Cadence |

cadence (I-cadenza yase-Italy, kusukela ku-Latin cado - ngiyawa, ngiyaphela), i-cadence (I-French cadence).

1) I-harmonic yokugcina. (kanye ne-melodic) inzuzo, umculo wokugcina. ukwakhiwa nokukunikeza ukuphelela, ukuphelela. Kuhlelo lwe-tonal olukhulu lwekhulu le-17-19. ku-K. ngokuvamile kuhlangene i-metrorhythmic. ukwesekwa (isibonelo, ukuphimisela kwemethrikhi kubha yesi-8 noma yesi-4 yesikhathi esilula) kanye nokuma kokunye okuvumelanayo okubaluleke kakhulu (ku-I, V, kancane kancane esinyathelweni se-IV, ngezinye izikhathi kwamanye ama-chords). Okugcwele, okungukuthi, ukuphela kwe-tonic (T), ukwakheka kwe-chord kuhlukaniswe okuyiqiniso (VI) kanye ne-plagal (IV-I). I-K. ilungile uma u-T evela ku-melodic. isikhundla seprima, ngesilinganiso esinzima, ngemva kokubusa (D) noma okungaphansi (S) kokuyinhloko. ifomu, hhayi ekusakazweni. Uma enye yale mibandela ingekho, uku. kubhekwa njengokungaphelele. K., egcina ngo-D (noma u-S), ebizwa. ingxenye (isb, IV, II-V, VI-V, I-IV); uhlobo oluyiqiniso. K. ingabhekwa ngokuthi. I-Frygian cadence (uhlobo lokugcina lwe-IV6-V ku-harmonic minor). Uhlobo olukhethekile yilokhu okubizwa. kuphazamisekile (amanga) K. - ukwephulwa kweqiniso. Kuya. ngenxa yokushintshwa kwe-tonic. ama-triad kwamanye ama-chords (V-VI, V-IV6, V-IV, V-16, njll.).

Ama-cadenzas aphelele

Ingxenye ye-cadenza. I-cadence yaseFrigian

Ama-cadence aphazamisekile

Ngendawo emculweni. ifomu (ngokwesibonelo, esikhathini) hlukanisa i-Median K. (ngaphakathi kokwakhiwa, ngokuvamile thayipha IV noma IV-V), okokugcina (ekugcineni kwengxenye eyinhloko yokwakha, ngokuvamile i-VI) kanye nokunye (okunamathiselwe ngemva okokugcina K., t ie whorls VI noma IV-I).

amafomula e-harmonic-K. ngokomlando wandulele monophonic melodic. iziphetho (okungukuthi, empeleni, K.) ohlelweni lwe-modal ngasekupheleni kweNkathi Ephakathi kanye ne-Renaissance (bona izindlela zeNkathi Ephakathi), okuthiwa. izigatshana (kusuka ku- lat. claudere - ukuphetha). Isigaba somthetho sihlanganisa imisindo: i-antipenultim (i-antepaenultima; i-penaltimate eyandulelayo), i-penultim (i-paenultima; i-penalty) ne-ultima (i-ultima; yokugcina); okubaluleke kakhulu kuzo yi- penultim kanye ne-ultim. Isigatshana se-finalis (finalis) sasibhekwa njengo-K. (i-clausula perfecta), kunoma iyiphi enye ithoni - engaphelele (i-clausula imperfecta). Izigatshana okuvame ukubhekwana nazo zahlukaniswa ngokuthi “treble” noma i-soprano (VII-I), “alto” (VV), “tenor” (II-I), nokho, azinikezwanga amazwi ahambisanayo, futhi zisuka ku-ser. ngo-15 c. "ibhesi" (VI). Ukuchezuka esinyathelweni sokuhola VII-I, okujwayelekile kuma-frets amadala, kwanikeza okuthiwa. “isigatshana sikaLandino” (noma kamuva “i-cadenza kaLandino”; VII-VI-I). Inhlanganisela kanyekanye yalezi (kanye ezifanayo) zomculo. U-K. uqambe ukuqhubeka kwe-cadence chord:

Izigatshana

Yenza “Ubani ofanelwe kuKristu.” 13 c.

G. de Macho. I-Motet. ngo-14 c.

G. Indela. Isiqephu sensimbi esinezingxenye ezintathu. ngo-15 c.

J. Okegem. Missa sine nomina, Kyrie. ngo-15 c.

Kuvela ngendlela efanayo i-harmonic. i-turnover VI isisetshenziswe ngokuhlelekile kakhulu eziphethweni. K. (kusukela engxenyeni yesi-2 yekhulu le-15 futhi ikakhulukazi ekhulwini le-16, kanye ne-plagal, "isonto", K. IV-I). Ososayensi base-Italy bekhulu le-16. wethula igama elithi “K.”

Kusukela ekuqaleni kwekhulu le-17. inzuzo ye-cadence VI (kanye “nokuguqulwa” kwayo IV-I) ayingeni esiphethweni somdlalo noma ingxenye yawo kuphela, kodwa kuzo zonke izakhiwo zawo. Lokhu kwaholela ekwakhiweni okusha kwemodi nokuvumelana (ngezinye izikhathi kubizwa ngokuthi i-cadence harmony - Kadenzharmonik).

Ubufakazi obujulile bethiyori bohlelo lokuvumelana ngokuhlaziywa komnyombo walo - okuyiqiniso. K. – okuphethwe ngu-JF Rameau. Wachaza umculo-logic. ukuvumelana chord ubudlelwano K., ukuncika imvelo. izimfuneko ezibekwe phansi emvelweni weminyuziyamu. umsindo: umsindo oyinhloko uqukethwe ekubunjweni komsindo we-tonic futhi, ngaleyo ndlela, njengokungathi, ukhiqizwa yiyo; ukuguqulwa kokubusa ku-tonic ukubuyiselwa kwe-elementi etholiwe (ekhiqiziwe) emthonjeni wayo wangempela. U-Rameau unikeze ukuhlukaniswa kwezinhlobo ze-K ezisekhona nanamuhla: okuphelele (parfaite, VI), i-plagal (ngokukaRameau, "okungalungile" - okungajwayelekile, IV-I), okuphazamisekile (ngokwezwi nezwi "ephukile" - rompue, V-VI, V -IV). Ukunwetshwa kwesilinganiso sesihlanu se-K. eyiqiniso (“isilinganiso kathathu” – 3: 1) kwamanye ama-chords, ngaphezu kwe-VI-IV (isibonelo, ngokulandelana kohlobo I-IV-VII-III-VI- II-VI), uRameau wabiza “ukulingisa u-K .” (ukukhiqizwa kabusha kwefomula ye-cadence ngamapheya ezingoma: I-IV, VII-III, VI-II).

U-M. Hauptman bese kuba ngu-X. Riemann bembule i-dialectic ye-ratio ye-main. izingoma zakudala. K. Ngokusho kuka-Hauptmann, ukuphikisana kwangaphakathi kwe-tonic yokuqala kuhlanganisa "i-bifurcation" yayo, ngoba ihlobene nobudlelwane obungaphansi (okuqukethe ithoni eyinhloko ye-tonic njengengxenye yesihlanu) kanye neyokubusayo (equkethe okwesihlanu. ye-tonic njengethoni eyinhloko) . Ngokuka-Riemann, ukushintshaniswa kuka-T no-D kuwuphawu olulula olungena-dialectical. isibonisi sethoni. Ekushintsheni ukusuka ku-T kuya ku-S (okufana nesinqumo sika-D ku-T), kwenzeka, njengokungathi, ukuguquguquka kwesikhashana phakathi nendawo yokudonsela phansi. Ukubonakala kuka-D nokulungiswa kwayo ku-T kubuyisela ukuphakama kuka-T futhi futhi kukubeka ezingeni eliphezulu.

U-BV Asafiev wachaza u-K. ngokombono wethiyori yephimbo. Uhumusha u-K. njengokujwayelekile kwezici zesici semodi, njengengxube yesitayela somculo we-meloharmonics ngamunye. amafomula, aphikisana nokuba mshini kokumiswa kwangaphambilini kokuthi "ukuchuma okwenziwe ngomumo" okunqunywe ithiyori yesikole kanye nethiyori. abstractions.

Ukuvela kokuvumelana ku-con. Ikhulu le-19 nele-20 laholela ekubuyekezweni okunamandla kwamafomula we-K. Nakuba u-K. eqhubeka nokufeza umqondo ofanayo wokuqamba ojwayelekile. izovala umsebenzi. inzuzo, izindlela zangaphambili zokubona lo msebenzi ngezinye izikhathi zishintsha zithathelwe indawo ezinye ngokuphelele, kuye ngokuthi insimbi ethile yomsindo wesiqephu esithile (ngenxa yalokho, ukuba semthethweni kokusebenzisa igama elithi “K.” kwezinye izimo kuyangabazeka) . Umphumela wesiphetho ezimweni ezinjalo unqunywa ukuncika kwezindlela zokuphetha kuso sonke isakhiwo somsindo somsebenzi:

MP Mussorgsky. "Boris Godunov", isenzo IV.

SS Prokofiev. "I-Fleeting", No 2.

2) Kusukela ekhulwini le-16. isiphetho se-virtuoso sezwi eliyedwa (i-opera aria) noma umculo wezinsimbi, othuthukiswe umculi noma obhalwe umqambi. iyadlala. Ngekhulu le-18 uhlobo olukhethekile lwe-K. luye lwasungulwa ku-instr. ikhonsathi. Ngaphambi kokuqala kwekhulu le-19 yayivame ukutholakala ku-coda, phakathi kwe-cadence quarter-sixth chord kanye ne-D-seventh chord, ebonakala njengokuhlobisa kokuqala kwalokhu kuvumelana. U-K., njengokungathi, iphupho elincane le-solo virtuoso ezihlokweni zekhonsathi. Enkathini yama-Viennese yakudala, ukwakheka kuka-K. noma ukuthuthukiswa kwayo ngesikhathi sokusebenza kwanikezwa umculi. Ngakho-ke, embhalweni oqinile womsebenzi, ingxenye eyodwa yanikezwa, engazange isungulwe ngokuzinzile ngumlobi futhi ingaqanjwa (ethuthukisiwe) ngomunye umculi. Kamuva, abaqambi ngokwabo baqala ukwakha amakristalu (aqala ngoL. Beethoven). Ngenxa yalokhu, u-K. uhlanganisa okuningi ngohlobo lwezingoma sezizonke. Ngezinye izikhathi u-K. futhi wenza imisebenzi ebaluleke kakhulu, eyakha ingxenye ebalulekile yomqondo wokuqanjwa (isibonelo, ekhonsathini yesi-3 ka-Rachmaninov). Kwesinye isikhathi, i-K. iyatholakala nakwezinye izinhlobo.

References: 1) Smolensky S., “I-Grammar Yomculo” ka-Nikolai Diletsky, (eSt. Petersburg), ngo-1910; Rimsky-Korsakov HA, Harmony Textbook, St. Petersburg, 1884-85; eyakhe, incwadi ewusizo yokuvumelana, eSt. khola. usho., vol. IV, M., 1886; I-Asafiev BV, Ifomu lomculo njengenqubo, izingxenye 1960-1, M. - L., 2-1930, L., 47; Dubovsky I., Evseev S., Sposobin I., Sokolov V. (ngehora elingu-1971), Inkambo esebenzayo yokuvumelana, ingxenye 1-1, M., 2-1934; Tyulin Yu. N., Imfundiso yokuvumelana, (L. – M.), 35, M., 1937; Sposobin IV, Izinkulumo ngenkambo yokuvumelana, M., 1966; I-Mazel LA, Izinkinga zokuvumelana kwakudala, M., 1969; Zarino G., Le istitutioni harmoniche (Terza parte Cap. 1972), Venetia, 1, ifeksi. ed., NY, 51, isiRashiya. nge. isahluko esithi “On cadence” bheka kuSat.: Musical Aesthetics of the Western European Middle Ages and the Renaissance, comp. VP Shestakov, M., 1558, p. 1965-1966; Rameau J. Ph., Traité de l'harmonie…, P., 474; eyakhe, Génération harmonique, P., 476; Hauptmann M., Die Natur der Harmonik und der Metrik, Lpz., 1722; Riemann H., Musikalische Syntaxis, Lpz., 1737; eyakhe, Systematische Modulationslehre…, Hamburg, 1853; I-Russian trans.: Imfundiso ehlelekile yokuguquguquka njengesisekelo semfundiso yezinhlobo zomculo, M. - Leipzig, 1877; eyakhe, i-Vereinfachte Harmonielehre ..., V., 1887 (Ukuhunyushwa kwesiRashiya - Ukuvumelana okulula noma imfundiso yemisebenzi yethoni yama-chords, M., 1898, M. - Leipzig, 1893); Casela A., L'evoluzione della musica a traverso la storia della cadenza perfetta (1896), engl, transl., L., 1901; Tenschert R., Die Kadenzbehandlung bei R. Strauss, “ZfMw”, VIII, 11-1919; Hindemith P., Unterweisung im Tonsatz, Tl I, Mainz, 1923; Chominski JM, Historia harmonii kanye kontrapunktu, t. I-II, Kr., 1925-1926; Stockhausen K., Kadenzrhythmik im Werk Mozarts, encwadini yakhe: “Texte…”, Bd 1937, Köln, 1958, S. 1962-2; I-Homan FW, Amaphethini okugcina nangaphakathi e-cadential ku-Gregorian chant, "JAMS", v. XVII, No 1964, 170; Dahhaus S., Untersuchungen über die Entstehung der harmonischen Tonalität, Kassel – (ua), 206. Bheka futhi ukuthi lit. ngaphansi kwesihloko esithi Harmony.

2) Schering A., The Free Cadence in the 18th Century Instrumental Concerto, «Congress of the International Music Society», Basilea, 1906; Knцdt H., Emlandweni wokuthuthukiswa kwama-cadence ekhonsathini yezinsimbi, «SIMG», XV, 1914, p. 375; Stockhausen R., Ama-cadenza amakhonsathi epiyano yakudala yase-Viennese, W., 1936; Misch L., Beethoven Studies, В., 1950.

Yu. H. Kholopov