Kanon (muzika)
![](http://upload.wikimedia.org/wikipedia/commons/thumb/c/cf/Canon_example.png/250px-Canon_example.png)
Kanon (stgrč. κανων — „merilo, propis, pravilo”) oblik je višeglasne muzičke kontrapunktske kompozicije u kojoj jedan ili više glasova imitiraju početni. Imitacije mogu biti na različitim intervalima, ali u najvećem broju slučajeva one su na intervalu prime ili oktave.
Kod jednostavnih ili strogih kanona, drugi glas prati prvi istovetnom melodijom, ponekad u intervalu oktave. U intervalskim kanonima, drugi glas je pomeren za interval različit od prime ili oktave. Ako se melodija drugog glasa poklapa po intervalima, a razlikuje po njihovoj veličini, kanon je dijatonski.
U kanonima u inverziji (canon per motum contrarium), gde se prvi glas spušta, drugi glas se uspinje i obrnuto. Ako glas koji iznosi melodiju (proposta) i glas koji donosi odgovor (risposta) nastupaju istovremeno, takav oblik kanona se naziva kanon u ogledalu.
Račji kanon (ili retrogradni kanon, canon cancrizans) vrsta je kanona u kome se melodija prvog glasa imitira istom melodijom koja se kreće u suprotnom smeru (od kraja prema početku).
Kanon u augmentaciji (canon per augmentationem) oblik je kanona u kome se melodija glasa koji donosi imitaciju (risposta) nalazi u (najčešće dvostruko) dužim notnim vrednostima. U kanonu u diminuciji (canon per diminutionem) notne vrednosti u risposti su kraće.
Kružni kanon je vid kanona koji, sa svakim nastupom sledećeg glasa, modulira po kvintnom ili kvartnom krugu. Ovo se događa zbog toga što glasovi nastupaju u intervalu kvarte ili kvinte. Takav kanon se naziva još i modulirajući (canon per tonos). (Primer: Mocart, Rekvijem, stav Domine Jesu, kvartet solista, takt 32.)
U zagonetnom kanonu, koji je bio naročito omiljen kao vrsta zabave kod flamanskih polifoničara u XV i XVI veku, način realizacije kanona trebalo je pronaći dešifrujući neku izreku ili poslovicu, npr. "Noctem in diem vertere" (pretvoriti noć u dan – pevati crne note kao bele, dakle, augmentacija) ili "Qui se exaltat, humiliabitur, qui se humiliat, exaltabitur" ("ko se uzdigne, poniziće se, ko se ponizi, uzdignuće se“, dakle, u pitanju je kanon u inverziji).
Kanon kao muzička forma bio je naročito popularan u epohi Renesanse i Baroka, a u epohama koje su sledile korišćen je samo sporadično. U XX veku interesovanje za kanon je obnovljeno, kako u formi prethodnih epoha, tako i kao posledica korišćenja serijalizma. Zbog strogosti forme i tehnike, izrada kanona se u prethodnim vekovima, kao i danas, smatrala neophodnom pedagoškom disciplinom za obrazovanje budućeg kompozitora, kao i sredstvom provere njegove veštine.
Istorija
[uredi | uredi izvor]Srednji vek i renesansa
[uredi | uredi izvor]Tokom srednjeg veka, renesanse i baroka — to jest, tokom ranog 18. veka — svaka vrsta imitativnog muzičkog kontrapunkta nazivala se fugom, sa striktnom imitacijom koja je sada poznata kao kanon kvalifikovana kao fuga ligata, što znači „okovana fuga“.[1][2][3] Tek u 16. veku reč „kanon“ počinje da se koristi za opisivanje stroge, imitativne teksture stvorene takvim postupkom.[2] Reč je izvedena od grčkog „κανών“, latinizovanog kao kanon, što znači „zakon“ ili „norma“. U kontrapunktnoj upotrebi, reč se odnosi na „pravilo“ koje objašnjava broj delova, mesta ulaska, transpozicije i tako dalje, prema kojem jedan ili više dodatnih delova može biti izveden iz jedne pisane melodijske linije. Ovo pravilo se obično davalo usmeno, ali je takođe moglo biti dopunjeno posebnim znacima u partituri, koji se ponekad i sami nazivaju kanonima.[1] Najraniji poznati nereligijski kanoni su engleske runde, oblik komi je Volter Odington prvi dao ime rondellus početkom 14. veka;[2] najpoznatiji je „Sumer is icumen in“ (sastavljen oko 1250), nazvan rota („točak”) u izvoru rukopisa.[4][5] Termin „round“ je prvi put upotrebljen u engleskim izvorima u 16. veku.[6]
Muzički primer
[uredi | uredi izvor]Reference
[uredi | uredi izvor]- ^ a b Bridge 1881, 76.
- ^ a b v Mann, Wilson, and Urquhart n.d.
- ^ Walker 2000, 1.
- ^ Sanders 2001a.
- ^ Sanders 2001b.
- ^ Johnson 2001.
Literatura
[uredi | uredi izvor]- Albrechtsberger, Johann Georg. 1855. J. G. Albrechtsberger's Collected Writings on Thorough-bass, Harmony, and Composition, for Self Instruction, edited by Sabilla Novello, translated by Ignaz von Seyfried, revised by Vincent Novello. London: Novello, Ewer, & Company.
- Amiot, Emmanuel (2011). „Structures, algorithms, and algebraic tools for rhythmic canons” (PDF). Perspectives of New Music. 49 (2): 93—142. doi:10.1353/pnm.2011.0018. Pristupljeno 16. 1. 2021.
- Barrett, Margaret S. (ed.). 2014. Collaborative Creative Thought and Practice in Music. Farnham: Ashgate Publishing, Ltd. ISBN 9781472415868.
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- Bridge, J. Frederick. [1881]. Double Counterpoint and Canon. London: Novello & Co., Ltd.; New York: The H. W. Gray Co., Inc.
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- Davies, Peter Maxwell. 1972. [Supplement]: "Canons and Epitaphs in Memoriam Igor Stravinsky. A Solution by Peter Maxwell Davies of the Puzzle-Canon He Contributed to Set I, Published in Tempo 97". Tempo, no. 100: three unnumbered pages.
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- Latham, Peter. 1948. Brahms. London: Dent.
- Leven, Louise W. 1948. "An Unpublished Mendelssohn Manuscript". The Musical Times 89, no. 1270 (December): 361–363.
- Litterick, Louise. 2000. "Chansons for Three and Four Voices". In The Josquin Companion, edited by Richard Sherr, 335–392. Oxford and New York: Oxford University Press. ISBN 0-19-816335-5.
- Mann, Alfred, J. Kenneth Wilson, and Peter Urquhart. n.d. "Canon (i)". Grove Music Online. Oxford Music Online (Accessed 2 January 2011) (potrebna pretplata).
- Matthews, Denis. 1978. Brahms Piano Music. London: BBC.
- Merriam-Webster. n.d. "Puzzle Canon"". Merriam-Webster Dictionary online edition (potrebna pretplata).
- Messiaen, Olivier (1944). La technique de mon langage musical (na jeziku: francuski). Paris: Alphonse Leduc. ISBN 9782856890332.
- Morley, Thomas. 1597. A Plaine and Easie Introduction to Practicall Musicke, Set Downe in Forme of a Dialogue. London: Peter Short.
- Mortensen, Jørgen. n.d. "The 'Open Hierarchies' of the Infinity Series". In Per Nørgård: En introduktion til komponisten og hans musik (Danish and English), edited by Jørgen Mortensen. www.pernoergaard.dk (Accessed 20 January 2013).
- Musgrave, Michael. 1985. The Music of Brahms. London: Routledge.
- Perkins, Leeman L. 2001. "Ockeghem [Okeghem, Hocquegam, Okegus etc.], Jean de [Johannes, Jehan]". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan.
- Richter, Ernst Friedrich. 1888. A Treatise on Canon and Fugue: Including the Study of Imitation. Boston: Oliver Ditson. Translated from third German edition by Foote, Arthur W.
- Robinson, Paul (ed.). 1996. Ludwig van Beethoven: Fidelio. Cambridge and New York: Cambridge University Press. ISBN 0-521-45221-X.
- Sanders, Ernest H. 2001a. "Rota". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan.
- Sanders, Ernest H. 2001b. "Sumer is icumen in". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan.
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- Andreatta, Moreno. 2011. "Constructing and Formalizing Tiling Rhythmic Canons: A Historical Survey of a 'Mathematical' Problem". Perspectives of New Music 49, no. 2 (Summer): 33–64.
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- Messiaen, Olivier. Traité de rythme, de couleur, et d'ornithologie (1949–1992). I-II, edited by Yvonne Loriod, preface by Pierre Boulez. Paris: Leduc, 1994.
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Spoljašnje veze
[uredi | uredi izvor]- Analiza Bahovih kanona
- Anatomy of a Canon Arhivirano na sajtu Wayback Machine (18. jun 2012)
- The Musical Offering – A Musical Pedagogical Workshop by J. S. Bach, or, The Musical Geometry of Bach's Puzzle Canons, schillerinstitut.dk (in English)
- Visualization of J. S. Bach's crab canon (requires Adobe Flash)
- Software SonneLematine to produce canons
- Electro-Acoustic Music Dartmouth.edu: Larry Polansky's Four Voice Canons
- Video canon na sajtu YouTube, on "My Favorite Things"