Tohanga kaupapa |
Te hurihanga kaupapa – te hurihanga, te hurihanga (Latin inversio, Italian moto contrario, rovescio, riverso, rivoltato, French reversement, German die Umkehrung, die Gegenbewegung) – polyphonic. he tikanga mo te huri i tetahi kaupapa, ko te purei i ona waahi ki te anga rereke mai i tetahi oro kare e rereke: ko te neke whakarunga o te kaupapa i roto i tana nekehanga matua (whakamua) (lat. motus rectus) i te neke whakamuri (lat. motus contrarius) e hāngai ana ki te nekehanga ki raro i te wā kotahi (me te hurihanga). Ko te oro rereke noa ki te kaupapa i roto i nga momo rerekee matua me nga momo rereke ka kiia ko te tuaka o te hurihanga; i roto i te kaupapa, ka taea e tetahi waahanga te mahi pera. I roto i te punaha tonal nui-iti, hei pupuri i te ritenga mahi o nga whiringa e rua, ko te tohu tuatoru te tikanga hei tuaka o te tohanga; i roto i te kāhua tino (14-16 rautau) me tona tikanga diatonic. He maha nga wa ka mahia te hurihanga o nga weriweri huri noa i te hautoru o te triad kua heke, e whakarite ana kia rite te tu o nga oro o te tritone:
JS Bach. The Art of the Fugue, Counterpoint XIII.
Palestinina. Canonical Mass, Benedictus.
I roto i nga kaupapa me te chroma. O. nekehanga o t. ka mahia i runga i te tikanga, mena ka taea, ka mau tonu te uara tohu o nga waahi - ma tenei ka tino rite te ahua o te nekehanga whakamuri me te tika:
JS Bach. The Well-Tempered Clavier, Volume 1, Fugue fis-moll.
Hangarau. te ngawari me te toi. Ko te whai huatanga o te whakahou i te kaupapa na roto i te tohanga i whakatau i te maha me te rereke o te whakamahinga o tenei tikanga, ina koa i nga mahi monothematic. He momo momo fugue me te whakautu hurihuri (German Gegen-Fuge – tirohia JS Bach, The Art of the Fugue, No 5, 6, 7) me te canon me te rispost inverted (WA Mozart, c-moll quintet, minuet); whakamahia te piira i roto i te interludes o te fugue (Bach, The Well-Tempered Clavier, vol. 1, fugue in c-moll); ka taea e te kaupapa e toha haere ana he stretta me te kaupapa e neke tika ana (Mozart, fugue in g-moll, K.-V. 401); i etahi wa ka noho tahi noa (Mozart, fugue c-moll, K.-V., 426). I te nuinga o nga wa ko nga waahanga nui o nga titonga kei runga i te O. t. (Bach, The Well-Tempered Clavier; vol. 1, fugue G-dur, counter-exposition; 2nd part of the gigue) me nga ahua katoa (Bach, The Art of Fugue, No 12, 13; RK Shchedrin, Polyphonic Notebook , No 7, 9). Ko te huinga o O. t. me etahi atu tikanga o te panonitanga kua tino horahia i roto i nga puoro o te rau tau 20. (P. Hindemith, "Ludus tonalis", cf. prelude and postlude), ina koa, i tuhia ma te whakamahi i te tikanga raupapa (JF Stravinsky, "Agon", Simple branle). Hei tikanga rereke me te whakawhanaketanga, ka whakamahia te tono i roto i te kore-polyphonic. waiata (SS Prokofiev, "Juliet-kotiro" mai i te poi "Romeo me Juliet"), he maha tonu te whakakotahi me te kaupapa i roto i te nekehanga tika (PI Tchaikovsky, 6th symphony, wahi 2, vol. 17- 24; SS Prokofiev, 4th sonata , wahanga 2, pukapuka 25-28).
Tohutoro: Zolotarev VA, Fuga. Guide to practical study, M., 1932, 1965, wāhanga 13, Skrebkov SS, Polyphonic analysis, M. – L., 1940, wāhanga 1, § 4; tana ake, Pukapuka mo te polyphony, nga wahanga 1-2, M. – L., 1951, M., 1965, § 11; Taneev SI, Movable counterpoint of strict writing, M., 1959, wh. 7-14; Bogatyrev SS, Reversible counterpoint, M., 1960; Grigoriev SS, Muller TF, Pukapuka o te polyphony, M., 1961, 1969, § 44; Dmitriev AN, Polyphony hei take o te hanga, L., 1962, ch. 3; Yu. N. Tyulin, The Art of Counterpoint, M., 1964, ch. 3.
VP Frayonov
