Musiqa nazariyasi – Music theory

1750–1900

• 1800 yillarda G’arb musiqiy ta’siri butun dunyoga tarqalishi bilan musiqachilar G’arb nazariyasini xalqaro standart sifatida qabul qildilar, ammo matn va og’zaki an’analardagi boshqa nazariy an’analar amalda qolmoqda. Masalan, Afrikaning qadimgi va hozirgi madaniyatiga xos bo’lgan uzoq va boy musiqiy an’analar, avvalambor, og’zaki, ammo musiqa nazariyasining o’ziga xos shakllari, janrlari, ijro etish amaliyotlari, sozlamalar va boshqa jihatlarini tavsiflaydi. [31][32]
• Muqaddas arfa musiqa amalda boshqa ko’lam va nazariyani qo’llaydi. Musiqa musiqa miqyosidagi “fa, sol, la” solfejiga qaratilgan. Sacred Harp shuningdek, “shakl notalari” yoki nota musiqa shkalasidagi ma’lum bir solfege hecasına mos keladigan notalar bilan bog’liq bo’lgan boshqa yozuvlardan foydalanadi. Muqaddas Arfa musiqasi va uning musiqa nazariyasi 1720 yilda avliyo Tomas Symmesdan kelib chiqqan bo’lib, u cherkov a’zolariga nota aniqligida yordam berish uchun “nota bilan kuylash” tizimini ishlab chiqqan. [33]

Qo’shimcha ma’lumotlar: Musiqa nazariyotchilari ro’yxati § 19-asr

Zamonaviy

Musiqa asoslari

Asosiy maqola: Musiqa yo’nalishi

Musiqa kompozitsiyasi eshitish hodisalar; “musiqa nazariyasi” ushbu hodisalarning musiqada qanday qo’llanilishini ko’rib chiqadi. Musiqa nazariyasi ohang, ritm, qarama-qarshi nuqta, uyg’unlik, shakl, tonal tizimlar, tarozilar, sozlash, intervallar, konsonans, dissonans, davomiy mutanosibliklar, pitch tizimlarining akustikasi, kompozitsiya, ijro, orkestratsiya, bezak, improvizatsiya, elektron ovoz ishlab chiqarish va boshqalarni hisobga oladi. . [34]

Pitch

Asosiy maqola: Pitch (musiqa)
O’rta C (261,626 Hz) O’ynang ( Yordam bering · ma’lumot ) .

Pitch – bu a-ning pastligi yoki balandligi ohang, masalan, o’rtasidagi farq o’rta C va undan yuqori C. Ovoz balandligini hosil qiladigan tovush to’lqinlarining chastotasini aniq o’lchash mumkin, ammo balandlikni idrok qilish ancha murakkab, chunki tabiiy manbalardan olingan bitta notalar odatda ko’plab chastotalarning murakkab aralashmasi hisoblanadi. Shunga ko’ra, nazariyotchilar tez-tez tovushni ob’ektiv o’lchash o’rniga sub’ektiv hissiyot sifatida tasvirlashadi. [35]

Maxsus chastotalarga ko’pincha harf nomlari beriladi. Bugungi kunda ko’pchilik orkestrlar tayinlangan Konsert A (yuqoridagi A o’rta C pianinoda) 440 Hz chastotaga qadar. Ushbu topshiriq ma’lum darajada o’zboshimchalik bilan amalga oshiriladi; masalan, 1859 yilda Frantsiyada xuddi shu A 435 Hz ga sozlangan. Bunday farqlar asboblar tembriga va boshqa hodisalarga sezilarli ta’sir ko’rsatishi mumkin. Shunday qilib, ichida tarixiy ma’lumotga ega ishlash eski musiqa sozlamalari ko’pincha uni yozilgan davrda ishlatilgan tuningga mos ravishda o’rnatiladi. Bundan tashqari, ko’plab madaniyatlar balandlikni standartlashtirishga urinishmaydi, chunki ko’pincha janr, uslub, kayfiyat va boshqalarga qarab o’zgarishi mumkin deb o’ylashadi.

Ikki nota orasidagi balandlik farqi an deyiladi oraliq. Eng asosiy interval bu unison, bu shunchaki bir xil balandlikdagi ikkita yozuv. The oktava interval – bu ikki marta yoki bir-birining chastotasining yarmiga teng bo’lgan ikkita balandlik. Oktavalarning o’ziga xos xususiyatlari tufayli tushunchasi paydo bo’ldi balandlik sinfi: har xil oktavalarda uchraydigan bir xil harf nomidagi maydonlar, oktavadagi farqni inobatga olmasdan bitta “sinf” ga birlashtirilishi mumkin. Masalan, yuqori C va past C bir xil pog’ona sinfining a’zolari – barcha C ni o’z ichiga olgan sinf. [36]

Musiqiy sozlash tizimlari, yoki temperamentlar, intervallarning aniq hajmini aniqlang. Tyuning tizimlari dunyo madaniyati ichida va ular o’rtasida juda xilma-xil. Yilda G’arb madaniyati, azaldan bir nechta raqobatdosh sozlash tizimlari mavjud bo’lib, ularning barchasi har xil sifatlarga ega. Xalqaro tizim sifatida tanilgan teng temperament bugungi kunda eng ko’p qo’llaniladi, chunki bu aniq sozlamalarni (masalan, pianino) barcha tugmachalarda ohangda maqbul eshitilishiga imkon beradigan eng qoniqarli kelishuv deb hisoblanadi.

Tarozilar va rejimlar

Asosiy maqolalar: Musiqiy o’lchov va Musiqiy rejim

Ion rejimida to’liq va yarim qadamlar sxemasi yoki C bo’yicha katta o’lchov O’ynang ( Yordam bering · ma’lumot ) .

Eslatmalar turli xil tartibda joylashtirilishi mumkin tarozi va rejimlar. G’arb musiqa nazariyasi odatda oktavani a deb nomlangan o’n ikki tonna qatoriga ajratadi xromatik o’lchov, uning ichida qo’shni ohanglar orasidagi interval yarim qadam yoki deyiladi yarim tonna. Ushbu 12 to’plamdan ohanglarni tanlash va ularni yarim tonnalar va butun tonlarda joylashtirish boshqa tarozilarni yaratadi. [37]

Eng ko’p uchraydigan tarozilar etti tonna katta, harmonik kichik, ohangdor kichik, va tabiiy kichik. Tarozilarning boshqa misollari oktatonik shkala va pentatonik yoki keng tarqalgan besh tonna o’lchov xalq musiqasi va ko’k. G’arbiy bo’lmagan madaniyatlarda ko’pincha oktavaning teng ravishda bo’lingan o’n ikki tonna bo’linishiga mos kelmaydigan tarozilar ishlatiladi. Masalan, klassik Usmonli, Fors tili, Hind va Arabcha musiqiy tizimlar ko’pincha chorak tonnadan (yarim tonna hajmining yarmi, nomi ko’rsatilgandek), masalan, “neytral” soniyalarda (uch chorak tonlarda) yoki “neytral” uchdan (etti chorak tonlarda) foydalanadi – ular yo’q odatda chorak ohangning o’zidan to’g’ridan-to’g’ri interval sifatida foydalaning. [37]

An’anaviy G’arb yozuvlarida kompozitsiya uchun ishlatiladigan o’lchov odatda a bilan ko’rsatiladi kalit imzo boshida ushbu o’lchovni tashkil etadigan maydonlarni belgilash. Musiqa rivojlanib borishi bilan foydalanilgan tovushlar o’zgarishi va boshqa o’lchovni keltirib chiqarishi mumkin. Musiqa bo’lishi mumkin ko’chirildi turli maqsadlar uchun bir o’lchovdan ikkinchisiga, ko’pincha vokalistning diapazoniga mos keladi. Bunday transpozitsiya umumiy balandlik diapazonini ko’taradi yoki pasaytiradi, lekin asl o’lchovning intervalli aloqalarini saqlaydi. Masalan, C major klavishidan D majorgacha transpozitsiya C major shkalasining barcha balandliklarini a ga teng ko’taradi. butun ohang. Intervalli munosabatlar o’zgarmaganligi sababli, transpozitsiya tinglovchiga sezilmasligi mumkin, ammo boshqa fazilatlar sezilarli darajada o’zgarishi mumkin, chunki transpozitsiya umumiy balandlikning munosabatini o’zgartiradi oralig’i musiqa ijro etadigan asboblar yoki ovozlar diapazoni bilan taqqoslaganda. Bu ko’pincha musiqaning umumiy ovoziga ta’sir qiladi, shuningdek ijrochilar uchun texnik ta’sir ko’rsatadi. [38]

G’arb tonal musiqasida eng ko’p ishlatiladigan tugmachalarning o’zaro bog’liqligi qulay tarzda ko’rsatiladi beshinchi doira. Ba’zan ma’lum bir kompozitsiya uchun noyob kalit imzolar ham ishlab chiqiladi. Barok davrida, ma’lum kalitlarga ega bo’lgan hissiy uyushmalar muhabbat haqidagi ta’limot, musiqa nazariyasida muhim mavzu bo’lgan, ammo bu doktrinani vujudga keltirgan tugmachalarning noyob tonal ranglari asosan teng temperament qabul qilinishi bilan o’chirilgan. Biroq, ko’plab musiqachilar ba’zi kalitlar boshqalarga qaraganda ba’zi his-tuyg’ularga ko’proq mos kelishini his qilishda davom etmoqdalar. Hind klassik musiqasi nazariya kalitlarni hissiy holatlar, kun vaqtlari va boshqa musiqiy bo’lmagan tushunchalar bilan chambarchas bog’lashda davom etmoqda, xususan, teng temperamentni qo’llamaydi.

Uyg’unlik va kelishmovchilik

Asosiy maqola: Uyg’unlik va kelishmovchilik
The mukammal oktava, undoshlar oralig’i O’ynang ( Yordam bering · ma’lumot )
The kichik soniya, dissonant oralig’i O’ynang ( Yordam bering · ma’lumot )

Uyg’unlik va kelishmovchilik turli madaniyatlarda va turli yoshlarda o’zgarib turadigan intervallar sonorligining sub’ektiv fazilatlari.Muvofiqlik (yoki kelishuv) – bu o’z-o’zidan barqaror va to’liq ko’rinadigan interval yoki akkordning sifati. Dissonans (yoki kelishmovchilik) aksincha, chunki u o’zini to’liqsiz his qiladi va undosh intervalgacha qaror qilishni “xohlaydi”. Dissonant intervallar to’qnashuvga o’xshaydi. Uyg’un intervallar birgalikda qulay ko’rinadi. Odatda, mukammal to’rtinchi, beshinchi va oktavalar hamda barcha katta va kichik uchdan oltinchi qismlar undosh hisoblanadi. Qolganlarning hammasi ham ozmi-ko’pmi dissonant. [39]

Kontekst va boshqa ko’plab jihatlar aniq dissonans va kelishuvga ta’sir qilishi mumkin. Masalan, Debussiya prelyudiyasida katta soniya barqaror va jarangsiz eshitilishi mumkin, Bax fugasida esa xuddi shu interval dissonant bo’lib tuyulishi mumkin. In Umumiy amaliyot davri, mukammal to’rtinchisi pastki uchdan yoki beshdan birini qo’llab-quvvatlamagan taqdirda dissonant hisoblanadi. 20-asrning boshidan boshlab, Arnold Shoenberg An’anaviy ravishda dissonant intervallarni “yuqori”, uzoqroq konsonanslar deb hisoblash mumkin bo’lgan “emansipatsiya qilingan” dissonans tushunchasi kengroq qabul qilindi. [39]

Ritm

Asosiy maqola: Ritm

Metrik darajalar: urish darajasi o’rtada ko’rsatilgan, yuqoridagi bo’linish darajalari va pastdagi darajalar.

Ritm vaqt ichida tovushlar va sukunatlarning ketma-ket joylashuvi natijasida hosil bo’ladi. Taymer chaqirilgan muntazam puls guruhlarida musiqani o’lchaydi o’lchovlar yoki panjaralar. The vaqt imzosi yoki metr imzosi o’lchovda qancha zarba borligini va yozilgan yozuvning qaysi zarbasi bitta zarba sifatida hisoblanishini yoki sezilishini aniqlaydi.

Kuchaygan stress, yoki davomiylik yoki artikulyatsiyaning o’zgarishi orqali alohida ohanglar ta’kidlanishi mumkin. Ko’pgina musiqiy an’analarda ma’lum bir metrni mustahkamlash uchun zarbalarni muntazam va ierarxik ravishda ta’kidlash uchun konventsiyalar mavjud. Sinxronlangan ritmlar ritmning kutilmagan qismlarini ta’kidlab, ushbu konventsiyalarga zid keladi. [40] Bir vaqtning o’zida bir necha marotaba ritmlarni bir necha marta imzolashda ijro etish deyiladi polimitika. [41]

So’nggi yillarda ritm va metraj musiqa olimlari o’rtasida tadqiqotning muhim yo’nalishiga aylandi. Ushbu so’nggi olimlarning eng ko’p tilga olinganlari Maury Yeston, [42] Fred Lerdal va Rey Jekendoff, [43] Jonathan Kramer, [44] va Jastin London. [45]

Melodiya

Asosiy maqola: Melodiya

A ohang bir qator ohanglar shaxs sifatida qabul qilinadi, [ iqtibos kerak ] ketma-ket ovoz chiqarib, odatda keskinlik cho’qqisiga ko’tarilib, so’ngra dam olish holatiga keladi. Musiqa juda katta ahamiyatga ega bo’lganligi sababli musiqa uning tuzilishi va boshqa fazilatlari musiqa nazariyasining asosiy manfaati hisoblanadi.

Kuyning asosiy elementlari – balandlik, davomiylik, ritm va temp. Kuy ohanglari, odatda, baland ovozli tizimlardan olinadi tarozi yoki rejimlar. Melodiya tobora ortib boruvchi shakl, motiv, yarim frazema, avvalgi va natijaviy ibora, davr yoki gapdan iborat bo’lishi mumkin. Davrni to’liq ohang deb hisoblash mumkin, ammo ba’zi misollarda ikkita davr birlashtiriladi yoki katta shakldagi kuylarni yaratish uchun tarkibiy qismlarning boshqa kombinatsiyalaridan foydalaniladi. [47]

Akkord

Asosiy maqola: Akkord (musiqa)

Akkord, ichida musiqa, har qanday harmonik uchta yoki undan ko’p to’plam eslatmalar go’yo yangragandek eshitiladi bir vaqtning o’zida. [48] [49] Bularni aslida birga o’ynash kerak emas: arpeggios va singan akkordlar ko’plab amaliy va nazariy maqsadlar uchun akkordlarni tashkil qilishi mumkin. Akkordlar va akkordlar ketma-ketligi zamonaviy G’arbiy, G’arbiy Afrikada, [50] va Okeaniya [51] musiqa, ammo ular dunyoning boshqa ko’plab mintaqalarida yo’q. [52]

Eng tez-tez uchraydigan akkordlar triadalar, chunki ular uchta alohida yozuvlardan iborat bo’lgani uchun shunday nomlangan: berish uchun qo’shimcha yozuvlar qo’shilishi mumkin ettinchi akkordlar, kengaytirilgan akkordlar, yoki ohang qo’shildi. Eng umumiy akkordlar ular katta va voyaga etmagan triadalar va keyin ko’paytirildi va kamaygan triadalar. Ta’riflar katta, voyaga etmagan, ko’paytirildiva kamaygan ba’zida birgalikda xordal deb nomlanadi sifat. Akkordlar, odatda, ular tomonidan tasniflanadi ildiz eslatma – shuning uchun, masalan, akkord C major nota asosida qurilgan asosiy sifat uchligi deb ta’riflanishi mumkin C. Akkordlar ham tomonidan tasniflanishi mumkin inversiya, yozuvlarni bir-biriga biriktirish tartibi.

Akkordlar qatoriga a deyiladi akkord rivojlanishi. Har qanday akkord printsipial jihatdan boshqa har qanday akkordga ergashishi mumkin bo’lsa-da, akkordlarning ba’zi bir naqshlari o’rnatuvchi sifatida qabul qilingan kalit yilda umumiy amaliyotdagi uyg’unlik. Buni tavsiflash uchun akkordlar raqamlangan Rim raqamlari (kalit yozuvidan yuqoriga), [53] ularning uchun diatonik funktsiya. Umumiy usullar akkordlarni qayd etish yoki ifodalash [54] odatdagidan tashqari g’arb musiqasida xodimlarning yozuvlari o’z ichiga oladi Rim raqamlari, boshli bas (ko’p ishlatilgan Barok davri ), akkord harflari (ba’zan zamonaviy sifatida ishlatiladi musiqashunoslik ) va turli xil tizimlar akkordlar odatda qo’rg’oshin choyshablari ichida ishlatilgan mashhur musiqa musiqachining akkordent akkordlarini chalishi yoki yakka o’zi tug’dirishi uchun akkordlar ketma-ketligini qo’yish.

Garmoniya

Asosiy maqola: Garmoniya

Sartaroshxona kvartetlari AQSh harbiy-dengiz kuchlari guruhi singari, musiqa chizig’idan (odatda “qo’rg’oshin” deb nomlangan ikkinchi eng baland ovozdan) iborat 4 qismli va 3 ta uyg’unlik qismidan iborat qo’shiqlarni kuylashadi.

Yilda musiqa, uyg’unlik – bir vaqtning o’zida foydalanish maydonchalar (ohanglar, eslatmalar ), yoki akkordlar. [52] Uyg’unlikni o’rganish akkordlar va ularning tuzilishini va o’z ichiga oladi akkord progressiyalari va ularni boshqaradigan aloqa tamoyillari. [55] Uyg’unlik ko’pincha musiqaning “vertikal” tomoniga, undan farqli o’laroq murojaat qilishiga aytiladi ohangdor chiziq yoki “gorizontal” tomon. [56] Qarama-qarshi nuqta, bu ohangdor chiziqlarning o’zaro to’qnashuvini anglatadi va polifoniya, bu alohida mustaqil ovozlarning o’zaro bog’liqligini anglatadi, shuning uchun ba’zida uyg’unlikdan ajralib turadi. [57]

Yilda mashhur va jaz uyg’unligi, akkordlar ularning nomlari bilan nomlanadi ildiz ularning fazilatlarini ko’rsatuvchi turli xil atamalar va belgilar. Masalan, a qo’rg’oshin varag’i C major, D minor va G dominant ettinchi kabi akkordlarni ko’rsatishi mumkin. Ko’pgina musiqa turlarida, xususan barokko, romantik, zamonaviy va jazzda akkordlar ko’pincha “taranglik” bilan ko’paytiriladi. Kuchlanish – bu nisbatan yaratadigan qo’shimcha akkord a’zosi dissonant oralig’i bassga nisbatan. Bu akkordning bir qismi, lekin akkord ohanglaridan biri emas (1 3 5 7). Odatda, klassikada umumiy amaliyot davri dissonant akkord (kuchlanishli akkord) undosh akkordga “echiladi”. Uyg’unlashuv undosh va kelishmovchilik tovushlari o’rtasida muvozanat bo’lganida, odatda quloqqa yoqimli eshitiladi. Oddiy so’zlar bilan aytganda, bu “tarang” va “bo’shashgan” daqiqalar o’rtasida muvozanat bo’lganda paydo bo’ladi. [58] [ ishonchli manba? ]

Tembr

Asosiy maqola: Tembr

Spektrogram E9 akkordining birinchi soniyasining shovqinsiz pikaplari bilan Fender Stratocaster gitara chalindi. Quyida E9 akkord audio:

Ba’zan “rang” yoki “ohang rangi” deb nomlanadigan tembr – bu ikkalasi ham bir xil balandlikda va balandlikda o’ynaganda, bitta asbobni boshqasidan farqlashimizga imkon beradigan asosiy hodisa. musiqa nazariyasiga katta qiziqish uyg’otadi, ayniqsa musiqa hali ham standartlashtirilgan nomenklaturaga ega bo’lmagan tarkibiy qism. U “. psixoakustikning balandligi yoki balandligi bilan belgilanmaydigan hamma narsalar uchun ko’p o’lchovli chiqindilar savati toifasi” deb nomlangan. [59] lekin tomonidan aniq ta’riflanishi va tahlil qilinishi mumkin Furye tahlili va boshqa usullar [60] chunki bu barcha tovushlarning kombinatsiyasidan kelib chiqadi chastotalar, hujum qilish va konvertlarni ozod qilish va ohang tarkibiga kiradigan boshqa fazilatlar.

Tembr asosan ikkita narsa bilan belgilanadi: (1) ning nisbiy balansi overtones konstruktsiyasi tufayli (masalan, shakli, materiali) va (2) konvert tovush (shu jumladan, vaqt o’tishi bilan overton tuzilishidagi o’zgarishlar). Timbre turli xil asboblar, ovozlar va bir xil turdagi asboblar orasida, ularning tuzilishidagi xilma-xillik tufayli va turli darajada, ijrochining texnikasi o’rtasida juda katta farq qiladi. Ko’pgina asboblarning tembrini o’ynash paytida turli xil texnikani qo’llash orqali o’zgartirish mumkin. Masalan, karnay timbasi qo’ng’iroqqa ovozsiz ovoz kiritilganda, pleyer ularning ovozini yoki ovoz balandligini o’zgartirganda o’zgaradi. [ iqtibos kerak ]

Ovoz o’z tembrini ijrochining o’z vokal apparati bilan manipulyatsiyasi (masalan, ovoz bo’shlig’i yoki og’iz shakli) orqali o’zgartirishi mumkin. Musiqiy nota tez-tez tembrdagi tovushlarni o’zgartirish texnikasi, ovoz balandligi, aksent va boshqa vositalar o’zgarishini aniqlaydi. Bular ramziy va og’zaki ko’rsatmalar bilan har xil tarzda ko’rsatiladi. Masalan, so’z dolce (shirin) o’ziga xos bo’lmagan, lekin odatda tushuniladigan yumshoq va “shirin” tembrni bildiradi. Sul tasto torli pleyerga unchalik porloq bo’lmagan tovushni chiqarish uchun barmoqlar paneli yaqinida yoki ustiga egilishni buyuradi. Kyivr guruch ijrochisiga majburiy va g’oyat jasur ovoz chiqarishni buyuradi. Shunga o’xshash aksent belgilar marcato (^) va dinamik ko’rsatkichlar (pp) tembrdagi o’zgarishlarni ham ko’rsatishi mumkin. [ iqtibos kerak ]

Dinamika

[ muvofiq? – muhokama qilish ]

Asosiy maqola: Dinamika (musiqa)
Musiqiy notalardagi soch turmalari tasviri.

Musiqada “dinamikasi “odatda fiziklar va audio muhandislar tomonidan o’lchanishi mumkin bo’lgan intensivlik yoki tovush o’zgarishini anglatadi desibel yoki telefonlar. Ammo musiqa notalarida dinamika mutlaq qiymat sifatida emas, balki nisbiy qiymat sifatida qaraladi. Ular odatda sub’ektiv ravishda o’lchanganligi sababli, amplituda tashqari, intensivlikning ishlashiga yoki idrokiga ta’sir qiluvchi omillar ham mavjud, masalan tembr, vibrato va artikulyatsiya.

Dinamikaning an’anaviy ko’rsatkichlari bu kabi italyancha so’zlar uchun qisqartmalardir forte (f) baland va uchun pianino (p) yumshoq uchun. Ushbu ikkita asosiy belgi, shu jumladan ko’rsatkichlar bilan o’zgartiriladi mezzo pianino (MP) o’rtacha yumshoq (so’zma-so’z “yarim yumshoq”) va uchun mezzo forte (mf) o’rtacha balandlikda, sforzando yoki sforzato (sfz) kuchli yoki “itarilgan” hujum uchun yoki fortepiano (fp) yumshoq darajaga to’satdan pasayish bilan kuchli hujum uchun. Ushbu belgilarning to’liq oralig’i odatda deyarli eshitilmaydigan darajada pianissississimo (pppp) imkon qadar baland ovozda dilshod (ffff).

Ning katta chekkalari pppppp va fffff va shunga o’xshash nuances p + yoki pianino ba’zan topiladi. Yozuvni tahlil qilishda tovushni ko’rsatadigan boshqa tizimlardan ham foydalaniladi: dB (desibellar), raqamli tarozilar, rangli yoki har xil o’lchamdagi yozuvlar, italyan tilidan boshqa tillardagi so’zlar va tobora ortib borayotgan hajm kabi belgilar (kressendo) yoki kamayib borayotgan hajm (diminuendo yoki dekresendo), ko’pincha “soch turmalari “yuqoridagi grafikada ko’rsatilgandek ajratish yoki yaqinlashish chiziqlari bilan ko’rsatilganida.

Artikulyatsiya

Asosiy maqola: Artikulyatsiya (musiqa)

Artikulyatsiya – bu ijrochining notalarni tinglash usuli. Masalan, stakkato yozma eslatma qiymatiga nisbatan muddatning qisqarishi, legato notalarni ajratilgan holda silliq birlashtirilgan ketma-ketlikda bajaradi. Artikulyatsiya ko’pincha miqdoriy emas, balki tavsiflanadi, shuning uchun har bir artikulyatsiyani aniq bajarishni talqin qilish uchun joy mavjud.

Masalan, stakkato belgilangan vaqtni qisqartirish uchun belgilangan yoki raqamlangan miqdorga ega bo’lish o’rniga, ko’pincha “ajratilgan” yoki “ajratilgan” deb nomlanadi. Skripka ijrochilari turli xil xislatlarni bajarish uchun turli xil texnikalardan foydalanadilar stakkato. The manner in which a performer decides to execute a given articulation is usually based on the context of the piece or phrase, but many articulation symbols and verbal instructions depend on the instrument and musical period (e.g. viol, wind; classical, baroque; etc.).

There is a set of articulations that most instruments and voices perform in common. They are—from long to short: legato (smooth, connected); tenuto (pressed or played to full notated duration); marcato (accented and detached); stakkato (“separated”, “detached”); martelé (heavily accented or “hammered”). [ qarama-qarshi ] Many of these can be combined to create certain “in-between” articulations. Masalan, portato ning birikmasi tenuto va stakkato. Some instruments have unique methods by which to produce sounds, such as spicatto for bowed strings, where the bow bounces off the string.

To’qimalar

Asosiy maqola: Musical texture

Yilda musiqa, texture is how the ohangdor, ritmik va harmonik materials are combined in a tarkibi, thus determining the overall quality of the sound in a piece. Texture is often described in regard to the density, or thickness, and oralig’i, or width, between lowest and highest pitches, in relative terms as well as more specifically distinguished according to the number of voices, or parts, and the relationship between these voices. For example, a thick texture contains many “layers” of instruments. One of these layers could be a string section, or another brass.

The thickness also is affected by the amount and the richness of the instruments playing the piece. The thickness varies from light to thick. A lightly textured piece will have light, sparse scoring. A thickly or heavily textured piece will be scored for many instruments. A piece’s texture may be affected by the number and character of parts playing at once, the tembr of the instruments or voices playing these parts and the harmony, temp, and rhythms used. [62] The types categorized by number and relationship of parts are analyzed and determined through the labeling of primary textural elements: primary melody, secondary melody, parallel supporting melody, static support, harmonic support, rhythmic support, and harmonic and rhythmic support. [63]

Common types included monofonik texture (a single melodic voice, such as a piece for solo soprano or solo flute), biphonic texture (two melodic voices, such as a duo for bassoon and flute in which the bassoon plays a drone note and the flute plays the melody), polifonik texture and gomofonik texture (chords accompanying a melody). [ iqtibos kerak ]

Form or structure

A musical kanon. Britannica entsiklopediyasi calls a “canon” both a compositional technique and a musical form. [64]

Asosiy maqola: Musiqiy shakl

The term musical form (or musical architecture) refers to the overall structure or plan of a piece of music, and it describes the layout of a composition as divided into sections. [65] O’ninchi nashrida Oksford musiqa hamrohi, Persi Skoulz defines musical form as “a series of strategies designed to find a successful mean between the opposite extremes of unrelieved repetition and unrelieved alteration.” [66] Ga binoan Richard Midlton, musical form is “the shape or structure of the work.” He describes it through difference: the distance moved from a takrorlang; the latter being the smallest difference. Difference is quantitative and qualitative: how farva of what type, different. In many cases, form depends on statement and takrorlash, unity and variety, and qarama-qarshilik and connection. [67]

Ifoda

Asosiy maqola: Musiqiy ifoda
A violinist performing

Musical expression is the art of playing or singing music with emotional communication. The elements of music that comprise expression include dynamic indications, such as forte or piano, iboralar, differing qualities of timbre and articulation, color, intensity, energy and excitement. All of these devices can be incorporated by the performer. A performer aims to elicit responses of sympathetic feeling in the audience, and to excite, calm or otherwise sway the audience’s physical and emotional responses. Musical expression is sometimes thought to be produced by a combination of other parameters, and sometimes described as a transcendent quality that is more than the sum of measurable quantities such as pitch or duration.

Expression on instruments can be closely related to the role of the breath in singing, and the voice’s natural ability to express feelings, sentiment and deep emotions. [ tushuntirish kerak ] Whether these can somehow be categorized is perhaps the realm of academics, who view expression as an element of musical performance that embodies a consistently recognizable hissiyot, ideally causing a sympathetic emotional response in its listeners. [68] The emotional content of musical expression is distinct from the emotional content of specific sounds (e.g., a startlingly-loud ‘bang’) and of learned associations (e.g., a milliy madhiya ), but can rarely be completely separated from its context. [ iqtibos kerak ]

The components of musical expression continue to be the subject of extensive and unresolved dispute. [69] [70] [71] [72] [73] [74]

Notation

Asosiy maqolalar: Musiqiy nota va Notalar varaqasi
Tibet musical score from the 19th century

Musical notation is the written or symbolized representation of music. This is most often achieved by the use of commonly understood graphic symbols and written verbal instructions and their abbreviations. There are many systems of music notation from different cultures and different ages. Traditional Western notation evolved during the Middle Ages and remains an area of experimentation and innovation. [75] In the 2000s, computer fayl formatlari have become important as well. [76] Spoken language and qo’l belgilari are also used to symbolically represent music, primarily in teaching.

In standard Western music notation, tones are represented graphically by symbols (notes) placed on a xodimlar or staves, the vertical axis corresponding to pitch and the horizontal axis corresponding to time. Note head shapes, stems, flags, ties and dots are used to indicate duration. Additional symbols indicate keys, dynamics, accents, rests, etc. Verbal instructions from the dirijyor are often used to indicate tempo, technique, and other aspects.

In Western music, a range of different music notation systems are used. G’arbda Mumtoz musiqa, conductors use printed scores that show all of the instruments’ parts and orchestra members read parts with their musical lines written out. In popular styles of music, much less of the music may be notated. A rock band may go into a recording session with just a handwritten akkordlar jadvali indicating the song’s akkord rivojlanishi using chord names (e.g., C major, D minor, G7, etc.). All of the chord voicings, rhythms and accompaniment figures are improvised by the band members.

Music theory as academic discipline

The scholarly study of music theory in the twentieth century has a number of different subfields, each of which takes a different perspective on what are the primary phenomenon of interest and the most useful methods for investigation.

Tahlil

Asosiy maqolalar: Musiqiy tahlil, Shenkeriya tahlili va Transformatsion nazariya

Typically a given work is analyzed by more than one person and different or divergent analyses are created. For instance, the first two bars of the prelude to Klod Debussi “s Pelléas va Melisande are analyzed differently by Leibowitz, Laloy, van Appledorn, and Christ. Leibowitz analyses this succession harmonically as D minor:I-VII-V, ignoring melodic motion, Laloy analyses the succession as D:I-V, seeing the G in the second measure as an bezak, and both van Appledorn and Christ analyses the succession as D:I-VII. O’ynang ( Yordam bering · ma’lumot )

Musical analysis is the attempt to answer the question how does this music work? The method employed to answer this question, and indeed exactly what is meant by the question, differs from analyst to analyst, and according to the purpose of the analysis. Ga binoan Yan Bent, “analysis, as a pursuit in its own right, came to be established only in the late 19th century; its emergence as an approach and method can be traced back to the 1750s. However, it existed as a scholarly tool, albeit an auxiliary one, from the O’rta yosh boshlab.” [77] Adolf Bernhard Marx was influential in formalising concepts about composition and music understanding towards the second half of the 19th century. The principle of analysis has been variously criticized, especially by composers, such as Edgard Vares ‘s claim that, “to explain by means of [analysis] is to decompose, to mutilate the spirit of a work”. [78]

Shenkeriya tahlili is a method of musical analysis of tonal music based on the theories of Geynrix Shenker (1868-1935). The goal of a Schenkerian analysis is to interpret the underlying structure of a tonal work and to help reading the score according to that structure. The theory’s basic tenets can be viewed as a way of defining tonallik musiqada. A Schenkerian analysis of a passage of music shows hierarchical relationships among its pitches, and draws conclusions about the structure of the passage from this hierarchy. The analysis makes use of a specialized symbolic form of musical notation that Schenker devised to demonstrate various techniques of elaboration. The most fundamental concept of Schenker’s theory of tonality may be that of tonal space. [79] The intervals between the notes of the tonic triad form a tonal space that is filled with passing and neighbour notes, producing new triads and new tonal spaces, open for further elaborations until the surface of the work (the score) is reached.

Although Schenker himself usually presents his analyses in the generative direction, starting from the asosiy tuzilish (Ursatz) to reach the score, the practice of Schenkerian analysis more often is reductive, starting from the score and showing how it can be reduced to its fundamental structure. Ning grafigi Ursatz is arrhythmic, as is a strict-counterpoint cantus firmus exercise. [80] Even at intermediate levels of the reduction, rhythmic notation (open and closed noteheads, beams and flags) shows not rhythm but the hierarchical relationships between the pitch-events. Schenkerian analysis is sub’ektiv. There is no mechanical procedure involved and the analysis reflects the musical intuitions of the analyst. [81] The analysis represents a way of hearing (and reading) a piece of music.

Transformational theory is a branch of music theory developed by Devid Leyn in the 1980s, and formally introduced in his 1987 work, Generalized Musical Intervals and Transformations. The theory, which models musical transformations as elements of a matematik guruh, can be used to analyze both tonal va atonal musiqa. The goal of transformational theory is to change the focus from musical objects—such as the “C asosiy akkord ” or “G major chord”—to relations between objects. Thus, instead of saying that a C major chord is followed by G major, a transformational theorist might say that the first chord has been “transformed” into the second by the “Dominant operation.” (Symbolically, one might write “Dominant(C major) = G major.”) While traditional musiqiy to’plam nazariyasi focuses on the makeup of musical objects, transformational theory focuses on the intervallar or types of musical motion that can occur. According to Lewin’s description of this change in emphasis, “[The transformational] attitude does not ask for some observed measure of extension between reified ‘points’; rather it asks: ‘If I am da s and wish to get to t, what characteristic imo-ishora should I perform in order to arrive there?’” [82]

Music perception and cognition

Qo’shimcha ma’lumotlar: Musiqa psixologiyasi, Fred Lerdal va Rey Jekendoff

Music psychology or the psychology of music may be regarded as a branch of both psixologiya va musiqashunoslik. It aims to explain and understand musiqiy xulq-atvor va tajriba, including the processes through which music is perceived, created, responded to, and incorporated into everyday life. [83] [84] Modern music psychology is primarily empirik; its knowledge tends to advance on the basis of interpretations of data collected by systematic kuzatuv of and interaction with human participants. Music psychology is a field of research with practical relevance for many areas, including music ishlash, tarkibi, ta’lim, tanqid va terapiya, as well as investigations of human qobiliyat, mahorat, aql, ijodkorlik va ijtimoiy xulq-atvor.

Music psychology can shed light on non-psychological aspects of musiqashunoslik and musical practice. For example, it contributes to music theory through investigations of the idrok va hisoblash modellashtirish of musical structures such as ohang, Garmoniya, tonallik, ritm, metr va shakl. Tadqiqot musiqa tarixi can benefit from systematic study of the history of musical syntax, or from psychological analyses of composers and compositions in relation to perceptual, affective, and social responses to their music. Etnomusikologiya can benefit from psychological approaches to the study of music cognition in different cultures. [85] [ iqtibos kerak ]

Genre and technique

Asosiy maqolalar: Musiqa janri va Musiqiy texnika

Klassik fortepiano triosi is a group that plays kamera musiqasi, shu jumladan sonatalar. The term “piano trio” also refers to works composed for such a group.

A music genre is a conventional category that identifies some pieces of musiqa umumiy urf-odat yoki konventsiyalar majmuasiga tegishli. [86] Bu bilan ajralib turish kerak musiqiy shakl va musiqiy uslub, garchi amalda bu atamalar ba’zan bir-birining o’rnida ishlatiladi. [87] [ tekshirib bo’lmadi ]

Musiqani turli xillarga bo’lish mumkin janrlar in many different ways. Musiqaning badiiy mohiyati shuni anglatadiki, bu tasniflar ko’pincha sub’ektiv va ziddiyatli bo’lib, ba’zi janrlar bir-biriga mos kelishi mumkin. There are even varying academic definitions of the term janr o’zi. Uning kitobida Tonal musiqiy shakl, Douglass M. Green janrni va shakl. U ro’yxatlaydi madrigal, motet, kanza, ricercar dan janrlarning namunalari sifatida raqsga tushish Uyg’onish davri davr. Ning ma’nosini yanada aniqlashtirish uchun janr, Grin yozadi: “Betxovenning 61-chi va Mendelsonning 64-chi asarlari janr jihatidan bir xil – ikkalasi skripka kontsertlari, ammo shakli jihatidan har xil. Biroq, Mozartning” Pianino uchun Rondo “, K. 511 va Agnus Dei from his Mass, K. 317 are quite different in genre but happen to be similar in form.” [88] Ba’zilar, shunga o’xshash Piter van der Merve, shartlarini davolash janr va uslubi xuddi shunday, buni aytib janr should be defined as pieces of music that came from the same style or “basic musical language.” [89]

Boshqalar, masalan, Allan F. Mur, buni ta’kidlaydilar janr va uslubi ikkita alohida atama bo’lib, mavzu kabi ikkinchi darajali xususiyatlar ham janrlarni farqlashi mumkin. [90] Musiqa janri yoki subgenri ham tomonidan belgilanishi mumkin musiqa texnikasi, the style, the cultural context, and the content and spirit of the themes. Ba’zan geografik kelib chiqish musiqa janrini aniqlash uchun ishlatiladi, biroq bitta geografik toifaga ko’pincha turli xil subgenrlar kiradi. Timothy Laurie argues that “since the early 1980s, genre has graduated from being a subset of popular music studies to being an almost ubiquitous framework for constituting and evaluating musical research objects”. [91]

Musical technique is the ability of instrumental va vokal musicians to exert optimal control of their instruments or ovoz kordlari to produce precise musical effects. Improving technique generally entails practicing exercises that improve muscular sensitivity and agility. To improve technique, musicians often practice fundamental patterns of notes such as the tabiiy, voyaga etmagan, katta va chromatic scales, voyaga etmagan va asosiy uchliklar, dominant va diminished sevenths, formula patterns and arpeggios. Masalan, triadalar va sevenths teach how to play chords with accuracy and speed. Tarozilar teach how to move quickly and gracefully from one note to another (usually by step). Arpeggios teach how to play singan akkordlar over larger intervals. Many of these components of music are found in compositions, for example, a scale is a very common element of klassik va romantik era compositions. [ iqtibos kerak ]

Geynrix Shenker argued that musical technique’s “most striking and distinctive characteristic” is takrorlash. [92] Works known as études (meaning “study”) are also frequently used for the improvement of technique.

Matematika

Asosiy maqola: Musiqa va matematika

Musiqa theorists sometimes use matematika to understand music, and although music has no aksiomatik foundation in modern mathematics, mathematics is “the basis of sound” and sound itself “in its musical aspects. exhibits a remarkable array of number properties”, simply because nature itself “is amazingly mathematical”. [93] The attempt to structure and communicate new ways of composing and hearing music has led to musical applications of to’plam nazariyasi, mavhum algebra va sonlar nazariyasi. Some composers have incorporated the oltin nisbat va Fibonachchi raqamlari into their work. [94] [95] There is a long history of examining the relationships between music and mathematics. Though ancient Chinese, Egyptians and Mesopotamians are known to have studied the mathematical principles of sound, [96] The Pifagorchilar (jumladan Filolaus va Arxitalar ) [97] of ancient Greece were the first researchers known to have investigated the expression of musiqiy tarozilar in terms of numerical nisbatlar.

The first 16 harmonics, their names and frequencies, showing the exponential nature of the octave and the simple fractional nature of non-octave harmonics.

In the modern era, musical to’plam nazariyasi uses the language of mathematical set theory in an elementary way to organize musical objects and describe their relationships. To analyze the structure of a piece of (typically atonal) music using musical set theory, one usually starts with a set of tones, which could form motives or chords. By applying simple operations such as transpozitsiya va inversiya, one can discover deep structures in the music. Operations such as transposition and inversion are called izometriyalar because they preserve the intervals between tones in a set. Expanding on the methods of musical set theory, some theorists have used abstract algebra to analyze music. For example, the pitch classes in an equally tempered octave form an abeliy guruhi with 12 elements. It is possible to describe faqat intonatsiya in terms of a bepul abeliya guruhi. [98]

Serial composition and set theory

Tone row from Alban Berg “s Lyric Suite, mov. I. O’ynang ( Yordam bering · ma’lumot )

In music theory, serialism is a method or technique of tarkibi that uses a series of values to manipulate different musiqiy elementlar. Serialism began primarily with Arnold Shoenberg “s o’n ikki tonna texnikasi, though his contemporaries were also working to establish serialism as one example of post-tonal fikrlash. Twelve-tone technique orders the twelve notes of the xromatik o’lchov, shakllantirish a qator or series and providing a unifying basis for a composition’s ohang, Garmoniya, structural progressions, and o’zgarishlar. Other types of serialism also work with to’plamlar, collections of objects, but not necessarily with fixed-order series, and extend the technique to other musical dimensions (often called “parametrlar “), kabi davomiyligi, dinamikasi va tembr. The idea of serialism is also applied in various ways in the tasviriy san’at, dizayn va me’morchilik [99]

“Integral serialism” or “total serialism” is the use of series for aspects such as duration, dynamics, and register as well as pitch. [100] Other terms, used especially in Europe to distinguish post–World War II serial music from twelve-tone music and its American extensions, are “general serialism” and “multiple serialism”. [101]

Musical set theory provides concepts for categorizing musical objects and describing their relationships. Many of the notions were first elaborated by Xovard Xanson (1960) in connection with tonal music, and then mostly developed in connection with atonal music by theorists such as Allen Forte (1973), drawing on the work in twelve-tone theory of Milton Babbitt. The concepts of set theory are very general and can be applied to tonal and atonal styles in any equally tempered tuning system, and to some extent more generally than that. [ iqtibos kerak ]

One branch of musical set theory deals with collections (sets and permutations) of pitches and pitch classes (pitch-class set theory), which may be ordered or unordered, and can be related by musical operations such as transpozitsiya, inversiya va to’ldirish. The methods of musical set theory are sometimes applied to the analysis of rhythm as well. [ iqtibos kerak ]

Musical semiotics

Qo’shimcha ma’lumotlar: musiqa semiologiyasi va Jan-Jak Nattiz

Music semiology (semiotikalar ) is the study of signs as they pertain to musiqa on a variety of levels. Keyingi Roman Yakobson, Kofi Agawu adopts the idea of musical semiosis being introversive or extroversive—that is, musical signs within a text and without. [ iqtibos kerak ] “Topics,” or various musical conventions (such as horn calls, dance forms, and styles), have been treated suggestively by Agawu, among others. [ iqtibos kerak ] Tushunchasi imo-ishora is beginning to play a large role in musico-semiotic enquiry. [ iqtibos kerak ]

“There are strong arguments that music inhabits a semiological realm which, on both ontogenetik va filogenetik levels, has developmental priority over verbal language.” [102] [103] [104] [105] [106] [107] [108] [109] [ tushuntirish kerak ]

Writers on music semiology include Kofi Agawu (on topical theory, [ iqtibos kerak ] Geynrix Shenker, [110] [111] Robert Hatten (on topic, gesture) [ iqtibos kerak ] , Raymond Monelle (on topic, musical meaning) [ iqtibos kerak ] , Jan-Jak Nattiz (on introversive taxonomic analysis and ethnomusicological applications) [ iqtibos kerak ] , Anthony Newcomb (on narrativity) [ iqtibos kerak ] va Eero Tarasti [ iqtibos kerak ] (generally considered the founder of musical semiotics).

Roland Barthes, himself a semiotician and skilled havaskor pianist, wrote about music in Image-Music-Text, [ to’liq iqtibos kerak ] The Responsibilities of Form, [ to’liq iqtibos kerak ] va Eiffel Tower, [ to’liq iqtibos kerak ] though he did not consider music to be a semiotic system [ iqtibos kerak ] .

Signs, meanings in music, happen essentially through the connotations of sounds, and through the social construction, appropriation and amplification of certain meanings associated with these connotations. Ishi Filipp Tagg (Ten Little Tunes, [ to’liq iqtibos kerak ] Fernando the Flute, [ to’liq iqtibos kerak ] Music’s Meanings [ to’liq iqtibos kerak ] ) provides one of the most complete and systematic analysis of the relation between musical structures and connotations in western and especially popular, television and film music. Ishi Leonard B. Meyer yilda Style and Music [ to’liq iqtibos kerak ] theorizes the relationship between ideologies and musical structures and the phenomena of style change, and focuses on romanticism as a case study.

Ta’lim va martaba

Kolumbiya universiteti music theorist Pat Carpenter in a 2013 photo

Music theory in the practical sense has been a part of education at conservatories and music schools for centuries, but the status music theory currently has within academic institutions is relatively recent. In the 1970s, few universities had dedicated music theory programs, many music theorists had been trained as composers or historians, and there was a belief among theorists that the teaching of music theory was inadequate and that the subject was not properly recognised as a scholarly discipline in its own right. [112] A growing number of scholars began promoting the idea that music theory should be taught by theorists, rather than composers, performers or music historians. [112] This led to the founding of the Musiqa nazariyasi jamiyati in the United States in 1977. In Europe, the French Société d’Analyse musicale was founded in 1985. It called the First European Conference of Music Analysis for 1989, which resulted in the foundation of the Société belge d’Analyse musicale in Belgium and the Gruppo analisi e teoria musicale in Italy the same year, the Society for Music Analysis in the UK in 1991, the Vereniging voor Muziektheorie in the Netherlands in 1999 and the Gesellschaft für Musiktheorie Germaniyada 2000 yilda. [113] They were later followed by the Russian Society for Music Theory 2013 yilda va Polish Society for Music Analysis in 2015, and others are in construction. These societies coordinate the publication of music theory scholarship and support the professional development of music theory researchers.

As part of their initial training, music theorists will typically complete a B.Mus yoki a B.A. in music (or a related field) and in many cases an M.A. in music theory. Some individuals apply directly from a bachelor’s degree to a PhD, and in these cases, they may not receive an M.A. In the 2010s, given the increasingly interdisciplinary nature of university graduate programs, some applicants for music theory PhD programs may have academic training both in music and outside of music (e.g., a student may apply with a B.Mus and a Masters in Music Composition or Philosophy of Music).

Most music theorists work as instructors, lecturers or professors in kollejlar, universitetlar yoki konservatoriyalar. The job market for tenure-track professor positions is very competitive: with an average of around 25 tenure-track positions advertised per year in the past decade, 80-100 PhD graduates are produced each year (according to the Survey of Earned Doctorates) who compete not only with each other for those positions but with job seekers that received PhD’s in previous years who are still searching for a tenure-track job. Applicants must hold a completed PhD or the equivalent degree (or expect to receive one within a year of being hired—called an “ABD”, for “All But Dissertation ” stage) and (for more senior positions) have a strong record of publishing in peer-reviewed journals. Some PhD-holding music theorists are only able to find insecure positions as sessional lecturers. The job tasks of a music theorist are the same as those of a professor in any other humanities discipline: teaching undergraduate and/or graduate classes in this area of specialization and, in many cases some general courses (such as Music Appreciation or Introduction to Music Theory), conducting research in this area of expertise, publishing research articles in peer-reviewed journals, authoring book chapters, books or textbooks, traveling to conferences to present papers and learn about research in the field, and, if the program includes a magistratura, supervising M.A. and PhD students and giving them guidance on the preparation of their theses and dissertations. Some music theory professors may take on senior administrative positions in their institution, such as Dekan yoki Kafedra of the School of Music.

Shuningdek qarang

• AP musiqa nazariyasi
• List of music theorists
• Musiqa psixologiyasi
• Musiqashunoslik
• Rassomlik nazariyasi

Izohlar

1. ^ Fallows, David (January 2011). Nazariya. Oksford musiqa hamrohi. Oksford musiqa onlayn. ISBN9780199579037 . Olingan 11 sentyabr 2016 .
2. ^ See Boethius’s De institutione musica, in which he disdains “musica instrumentalis” as beneath the “true” musician who studies music in the abstract: Multo enim est maius atque auctius scire, quod quisque faciat, quam ipsum illud efficere, quod sciat (“It is much better to know what one does than to do what one knows”).
3. ^ See, for example, chapters 4–7 of Christensen, Thomas (2002). The Cambridge History of Western Music Theory. Kembrij, Buyuk Britaniya: Kembrij universiteti matbuoti.
4. ^Latham 2002, 15–17.
5. ^OED 2005.
6. ^Palisca and Bent n.d., Theory, theorists. 1. Definitions.
7. ^Mirelman 2010; Mirelman 2013; Wulstan 1968; Kümmel 1970; Kilmer 1971; Kilmer and Mirelman n.d.
8. ^Mirelman 2013, 43–44.
9. ^ ab Joseph S.C. Lam, “China.”, §II, “History and Theory”, Grove Music Online. Oksford musiqa onlayn. Oxford University Press, accessed 15 November 2015, http://www.oxfordmusiconline.com/subscriber/article/grove/music/43141pg2.
10. ^ Robert Bagley, “The Prehistory of Chinese Music Theory”, Britaniya akademiyasining materiallari 131, 2004 (Lectures), pp. 41–90.
11. ^ abService 2013.
12. ^Crease 2011, 40–41.
13. ^Wu and Wu 2014, 41–42.
14. ^The Nāțyaśāstra, A Treatise on Hindu Dramaturgy and Histrionics, attributed to Bharata Muni, translated from the Sanskrit with introduction and notes by Manomohan Ghosh, vol. II, Calcutta, The Asiatic Society, 1961. See particularly pp. 5–19 of the Introduction, The Ancient Indian Theory and Practice of Music.
15. ^ Thomas J. Mathiesen, “Greek Music Theory”, The Cambridge History of Western Music Theory, Th. Christensen ed., Cambridge, Cambridge University Press, 2002, pp. 112–113.
16. ^ English translation in Andrew Barker, Yunon musiqiy yozuvlari, vol. 2: Harmonik va akustik nazariya, Cambridge, Cambridge University Press, 1989, pp. 191–208.
17. ^ Joseph S.C. Lam, “China.”, §II, “History and Theory”, Grove Music Online. Oksford musiqa onlayn. Oksford universiteti matbuoti, http://www.oxfordmusiconline.com/subscriber/article/grove/music/43141pg2.
18. ^ Ga qarang List of medieval music theorists, which includes several Arabic theorists; Shuningdek qarang d’Erlanger 1930–56, 1:xv-xxiv.
19. ^Manik 1969, 24–33.
20. ^Wright 2001a; Wright 2001b; Manik 1969, 22–24.
21. ^ Rodolphe d’Erlanger, La Musique arabe, vol. I, pp. 1–306; jild II, pp. 1–101.
22. ^d’Erlanger 1930-56, 2:103–245.
23. ^Shiloah 1964 yil.
24. ^d’Erlanger 1930-56, 3:1–182.
25. ^ Anon. Amnon Shiloaxda LXII, Arab yozuvlarida musiqa nazariyasi (taxminan 900-1900): Evropa va AQSh kutubxonalarida qo’lyozmalarning tavsiflovchi katalogi., RISM, Myunxen, G. Henle Verlag, 1979. Qarang d’Erlanger 1930-56, 3:183–566
26. ^Ghrab 2009 yil.
27. ^ abv Shiloah, Amnon (2003). Arab yozuvlarida musiqa nazariyasi (taxminan 900–1900). Germaniya: G. Henle Verlag Munchen. pp.48, 58, 60–61. ISBN978-0-8203-0426-7 .
28. ^ abPaliska va Bent nd., §5 Ilk o’rta asrlar.
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30. ^ Xatning zamonaviy nashri uchun qarang [1].
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34. ^Paliska va Bent nd.
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36. ^Bartlette va Layts 2010 yil, [sahifa kerak ] .
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39. ^ abLatham 2002 yil, [sahifa kerak ] .
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48. ^Benvard va Saker 2003 yil, 67, 359.
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50. ^Mitchell 2008 yil.
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53. ^Schoenberg 1983 yil, 1–2.
54. ^Benvard va Saker 2003 yil, 77.
55. ^Dahlhaus 2009 yil.
56. ^Jamini 2005 yil, 147.
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63. ^Isaak va Rassel 2003 yil, 136.
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73. ^Sorantin 1932 yil, [sahifa kerak ] .
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78. ^ Iqtibos qilingan Bernard 1981 yil, 1
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80. ^Shenker nd., § 21 [sahifa kerak ] .
81. ^Snarrenberg 1997 yil, [sahifa kerak ] .
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83. ^Tan, Piter va Rom 2010 yil, 2.
84. ^Tompson nd, 320.
85. ^ Martin, Kleyton; Kleyton, Martin (2008). Hind musiqasidagi vaqt: ritm, o’lchov va shakl. Shimoliy hind latta ijrosida. Oksford universiteti matbuoti. ISBN9780195339680 .
86. ^Samson nd.
87. ^Vong 2011 yil.
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89. ^van der Merve 1989 yil, 3.
90. ^Mur 2001 yil, 432–33.
91. ^Laurie 2014 yil, 284.
92. ^Kivy 1993 yil, 327.
93. ^Smit Brindl 1987 yil, 42–43.
94. ^Smit Brindl 1987 yil, 6-bob, passim.
95. ^Garland va Kan 1995 yil, [sahifa kerak ] .
96. ^Smit Brindl 1987 yil, 42.
97. ^Purwins 2005 yil, 22–24.
98. ^Vohl 2005 yil.
99. ^Bandur 2001 yil, 5, 12, 74; Gerstner 1964 yil, passim
100. ^Whittall 2008 yil, 273.
101. ^Grant 2001 yil, 5–6.
102. ^Midlton 1990 yil, 172.
103. ^Nattiez 1976 yil.
104. ^Nattiez 1990 yil.
105. ^Nattiez1989.
106. ^Stefani 1973 yil.
107. ^Stefani 1976 yil.
108. ^Baroni 1983 yil.
109. ^Semiotika 1987, 66:1–3.
110. ^Dunsbi va Stopford 1981 yil, 49–53.
111. ^2017 yil, 81–96.
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MUSIQIY TOVUSH VA UNING XUSUSIYATLARI Текст научной статьи по специальности «Искусствоведение»

Аннотация научной статьи по искусствоведению, автор научной работы — Muhammadzoxid Xabibullo O‘G‘Li Abduqodirov, Abror Axmadjon O‘G‘Li Fayzullayev

Ushbu maqolada musiqiy tovushlar va ularning xususiyatlari, turlari va musiqa asboblarining chiqaradigan tovushlari haqida malumot berilgan.

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MUSICAL SOUND AND ITS FEATURES

This article provides information about musical sounds and their properties, types, and sounds emitted by musical instruments.

Текст научной работы на тему «MUSIQIY TOVUSH VA UNING XUSUSIYATLARI»

MUSIQIY TOVUSH VA UNING XUSUSIYATLARI

Muhammadzoxid Xabibullo o’g’li Abduqodirov

Toshkent viloyati Chirchiq davlat pedagogika instituti Pedagogika fakulteti Musiqa ta’limi yo’nalishi 3- bosqich talabasi

Abror Axmadjon o’g’li Fayzullayev

Toshkent viloyati Chirchiq davlat pedagogika instituti Pedagogika fakulteti Musiqa ta’limi yo’nalishi 3- bosqich talabasi

Ushbu maqolada musiqiy tovushlar va ularning xususiyatlari, turlari va musiqa asboblarining chiqaradigan tovushlari haqida malumot berilgan.

Kalit so’zlar: tovush, musiqa, balandlik, qattiqlik, tembr, cho’zim, past, baland.

MUSICAL SOUND AND ITS FEATURES

Muhammadzokhid Xabibullo ugli Abdukodirov

Chirchik State Pedagogical Institute of Tashkent region, Faculty of Pedagogy, 3 year student of Music Education

Abror Akhmadjon ugli Fayzullaev

Chirchik State Pedagogical Institute of Tashkent region, Faculty of Pedagogy, 3rd year student of Music Education

This article provides information about musical sounds and their properties, types, and sounds emitted by musical instruments.

Keywords: sound, music, pitch, hardness, timbre, length, low, high.

Biz yashayotgan olam turli tovushlarga to’ladir. Misol uchun: guvillagan, taqillagan, shitirlagan, g’ichirlagan va boshqa shunga o’xshash tovushlarning barchasi real voqеlikdagi tovushlardir. Bularni shovqinli tovushlar dеb atashadi. Kuylayotgan qo’shiqchining ovozi va musiqa asboblari – rubob, nay, chang, skripka, fortepiano, goboy, truba va boshqa cholg’u asboblaridan taraladigan tovushlar musiqiy tovushlar deb nom oldi.

ADABIYOTLAR TAHLILI VA METODOLOGIYA

Barcha tovushlar baland va past yoki uzoq va qisqa vaqt yangrashi, shu bilan birga o’ziga yarasha rang-barangligi bilan farqlanadi. Shovqinli bilan musiqiy tovushlar

o’rtasidagi farqi shundaki, har bir musiqiy tovush aniq belgilangan balandlikka ega bo’ladi. Shovqinli tovushlar esa bunday xususiyatga ega emas.

Musiqaning asosiy vositasi, ya’ni ifodalilik vositasi – musiqiy tovushlardir. Lekin zamonaviy musiqada shovqinli tovushlar ham keng qo’llaniladi. Tovushlar tizimi musiqiy fikrni ifodalash va badiiy obrazlarni gavdalantirish uchun xizmat qiladi.

Har bir musiqiy tovushning xarakteri to’rtta asosiy xususiyatlar bilan aniqlanadi. Ular balandlik, qattiqlik, tembr va cho’zim. Tovushning balandligi tebranayotgan jismning tebranish tezligiga bog’liq. Tebranish qanchalik tez bo’lsa, tovush shunchalik baland eshitiladi, va aksincha. Demak, tovushlar balandligi bo’yicha baland, o’rta va past tovushlarga ajratiladi. Baland tovushlar «nafis», «muloyim», «jarangli», «billur» kabi so’zlar bilan ta’riflanishi mumkin. Xor asarlardagi soprano ovozi partiyasi asosan o’z ichiga baland tovushlarni qamrab oladi. Skripka, fleyta, nay cholg’ular ham baland tovushlarni taratadi. Past tovushlar – «yo’g’on», «qo’polroq» «chuqur», «mayin» kabi so’zlar bilan ko’proq ta’riflanadi. Musiqa asboblaridan truba, kontrobas, fagot kabilar past tovushlarga ega. O’rta tovushlar xor ovozlari alt bilan tenor, cholg’ulardan violonchel, klarnet, valtorna, rubob, dutorga xarakterlidir. Ularga nisbatan «yumshoq», «qalin», «odam ovoziday» so’zlarni qo’llash mumkin.

Tovushning qattiqligi jismning tebranish kengligi (amplitudasi) dan kelib chiqadi. Tebranish kengligi qancha keng bo’lsa, tovush shunchalik qattiq eshitiladi, va aksincha. Qattiqlikning darajasi (jaranglash kuchi) dinamika so’z bilan ataladi.

Tovushning cho’zimi jismning tebranishi davom etishiga bog’liqdir. Real vaqt soniya, daqiqa, soat va hokazolar bilan o’lchanadi. Musiqadagi vaqt muayyan tovush cho’zimi bilan o’lchanadi. Musiqada har bir tovush o’z cho’zimi bo’yicha undan oldingi va keyingi tovushlar bilan muayyan darajada aniq uyushtiriladi, vaqt bilan belgilanadigan munosabatga kirishadi. Mana shundan kelib chiqib, musiqaga xos bo’lgan aniq uyushtirilgan vaqtga bog’liq tuzilish (struktura) vujudga keladi.

Tovushning tembri deb uning rang-barangligiga deyiladi. Gap shundaki, har qanday tovush, ayniqsa musiqiy tovush, murakkab tarkibga ega. Tovush manbai (jism) butunligicha tebranib, asosiy tebranish tezligini, ya’ni eng yaxshi eshitiladigan past balandlikdagi tovushni hosil qiladi. Bu tovushga asosiy ton deb aytiladi. Biroq, shu bilan bir vaqtning o’zida jismning umumiy uzunligidan teng yarmi, uch qismdan bir, to’rtdan bir, beshdan bir va h.k. qismlari ham tebranadi. Har bir qismning tebranish tezligi o’ziga mos tovushni yaratadi. Bunday ikkinchi, uchinchi darajali marta balandroq eshitiladi. Chunki, jismning uzunligi qancha qisqa bo’lsa, shunchalik uning tebranish

tezligi oshadi va hosil bo’lgan tovushning balandligi yuqorilashadi. Ushbu qo’shimcha, tarkibiy tonlar oberton yoki garmoniklar deb ataladi. Asosiy ton jarangida obertonlarning qattiqlik bo’yicha o’zaro nisbati, ularning bor yoki yo’qligi tovushning individual sifatini, boshqa tovushlarga o’xshamasligini ta’kidlaydi. Masalan: qo’ng’iroqchani ko’rmay turib, uning jarangini shaqildoq jarangidan ajrata olamiz yoki onajonimizning ovoz tembri ko’p ovozlar ichida bizga «o’zgacha» bo’lib eshitiladi. Mazkur to’rtta sifat har bir tovushda, shuningdek, musiqiy fikr va obrazlar ifodalaydigan qator tovushlar birikmasida albatta namoyon bo’ladi.

1. Ibraximjanova Gavxar va boshq. Musiqa elementar nazariyasi. Garmoniya.

2. Махкамова, Ш. Р. (2020). ХАЗРАТ НАВОИЙНИНГ МУСИКИЙ ТАФАККУРИ. Science and Education, 1(Special Issue 4), 215-222.

3. Махкамова, Ш. Р. (2020). МУСЩА ИЛМИ ВА ИСЛОМ ДИНИ: ТАЛЛИН МУАММОСИ. Academic research in educational sciences, (3).

4. Махкамова, Ш. Р., & Асадуллаeва, М. А. (2020). «ВЕЛИКИЙ ШЁЛКОВЫЙ ПУТЬ»: ВЗАИМОДЕЙСТВИЕ КУЛЬТУР ЗАПАДА И ВОСТОКА В КОНТЕКСТЕ ПРОБЛЕМЫ МОДЕРНИЗАЦИИ МУЗЫКАЛЬНОГО ОБРАЗОВАНИЯ В УЗБЕКИСТАНЕ. Science and Education, 1 (Special Issue 4).

1. Ibraximjanova Gavxar va boshq. Musiqa elementar nazariyasi. Garmoniya.

2. Махкамова, Ш. Р. (2020). ХАЗРАТ НАВОИЙНИНГ МУСИКИЙ ТАФАККУРИ. Science and Education, 1(Special Issue 4), 215-222.

3. Махкамова, Ш. Р. (2020). МУСЩА ИЛМИ ВА ИСЛОМ ДИНИ: ТАЛЛИН МУАММОСИ. Academic research in educational sciences, (3).

4. Махкамова, Ш. Р., & Асадуллаeва, М. А. (2020). «ВЕЛИКИЙ ШЁЛКОВЫЙ ПУТЬ»: ВЗАИМОДЕЙСТВИЕ КУЛЬТУР ЗАПАДА И ВОСТОКА В КОНТЕКСТЕ ПРОБЛЕМЫ МОДЕРНИЗАЦИИ МУЗЫКАЛЬНОГО ОБРАЗОВАНИЯ В УЗБЕКИСТАНЕ. Science and Education, 1 (Special Issue 4).