'Mino oa liteko |
mmino wa teko (ho tloha ho lat. experimentum - teko, phihlelo) - 'mino o qapiloeng molemong oa ho leka lipina tse ncha. mekhoa, maemo a macha a ts'ebetso, lisebelisoa tse sa tloaelehang tsa molumo, joalo-joalo Khopolo ea E. m. ha e na moeli; e kopana le lipolelo tse kang "patlo ea boiqapelo", "boqapi", "boiphihlelo bo sebete" kapa (ka moelelo o fosahetseng) "tsela e ileng ea fetoha e se nang tšepo". Ho amana ha likhopolo tsena le mateano a tsona ho tima lentsoe “E. m.” mellwane e hlakileng le e sa feleng. Khafetsa, mesebetsi e nkuoang e le E. m., ha nako e ntse e feta, e kena tšebetsong ebe e lahleheloa ke ea eona ea pele. a touch of experimentation ("atonality" in Liszt's Bagatelle Without Key, 1885; the mobility of the sound fabric in Ives's piece for chamber ensemble The Unanswered Question, 1908; the mostly developed dodecaphonic structure in Webern's miniature Orchestral Piece No. 1, 1913; "piano e lokiselitsoeng" ho Cage's Bacchanalia, 1938, joalo-joalo). Liteko-metlae le tsona li ka amahanngoa le E. m., mohlala. 'mino o ngotsoeng ho latela lipepepe tsa buka ke moithuti oa Bach, Kirnberger "The Hourly Ready Writer of Polonaises and Minuets" (1757) kapa buka e ngotsoeng ke Mozart "Tataiso ea ho Kopanya Waltzes ka Bongata Bohle U Sebelisa Dice Tse peli, Ntle le ho ba le Khopolo e Nyenyane." ea 'Mino le Sebopeho "(1793).
Lilemong tsa bo-50. Lekholong la bo20 la lilemo 'mino oa konkreite,' mino oa elektronike, haholo-holo o ne o bitsoa 'mino oa elektronike (ka 1958, mothehi oa' mino oa konkreite, P. Schaeffer, o ile a etella pele Lilemo tse Leshome tsa Pele tsa Machaba tsa 'Mino oa Teko Paris). Joang E. m. Hape nahana ka mohlala, motsoako oa leseli le 'mino (' mino o bobebe), 'mino oa mochine.
Teko ea 'mino. art-ve, bopa maikutlo a ho kganya le botjha ba bonono. kamohelo, ha se kamehla e lebisang sephethong se felletseng sa botle, kahoo libini hangata li belaela ka E. m.: "Teko e bolela ho hong ho mahlale, empa ha e bolele letho ho ('mino) sebopeho" (IF Stravinsky, 1971, leq. 281).
References: Zaripov R. Kh., Ural melodies (mokhoeng oa ho qapa 'mino ka k'homphieutha ea Ural ea elektronike), Tsebo ke Matla, 1961, No 2; ea hae, Cybernetics and music, M., 1963, 1971; Galeev B., Scriabin le nts'etsopele ea mohopolo oa 'mino o bonahalang, ho: Music and Modernity, vol. 6, M., 1969; ea hae, 'mino oa Leseli: sebopeho le moelelo oa bonono bo bocha, Kazan, 1976; Kirnberger J. Ph., Der allezeit fertige Polonoisend- und Menuettecomponist, B., 1757; Vers une musique experimentale, "RM", 1957, Numéro spécial (236); Patkowski J., Zzagadnien muzyki eksperimentalnej, "Muzyka", 1958, rok 3, no 4; Stravinsky I., Craft R., Lipuisano le Igor Stravinsky, NY, 1959 (phetolelo ea Serussia - Stravinsky I., Dialogues ..., L., 1971); Cage J., Zur Geschichte der experimentellen Musik in den Vereinigten Staaten, “Darmstädter Beiträge zur neuen Musik”, 2, 1959; Hiller LA, Isaacson LM, 'mino oa liteko, NY, 1959; Moles A., Les musiques experimentales, P.-Z.-Bruz., 1960; Kohoutek C., Novodobé skladebné teorie západoevropské hudby, Praha, 1962, tlas'a sehlooho se reng: Novodobé skladebné smery v hudbe, Praha, 1965 (phetolelo ea Serussia - Kohoutek Ts., Technique of Composition 1976, Muth 1975, XNUMX Mmino oa Century XNUMX, XNUMX M. ; Schdffer B., setsebi sa Maly muzyki XX wieku, Kr., XNUMX. Bona le ho bonesa. tlas'a lihlooho 'Mino oa Konkreite,' mino oa Elektronike.
Yu. N. Kholopov
