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111

XVI

1525

1

129
XV

XV
2
• -

- simplex - musices»,
- compositus. 1537
4
XVI •
- -
differentiae -

XVI «Praecepta
XVI musicae poeticae» (1563)

5

differentiae
3
.

musicus poeticus,

6

( inventio),

XVI

131
130
13

7
re-la +
, - la fa

-
fa
- re-sol
8
, 9 g' -d" -f" g).

( 1).
XVI I.

"Trahe

...
exor-
,. r '
d. ' lo
modum) • aorte,eterno f1n".

(cum signa chromatica)

11

"AIIor, quaDdo f1oria"

XVI
D
- D F ...

...
- F ... G d
d h, d,
...
- G 1 •

\32
133
1.
. mi-mi
mt-la. - fa, Ia. ut-sol + ut-fa.
- sol, mi.
t' XVI
!
- h.
- ( ut-sol
mi la fa
g' ut-fa re-sol

la fa IV V
mi-mi fa re
f, g, h). 111 V
mi-mi (e-h) - F
la-mi ( 3).
fa-mi (f-e) 2).

2. 11 Dido,ch1 giace".

"Adiuro vos"
1 r r r . J1 r•
1

d) aurette 11 •

aeus descendit"

laJIPIIl'U prat1cell1 11 •
"Ancor che col partire"

"La JDi la sol" J!) lleooa "Entre -..oua fillea de qu1ue ans".
ele1aon.
1
J i7
j
* J J J J 'J
1 r r, JJ J J ,
,J J J· ;t 1
j
134
135
4. -
"Cosi la -
-
l$ 6J r r r' f' r·rrrr'r r rF' 14,

.
XVI

d) "Surge,propera amica mea".

XVI

XVI

1557)

r· J •r r r , , ,
15
phrasis •
phrasis
r rr r J. ''u r r'r melodia,
Melodia,
musices:. 1511),
XVI
cTetrachordum
ut-sol + re-sol.
16
- sol, fa. · •
phrasis melodia inflexio
ut Phrasis
sol g' -d" Inflexio
g), ut-sol, -

sol fa (d ( 4).

.
9 1953 137
136
21
(per et .

XVIII
-
11 111
17

1 d d,a g,
- - 11 d
III g,h
IV
v f f, d,g
Vl f f, d,g
ui Vll g g, d
VIII g
phrasis 22

d
XVI d, f. - g.
f - f, g - g, d.

- «ma «per
- «et -
.

...
1

.
.

.. 11 111

1 d d,a f,
11 d d, f :.
III h, g,a :.
IV g,c :.
v f f, :.
Vl f f, :.
VII g g,d :.
VIII g g,d,c :.

138 9* 139
2 5

1, 111 V- 23 G 25 G
27 27 G
11 V 33 G 31
(h) 40 G 33
clausula 45 35
49 39 D
58 44
60 46
61 - 49
52
55 G
57
58 G
61
- 63
64 -

2
,

«Canticum Canticorum> - g):

2 Nt

7 d 7 g
11 f 10 d
20 d 13 g
21 g 17 g
23 d
25 g 27 d
26 30 d -
27 d 31 d (in quibls praecipium fundamentum toni consistit),
30 36 F
41 44 F
-
49 g 54 d
54 d 59 d
57 d 61 d (sine
61 g 65 g insuruntur) >.
66 g 68 d (que proprium locum habent-
,

20 Nt 21
.
8 6 -
9 9
12 13
14 G 17
17 G 21 •
140 141
-
v 1
- g,
d -g.

.
commixtio tonorum

-:-

. .

- commixtio tonorum

-
cDe Profundis», ...
26
.
(phra-
sis)

2
- commixtio tonorum, ( 7).

27

( 5). XVI -
commixtio tonorum,

( 6).
5.

$ 1 ' J ;
J
'
.,-:53
. . .........

diapente re-la - diatessaron


re-sol

142 143
7; "De
_/,

· .
1 1 •• 1 1 ... 1'0" :#

1 1 1 ... »

1 1 1 1 1

29

:::to:=.. - J-- -- 1 1
rrrrrr•
1 1
r
(forma)
( chorda finale).
1 1
' .

species

:__t§I(i"' •i"'
,.--------
1 r
1
11 spesies finis,

r)

"" -
1 1 1 1 1 \"'"'
;==;,
=il;:=-: ·-
1 1 1 1 1 1 1"._
«...
1 1 1 1 1 1"' ...

...
31
• spesies
-

144 145
1. Aaron Trattato della natura et cognitione di tutti gli tuoni di canto 13.
figurato da a1trui piu scritti. Venice, 1525.
2. 14.
«De Musica:., 1300
15. Dodecachordon / English Miller. Rome,
(cantum civilem et mensuratum). 1480 1965. 197.
«De praeceptis artis musicae:. ... 16. Powers H.-S. Mode ... 409-410.
(regu1a), - 17.
(sive firmo, sive figurato). Cit.: // 1981. 20 ,
Powers H.-S. Mode // NGDMM. Vo1 . .12. 399. 18. //
3. 1979. 2. 80. 6.
4. Powers H.-S: Mode ... 402. 19. //
5. Dressler G. "Praecepta musicae poeticae. Ms. 1563/64. Ed. // 1966. 475.
Geschichts-B1atter fur Stadt und Land Magdeburg. 1914/1915. Jg. 49/50. S. 244. 20. Aaron Toscanello musica ... 18.
21. Pontio Ragionamento di musica / Faks.- Neudruck. Hrsg. von S. C1erx.
Kasse1, 1959. Fo1. 99-100.
22.
(species diapente, species
(ut-so1- 1 t., 1 t., 1/ 2 t., ... »
1 t.; re-1a- 1 t., 1/2 t., 1 t., 1 t.; mi-mi- 1/2 t., 1 t., 1 t., 1 t.; fa-fa- 1 t., 1 t., 23. Dressler G. Praecepta musicae poeticae ... S. 239.
1 t., 1/2 t.) (ut-fa- 1 t., 1 t., 1/2 t.; re-so1- 1 t., 1/2 t., 1 t.; 24.
mi-la- 1/2 t., 1 t., 1 t.).
-
- re-1a re-so1 «d- d, f=I-V-111;
» -mi-mi mi-1a g=I-IV-VI-III; f- f, a=I-V-III;
» - fa-fa ut-fa g- g, d=I-IV-V:..
» - ut-so1 re-so1 ... »
» - re-so1 re-1a uber die der harmonischen Tonalitat. Kasse1, 1968. S. 198-199).
» -mi-1a mi-mi
» - ut-fa fa-fa XVI
» - re-so1 ut-so1 -
25. Dressler G. Praecepta musicae poeticae ... S. 239.
- 26.
XVI
6. musica poetka musicus poeticus
Zenck 1985. 175).
Numerus Affectus. zur Musikgeschichte. Kasse1, 1959. S. 50 u.
Musica
Poetica und musikalische Poesia // AfMw. 1966. Jg. 23. S. 110-124; Egge-
brecht Opusll!usik // Eggebrecht Musikalisches Denken. Aufsatze ... S. 193 f. f.
zur Theorie und Aesthetik der Musik. Wilheimshaven, 1977. 27. CS IV. 24. .
s. 222-236. 28. Dodecachordon ... 266.
7. «De Profundis»
1976. 280-282). c-moll (\):
8. Aaron Toscanello in musica / Faks.- Nachdruck der 3. Auflage. Riemann der Musikgeschichte. Leipzig, 1920. S. 259.
Hrsg. von G. Frey. Kasse1, 1970. 18. 29. Cit.: Sources Readings Music History. New York, 1965. Vo1. 2.
9. Meier zu cMotetcae Sacrae» 1575 // 18-19.
AfMw. 1957 Jg. 14. S. 85. 30. Zarlino G. Le harmoniche / faks. of the 1558 Edition.
10. Dressler G. Praecepta musicae poeticae ... S. 244. New York, 1965. 336-337.
11. Cit.: Meier Bemerkungen ... S. 85. 31. 1977. 46.
12. Cit.: Meier Die Handschrift Porto 714 a1s Quelle zur Tonarten1ehre des 15.
Jahrhunderts // Musica Disciplina. 1953. Jg. 7. S. 179.
g
A-G).

146 147
49).

S. Hodorkovskaya. The of the of the


Church Modes in the XVIth Century Polyphony the of Reception of
the Medieval Music Heritage).
SUMMARY
As an analysis of theory concepts XV!th practice
shows, the medieval modus was still actual intonation reality of the Late
Renaissance art of music. The church modality was basis for the logic of musical
composition. As result of the composer's orientation to modal scale
the specific type of thematic relations may observed. It might called «the
modal thematic style». The precept of order rule was directly with
aesthetic ideals of the Renaissance era, which was called the time of «the reflective
traditionalism» (S. Averintsev).

148