I-serialism, i-serialism |

I-French music serielle, isiJalimane. i-serielle Musik – i-serial, noma i-serial, umculo

Enye yezinhlobonhlobo zobuchwepheshe be-serial, lapho uchungechunge lwe-decomp. imingcele, isb. uchungechunge lwamaphiwo nesigqi noma amaphitshi, isigqi, amandla, ukuphimisa, i-agogics kanye ne-tempo. I-S. kufanele ihluke kuma-polyseries (lapho kusetshenziswa uchungechunge olubili noma ngaphezulu olulodwa, ngokuvamile oluphakeme kakhulu, ipharamitha) kanye ne-serial (okusho ukusetshenziswa kobuchwepheshe be-serial ngomqondo obanzi, kanye nendlela yokuphakama okuphezulu kuphela. -altitude series). Isibonelo solunye lwezinhlobo ezilula kakhulu zesu lika-S: ukulandelana kwezikhala kulawulwa uchungechunge olukhethwe umqambi (iphimbo), futhi ubude besikhathi bemisindo bulawulwa uchungechunge lwezikhathi ezikhethwe ngokukhululekile noma ezithathwe ku- uchungechunge lwe-pitch (okungukuthi, uchungechunge lwenye ipharamitha). Ngakho-ke, uchungechunge lwama-pitches ayi-12 lungaguqulwa lube uchungechunge lwezikhathi eziyi-12 - 7, 8, 6, 5, 9, 4, 3, 10, 2, 1, 11, 12, sicabanga ukuthi idijithi ngayinye ikhombisa inani leshumi nesithupha. (isishiyagalombili, imizuzwana engamashumi amathathu) ngesikhathi esinikeziwe:

Uma uchungechunge lwephimbo lubekwe phezulu kwenesigqi, hhayi uchungechunge, kodwa kuvela indwangu ewuchungechunge:

AG Schnittke. I-Concerto No 2 ye-violin ne-orchestra.

I-S. yavela njengesandiso sezimiso ze-serial technique (uchungechunge oluphakeme kakhulu) kwamanye amapharamitha ahlala ekhululekile: ubude besikhathi, irejista, izinkulumo, i-timbre, njll. Ngesikhathi esifanayo, umbuzo wobudlelwane phakathi kwamapharamitha uvela ku- indlela entsha: enhlanganweni yomculo. izinto ezibonakalayo, indima yokuqhubeka kwezinombolo, izilinganiso zezinombolo ziyanda (isibonelo, engxenyeni yesithathu ye-cantata ye-EV Denisov ethi "The Sun of the Incas", okuthiwa izinombolo zokuhlela zisetshenziswa - imisindo engu-3 yochungechunge, i-shades engu-6 enamandla. , 6 izinsimbi). Kunokuthambekela ekusetshenzisweni okungaguquguquki nokuphelele kwalo lonke uhla lwezindlela zepharamitha ngayinye noma “ku-interchromatic”, okungukuthi, ekuhlanganisweni kwemingcele ehlukene - ukuvumelana ne-timbre, ukuphakama kanye nobude besikhathi (okugcina kuthathwa njengokubhalelana. yezakhiwo zezinombolo, izilinganiso; bheka isibonelo esingenhla) . U-K. Stockhausen ubeke phambili umbono wokuhlanganisa izici ezi-6 zamamuse. isikhathi - i-microtime, emelelwa ukuphakama komsindo, kanye ne-macrotime, emelelwa ubude bayo, futhi ngokufanele yelulwe kokubili emgqeni owodwa, ihlukanisa indawo yesikhathi ibe "ama-octave amade" (i-Dauernoktaven; i-pitch octaves, lapho izinkundla zikhona okuhlobene njengo-2: 2, qhubeka ngama-octave amade , lapho ubude besikhathi buhlobene ngendlela efanayo). Ukushintshela kumayunithi esikhathi amakhulu nakakhulu kusho ubudlelwano obukhula bube iminyuziyamu. ifomu (lapho ukubonakaliswa kwesilinganiso esingu-1:2 kuyinani lesikwele). Ukunwetshwa komgomo wokulandelana kuwo wonke amapharamitha omculo kubizwa ngokuthi i-symphony ephelele (isibonelo se-symphony ene-multidimensional i-Stockhausen's Groups for Three Orchestras, 1). Kodwa-ke, isenzo sochungechunge olufanayo kumapharamitha ahlukene akuthathwa njengokufana, ngakho-ke ubudlelwano bemingcele komunye nomunye bh buphenduka inganekwane, kanye nenhlangano eqinile yamapharamitha, ikakhulukazi ngesamba esingu-S., iqiniso lisho ingozi ekhulayo yokungahlangani nesiphithiphithi, ukuzisebenzela kwenqubo yokuqamba, nokulahlekelwa ukulawula kokuzwa komqambi ngomsebenzi wakhe. P. Boulez uxwayise “ngokuyeka umsebenzi esikhundleni sokuhleleka.” I-Total S. isho ukuphela kombono wangempela wochungechunge nochungechunge, kuholela ekushintsheni okubonakala kungalindelekile emkhakheni womculo wamahhala, onembile, kuvula indlela ye-aleatorics ne-electronics (umculo wobuchwepheshe; bheka umculo we-Electronic).

Okukodwa kokuhlangenwe nakho kokuqala S. kungabhekwa njengezintambo. trio ka-E. Golyshev (eyanyatheliswa ngo-1925), lapho, ngaphezu kwezakhiwo ezinamathoni angu-12, kwakusetshenziswa isigqi. irowu. U-A. Webern wafika embonweni kaS., okwathi, nokho, wayengeyena u-serial ngomqondo oqondile wegama; emisebenzini eminingi ye-serial. usebenzisa umphelelisi. ukuhlela izindlela - irejista (isibonelo, engxenyeni yokuqala ye-symphony op. 1), i-dynamic-articulatory ("Izinguquko" ze-piano op. 21, ingxenye yesi-27), isigqi (quasi-series of rhythm 2, 2, 2 , 1 kokuthi "Izinguqulo" ze-orchestra, op.2). Ngokuqaphela nangokungaguquguquki u-S. wasebenzisa u-O. Messiaen "kuzifundo ezine-rhythmic" zepiyano. (isb, ku-Fire Island II, Nombolo 30, 4). Ngaphezu kwalokho, u-Boulez waphendukela ku-S. (“Polyphony X” wezinsimbi eziyi-4, 1950, “Structures”, 18a, 1951 fp., 1), Stockhausen (“Cross Play” yeqoqo lezinsimbi, 2; “Counterpoints” for iqoqo lezinsimbi, 1952; Amaqembu ama-orchestra amathathu, 1952), L. Nono (Imihlangano yezinsimbi ezingu-1953, 1957, cantata Interrupted Song, 24), A. Pusser (Webern Memory Quintet, 1955), nabanye. ekukhiqizeni izikhova. abaqambi, isibonelo. nguDenisov (No 1956 kusukela kumjikelezo wezwi "Izingoma zesiNtaliyane", 1955, No 4 kusukela "Izindaba ezi-1964 ngoMnu. Keuner" zezwi nokuhlanganiswa kwezinsimbi, i-3), i-AA Pyart (izingxenye ezi-5 ezivela ku-1966 kanye ne-2 symphony, 1 , 2), AG Schnittke (“Music for chamber orchestra”, 1963; “Umculo wepiyano ne-chamber orchestra”, 1966; “Pianissimo” we-orchestra, 1964).

References: I-Denisov EV, i-Dodecaphony nezinkinga zendlela yokuqamba yesimanje, ku: Umculo kanye Nesimanjemanje, vol. 6, M., 1969; I-Shneerson GM, i-serialism kanye ne-aleatorics - "ubunikazi babaphikisi", "SM", 1971; akukho 1; Stockhausen K., Weberns Konzert für 9 Instrumente op. 24, "Melos", 1953, Jahrg. 20, H. 12, okufanayo, encwadini yakhe ethi: Texte…, Bd l, Köln, (1963); eyakhe, Musik im Raum, encwadini: Darmstädter Beiträge zur neuen Musik, Mainz, 1959, (H.) 2; eyakhe, Kadenzrhythmik bei Mozart, ibid., 1961, (H.) 4 (Inguqulo yesi-Ukrainian – Stockhausen K., Rhythmichni kadansi kaMozart, eqoqweni: I-Ukrainian musicology, v. 10, Kipv, 1975, p. 220 -71. ); eyakhe, u-Arbeitsbericht 1952/53: Orientierung, encwadini yakhe: Texte…, Bd 1, 1963; Gredinger P., Das Serielle, kuyi-Die Reihe, 1955, (H.) 1; Pousseur H., Zur Methodik, ibid., 1957, (H.) 3; Krenek E., Was is "Reihenmusik"? "NZfM", 1958, Jahrg. 119, H. 5, 8; eyakhe, Bericht über Versuche in total determinierter Musik, “Darmstädter Beiträge”, 1958, (H.) 1; wakhe, Izandiso kanye nemikhawulo yamasu we-serial "MQ", 1960, v. 46, No 2. Ligeti G., Pierre Boulez: Entscheidung und Automatik in der Structure Ia, in Die Reihe, 1958, (N.) 4 efanayo efanayo , Wandlungen der musikalischen Form, ibid., 1960, (H. ) 7; Nono L., Die Entwicklung der Reihentechnik, “Darmstädter Beiträge”, 1958, (H.) 1; Schnebel D., uKarlheinz Stockhausen, e-Die Reihe, ngo-1958, (H.) 4; Eimert H., Die zweite Entwicklungsphase der Neuen Musik, Melos, 1960, Jahrg. 27, H. 12; UZeller HR, uMallarmé und das serielle Denken, e-Die Reihe, 11, (H.) 1960; Wolff Chr., Ber Form, ibid., 6, (H.) 1960; Buyez P., Die Musikdenken heute 7, Mainz – L. – P. – NY, (1); Kohoutek C., Novodobé skladebné teorie zbpadoevropské hudby, Praha, 1, ngaphansi kwesihloko: Novodobé skladebné smery n hudbl, Praha, 1963 (Ukuhumusha kwesiRashiya — Kohoutek Ts., Ubuchule Bokuqamba Kumculo, M1962, Centu, Centu. ; Stuckenschmidt HH, Zeitgenössische Techniken in der Musik, “SMz”, 1965, Jahrg. 1976; I-Westergaard P., i-Webern kanye ne-"Total organization": ukuhlaziywa kokunyakaza kwesibili kwePiano Variations, op. 1963, "Imibono yomculo omusha", NY - Princeton, 103 (v. 27, No 1963); Heinemann R., Untersuchungen zur Rezeption der seriellen Musik, Regensburg, 1; Deppert H., Studien zur Kompositionstechnik im instrumentalen Spätwerk Anton Weberns, (Darmstadt, 2); Stephan R., Bber Schwierigkeiten der Bewertung und der Analyze neuester Musik, “Musica”, 1966, Jahrg 1972, H. 1972; Vogt H., Neue Musik seit 26, Stuttg., (3); Fuhrmann R., Pierre Boulez (1945), Structures 1972 (1925), e Perspektiven neuer Musik, Mainz. (1); Karkoschka E., Hat Webern seriell komponiert?, TsMz, 1952, H. 1974; Oesch H., Pioniere der Zwölftontechnik, in Forum musicologicum, Bern, (1975).

Yu. H. Kholopov