in great and inn.), Ale, at the same time, is widely represented by frets of chromaticism, perhaps only in a vilny style; "Fiori musicali" (1635) and ін. Organnі op. Frescobaldis place variations on cantus firmus in versatile modifications, albeit in them the rudiments of fugated forms; diatonism of the old-fashioned ways of roztsvichu chromatisms in themes and development. At Monteverdi dep. manuf., ch. arr. church, to wear in a suvorogo style (mesa "In illo tempore" and in.), madrigals and majzhe pry with him and be guilty of bringing them to a vіllo style. Contrast P. in them is tied with types. іntonatsіyami, scho convey the zmіst of words (joy, trouble, zіtkhannya, polіt, etc.). Such a madrigal "Piagn" e sospira "(1603), de especially the pochatkova phrase" I cry and zitkhayu ", is contrasted with the answer:

In instr. manuf. 17th century - suites, old-fashioned sonatas da chiesa and ін. - call the boule polyphonic. parts abo hocha b polyphonic. Priyomi, incl. fugated order, scho gotuvalo to learn the instrument. fugues yak self. genre, for example, in a prelude (current, fantasy). Creativity I. J. Froberger, G. Muffat, G. Purcell, D. Buxtehude, І. Pachelbel і ін. The composers boomed up to the highest development of P. in a vilny style in the production. І. S. Bach and G. F. Handel. P. vіlnogo style is taken in the wok. genres, ale smut and conquest - an instrument. music, up to the 17th century. Vіdokremilasya vіd vіdvolіy and rushly developed. Melody - main. P. factor - in instrument. genres zvіlnyalya from the intermingling minds wok. music (range of sound. voices, animation and soundness) and, in its own new view, has a variety of polyphonic. the result, the latitude is polyphonic. composition, pouring it into your wok. P. Old age Ladies accepted two panіwnims - a major and a minor. Great freedom has been eliminated by dissonance, as if it has become the most powerful way of fretting. More became vikoristovuvatsya rukhomiy counterpoint, іmіtatsіya. form, the middle was taken over by the beast (inversio, moto contraria) and by the increase (augmentation a little bit by the crumbling debris and the beast, the whole view was quickly changed and the sense of the new, the innovative system of the modern formalized firmus, step by step, the fugue went down, replaced by a fugue, which looked like the old style in the nadra. " , a hundred years ago, it’s still new, like it’s like our days’s stockpiling boules ”, - FV Marpurg, by reference.
The type of melody in P. is in a strong style, it is not very strong, but not in a strict style. The unrestrained breadth of melodic-linear voices of viclikano in the introduction of the instrument. genres. "... On the vocal sheet, the melodious form is surrounded by a narrow framework. Togo, vocal create, Not only in the case of a minor debate and rupture of voices, vzagalyayutsya to the chord roundness. The vocal sheet cannot be so self-contained as a chord phenomenon, as an instrumental polyphony, in which we know the images of a vivid sense of the line. " solemnis "), as well as up to polyphonic production of 20 st.
Intonational thematicism of P. in a style with a singing world of preparations in a strict style. Such declamations. melodic. revolve with repetitions of sound, how to repair from weak parts and go to strong for a second, third, quint and in. Interval up the hill, go to the quinta from the tonics, how to describe the frets of the pidvalini (div. butt), - and those similar to them, the anthony in the past was made in the style of the "core" by those, for the roman next "shape-shifted" melodic. ruhu (gamma shape, etc.). The principle of the vіdmіnnіst thіm vіlnіstіstіvіtіt thіm the suvorogo style of polyagaє in the decorated іх in self-styling, to sound monophonic and to the completion, inspire, to whirl naygolovn_she zm_st production, todі yak thematism in the strict style of bouv plinny, vikladavsya straight in sukupnostі z ін. іtuyut voices і deprived in the complex of them, the crying wolf. The contours of those suvorogo style were ruined in unbreakable Russia and the entry of voices. At the offensive bottom, there is an introduction to the subtlety of the themes of the suvorogo and vilny styles - from the "Pange lingua" by Josquin Despres and from the Bach fugue on the theme of J. Lehrenzi.
The first one has a two-headed vipad. the canon, the headlines of the envelopes are heavily overflowing into the melodic backbones. the form of a bezkadetsіonny ruhu, in another - the theme is clearly shown, modulating into the tonality of the dominance of the cadence completions.

Thus, do not marvel at the іntonatsіynykh. the similarity, the thematism of both images are even more traditional.
The quality of the Bakhiv polyphonic is especially special. thematicism (toil in respect for all those fugues) as the top of P., in the style of the pole in vividness, in the richness of potential harmony, in the harmonic, rhythmic and hourly genre value. At the polyphonic. themes, in їх one-legged. projections Bach is the harmony of the harmony. form, open until the 10th hour. Such: the TSDT formula, adapted to the themes, the breadth of the sequences and tonal displays, the introduction of the second low ("neapolitan") step, the last change of the seventh, the change of the apartment, the change of the third and the second In steps of a fret. Bakhіvskі thematicism of power is the concordance, which revolves from the people. іntonation and choral melodies; at the same time in the new strong і culture and instrument. melodies. Sp_vuche a cob can be a powerful instrument. themes, instrumental - vocal. The melodic is attached to the importance of the ringing between the various factors. the line in the topics - there is a lot of confusion, and those are the spies of power. Insult to the Antonians. the turn is especially variable in quiet drops, if the "core" shvidku rusі I will sell the parts by those in the "rozgortanna":

І. S. Bach. Fugue C-dur.

І. S. Bach. Blowing a-moll.
In folding fugues, the function of the "core" is often taken on by the Persha theme, the function of the guttange is a friend ("Good tempering claviers", vol. 1, fugue cis-moll).
Fugu call it to the genus іmіtatsіya. P., scho in zalny vіrno, besides scho yaskrav theme and і її імітуvannya dominate. Ale in general theory. The plan fugue is a synthesis of the imaginary and contrasting P., which, even if the persistence of the imagination (appears), is accompanied by a contradiction, which is not the same, but at the beginning of it. voices Contrast is more acceptable.

Polyphonism, counterpoint, rich planning, rich voices Glossary of Russian synonyms. polyphony, see the bagatogolosya Glossary of synonyms of Russian mov. A practical guide. M .: Russian mova. Z. Є. Alexandrova ... Glossary of synonyms

- (from poly ... і Greek. Phone sound voice), kind of rich voices, songs on one-hour afternoon 2 and more self-styled melodies (in opposition to homophony). You see the polyphony of the imitation (div. Imitation), contrasting (counterpoint of the young ... ... Great Encyclopedic Dictionary

The bagatogo voices of the musician, in which the skinny voice has an independent melody meaning. The ear of P. is presented to the most modest samples in the whole region, on the ear of the X century. Gukbald mentions in his works about the organ parallel to the bloody one, ... ... Encyclopedia of Brockhaus and Efron

polyphonia- (polyphonia is not recommended; play in music) ... Vocabulary of Difficult Vimov and Voice in Successful Russian Movies

The current encyclopedia The encyclopedia of cultural studies

polyphonia- (from a poly ... and a walnut phone sound, voice), a kind of rich voices, songs on one-hour afternoon 2 and more self-styled melodies (in opposition to homophony). Razrіznyayut polyphonies іmіtatsіynu (wonder Іmіtatsіya), contrast ... Іustrovaniy encyclopedic vocabulary

Bach's creative fallacy is unimportant. Until our days, only a small part of this creation has gone, and yet, it’s all, it’s worthwhile to see the greatness of its contribution to the development of musical art. Yogo musical images of the folk poetry of polyphony, "Counterpoint by the poetic language of the genial composer", - wrote M. A. Rimsky-Korsakov.
Polyphonia in the crossbar from walnut movi means rich voices. Moreover, it also has a rich voice, in which skinny head є we are equally important and we carry our own virazny melody. Also, there is only one voice in which the meaning of the voice is, in which the melody sounds. Reshta voices only to companions. This style is called homophonous. Any romance or a song with a superconductor can serve for such a style.
It is necessary to say that polyphonic music appeared ten years before Bach. In his own mystery, as they reached the true perfection, as they brought the bags to the development of the polyphony.
For a rich table of music and polyphonic music, we have seen their own special form and genre, their own development. One of the most important among them is іimitatsіya. The Latin word (imitatio) means nasliduvannya. Imіtuvati means naslіduvati. In music, the word is called the repetition of the melody, only it sounded in the first voice or in the second instrument. More precisely, the voices entered into a skinny voice, trochas zapiznyuchis, repeating the same melody. At the same time, all polyphonic genres are based. The very leaders of the іmіtatsії reach the continuity of the melodic ruch.
Tsey priyom Bach vicorist is still in small p'es, as he wrote for his blues - small preludes and fugues, inventions and symphonies. Even more clearly manifested itself in the fifteen two-part Bach's Inventions.
Bach's vintages and wines have vividly appeared in the tsikh creatures. It is important to be able to conduct a few voices at once, so that none of them is not one pianist, but a number of spices. It’s important to play on a bitter piano with a great and sound sound, but not from old-time harpsichords, Bach started to pry until the scientists played smoothly and softly.
Bach wrote his іnventsії in order to find out his scholars "to the beautiful and sonorous method of vikonannya." Ale yogo іnventsії - tse not just right. Tse high-artistic p'єsi. Basically, the skin is short, ale virazna theme... In the imitatsiynyh creations, the theme is sometimes one-voiced, and at the same time, it is a one-voiced voice. Moreover, the first one is not zamovkaє, the wine prodovzhu ruh, will set off the theme. Such a continuation of the melody is called the counterpart. Vzagal, in іnventsії є distribution, in which the topic is not carried out. They can develop elements of the basic melody. Such razdіli are called intermedia (in the Latin translation "inter" means "mіzh"), which is known as those carried out by those.
Ale do not wait for Bach to be victorious only on this principle. In polyphonic music, extensions are of the largest type of imitation. The new offensive voice repeats not only the theme itself, but rather the opposite. So that all voices sing out one and the same melody, albeit not all at once, but coming in at once, sometimes from one and the same sound, sometimes - from children. Such an imitation is called canonical or simply canon. On the day of the right, the imitation is carried out without interruption. Such a development is the lure of Invention No. 8 in F major.
A fair encyclopedia of bakhiv images becoming the first celebrity "Good tempering claviers". Bach wrote the first to that in Keteni in 1722 rotsi. Until now, 24 preludes and fugues have gone. Leipzig has a lot of rock, therefore another volume has appeared, it can also be stored in 24 cycles. Bach hothiv tsim with tartum into the practice of using all the tonalities of the tempered fret.
The name itself was instrumental in the fact that the piano was rooted in the piano system and due to its technical difficulties, it could serve as a good course in the development of the piano gri technique. Bach not letting go, how do you create with them, become the belongings of the art, how great genies can be drawn on them: Beethoven, Chopin, Schumann, List. Warehouse, win setting before himself modest pedagogical goals.
The great Russian pianist A.G. Rubinstein at his book "Music and representatives of the world" called Bach's tvir "pearl in the music", talking about those who "yakby ale all bachy motets, cantati, "(The greatest of Bach's works) were ruined and only for the time being, then nothing would fall into the air - the music did not disappear."
Skin prelude and fugue є two-part cycle. The stench is contrasting one to one. Mayzhe all the preludes may have an empowered character. Fugues are strictly polyphonic tvir. Ale so it is itself, as in syuity, the skin cycle is to unite the zagalny tonalities, and the subtle internal sounds.
Let us illustrate with such a small cycle є Prelude and Fugue in D major from the 1st volume “Good Tempered Clavier”.
Povitryana, like nibi zitkana with fancy, fabric of prelude, vision of the lung, rushing forward the ruch, complementing the precise carbovan rhythm, the masculine character of the fugue.
The prelude is written in accordance with all the laws of the prelude impromptu genre. Vona nibi all virosta s small cob with those In each case, the character of the ruch, and especially the texture are shown.
The melody of melody is constantly weaving in the right rutsi, at that hour, as soon as it is left, it gives an easy support. Offended hands yak bi lead skin their line. Due to the technique, the harpsichord can convey a light violin texture. The whole prelude is even more similar to the violin's impromptu in the superconductor, and it is an uninterrupted ruh. Rozdіli nіbi strung one by one.
Now let's go to a fugue. His vision, the most sophisticated form of polyphonic music. There will be a fugue with special laws. The word "fugue" in Latin means біг.
One theme lies at the heart of the fugue - yaskrava, garna. Lastly, all voices are victorious, in the absence of the number of such fugues there are two-part, three-part and five-part. The main technique of Budovi fugue is that very imitatsia. At fusi, yak i in invention, є contradiction, іntermedia. Fugues are played, in the base of which there is not one theme, but two, and three. Todi stinks are obviously called subordinate or substandard.
In Fusi in D major, like in the prelude, there is no transition from one to the next, there is no internal development of images. There is a lot more to the art of the Italian opera, in which the characteristic of the musical image is tsely and closed. The whole image is victorious in those, and the given development is only additional, and not the change of its essence.
The theme itself is closer to the character of the heroic images of the oratorial-cantata music of that hour.
The І theme, і ї ї ї ї ї viklad in the exposition is to justify the husband's energy and cost. In the exposition, the theme is victorious in our voices last time. In the middle of the distribution of fugue - rozrobtsi - an intensive development is given by those behind the additional development of the young: strengthening the dynamics, often changing tonalities, harmonious instability. By turning the head tonality, the third part of the fugue is repaired - a reprise. Z french movi The whole word is changed as renewal, repetition. The theme in the reprise is to sound only in the basic tonality. In opposing the development of tonal non-tonal stability, the reprise is guilty of introducing with us the perception of tonal equilibrium, style and completeness of all creation.