) ١٨ ( ‫اﻟﻤﺘﺨﺼﺼﺔ‬ ‫ﻟﻠﺪراﺳﺎت‬ ‫اﻟﻤﺼﺮﻳﺔ‬ ‫اﻟﻤﺠﻠﺔ‬ - ‫اﻟﻌﺪد‬ ) ٢٤ ( ‫أﻛﺘﻮﺑﺮ‬ ٢٠١٩ ‫ﻤﺼﻨﻑ‬ ٢٨ ‫ﺭﻗـﻡ‬ ‫ﺍﻷﻭﻟﻰ‬ ، ‫ﻤﺠﻤﻭﻋﺎﺕ‬ ‫ﺜﻼﺙ‬ ‫ﻓﻲ‬ ‫ﺍﻟﺒﺤﺙ‬ ‫ﺘﻨﺎﻭﻟﻬﻡ‬ ‫ﻭﻗﺩ‬ ٢ ، ٥ ، ٨ ، ١١ ، ١٣ ، ١٧ ، ١٨ ، ١٩ ‫ﺍﻟﺜﺎﻨﻴﺔ‬ ‫ﻭﺍﻟﻤﺠﻤﻭﻋﺔ‬ ١٤ ، ٢٢ ‫ﺍﻟﻤﺠﻤﻭﻋـﺔ‬ ‫ﺍﻟﺜﺎﻟﺜﺔ‬ ‫ﺭﻗﻡ‬ ١٠ ، ١٢ ، ٢٠ ، ٢١ . ٢ . ‫ﺍﻟﺤﺎﻟﻲ‬



  ‫ﻰ‬ ‫دﻳﺒﻮﺳ‬ ‫ﻞ‬ ‫اﺧﻴ‬ ‫ﻮد‬ ‫ﻛﻠ‬ ‫ﺪ‬ ‫ﻋﻨ‬ ‫ﺎﻧﻮ‬ ‫اﻟﺒﻴ‬ ‫ﺪﻣﺎت‬ ‫ﻣﻘ‬ ‫ﺾ‬ ‫ﺑﻌ‬ ‫أداء‬ ‫ﺎت‬ ‫ﻣﺘﻄﻠﺒ‬ ‫ﻰ‬ ‫دﻳﺒﻮﺳ‬ ‫ﻞ‬ ‫اﺧﻴ‬ ‫ﻮد‬ ‫ﻛﻠ‬ ‫ﺪ‬ ‫ﻋﻨ‬ ‫ﺎﻧﻮ‬ ‫اﻟﺒﻴ‬ ‫ﺪﻣﺎت‬ ‫ﻣﻘ‬ ‫ﺾ‬ ‫ﺑﻌ‬ ‫أداء‬ ‫ﺎت‬ ‫ﻣﺘﻄﻠﺒ‬ Claude Achille Debussy ‫ﺍﻟ‬ ‫ﺃﻥ‬ ‫ﻤﻘﺩﻤﺎﺕ‬ ‫ﻨﻅﺎﻡ‬ ‫ﻋﻠﻰ‬ ‫ﺘﺴﻴﺭ‬ ‫ﻭﻻ‬ ‫ﺴﺎﺒﻘﻴﻪ‬ ‫ﻤﺜل‬ ‫ﺘﻘﻠﻴﺩﻱ‬ ‫ﺸﻜل‬ ‫ﻋﻠﻰ‬ ‫ﺘﻘﻭﻡ‬ ‫ﻻ‬ ‫ﻟﻜﻤﻨﺞ‬ ‫ﻤﺴﺎﻓﺎﺕ‬ ‫ﻋﻠﻰ‬ ‫ﻻﺤﺘﻭﺍﺌﻬﺎ‬ ‫ﻜﺒﻴﺭﺓ‬ ‫ﻴﺩ‬ ‫ﺍﻟﻤﺅﻟﻔﺎﺕ‬ ‫ﻫﺫﻩ‬ ‫ﻴﻌﺯﻑ‬ ‫ﻟﻤﻥ‬ ‫ﻴﺘﻁﻠﺏ‬ ‫ﻜﻤﺎ‬ ، ‫ﺜﺎﺒﺕ‬ ‫ﺇﻴﻘ‬ ‫ﻨﻤـﺎﺫﺝ‬ ‫ﻜﻤﻨﺞ‬ ‫ﺍﺴﺘﺨﺩﻡ‬ ‫ﻭﻗﺩ‬ ، ‫ﻭﺍﺴﻌﺔ‬ ‫ﻭﺍﺴـﺘﺨﺩﺍﻡ‬ ‫ﻭﻤﺘﻜـﺭﺭﺓ‬ ‫ﺜﺎﺒﺘـﺔ‬ ‫ﺎﻋﻴـﺔ‬ ‫ﺍﻟﺒﻴﺩﺍل‬ ‫ﺇﺭﺸﺎﺩﺍﺕ‬ ‫ﻤﻥ‬ ‫ﻭﺘﺨﻠﻭ‬ ‫ﺒل‬ ‫ﻤﺄﻟﻭﻓﺔ‬ ‫ﻏﻴﺭ‬ ‫ﺠﺩﻴﺩﺓ‬ ‫ﺘﻌﺒﻴﺭﻴﺔ‬ ‫ﻤﺼﻁﻠﺤﺎﺕ‬ . ‫ﺸـﻭﺒﺎﻥ‬ ‫ﺘـﺄﺜﻴﺭ‬ ‫ﺍﻟﻨﻅﺭﻱ‬ ‫ﺍﻟﺠﺎﻨﺏ‬ ‫ﻤﻥ‬ ‫ﺍﻟﺒﺤﺙ‬ ‫ﺇﻟﻰ‬ ‫ﺍﻟﺩﺭﺍﺴﺔ‬ ‫ﺘﻠﻙ‬ ‫ﻫﺩﻓﺕ‬ ‫ﻭﻤـﻥ‬ ، ‫ﻟﺴﻜﺭﻴﺎﺒﻥ‬ ‫ﺍﻟﺘﺄﻟﻴﻑ‬ ‫ﺃﺴﻠﻭﺏ‬ ‫ﻤﺴﺎﺭ‬ ‫ﻓﻲ‬ ‫ﺘﺤﻭل‬ ‫ﻨﻘﻁﺔ‬ ‫ﻴﻌﺘﺒﺭ‬ ‫ﺍﻟﺫﻱ‬ ‫ﺍﻟﻭﺍﻀﺢ‬ ‫ﺸـﻭﺒﺎﻥ‬ ‫ﻤﺅﻟﻔـﺎﺕ‬ ‫ﺒﻌﺽ‬ ‫ﺒﻴﻥ‬ ‫ﺍﻟﺸﺒﻪ‬ ‫ﺃﻭﺠﻪ‬ ‫ﺸﺩﻴﺩﺓ‬ ‫ﺒﺩﻗﺔ‬ ‫ﺘﻨﺎﻭل‬ ‫ﺍﻟﺘﻁﺒﻴﻘﻲ‬ ‫ﺍﻟﺠﺎﻨﺏ‬ 


	Claude Achille Claude Achille	‫ﻰ‬ ‫دﻳﺒﻮﺳ‬ ‫ﻞ‬ ‫اﺧﻴ‬ ‫ﻮد‬ ‫ﻛﻠ‬ ‫ﺪ‬ ‫ﻋﻨ‬ ‫ﺎﻧﻮ‬ ‫اﻟﺒﻴ‬ ‫ﺪﻣﺎت‬ ‫ﻣﻘ‬ ‫ﺾ‬ ‫ﺑﻌ‬ ‫أداء‬ ‫ﺎت‬ ‫ﻣﺘﻄﻠﺒ‬
				Debussy ‫د‬ / ‫ء‬ ‫ا‬ ‫ا‬ ‫أ‬ ‫وح‬  Debussy ‫د‬ / ‫ء‬ ‫ا‬ ‫ا‬ ‫أ‬ ‫وح‬  ‫د‬ / ‫ء‬ ‫ا‬ ‫ا‬ ‫أ‬ ‫وح‬ 
	‫ﺍﻟﺒﺤﺙ‬ ‫ﻫﺩﻑ‬ ‫ﻟﻠﺒﻴﺎﻨﻭ‬ ‫ﻭﺭﺍﻓﻴل‬ ‫ﺩﻴﺒﻭﺴﻲ‬ ‫ﺍﻟﺒﺤﺙ‬ ‫ﻤﻨﻬﺞ‬ ‫ﻤﻘﺩﻤﺔ‬ ‫ﺃﻨﻬﺎ‬ ‫ﺇﻻ‬ ‫ﺤﺩﻴﺜﺔ‬ ‫ﺍﺘﺠﺎﻫﺎﺕ‬ ‫ﺘﻤﺜل‬ ‫ﺍﻟﻌﺸﺭﻴﻥ‬ ‫ﺍﻟﻘﺭﻥ‬ ‫ﻤﻭﺴﻴﻘﻲ‬ ‫ﺃﻥ‬ ‫ﻤﻥ‬ ‫ﺒﺎﻟﺭﻏﻡ‬ ] ٧ [ ‫ﺃﺩﺍﺀ‬ ‫ﺘﺤﺴﻴﻥ‬ ‫ﺇﻟﻰ‬ ‫ﺍﻟﺒﺤﺙ‬ ‫ﻫﺫﺍ‬ ‫ﻴﻬﺩﻑ‬ ‫ﺒﻌﺽ‬ ‫ﺍﻟﺒﻴﺎﻨﻭ‬ ‫ﻤﻘﺩﻤﺎﺕ‬ ‫ﻓـﻲ‬ ‫ﺍﻟﺘﺄﺜﻴﺭﻴـﺔ‬ ‫ﺍﻟﻤﺩﺭﺴـﺔ‬ ‫ﻋﻠﻰ‬ ‫ﺍﻟﻀﻭﺀ‬ ‫ﺇﻟﻘﺎﺀ‬ ‫ﺇﻟﻰ‬ ‫ﺍﻟﺩﺭﺍﺴﺔ‬ ‫ﺘﻠﻙ‬ ‫ﻫﺩﻓﺕ‬ "L 117" ‫ﻜﻠﻭﺩ‬ ‫ﻋﻨﺩ‬ ‫ﺍﻟﺒﺤﺙ‬ ‫ﻟﻌﻴﻨﺔ‬ ‫ﻋﺯﻓﻴﺔ‬ ‫ﺘﺤﻠﻴﻠﻴﺔ‬ ‫ﺩﺭﺍﺴﺔ‬ ‫ﺇﺠﺭﺍﺀ‬ ‫ﻁﺭﻴﻕ‬ ‫ﻋﻥ‬ ‫ﺩﻴﺒﻭﺴﻲ‬ ‫ﺍﺨﻴل‬ ‫ﺍﻟﺘﺤﻠﻴﻠﻲ‬ ‫ﺍﻟﻭﺼﻔﻲ‬ ‫ﺍﻟﻤﻨﻬﺞ‬ . ‫ﺨـﻼل‬ ‫ﻤﻥ‬ ‫ﻭﺭﺍﻓﻴل‬ ‫ﺩﻴﺒﻭﺴﻲ‬ ‫ﻤﻥ‬ ‫ﻜل‬ ‫ﻤﺅﻟﻔﺎﺕ‬ ‫ﺒﻌﺽ‬ ‫ﺨﻼل‬ ‫ﻤﻥ‬ ‫ﻭﺫﻟﻙ‬ ‫ﺍﻟﻤﻭﺴﻴﻘﺎ‬
	‫ﺘﻨﺴ‬ ‫ﻟﻡ‬ ‫ﺍﻟﺒﻴﺎﻨﻭ‬ ‫ﺁﻟﺔ‬ ‫ﻤﻘﺩﻤﺎﺕ‬ ‫ﺒﻌﺽ‬ ‫ﻓﻰ‬ ‫ﺍﻷﺩﺍﺀ‬ ‫ﻤﺘﻁﻠﺒﺎﺕ‬ ‫ﻋﻠﻰ‬ ‫ﻟﻠﺘﻌﺭﻑ‬ ‫ﺍﻟﻤﻨﺘﻘﺎﺓ‬ ‫ﻰ‬ ‫ﺍﻟﻤﺅﻟﻔـﻭﻥ‬ ‫ﻭﻗﺎﻡ‬ ، ‫ﺍﻟﺴﺎﺒﻘﺔ‬ ‫ﺍﻟﻌﺼﻭﺭ‬ ‫ﻓﻲ‬ ‫ﺍﻟﻤﺴﺘﺨﺩﻤﺔ‬ ‫ﺍﻟﻤﻭﺴﻴﻘﻴﺔ‬ ‫ﺍﻟﻘﻭﺍﻟﺏ‬ . ‫ﺍﻟﺒﺤﺙ‬ ‫ﻤﺼﻁﻠﺤﺎﺕ‬ ‫ﻭﺍﻟﺤﻠﻴﺎﺕ‬ ‫ﻭﺍﻹﻴﻘﺎﻉ‬ ‫ﻭﺍﻟﺴﻼﻟﻡ‬ ‫ﻭﺍﻟﻤﻘﺎﻤﺎﺕ‬ ‫ﺍﻟﻬﺎﺭﻤﻭﻨﻲ‬ ‫ﻤﻥ‬ ‫ﺍﻟﻤﻜﻭﻨﺔ‬ ‫ﺍﻟﺘﺄﻟﻴﻑ‬ ‫ﻋﻨﺎﺼﺭ‬
	‫ﺒﺄﺴـﺎﻟﻴﺏ‬ ‫ﻭﻟﻜـﻥ‬ ‫ﺍﻟﻘﻭﺍﻟـﺏ‬ ‫ﺘﻠﻙ‬ ‫ﻓﻲ‬ ‫ﻤﺅﻟﻔﺎﺘﻬﻡ‬ ‫ﺒﺼﻴﺎﻏﺔ‬ ‫ﺍﻟﻤﻭﺴﻴﻘﻴﻭﻥ‬ ‫ﻭ‬ ‫ﺒﺄﺴﻠﻭ‬ ‫ﻭﻟﻜﻥ‬ ‫ﺍﻟﺒﺎﺭﻭﻙ‬ ‫ﻋﺼﺭ‬ ‫ﻓﻲ‬ ‫ﻋﻠﻴﻪ‬ ‫ﻜﺎﻨﺕ‬ ‫ﻋﻤﺎ‬ ‫ﺤﺩﻴﺜﺔ‬ ‫ﻫﺎﺭﻤﻭﻨﻴﺔ‬ ‫ﺤـﺩﻴﺙ‬ ‫ﺏ‬ ‫ﺘﻭﻨﺎﻟﻴـﺔ‬ ‫ﻫﺅﻻﺀ‬ ‫ﺃﻤﺜﺎل‬ ‫ﻭﻤﻥ‬ ‫ﺍﻟﻤﺜﺎل‬ ‫ﺴﺒﻴل‬ ‫ﻋﻠﻰ‬ ‫ﺍﻟﻤﻭﺴﻴﻘﻴﻴﻥ‬ ‫ﺍﻟﻤﺅﻟﻔﻴﻥ‬ ‫ﺩﻴﺒﻭﺴـﻲ‬ Claude Debussy ‫ﻜﺘﺎﺒﻴﻥ‬ ‫ﺃﻟﻑ‬ ‫ﺍﻟﺫﻱ‬ ‫ﺍﻟﻤﻘﺩﻤﺎﺕ‬ ‫ﺍﻟﺘﺄﺜﻴﺭﻴ‬ ‫ﺔ‬ ‫ﻜﺘﺎﺏ‬ ‫ﺒﻜل‬ ‫ﻟﻠﺒﻴﺎﻨﻭ‬ ‫ﺇ‬ ‫ﻋﺸـﺭ‬ ‫ﺜﻨﺎ‬ ‫ﻤﻘﺩﻤﺔ‬ ‫ﺠﻴﻨﺎﺴﺘﺭﺍ‬ ‫ﻭ‬ Alberto Ginastera ‫ﻋﺸـﺭ‬ ‫ﺍﺜﻨـﺎ‬ ‫ﻤﻘﺩﻤـﺔ‬ ‫ﺃﻤﺭﻴﻜﻴـ‬ ‫ﺔ‬ ‫ﻭ‬ ‫ﺸﻭﺴﺘﺎﻜﻭﻓﻴﺘﺵ‬ Dmitri Shostakovich ‫ﻭﻋﺸﺭﻭﻥ‬ ‫ﺃﺭﺒﻊ‬ ‫ﻤﻘﺩﻤـﺔ‬ ‫ﻭﻓـﻭﺝ‬ ‫ﻭ‬ ‫ﺃﻭﺭﺒﺎﺥ‬ Lera Auerbac ‫ﻭﻋﺸﺭﻭﻥ‬ ‫ﺃﺭﺒﻊ‬ ‫ﻤﻘﺩﻤﺔ‬ ‫ﺃﺼﺒﺢ‬ ‫ﺴﺒﻕ‬ ‫ﻤﺎ‬ ‫ﺨﻼل‬ ‫ﻭﻤﻥ‬ ، ‫ﻋﻤـﺎ‬ ‫ﺍﻟﻤﺅﻟﻔـﺎﺕ‬ ‫ﺘﻠﻙ‬ ‫ﻋﺯﻑ‬ ‫ﺍﺴﻠﻭﺏ‬ ‫ﻓﻲ‬ ‫ﺠﺩﻴﺩﺓ‬ ‫ﻤﺘﻁﻠﺒﺎﺕ‬ ‫ﻫﻨﺎﻙ‬ ‫ﺘﻜﻭﻥ‬ ‫ﺃﻥ‬ ‫ﻟﺯﺍﻤﺎ‬ ‫ﺠﺩﻴـﺩﺓ‬ ‫ﻋﺯﻓﻴـﺔ‬ ‫ﺘﻘﻨﻴﺎﺕ‬ ‫ﻅﻬﻭﺭ‬ ‫ﺇﻟﻰ‬ ‫ﺒﺎﻻﻀﺎﻓﺔ‬ ‫ﺍﻟﺴﺎﺒﻘﺔ‬ ‫ﺍﻟﻌﺼﻭﺭ‬ ‫ﻓﻲ‬ ‫ﻋﻠﻴﻪ‬ ‫ﻜﺎﻨﺕ‬ ‫ﻗﺒل‬ ‫ﻤﻥ‬ ‫ﻅﻬﺭﺕ‬ ‫ﺍﻟﺘﻲ‬ ‫ﺘﻠﻙ‬ ‫ﻋﻥ‬ ‫ﻤﺘﻁﻭﺭﺓ‬ ‫ﺍﻟﺒﺎﺤﺙ‬ ‫ﻴﻘﻭﻡ‬ ‫ﻭﺴﻭﻑ‬ ، ‫ﺍﻟﺒﺤﺙ‬ ‫ﺃﻫﻤﻴﺔ‬ ‫ﺍﻟﻁﺎﺒﻊ‬ ‫ﺫﺍﺕ‬ ‫ﺒﺎﻟﻤﺅﻟﻔﺎﺕ‬ ‫ﺘﺭﺘﺒﻁ‬ ‫ﺍﻟﺘﻲ‬ ‫ﺍﻟﻌﺯﻓﻲ‬ ‫ﺍﻷﺩﺍﺀ‬ ‫ﻤﺘﻁﻠﺒﺎﺕ‬ ‫ﺘﻭﻓﻴﺭ‬ ‫ﺍﻟﻌﺼﺭ‬ ‫ﺫﻟﻙ‬ ‫ﻓﻲ‬ ‫ﺍﻟﺘﺄﺜﻴﺭﻱ‬ ‫ﺍﻟﻤﺫﻫﺏ‬ ‫ﻤﺅﻟﻔﻲ‬ ‫ﺃﻓﻀل‬ ‫ﻤﻥ‬ ‫ﻭﺍﺤﺩ‬ ‫ﻋﻨﺩ‬ ‫ﺍﻟﺘﺄﺜﻴﺭﻱ‬ ‫ﺍﻟﻤﻘﺩﻤﺔ‬ Prelude ‫ﺨﻼ‬ ‫ﻤﻥ‬ ‫ﻤﻘـﺩﻤﺎﺕ‬ ‫ﺨﻤـﺱ‬ ‫ﻋـﺩﺩ‬ ‫ﺇﻟـﻰ‬ ‫ﺒﺎﻻﻀﺎﻓﺔ‬ ‫ﻟﻠﺒﻴﺎﻨﻭ‬ ‫ﻤﺅﻟﻔﺔ‬ ‫ﻋﺸﺭ‬ ‫ﺨﻤﺴﻪ‬ ‫ل‬ ‫ﻭﻫﻲ‬ ‫ﻟﺩﻴﺒﻭﺴﻲ‬ : ‫ﺍﻟﺭﺍﺒﻌـﺔ‬ ‫ﺍﻟﺩﺭﺍﺴـﺔ‬ ‫ﺒﻌﻨـﻭﺍﻥ‬ The Influence of Chopin In Piano Music On The : ، ‫ﺍﻟﻠﻴـل‬ ‫ﻫﺫﺍ‬ ‫ﻓﻲ‬ ‫ﺘﺩﻭﺭ‬ ‫ﻭﺍﻟﺭﻭﺍﺌﺢ‬ ‫ﺍﻷﺼﻭﺍﺕ‬ ، ‫ﺩﻴﻠﻑ‬ ‫ﺭﻗﺼﺎﺕ‬ Twenty Four Piano, Op.11 Of Alexander Scriabin ‫ﻋﻥ‬ ‫ﻤﺴﺘﻘﻠﺔ‬ ‫ﺘﻜﻭﻥ‬ ‫ﻤﺎ‬ ‫ﹰ‬ ‫ﻏﺎﻟﻴﺎ‬ ‫ﺒل‬ ‫ﻤﺤﺩﺩﺓ‬ ‫ﺼﻴﻐﺔ‬ ‫ﺃﻭ‬ ‫ﺒﻘﺎﻟﺏ‬ ‫ﺘﺘﻘﻴﺩ‬ ‫ﻻ‬ ‫ﻓﻬﻲ‬ ‫ﻤﺒﺎﺸﺭﺓ‬ ‫ﺍﻟﻤﺴﺭﺤﻲ‬ ‫ﻟﻠﻌﻤل‬ ‫ﺘﻤﻬﺩ‬ ‫ﻓﻬﻲ‬ ‫ﺍﻷﻭﺒﺭﺍ‬ ‫ﺒﺎﺴﺘﺜﻨﺎﺀ‬ ‫ﺍﻟﻤﺅﻟﻔﺔ‬ ] 17 : ٤٦٥ [ ‫ﺍﻟﻐﺎﺭﻗﺔ‬ ‫ﺍﻟﻜﺎﺘﺩﺭﺍﺌﻴﺔ‬ ، ‫ﺍﻟﺤﺭﻴﺭﻱ‬ ‫ﺍﻟﺸﻌﺭ‬ ‫ﺫﺍﺕ‬ ‫ﺍﻟﻔﺘﺎﻩ‬ ، ‫ﺍﻟﺠﻠﻴﺩ‬ ‫ﻋﻠﻰ‬ ‫ﺁﺜﺎﺭ‬ . ‫ﺍﻷﺭﺒﻌﺔ‬ ‫ﺍﻟﻤﻘﺩﻤﺎﺕ‬ ‫ﻤﺅﻟﻔﺎﺕ‬ ‫ﻋﻠﻰ‬ ‫ﺸﻭﺒﺎﻥ‬ ‫ﻤﻭﺴﻴﻘﺎ‬ ‫ﺘﺄﺜﻴﺭ‬ ‫ﻤﺼـﻨﻑ‬ ‫ﻭﻋﺸﺭﻴﻥ‬ ١١ . ‫ﺍﻟﻌﺯﻑ‬ ‫ﺃﺴﻠﻭﺏ‬ ‫ﺍﻟﺜﺎﻨﻴﺔ‬ ‫ﺍﻟﺩﺭﺍﺴﺔ‬ ‫ﺒﻌﻨﻭﺍﻥ‬ " : ‫ﺭﺨﻤﺎﻨﻴﻨﻭﻑ‬ ‫ﻋﻨﺩ‬ ‫ﺍﻟﺒﺭﻴﻠﻴﻭﺩ‬ ‫ﺃﺩﺍﺀ‬ ‫ﺃﺴﻠﻭﺏ‬ " ] ١٠ [ ‫ﻟﺴﻜﺭﻴﺎﺒﻥ‬ ] ١٤ [ Performance Style ‫ﺍﻟﺒﺤﺙ‬ ‫ﺘﺴﺎﺅﻻﺕ‬ ١ -‫ﺍﻟﻔﻨﻴﺔ‬ ‫ﺍﻟﺴﻤﺎﺕ‬ ‫ﻤﺎ‬ ‫ﺩﻴﺒﻭﺴـﻲ‬ ‫ﺍﺨﻴـل‬ ‫ﻜﻠﻭﺩ‬ ‫ﺘﺄﻟﻴﻑ‬ ‫ﻷﺴﻠﻭﺏ‬ ‫ﺭﻭﺍﺩ‬ ‫ﻜﺄﺤـﺩ‬ ‫ﺍﻟﺘﺄﺜﻴﺭﻴﺔ‬ ‫ﺍﻟﻔﺭﻨﺴﻴﺔ‬ ‫ﺍﻟﻤﺩﺭﺴﺔ‬ . ٢ -‫ﻤﺎ‬ ‫ﻓﻰ‬ ‫ﺍﻷﺩﺍﺀ‬ ‫ﻤﺘﻁﻠﺒﺎﺕ‬ ‫ﺍﻟﻤﻘﺩﻤﺔ‬ ‫ﺍﻟﻌﻔﺭﻴﺕ‬ ‫ﺒﺭﻗﺼﺔ‬ ‫ﺍﻟﻤﺴﻤﺎﻩ‬ ‫ﻋﺸﺭ‬ ‫ﺍﻟﺤﺎﺩﻴﺔ‬ La danse de Puck ‫ﺒﺎﻟﻤﻨﺸـﺩﻭﻥ‬ ‫ﺍﻟﻤﺴـﻤﺎﻩ‬ ‫ﻋﺸـﺭ‬ ‫ﺍﻟﺜﺎﻨﻴﺔ‬ ‫ﻭﺍﻟﻤﻘﺩﻤﺔ‬ ‫ﻫﺩﻓ‬ ‫ﻟﻠﻭﺼـﻭل‬ ‫ﺍﻟﺒﺭﻴﻠﻴﻭﺩ‬ ‫ﻤﺅﻟﻔﺎﺕ‬ ‫ﺨﺼﺎﺌﺹ‬ ‫ﺘﺤﺩﻴﺩ‬ ‫ﺇﻟﻰ‬ ‫ﺍﻟﺩﺭﺍﺴﺔ‬ ‫ﺘﻠﻙ‬ ‫ﺕ‬ ‫ﺍﻟﻤﻌﺎﻟﺠﺔ‬ ‫ﻓﻰ‬ ‫ﺍﻟﻤﺘﺒﻊ‬ ‫ﻭﺍﻟﻨﻅﺎﻡ‬ ‫ﺍﻟﻤﻭﺴﻴﻘﻴﺔ‬ ‫ﻟﻠﻤﺅﻟﻔﺔ‬ ‫ﺍﻟﻤﻤﻴﺯﺓ‬ ‫ﺍﻟﺼﻔﺔ‬ ‫ﻫﻭ‬ ‫ﻭﺍﻹﻴﻘﺎﻉ‬ ‫ﺍﻟﻬﺎﺭﻤﻭﻨﻰ‬ ‫ﻭﺍﻟﻠﺤﻥ‬ ‫ﻟﻠﻘﺎﻟﺏ‬ ] ١٩ : ٣٠ [ ‫ﺍﻟﻌﺯﻓﻴـﺔ‬ ‫ﺍﻟﻤﺸـﺎﻜل‬ ‫ﻭﺘﺫﻟﻴل‬ ‫ﺍﻟﺘﺤﻠﻴﻠﻴﺔ‬ ‫ﺍﻟﺩﺭﺍﺴﺔ‬ ‫ﻁﺭﻴﻕ‬ ‫ﻋﻥ‬ ‫ﻟﻬﺎ‬ ‫ﺍﻟﺠﻴﺩ‬ ‫ﺍﻷﺩﺍﺀ‬ ‫ﺇﻟﻰ‬ ‫ﺍﻟﻌﺯﻑ‬ ‫ﺃﺴﻠﻭﺏ‬ ‫ﻭﻴﺘﻭﻗﻑ‬ ، ‫ﻫﻰ‬ ‫ﻫﺎﻤﺔ‬ ‫ﻋﻨﺎﺼﺭ‬ ‫ﺜﻼﺙ‬ ‫ﻋﻠﻰ‬ ‫ﺍﻟﺠﻴﺩ‬ : ‫ﺒﻬﺎ‬ ‫ﺍﻟﻤﻭﺠﻭﺩﺓ‬ ‫ﻭﺍﻟﺘﻌﺒﻴﺭﻴﺔ‬ . ‫ﻤﻥ‬ ‫ﻜل‬ ‫ﻋﻠﻰ‬ ‫ﺍﻟﻌﻴﻨﺔ‬ ‫ﺍﺤﺘﻭﺕ‬ ‫ﻭﻗﺩ‬ " ‫ﻤﺼﻨﻑ‬ ٣ ‫ﺭﻗﻡ‬ ٢ ‫ﺠﺎﻨﺏ‬ ‫ﺇﻟﻰ‬ ، ‫ﻭﺍﻟﺘﻌﺒﻴﺭ‬ ‫ﻭﺍﻟﺘﻜﻨﻴﻙ‬ ‫ﺍﻵﻟﺔ‬ ‫ﺍﻟﻌﺼﺭ‬ ‫ﻭﺃﺴﻠﻭﺏ‬ ‫ﺍﻟﻤﺅﻟﻑ‬ ‫ﺃﺴﻠﻭﺏ‬ ‫ﻤﻌﺭﻓﺔ‬ . ] ١ : ٤ ‫ﻭﻤﺼﻨﻑ‬ ، ٢٣ ‫ﺭﻗﻡ‬ ١ ، ٢ ، ٥ ، ٧ ‫ﻭﻤﺼﻨﻑ‬ ٣٢ ‫ﺭﻗﻡ‬ ٦ ٧ " ‫ﺘﻠـﻙ‬ ‫ﻭﺍﻨﺘﻬﺕ‬ ‫ﻤﺼﻨﻑ‬ ‫ﻟﺴﻜﺭﻴﺎﺒﻥ‬ ‫ﻤﻘﺩﻤﺔ‬ ‫ﻭﻋﺸﺭﻴﻥ‬ ‫ﺍﻷﺭﺒﻌﺔ‬ ١١ ‫ﻤﻥ‬ ‫ﻭﺍﻟﺨﻁـﻭﻁ‬ ‫ﺍﻟﻘﺎﻟﺏ‬ ‫ﺤﻴﺙ‬ [ ‫ﺍﻟﺩﺭﺍﺴ‬ ‫ﺍﺴـﺘﺨﺩﺍﻤﻪ‬ ‫ﻤﻥ‬ ‫ﺃﻜﺜﺭ‬ ‫ﺍﻟﺼﻐﻴﺭﺓ‬ ‫ﺍﻟﺴﻼﻟﻡ‬ ‫ﺍﺴﺘﺨﺩﺍﻤﻪ‬ ‫ﻤﻨﻬﺎ‬ ‫ﺍﻟﻨﺘﺎﺌﺞ‬ ‫ﺒﺒﻌﺽ‬ ‫ﺔ‬ ‫ﺍﻹﺭﺸـﺎﺩﺍﺕ‬ ‫ﻟـﺒﻌﺽ‬ ‫ﺍﻗﺘـﺭﺍﺡ‬ ‫ﻤﻊ‬ ، ‫ﻭﺍﻹﻴﻘﺎﻉ‬ ‫ﻭﺍﻟﻨﺴﻴﺞ‬ ‫ﻭﺍﻟﻬﺎﺭﻤﻭﻨﻴﺎﺕ‬ ‫ﺍﻟﻠﺤﻨﻴﺔ‬ ‫ﻓـﻲ‬ ‫ﺒﺎﻟﺒﺤـﺙ‬ ‫ﻤﺘﻁﻠ‬ ‫ﺃﺩﺍﺀ‬ ‫ﺒﺎﺕ‬ ‫ﺍﺘﺒﻌﻪ‬ ‫ﺍﻟﺫﻱ‬ ‫ﺍﻷﺴﻠﻭﺏ‬ ‫ﻟﺒﻴﺎﻥ‬ ‫ﺩﻴﺒﻭﺴﻲ‬ ‫ﻤﻘﺩﻤﺎﺕ‬ ‫ﺒﻌﺽ‬ . Minstrels ‫ﻵ‬ ‫ﺍﻷﻭل‬ ‫ﺍﻟﻤﺠﻠﺩ‬ ‫ﻤﻥ‬ ‫ﺍﻟﺒ‬ ‫ﻟﺔ‬ ‫ﻴﺎﻨﻭ‬ . ‫ﺍﻟﺘﻘﻨﻴﺔ‬ Technique ‫ﻓـﻲ‬ ‫ﻭﺍﺤـﺩﺓ‬ ‫ﺒﺴﺭﻋﺔ‬ ‫ﻴﻠﺘﺯﻡ‬ ‫ﻟﻡ‬ ‫ﺃﻨﻪ‬ ‫ﻜﻤﺎ‬ ، ‫ﺍﻟﺭﺒﺎﻋﻲ‬ ‫ﺍﻟﻤﻴﺯﺍﻥ‬ ‫ﻴﻐﻠﺏ‬ ‫ﻜﻤﺎ‬ ، ‫ﻟﻠﻜﺒﻴﺭﺓ‬ ‫ﺍﻷﺩﺍﺀ‬ ‫ﻓﻲ‬ ‫ﺍﻟﺘﻜﻨﻴﻜﻴﺔ‬ ‫ﺍﻟﺼﻌﻭﺒﺎﺕ‬ ‫ﻟﺘﺫﻟﻴل‬ ‫ﺍﻟﻤﻘﺘﺭﺤﺔ‬ ‫ﻭﺍﻟﺤﻠﻭل‬ . ‫ﺍﺴـﺘﺨﻠﺹ‬ ‫ﻭﻗـﺩ‬
	‫ﺍﻟﺒﺤﺙ‬ ‫ﻤﺸﻜﻠﺔ‬ ‫ﻭﺤﺭﻴﺔ‬ ‫ﻤﺭﻭﻨﺔ‬ ‫ﺍﻜﺘﺴﺎﺏ‬ ‫ﻤﻥ‬ ‫ﺍﻟﻨﺎﺘﺠﺔ‬ ‫ﺍﻟﻌﺯﻓﻴﺔ‬ ‫ﺍﻟﻤﻬﺎﺭﺓ‬ ‫ﻤﻥ‬ ‫ﻨﻭﻉ‬ ‫ﻫﻭ‬ ‫ﻜﻤﺎ‬ ، ‫ﹼﺔ‬ ‫ِﻠ‬ ‫ِﻘ‬ ‫ﺒ‬ ‫ﺍﻟﺤﺭ‬ ‫ﻭﺍﻟﻘﺎﻟﺏ‬ ‫ﻭﺍﻷﺤﺎﺩﻱ‬ ‫ﺍﻟﺜﻨﺎﺌﻲ‬ ‫ﻟﻘﺎﻟﺏ‬ ‫ﺍﺴﺘﺨﺩﺍﻡ‬ ‫ﻏﻠﺏ‬ ‫ﻜﻤﺎ‬ ، ‫ﺒﻌﻀﻬﺎ‬ ‫ﺒﺸـﻜل‬ ‫ﻋﻠﻴﻬـﺎ‬ ‫ﻴﻁﻐﻰ‬ ‫ﻟﺴﻜﺭﻴﺎﺒﻥ‬ ‫ﺍﻟﻤﺒﻜﺭﺓ‬ ‫ﺍﻷﻋﻤﺎل‬ ‫ﺃﻥ‬ ‫ﺃﻫﻤﻬﺎ‬ ‫ﻨﺘﺎﺌﺞ‬ ‫ﻋﺩﺓ‬ ‫ﺍﻟﺒﺤﺙ‬ ‫ﺍﻟﺒﺤﺙ‬ ‫ﻋﻴﻨﺔ‬ ‫ﻓﻰ‬ ‫ﻭﺘﺤﻜﻡ‬ ‫ﺍﻟﻌﻀ‬ ‫ﺍﻟﻌﺯﻑ‬ ‫ﻓﻰ‬ ‫ﺍﻟﻤﺴﺘﺨﺩﻤﺔ‬ ‫ﻼﺕ‬ ) ‫ﺃﺼﺎﺒﻊ‬ ، ‫ﻴﺩ‬ ، ‫ﺭﺴﻎ‬ ، ‫ﺴﺎﻋﺩ‬ ، ‫ﺍﻟﻬﺎﺭﻤﻭﻨﻴ‬ ‫ﻭﺍﻷﻜﺘﺎﻓﺎﺕ‬ ‫ﻭﺍﻟﺜﻠﺜﺎﺕ‬ ‫ﻟﻠﺘﺂﻟﻔﺎﺕ‬ ‫ﺍﺴﺘﺨﺩﺍﻤﻪ‬ ‫ﻏﻠﺏ‬ ‫ﺍﺴـﺘﺨﺩﺍﻡ‬ ‫ﻤﻊ‬ ‫ﺒﻜﺜﺭﺓ‬ ‫ﺔ‬ ‫ﻭ‬ ، ‫ﺍﻟﻤﻭﺴﻴﻘﻴﺔ‬ ‫ﻭﺇﻴﺤﺎﺀﺍﺘﻪ‬ ‫ﺸﻭﺒﺎﻥ‬ ‫ﺃﺴﻠﻭﺏ‬ ‫ﻭﺍﻀﺢ‬ ‫ﺍﻟﺨﺼﻭﺹ‬ ‫ﻭﺠﻪ‬ ‫ﻭﻋﻠﻰ‬ ‫ﺒﺎﻟﺘﺤﺩﻴﺩ‬
	‫ﺒﻌـﺽ‬ ‫ﻴﻨﻘﺼـﻬﻡ‬ ‫ﺍﻟﺒﻴـﺎﻨﻭ‬ ‫ﺁﻟﺔ‬ ‫ﺩﺍﺭﺴﻰ‬ ‫ﺒﻌﺽ‬ ‫ﺃﺩﺍﺀ‬ ‫ﺃﻥ‬ ‫ﺍﻟﺒﺎﺤﺙ‬ ‫ﻻﺤﻅ‬ ‫ﺍﻟﻤﻘﺩﻤﺔ‬ ‫ﺍﻟﻌﻔﺭﻴﺕ‬ ‫ﺒﺭﻗﺼﺔ‬ ‫ﺍﻟﻤﺴﻤﺎﻩ‬ ‫ﻋﺸﺭ‬ ‫ﺍﻟﺤﺎﺩﻴﺔ‬ La danse de ‫ﻤﻔﺎﺼل‬ ( ‫ﺍﻟﺴﻠﻴﻡ‬ ‫ﺍﻻﺴﺘﺨﺩﺍﻡ‬ . ] ٨ : ٧ [ ‫ﹰ‬ ‫ﺃﺤﻴﺎﻨﺎ‬ ‫ﻭﺍﻷﺭﺒﻴﺠﻴﺔ‬ ‫ﺍﻟﺴﻠﻤﻴﺔ‬ ‫ﺍﻟﻨﻐﻤﺎﺕ‬ ‫ﺫﺭﺍﻉ‬ ، . ‫ﻤﺅﻟﻔﺎﺕ‬ ‫ﺍﻟﻤﻘﺩﻤﺎﺕ‬ ‫ﻤﺼﻨﻑ‬ ‫ﻭﻋﺸﺭﻴﻥ‬ ‫ﺍﻷﺭﺒﻌﺔ‬ ١١ .
	‫ﺍﻟﻔﻨﻴﺔ‬ ‫ﺍﻟﻤﺘﻁﻠﺒﺎﺕ‬ 117" ‫ﺃﺴﺎﻟﻴﺏ‬ ‫ﻤﻥ‬ ‫ﺘﺸﻤﻠﻪ‬ ‫ﻟﻤﺎ‬ ‫ﺩﻴﺒﻭﺴﻲ‬ ‫ﺍﺨﻴل‬ ‫ﻜﻠﻭﺩ‬ ‫ﻋﻨﺩ‬ ‫ﻭﺍﻟﺘﻘﻨﻴﺎﺕ‬ ‫ﺍﻟﺠﻴﺩ‬ ‫ﻟﻸﺩﺍﺀ‬ ‫ﺍﻟﻼﺯﻤﺔ‬ ‫ﻓﻲ‬ ‫ﺒﻌﺽ‬ ‫ﺍﻟﺘﺄﺜﻴﺭﻱ‬ ‫ﺍﻟﻤﺫﻫﺏ‬ ‫ﻤﻘﺩﻤﺎﺕ‬ ‫ﺍﻟﺒﻴﺎﻨﻭ‬ ‫ﻁﺭﻴـﻕ‬ ‫ﻋـﻥ‬ ‫ﺒﺎﻟﻌﻤـل‬ ‫ﺍﻟﺨﺎﺼﺔ‬ ‫ﺍﻷﺩﺍﺀ‬ ‫ﻤﺘﻁﻠﺒﺎﺕ‬ ‫ﻓﻲ‬ ‫ﺍﻟﺒﺤﺙ‬ ‫ﺇﻟﻰ‬ ‫ﺍﻟﺒﺎﺤﺙ‬ ‫ﺩﻋﺎ‬ "L ‫ﻤﻤـ‬ ‫ﺎ‬ ‫ﻭﺍﻟﺘﺤﻠﻴل‬ ‫ﺍﻟﺩﺭﺍﺴﺔ‬ ‫ﺍﻟﻌﺯﻓﻲ‬ ‫ﻓـﻲ‬ ‫ﺘﺴـﺎﻫﻡ‬ ‫ﻗﺩ‬ ‫ﺍﻟﺘﻲ‬ ‫ﺍﻟﻌﺯﻓﻴﺔ‬ ‫ﺍﻹﺭﺸﺎﺩﺍﺕ‬ ‫ﻭﻀﻊ‬ ‫ﻤﻊ‬ ‫ﻟﻠﻌﻤل‬ ‫ﺍﻟﺠﻴﺩ‬ ‫ﺍﻷﺩﺍﺀ‬ ‫ﺇﻟﻰ‬ ‫ﻟﻠﻭﺼﻭل‬ ‫ﺃﺩﺍﺌﻬﺎ‬ ‫ﻤﺘﻁﻠﺒﺎﺕ‬ ‫ﻤﻌﺭﻓﺔ‬ . Puck ، ‫ﺒﺎﻟﻤﻨﺸﺩﻭﻥ‬ ‫ﺍﻟﻤﺴﻤﺎﻩ‬ ‫ﻋﺸﺭ‬ ‫ﺍﻟﺜﺎﻨﻴﺔ‬ ‫ﻭﺍﻟﻤﻘﺩﻤﺔ‬ Minstrels ‫ﺍﻟﻤﺠﻠﺩ‬ ‫ﻤﻥ‬ ‫ﺍﻷﻭل‬ ‫ﺍﻟﺜﺎﻟﺜﺔ‬ ‫ﺍﻟﺩﺭﺍﺴﺔ‬ ‫ﺒﻌﻨﻭﺍﻥ‬ : ‫ﺭﻴﺘﺸﺎﺭﺩ‬ ‫ﻋﻨﺩ‬ ‫ﺍﻟﻌﺸﺭﻴﻥ‬ ‫ﺍﻟﻘﺭﻥ‬ ‫ﻓﻲ‬ ‫ﺍﻟﺒﻴﺎﻨﻭ‬ ‫ﻤﻘﺩﻤﺎﺕ‬ ‫ﺍﻟﺨﺎﻤﺴـﺔ‬ ‫ﺍﻟﺩﺭﺍﺴﺔ‬ ‫ﺒﻌﻨـﻭﺍﻥ‬ : Non -Harmony Tones As Aesthetic Elements In ‫ﺠﺯﺌﻴﻥ‬ ‫ﺇﻟﻰ‬ ‫ﺍﻟﺒﺤﺙ‬ ‫ﻫﺫﺍ‬ ‫ﻭﻴﻨﻘﺴﻡ‬ . ‫ﺍﻟﺒﺤﺙ‬ ‫ﺃﺩﻭﺍﺕ‬  ‫ﺍﻟﻤﻭﺴﻴﻘﻴﺔ‬ ‫ﺍﻟﻤﺩﻭﻨﺔ‬ ‫ﺍﻟﻤﻭﺴﻴﻘﻲ‬ ‫ﻟﻠﻌﻤل‬ ‫ﺍﻟﺼﻭﺘﻲ‬ ‫ﺍﻟﺘﺴﺠﻴل‬ ‫ﺍﻷﻭل‬ ‫ﺍﻟﺠﺯﺀ‬ : ‫ﻤﻥ‬ ‫ﻭﻴﺘﻜﻭﻥ‬ ‫ﺍﻟﻨﻅﺭﻱ‬ ‫ﺍﻹﻁﺎﺭ‬ Chopin's Preludes ,Op.28 ‫ﺇﺠﺎﺩﺘﻬﺎ‬ ‫ﻭﻜﻴﻔﻴﺔ‬ ‫ﻜﻤﻨﺞ‬ ] ٣ [ : ١ . ‫ﺍﻟ‬ ‫ﺩﺭﺍﺴﺔ‬ ‫ﺇﻟﻰ‬ ‫ﺍﻟﺩﺭﺍﺴﺔ‬ ‫ﺘﻠﻙ‬ ‫ﻫﺩﻓﺕ‬ ‫ﻤﻘﺩﻤﺎﺕ‬ ‫ﻭﺍﻟ‬ ‫ﻋﺎﻡ‬ ‫ﺒﺸﻜل‬ ‫ﻤﻘﺩﻤﺎﺕ‬ ‫ﻤﺼﻨﻑ‬ ‫ﺸﻭﺒﺎﻥ‬ ‫ﻤﻘﺩﻤﺎﺕ‬ ‫ﻓﻲ‬ ‫ﺠﻤﺎﻟﻴﺔ‬ ‫ﻜﻌﻨﺎﺼﺭ‬ ‫ﻭﺍﺴﺘﺨﺩﺍﻤﻬﺎ‬ ‫ﻤﺘﻭﺍﻓﻘﺔ‬ ‫ﺍﻟﻐﻴﺭ‬ ‫ﺍﻟﻨﻐﻤﺎﺕ‬ ٢٨ ] ١٣ [ ‫ﻋﻨـﺩ‬ ‫ﺍﻟﺤﺎﻟﻲ‬ ‫ﺒﺎﻟﺒﺤﺙ‬ ‫ﺍﻟﻤﺭﺘﺒﻁﺔ‬ ‫ﺍﻟﺴﺎﺒﻘﺔ‬ ‫ﺍﻟﺩﺭﺍﺴﺎﺕ‬ ‫ﻭﺍﻟﺘ‬ ‫ﺍﻟﺘﻜﻨﻴﻜﻴﺔ‬ ‫ﺍﻟﺼﻌﻭﺒﺎﺕ‬ ‫ﺒﺘﺤﺩﻴﺩ‬ ‫ﻋﻨﺕ‬ ‫ﺤﻴﺙ‬ ‫ﺨﺎﺼﺔ‬ ‫ﻜﻤﻨﺞ‬ ‫ﻭﺍﻗﺘـﺭﺍﺡ‬ ‫ﻌﺒﻴﺭﻴـﺔ‬ ‫ﺇﻟﻰ‬ ‫ﺍﻟﺩﺭﺍﺴﺔ‬ ‫ﺘﻠﻙ‬ ‫ﻫﺩﻓﺕ‬ ‫ﺃﻤﺎ‬ ‫ﺸﻭﺒﺎﻥ‬ ‫ﺤﻴﺎﻩ‬ ‫ﺒﺠﺎﻨﺏ‬ ‫ﺍﻟﻤﻘﺩﻤﺎﺕ‬ ‫ﺘﻁﻭﺭ‬ ‫ﺒﻴﺎﻥ‬ ‫ﺍﻟﺒﻴﺎﻨﻭ‬ ‫ﺍﻷﻭﻟﻰ‬ ‫ﺍﻟﺩﺭﺍﺴﺔ‬ ‫ﺒﻌﻨﻭﺍﻥ‬ : ‫ﺍﻟﺘﺄﺜ‬ ‫ﻟﻠﻤﺩﺭﺴﺔ‬ ‫ﺩﺭﺍﺴﺔ‬ ‫ﻤﺅﻟﻔﺎﺕ‬ ‫ﺨﻼل‬ ‫ﻤﻥ‬ ‫ﺍﻟﻤﻭﺴﻴﻘﺎ‬ ‫ﻓﻲ‬ ‫ﻴﺭﻴﺔ‬ ‫ﺍﻟﺼﻌﻭﺒﺎﺕ‬ ‫ﺘﻠﻙ‬ ‫ﻟﺘﺫﻟﻴل‬ ‫ﻭﺴﺎﺌل‬ . ‫ﻭﻤﻨﻬﺎ‬ ‫ﺍﻟﻨﺘﺎﺌﺞ‬ ‫ﺒﺒﻌﺽ‬ ‫ﺍﻟﺩﺭﺍﺴﺔ‬ ‫ﺘﻠﻙ‬ ‫ﹸﺼﺕ‬ ‫ﺨﻠ‬ ‫ﻭﻗﺩ‬ ‫ﺒﺘﺤﻠﻴل‬ ‫ﻗﺎﻡ‬ ‫ﻓﻘﺩ‬ ‫ﺍﻟﺘﻁﺒﻴﻘﻲ‬ ‫ﺍﻟﺠﺎﻨﺏ‬ ‫ﺤﻴﺙ‬ ‫ﻤﻥ‬ ١٤ ‫ﻭﻋﺸـﺭﻴﻥ‬ ‫ﺍﻷﺭﺒﻌﺔ‬ ‫ﻤﻥ‬ ‫ﻤﻘﺩﻤﺔ‬
	( ( ( (	١٤ ١٥ ١٦ ١٧	) ) ) )	-‫اﻟﻌﺪد‬ ‫اﻟﻌﺪد‬ ) ٢٤ ) ٢٤ ( ‫أﻛﺘﻮﺑﺮ‬ ( ‫أﻛﺘﻮﺑﺮ‬ ٢٠١٩ ٢٠١٩ -‫اﻟﻌﺪد‬ ) ٢٤ ( ‫أﻛﺘﻮﺑﺮ‬ ٢٠١٩ ‫اﻟﻌﺪد‬ ) ٢٤ ( ‫أﻛﺘﻮﺑﺮ‬ ٢٠١٩	‫اﻟﻤﺘﺨﺼﺼﺔ‬ ‫ﻟﻠﺪراﺳﺎت‬ ‫اﻟﻤﺼﺮﻳﺔ‬ ‫اﻟﻤﺠﻠﺔ‬ ‫اﻟﻤﺠ‬ ‫اﻟﻤﺘﺨﺼﺼﺔ‬ ‫ﻟﻠﺪراﺳﺎت‬ ‫اﻟﻤﺼﺮﻳﺔ‬ ‫ﻠﺔ‬ -‫اﻟﻤﺘﺨﺼﺼﺔ‬ ‫ﻟﻠﺪراﺳﺎت‬ ‫اﻟﻤﺼﺮﻳﺔ‬ ‫اﻟﻤﺠﻠﺔ‬ ‫اﻟﻤﺠ‬ ‫اﻟﻤﺘﺨﺼﺼﺔ‬ ‫ﻟﻠﺪراﺳﺎت‬ ‫اﻟﻤﺼﺮﻳﺔ‬ ‫ﻠﺔ‬ -



  ‫ﻰ‬ ‫دﻳﺒﻮﺳ‬ ‫ﻞ‬ ‫اﺧﻴ‬ ‫ﻮد‬ ‫ﻛﻠ‬ ‫ﺪ‬ ‫ﻋﻨ‬ ‫ﺎﻧﻮ‬ ‫اﻟﺒﻴ‬ ‫ﺪﻣﺎت‬ ‫ﻣﻘ‬ ‫ﺾ‬ ‫ﺑﻌ‬ ‫أداء‬ ‫ﺎت‬ ‫ﻣﺘﻄﻠﺒ‬ ‫ﺍﻟﻜﺒﻴﺭ‬ ‫ﺭﻯ‬ ‫ﺴﻠﻡ‬ ‫ﺜﻡ‬ ‫ﺘﻭﻨﺎﻟﻲ‬ ‫ﻻ‬ ‫ﺒﺠﺯﺀ‬ ‫ﺒﺩﺃ‬ ٥٨ ‫ﻡ‬ ‫ﺇﻟﻰ‬ ٦٢ ‫ﺒـﺩﺃ‬ ‫ﺍﻟﺨﺎﻤﺴﺔ‬ ‫ﺍﻟﺩﺭﺠﺔ‬ ‫ﻋﻠﻰ‬ ‫ﹰ‬ ‫ﻭﻤﻨﺘﻬﻴﺎ‬ ‫ﺍﻟﻜﺒﻴﺭ‬ ‫ﺭﻯ‬ ‫ﺴﻠﻡ‬ ‫ﺜﻡ‬ ‫ﺘﻭﻨﺎﻟﻲ‬ ‫ﻻ‬ ‫ﺒﺠﺯﺀ‬ . 


	Claude Achille Claude Achille Claude Achille Claude Achille	‫ﻰ‬ ‫دﻳﺒﻮﺳ‬ ‫ﻞ‬ ‫اﺧﻴ‬ ‫ﻮد‬ ‫ﻛﻠ‬ ‫ﺪ‬ ‫ﻋﻨ‬ ‫ﺎﻧﻮ‬ ‫اﻟﺒﻴ‬ ‫ﺪﻣﺎت‬ ‫ﻣﻘ‬ ‫ﺾ‬ ‫ﺑﻌ‬ ‫أداء‬ ‫ﺎت‬ ‫ﻣﺘﻄﻠﺒ‬ ‫ﻰ‬ ‫دﻳﺒﻮﺳ‬ ‫ﻞ‬ ‫اﺧﻴ‬ ‫ﻮد‬ ‫ﻛﻠ‬ ‫ﺪ‬ ‫ﻋﻨ‬ ‫ﺎﻧﻮ‬ ‫اﻟﺒﻴ‬ ‫ﺪﻣﺎت‬ ‫ﻣﻘ‬ ‫ﺾ‬ ‫ﺑﻌ‬ ‫أداء‬ ‫ﺎت‬ ‫ﻣﺘﻄﻠﺒ‬ ‫ﻰ‬ ‫دﻳﺒﻮﺳ‬ ‫ﻞ‬ ‫اﺧﻴ‬ ‫ﻮد‬ ‫ﻛﻠ‬ ‫ﺪ‬ ‫ﻋﻨ‬ ‫ﺎﻧﻮ‬ ‫اﻟﺒﻴ‬ ‫ﺪﻣﺎت‬ ‫ﻣﻘ‬ ‫ﺾ‬ ‫ﺑﻌ‬ ‫أداء‬ ‫ﺎت‬ ‫ﻣﺘﻄﻠﺒ‬
					Debussy ‫د‬ / ‫ء‬ ‫ا‬ ‫ا‬ ‫أ‬ ‫وح‬  Debussy ‫د‬ / ‫ء‬ ‫ا‬ ‫ا‬ ‫أ‬ ‫وح‬  Debussy ‫د‬ / ‫ء‬ ‫ا‬ ‫ا‬ ‫أ‬ ‫وح‬  Debussy
	‫ﺒﺎﻟﺒﺤﺙ‬ ‫ﺍﻟﻤﺭﺘﺒﻁ‬ ‫ﺍﻟﻨﻅﺭﻱ‬ ‫ﺍﻹﻁﺎﺭ‬ ‫ﺍﻟﺘﺄﺜﻴﺭﻴﺔ‬ ‫ﺍﻟﻤﻭﺴﻴﻘ‬ ‫ﻓﻲ‬ ‫ﺎ‬ ‫ﺘﺩﻴﻥ‬ ‫ﺃ‬ . ‫ﺍﻟﺘﺄﺜﻴﺭﻴﺔ‬ ‫ﺒﺎﻟﺩﺭﺠﺔ‬ ‫ﻓﺭﻨﺴﻴﻴﻥ‬ ‫ﻤﻭﺴﻴﻘﻴﻴﻥ‬ ‫ﺇﻟﻰ‬ ‫ﺒﻨﺸﺄﺘﻬﺎ‬ ‫ﺍﻟﻤﻭﺴﻴﻘﻰ‬ ‫ﻓﻲ‬ ‫ﺍﻟﻔﺭﻨﺴ‬ ‫ﺍﻷﺭﺽ‬ ‫ﻋﻠﻰ‬ ‫ﻭﺘﺭﻋﺭﻋﺕ‬ ‫ﻭﻨﻤﺕ‬ ‫ﺍﻷﻭﻟﻰ،‬ ‫ﻴ‬ ‫ﺍﻟﺘﺄﺜﻴﺭﻴﺔ‬ ‫ﻤﺼﻁﻠﺢ‬ ‫ﻭﺩﺨل‬ ‫ﺔ،‬ ‫ﺍﻟﻜﻭﻨﺴ‬ ‫ﺍﻟﻤﻭﺴﻴﻘﻲ‬ ‫ﺍﻟﻤﻌﻬﺩ‬ ‫ﻭﻀﻌﻪ‬ ‫ﺘﻘﺭﻴﺭ‬ ‫ﻓﻲ‬ ‫ﺍﻟﻤﻭﺴﻴﻘﻰ‬ ‫ﻋﺎﻟﻡ‬ ‫ﻴ‬ ‫ﺭ‬ ‫ﻓﺎ‬ ‫ﻓﻲ‬ ‫ﺘﻭﺍﺭ‬ ‫ﻤﻭﺴﻴﻘ‬ ‫ﻗﻁﻌﺔ‬ ‫ﺤﻭل‬ ‫ﺒﺎﺭﻴﺱ،‬ ‫ﻴ‬ ‫ﺍﻟﻔﺘﺎﺓ‬ ‫ﺍﻟﻤﺴﻤﺎﺓ‬ ‫ﺍﻟﻜﺎﻨﺘﺎﻨﺎ‬ ‫ﻫﻲ‬ ‫ﺩﻴﺒﻭﺴﻲ‬ ‫ﻗﺩﻤﻬﺎ‬ ‫ﺔ‬ ‫ﺍﻟﻤﺨﺘﺎﺭﺓ‬ ، ‫ﺍﻟﻤﻭﺴﻴﻘ‬ ‫ﺍﻟﺘﺄﺜﻴﺭﻴﺔ‬ ‫ﺃﻥ‬ ‫ﻴﻌﺘﻘﺩ‬ ‫ﻤﻥ‬ ‫ﻭﻫﻨﺎﻙ‬ ‫ﻴ‬ ‫ﻋﻠﻰ‬ ‫ﻓﻌل‬ ‫ﻜﺭﺩﺓ‬ ‫ﺠﺎﺀﺕ‬ ‫ﺔ‬ ‫ﺍﻹﻴﻁﺎﻟ‬ ‫ﺍﻟﻤﻭﺴﻴﻘﻰ‬ ‫ﺴﻴﻁﺭﺓ‬ ‫ﻴ‬ ‫ﻤﻥ‬ ‫ﻭﺍﻟﺨﻭﻑ‬ ‫ﺍﻷﻟﻤﺎﻨﻴﺔ‬ ‫ﺔ‬ ‫ﺍﻟﺭﻭﻤﺎﻨﺴﻴ‬ ‫ﺍﻹﺒﺩﺍﻋﻴﺔ‬ ‫ﻭﺘﻤﺩﺩ‬ ‫ﺔ،‬ ‫ﻓﻲ‬ ‫ﺍﻟﻤﻌﺎﺼﺭﺓ‬ ‫ﺍﻟﻭﻁﻨﻴﺔ‬ ‫ﺍﻟﺭﻭﺴﻴﺔ‬ ‫ﺍﻟﻤﺩﺭﺴﺔ‬ ‫ﺍﻨﺘﺸﺎﺭ‬ ‫ﺍﻟﻔﺭﻨﺴﻴﺔ‬ ‫ﺍﻟﺴﺎﺤﺔ‬ ، ‫ﻭﺃﺤﺱ‬ ‫ﺍﻟﺘﺄﺜﻴﺭﻴﻭﻥ‬ ‫ﻜﻤﺎ‬ ‫ﹰ‬ ‫ﺘﻤﺎﻤﺎ‬ ‫ﻋﻨﺩﻫﻡ‬ ‫ﺍﻷﻟﺤﺎﻥ‬ ‫ﻭﺍﻤﺘﺯﺠﺕ‬ ‫ﺍﻟﻀﻭﺌﻴﺔ،‬ ‫ﺍﻟﻔﺭﻭﻕ‬ ‫ﺒﺄﺩﻕ‬ ‫ﺒﺘﺩﺭﺝ‬ ‫ﺍﻷﺸﻜﺎل‬ ‫ﺤﺩﻭﺩ‬ ‫ُﻫﻤﻠﺕ‬ ‫ﺃ‬ ‫ﺤﻴﺙ‬ ‫ﺍﻟﻤﺼﻭﺭﻴﻥ،‬ ‫ﻟﻭﺤﺎﺕ‬ ‫ﻓﻲ‬ ‫ﺍﻷﻟﻭﺍﻥ‬ ‫ﺍﻤﺘﺯﺠﺕ‬ ‫ﻟﻭﻨﻲ‬ . ‫ﺍﻟﻤﻭﺴﻴﻘﻴﻭﻥ‬ ‫ﺍﻟﻤﺅﻟﻔﻭﻥ‬ ‫ﻭﺍﺨﺘﺎﺭ‬ ‫ﺍﻟﺘﺄﺜﻴﺭﻴﻭﻥ‬ ‫ﻏﺎﻤﻀﺔ‬ ‫ﺃﺴﻤﺎﺀ‬ ‫ﻟﻤﻘﻁﻭﻋﺎﺘﻬﻡ‬ ‫ﻗ‬ ‫ﺇﺤﺩﻯ‬ ‫ﻋﻠﻰ‬ ‫ﺩﻴﺒﻭﺴﻲ‬ ‫ﺃﻁﻠﻘﻪ‬ ‫ﺍﻟﺫﻱ‬ ‫ﻜﺎﻟﻌﻨﻭﺍﻥ‬ ‫ﻁﻌﻪ‬ ) ‫ﺍﻟﻐﺭﺏ‬ ‫ﺭﻴﺢ‬ ‫ﺭﺃﺘﻪ‬ ‫ﻤﺎ‬ ‫ﻫﺫﺍ‬ ( ، ‫ﻭﻗﺩ‬ ‫ﻫﺫﺍ‬ ‫ﺍﻟﺭﺴﺎﻡ‬ ‫ﻋﺭﻀﻬﺎ‬ ‫ﻟﻭﺤﺔ‬ ‫ﺇﺜﺭ‬ ‫ﺍﻟﺘﺼﻭﻴﺭ،‬ ‫ﻓﻥ‬ ‫ﻤﻥ‬ ‫ﺍﻟﺘﺄﺜﻴﺭﻴﺔ‬ ‫ﻤﺼﻁﻠﺢ‬ ‫ﺠﺎﺀ‬ ‫ﻋﺎﻡ‬ ‫ﻤﻭﻨﻴﻪ‬ ‫ﻜﻠﻭﺩ‬ ‫ﺍﻟﻔﺭﻨﺴﻲ‬ ١٨٧٤ ‫ﻋﻨﻭﺍﻥ‬ ‫ﺘﺤﺕ‬ ) ‫ﺍﻟﺸﻤﺱ‬ ‫ﺸﺭﻭﻕ‬ ‫ﺍﻨﻁﺒﺎﻉ‬ ( ، ‫ﺜﻡ‬ ‫ﻭﺼﻑ‬ ‫ﻓﻲ‬ ‫ﺠﻤﺎﻟﻴﺔ‬ ‫ﻨﻅﺭﺓ‬ ‫ﻴﻌﺘﻤﺩ‬ ‫ﺃﺩﺒﻲ‬ ‫ﺃﻭ‬ ‫ﻓﻨﻲ‬ ‫ﻨﻬﺞ‬ ‫ﻜل‬ ‫ﻋﻠﻰ‬ ‫ﺍﻟﻤﺼﻁﻠﺢ‬ ‫ُﻁﻠﻕ‬ ‫ﺃ‬ ‫ﺍﻟﻤﻌﺎﺼﺭ‬ ‫ﺍﻟﻤﺠﺘﻤﻊ‬ . ‫ﻭﻗﺩ‬ ‫ﺍﻟ‬ ‫ﺍﻟﻤﻭﺴﻴﻘﻰ‬ ‫ﺘﻤﻴﺯﺕ‬ ‫ﻭﻫﻲ‬ ‫ﺨﻤﺴﺔ،‬ ‫ﺒﻌﻨﺎﺼﺭ‬ ‫ﻋﺎﻡ‬ ‫ﺒﺸﻜل‬ ‫ﺘﺄﺜﻴﺭﻴﺔ‬ : ‫ﺍﻹﻴﻘﺎﻉ،‬ ‫ﺍﻟﻠﺤﻥ،‬ ‫ﺍﻟﺘﺂﻟﻔﺎﺕ‬ ‫ﻋﻠﻰ‬ ‫ﺍﻟﻘﺎﺌﻡ‬ ‫ﺍﻵﻟﻲ‬ ‫ﺍﻟﺘﻭﺯﻴﻊ‬ ‫ﺍﻟﺼﻴﻐﺔ،‬ ‫ﺃﻭ‬ ‫ﺍﻟﺒﻨﺎﺌﻲ‬ ‫ﺍﻟﺸﻜل‬ ، ‫ﺍﻟﻤﻭﺴﻴﻘﻴﺔ‬ ‫ﺍﻵﻻﺕ‬ ] 12 : ١٠٦ [ ‫ﺍﻟﻤﺅﻟﻔﻭﻥ‬ ‫ﺍﺴﺘﺨﺩﻡ‬ ‫ﻭﻗﺩ‬ ‫ﺍﻟﺘﺄﺜﻴﺭﻴﻭﻥ‬ ‫ﺍﻟﺴﺘﺔ‬ ‫ﺍﻷﺒﻌﺎﺩ‬ ‫ﺫﻱ‬ ‫ﻜﺎﻟﺴﻠﻡ‬ ‫ﺠﺩﻴﺩﺓ‬ ‫ﺴﻼﻟﻡ‬ ‫ﺍﻟ‬ ‫ﺍﻟﺴﻠﻡ‬ ‫ﺴﻴﻁﺭﺓ‬ ‫ﺘﻠﻐﻲ‬ ‫ﺍﻟﺘﻲ‬ ‫ﺍﻟﺒﺩﺍﺌل‬ ‫ﻤﻥ‬ ‫ﹰ‬ ‫ﺒﺩﻴﻼ‬ ‫ﺍﻟﻜﺎﻤﻠﺔ‬ ‫ﺘﻠﻐﻲ‬ ‫ﻜﻤﺎ‬ ‫ﻨﺎﺤﻴﺔ،‬ ‫ﻤﻥ‬ ‫ﻜﺒﻴﺭ‬ ‫ﺍﻟﻤﻘﺎﻤﻴﺔ‬ ‫ﺘﻔﻘﺩ‬ ‫ﻭﺒﺫﻟﻙ‬ ‫ﺍﻟﻤﺴﻴﻁﺭﺓ‬ ‫ﺍﻟﺨﺎﻤﺴﺔ‬ ‫ﺍﻟﺩﺭﺠﺔ‬ ‫ﺃﻫﻤﻴﺔ‬ tonality ‫ﺃﻫﻡ‬ ‫ﺍﻟﻘﺩﻴﻤﺔ‬ ‫ﺍﻟﻘﺭﺍﺭ‬ ‫ﺩﺭﺠﺔ‬ ‫ﻋﻠﻰ‬ ‫ﺍﻟﺴﻠﻡ‬ ‫ﺘﺭﻜﻴﺯ‬ ‫ﺘﻘﺘﻀﻲ‬ ‫ﺍﻟﺘﻲ‬ ‫ﺃﺴﺴﻬﺎ‬ tonic ‫ﺒﺎﻗﻲ‬ ‫ﻭﺨﺩﻤﺔ‬ ‫ﻭﺠﻭﺩ‬ ‫ﻋﺩﻡ‬ ‫ﺃﻥ‬ ‫ﻜﻤﺎ‬ ‫ﻟﻪ،‬ ‫ﺍﻷﺼﻭﺍﺕ‬ » ‫ﺍﻟﺤﺴﺎﺴﺔ‬ ‫ﺍﻟﺩﺭﺠﺔ‬ «leading note ‫ﻴﺠﻌل‬ ‫ﻟﻠﻌﻭ‬ ‫ﺤﺎﺠﺔ‬ ‫ﻻ‬ ‫ﺇﺫ‬ ‫ﹰ‬ ‫ﻋﻔﻭﻴﺎ‬ ‫ﺘﻨﺴﺎﺏ‬ ‫ﺍﻷﻟﺤﺎﻥ‬ ‫ﺍﻟﻘﺭﺍﺭ‬ ‫ﺇﻟﻰ‬ ‫ﺩﺓ‬ ، ‫ﻤﺯﺝ‬ ‫ﻭﻗﺩ‬ ‫ﺍﻟﺘﺄﺜﻴﺭﻴﻭﻥ‬ ‫ﺍﻋﺘﻤﺩﺕ‬ ‫ﺍﻟﺫﻱ‬ ‫ﺍﻟﺘﺒﺎﻴﻥ‬ ‫ﻤﻥ‬ ‫ﺒﺫﻟﻙ‬ ‫ﹼﻠﻭﺍ‬ ‫ﻓﻘﻠ‬ ‫ﻭﺍﺤﺩ‬ ‫ﻟﺤﻥ‬ ‫ﻓﻲ‬ ‫ﻭﺍﻟﺼﻐﻴﺭ‬ ‫ﺍﻟﻜﺒﻴﺭ‬ ‫ﺍﻟﺴﻠﻤﻴﻥ‬ ‫ﺍﻟﻜﺒﻴﺭ‬ ‫ﻨﻅﺭﻴﺔ‬ ‫ﻋﻠﻴﻪ‬ -‫ﺍﻟﻜﻼﺴﻴﻜﻴﺔ‬ ‫ﺍﻟﺼﻐﻴﺭ‬ ، ‫ﺍﻟﻜﻨ‬ ‫ﺍﻟﺴﻼﻟﻡ‬ ‫ﺇﻟﻰ‬ ‫ﻋﺎﺩﻭﺍ‬ ‫ﻜﻤﺎ‬ ‫ﺎﺌ‬ ‫ﺴﻴﺔ‬ ‫ﹰ‬ ‫ﻤﺘﺠﺩﺩﺍ‬ ‫ﹰ‬ ‫ﺭﻭﻨﻘﺎ‬ ‫ﻤﻭﺴﻴﻘﺎﻫﻡ‬ ‫ﺃﻜﺴﺒﺕ‬ ‫ﺍﻟﺘﻲ‬ ، ‫ﺍﻻﻨﺴﺠﺎﻡ‬ ‫ﻨﺎﺤﻴﺔ‬ ‫ﻤﻥ‬ ‫ﺃﻤﺎ‬ harmony ‫ﻓﻘﺩ‬ ‫ﺍ‬ ‫ﻋﻥ‬ ‫ﺘﺨﻠﻭﺍ‬ ‫ﺒﺼﻔﺘﻪ‬ ‫ﻟﻠﺤل‬ ‫ﹰ‬ ‫ﺨﺎﻀﻌﺎ‬ ‫ﺍﻟﺘﻨﺎﻓﺭ‬ ‫ﻴﻌﺩ‬ ‫ﻓﻠﻡ‬ ‫ﻭﺍﻟﺘﻭﺍﻓﻕ،‬ ‫ﻟﻠﺘﻨﺎﻓﺭ‬ ‫ﺍﻟﻘﺩﻴﻡ‬ ‫ﻟﻤﻔﻬﻭﻡ‬ ‫ﺫﺍ‬ ‫ﺃﺼﺒﺢ‬ ‫ﺒل‬ ‫ﺍﻻﺴﺘﻘﺭﺍﺭ،‬ ‫ﺇﻟﻰ‬ ‫ﻟﻌﻭﺩﺘﻪ‬ ‫ﻁﺭﻴﻘﺔ‬ ‫ﻤﻥ‬ ‫ﻭﻻﺒﺩ‬ ‫ﺍﻟﺘﻭﺍﻓﻕ‬ ‫ﻴﻨﺘﺎﺏ‬ ‫ﹰ‬ ‫ﻋﺭﻀﺎ‬ ‫ﺫﺍﺘﻴﺔ‬ ‫ﻗﻴﻤﺔ‬ ، ‫ﻋﻨﺩ‬ ‫ﺘﺘﻭﺍﻟﻰ‬ ‫ﻟﺫﻟﻙ‬ ‫ﺍﻟﺘﺄﺜﻴﺭﻴﻴﻥ‬ ‫ﺍﻟﺘﺂﻟﻔﺎﺕ‬ ‫ﻤﻥ‬ ‫ﺴﻼﺴل‬ ‫ﺍﻟﻤﺘﻨﺎﻓﺭﺓ‬ ‫ﻭﻗﺩ‬ ‫ﺘﻨﺘﻬﻲ‬ ‫ﻤﻘﻁﻭﻋﺎﺘﻬﻡ‬ ‫ﺒﻘﻔﻠﺔ‬ ‫ﹰ‬ ‫ﺃﻴﻀﺎ‬ cadence ‫ﻤﺘﻨﺎﻓﺭﺓ‬ ‫ﹰ‬ ‫ﺃﻴﻀﺎ‬ . ‫ﺫﻟﻙ‬ ‫ﻭﻴﻼﺤﻅ‬ ‫ﻗﻔﻠﺔ‬ ‫ﻓﻲ‬ ‫ﺒﻭﻀﻭﺡ‬ » ‫ﺍﻟﻐﺭﺏ‬ ‫ﺭﻴﺢ‬ ‫ﺭﺃﺘﻪ‬ ‫ﻤﺎ‬ ‫ﻫﺫﺍ‬ « ‫ﻨﻐﻤﻲ‬ ‫ﺒﺘﺭﻜﻴﺏ‬ ‫ﺘﻨﺘﻬﻲ‬ ‫ﺍﻟﺘﻲ‬ ‫ﻤﺘﻨﺎﻓﺭ‬ ‫ﻤﻥ‬ ‫ﺴﺒﻘﻪ‬ ‫ﻤﻤﺎ‬ ‫ﹰ‬ ‫ﺘﻨﺎﻓﺭﺍ‬ ‫ﺃﻗل‬ ‫ﻷﻨﻪ‬ ‫ﺒﺎﻻﺭﺘﻴﺎﺡ‬ ‫ﹰ‬ ‫ﺇﺤﺴﺎﺴﺎ‬ ‫ﻟﻠﻤﺴﺘﻤﻊ‬ ‫ﻴﻭﻓﺭ‬ ‫ﻭﻟﻜﻨﻪ‬ ، ‫ﺍﺘﻔﺎﻗﺎﺕ‬ ، ‫ﻋﻠﻴﻬﺎ‬ ‫ﺃﻁﻠﻕ‬ ‫ﺍﻟﺘﻲ‬ ‫ﺍﻟﻤﺨﺘﻠﻔﺔ‬ ‫ﺍﻟﺭﺒﺎﻋﻴﺎﺕ‬ ‫ﺍﺘﻔﺎﻗﺎﺕ‬ ‫ﺴﻜﺭﻴﺎﺒﻴﻥ‬ ‫ﺍﺴﺘﺨﺩﻡ‬ ‫ﻭﻗﺩ‬ ‫ﺍﻟﻐﺎﻤﻀﺔ‬ ‫ﺍﻟﺘﺂﻟﻔﺎﺕ‬ ‫ﺍﺴﻡ‬ mystic chord ‫ﻜﻤ‬ ، ‫ﺍﺴﺘﺨﺩﻡ‬ ‫ﺎ‬ ‫ﺍﻟﺘﺄﺜﻴﺭﻴﻭﻥ‬ ‫ﺍﻟﺘﺂﻟﻔﺎﺕ‬ ‫ﻤﺯﺝ‬ ‫ﺍﻟﺜﻼﺜﻴﺔ‬ ، ‫ﺍﻟﻤﺘﻭﺍﻓﻘﺔ‬ ‫ﻤﻥ‬ ‫ﻤﻜﻭﻨﺔ‬ ‫ﻨﻐﻤﻴﺔ‬ ‫ﺘﺭﺍﻜﻴﺏ‬ ‫ﺴﻤﺎﻉ‬ ‫ﺍﻟﻤﻤﻜﻥ‬ ‫ﻤﻥ‬ ‫ﺃﺼﺒﺢ‬ ‫ﻭﻫﻜﺫﺍ‬ ‫ﺍﻟﻤﺴﺘﻤﺭ‬ ‫ﺍﻟﻤﻨﺨﻔﺽ‬ ‫ﻟﻠﺼﻭﺕ‬ ‫ﹰ‬ ‫ﻨﻘﻴﻀﺎ‬ pedal note ‫ﺍﻟﺘﺂﻟﻔﺎﺕ‬ ‫ﺘﺘﺤﺭﻙ‬ ‫ﺤﻴﻥ‬ ‫ﻓﻲ‬ ‫ﺍﻟﻤﺼﺎﺤﺒﺔ‬ ‫ﺒﺤﺭﻴﺔ‬ ، ‫ﺫﻟﻙ‬ ‫ﻤﻥ‬ ‫ﻭﺃﻫﻡ‬ ‫ﺍﻟﻤﺘﻭﺍﺯﻴﺔ‬ ‫ﺍﻟﺤﺭﻜﺔ‬ ‫ﺒﺎﺴﺘﺨﺩﺍﻡ‬ ‫ﺴﻤﺎﺤﻬﻡ‬ ‫ﻭﺍﻟﺜﻤﺎﻨﻴﺔ‬ ‫ﻭﺍﻟﺭﺒﺎﻋﻴﺔ‬ ‫ﻟﻠﺨﻤﺎﺴﻴﺔ‬ octave ‫ﹰ‬ ‫ﺍﺴﺘﺨﺩﺍﻤﺎ‬ ‫ﻭﺍﻟﺴﺒﺎﻋﻴﺔ‬ ‫ﺍﻟﺜﻨﺎﺌﻴﺔ‬ ‫ﺤﺘﻰ‬ ، ‫ﺒﺄﺴﻠﻭﺏ‬ ‫ﻴﺫﻜﺭ‬ ‫ﺒﻤﺎ‬ ‫ﹰ،‬ ‫ﻭﺍﺴﻌﺎ‬ » ‫ﺍﻷﻭﺭ‬ ‫ﺠ‬ ‫ﺎﻨﻭﻡ‬ « organum ‫ﺃﻋﺎﺩﻭﺍ‬ ‫ﻭﺒﺫﻟﻙ‬ ‫ﺍﻟﻘﺩﻴﻡ،‬ ‫ﺍﻷﺼﻭﺍﺕ‬ ‫ﺘﻌﺩﺩ‬ ‫ﻭﺃﺴﻠﻭﺏ‬ ‫ﻗﺩﻴﻤﺔ‬ ‫ﻁﺭﻴﻘﺔ‬ ‫ﺍﺴﺘﻌﻤﺎل‬ ، ‫ﺒﻜﺜﺭﺓ،‬ ‫ﺘﻨﻭﻉ‬ ‫ﻓﻘﺩ‬ ‫ﺍﻹﻴﻘﺎﻉ‬ ‫ﻭﺃﻤﺎ‬ ‫ﺇﻴ‬ ‫ﺘﻜﻭﻴﻨﺎﺕ‬ ‫ﻭﻅﻬﺭﺕ‬ ‫ﺍﻹﻴﻘﺎﻋﺎﺕ‬ ‫ﺘﻌﺩﺩ‬ ‫ﻅﻬﻭﺭ‬ ‫ﺇﻟﻰ‬ ‫ﺃﺩﺕ‬ ‫ﻓﺭﻴﺩﺓ‬ ‫ﻘﺎﻋﻴﺔ‬ Polyrhythm ‫ﺍﻟﻤﺴﻤﻰ‬ ‫ﺴﻜﺭﻴﺎﺒﻴﻥ‬ ‫ﻗﺼﻴﺩ‬ ‫ﺫﻟﻙ‬ ‫ﻭﻤﺜﺎل‬ » ‫ﺍﻟﻠﻬﺏ‬ ‫ﻨﺤﻭ‬ « ‫ﺘﺴﻴﺭ‬ ‫ﺇﺫ‬ ‫ﺏ‬ ‫ﻤﺭﻜ‬ ‫ﺜﻼﺜﻲ‬ ‫ﺒﻤﻴﺯﺍﻥ‬ ‫ﺍﻟﻌﻠﻴﺎ‬ ‫ﺍﻷﺼﻭﺍﺕ‬ ‫ﻓﻴﻪ‬ ‫ﻭﺍﻷﺼﻭﺍﺕ‬ ‫ﺒﻤﻴﺯﺍﻥ‬ ‫ﺍﻟﺴﻔﻠﻰ‬ ‫ﺨﻤﺎﺴﻲ‬ ‫‪‬ﻴل‬ ‫ﺭﻭﺴ‬ ‫ﻭﻜﺫﻟﻙ‬ ‫ﺍﻟﻤﺴﺘﻤﺭ،‬ ‫ﻭﻹﻴﻘﺎﻋﻬﺎ‬ ‫ﺍﻟﻌﺭﺒﻴﺔ‬ A.Roussel ‫ﻭﺩﻭﻜﺎ‬ ، P.Dukas ‫ﻓﺎﻴﺎ‬ ‫ﻭﺩﻱ‬ ، de Falla ‫ﻜﺜﻴﺭ‬ ‫ﻭﻏﻴﺭﻫﻡ‬ . ‫ﺃﺒﻭﺍﺏ‬ ‫ﻭﻓﺘﺤﺕ‬ ‫ﺍﻟﺯﻤﻥ،‬ ‫ﻤﻥ‬ ‫ﹰ‬ ‫ﺭﺩﺤﺎ‬ ‫ﺒﺎﻹﻋﺠﺎﺏ‬ ‫ﺍﻟﺘﺄﺜﻴﺭﻴﺔ‬ ‫ﺤﻅﻴﺕ‬ ‫ﺃﻥ‬ ‫ﻭﺒﻌﺩ‬ ‫ﻴﺒﺤﺜﻭﻥ‬ ‫ﺍﻟﻤﻭﺴﻴﻘﻴﻭﻥ‬ ‫ﺍﻟﻤﺅﻟﻔﻭﻥ‬ ‫ﻫﺅﻻﺀ‬ ‫ﺭﺍﺡ‬ ‫ﺍﻟﻤﺴﺘﻘﺒل،‬ ‫ﻟﻤﺅﻟﻔﻲ‬ ‫ﻭﺍﻹﺒﺩﺍﻉ‬ ‫ﺍﻻﺒﺘﻜﺎﺭ‬ ‫ﺠﺩﻴﺩﺓ‬ ‫ﻓﻨﻴﺔ‬ ‫ﻤﺫﺍﻫﺏ‬ ‫ﻓﻲ‬ ‫ﺘﻌﺒﻴﺭﻴﺔ‬ ‫ﻭﺴﺎﺌل‬ ‫ﻋﻥ‬ ] ٦ [ ‫ﺏ‬ . ‫ﺩﻴﺒﻭﺴﻲ‬ ‫ﺁﺸﻴل‬ ‫ﻜﻠﻭﺩ‬ Claude Achille Debussy ‫ﻭﻟﺩ‬ ‫ﺒـﺎﺭ‬ ‫ﻤﺩﻴﻨﺔ‬ ‫ﻓﻲ‬ ‫ﺠﻴﺭﻤـﺎﻥ‬ ‫ﺴـﺎﻥ‬ ‫ﻴﺱ‬ Paris Saint Germain ‫ﺃﻭ‬ ‫ﻟﻠﻬﺎﺭﻤﻭﻨﻴﺔ‬ ‫ﺍﻟﺒﻨﺎﺌﻴﺔ‬ ‫ﺍﻟﻭﻅﻴﻔﺔ‬ ‫ﻋﻥ‬ ‫ﹰ‬ ‫ﻨﺎﺘﺠﺎ‬ ‫ﻟﻴﺴﺕ‬ ‫ﺒﺄﻨﻬﺎ‬ ‫ﻤﻭﺴﻴﻘﺎﻩ‬ ‫ﻭﺍﺘﺴﻤﺕ‬ ، ‫ﺍﻟﺠﻥ‬ ‫ﺍﻹ‬ ‫ﺃﻭ‬ ‫ﺍﻟﻠﺤﻥ‬ ‫ﻤﻜﻨﻪ‬ ‫ﺍﻟﺒﻨﺎﺌﻲ‬ ‫ﺍﻟﺘﻨﺎﺴﻕ‬ ‫ﻭﻫﺫﺍ‬ ‫ﻤﻌﻤﺎﺭﻴﺔ‬ ‫ﻫﻨﺩﺴﺔ‬ ‫ﻫﻲ‬ ‫ﺒل‬ ‫ﺍﻟﺘﻠﻭﻴﻥ‬ ‫ﺃﻭ‬ ‫ﻴﻘﺎﻉ‬ ‫ﻻﺫﻋﺔ‬ ‫ﺸﺨﺼﻴﺔ‬ ‫ﺃﻱ‬ ‫ﻓﻴﻪ‬ ‫ﻟﻴﺱ‬ ‫ﹰ‬ ‫ﺸﻌﻭﺭﺍ‬ ‫ﺍﻟﺴﺎﻤﻊ‬ ‫ﻴﻨﻘل‬ ‫ﺃﻥ‬ ‫ﻤﻥ‬ ] ٥ : ٩٩ ، ١٠٠ . [ ‫ﺃﻱ‬ ‫ﻋﻠـﻰ‬ ‫ﻴﻌﺘﻤﺩ‬ ‫ﺃﻥ‬ ‫ﺩﻭﻥ‬ ‫ﻤﻘﺩﻤﺔ‬ ‫ﻭﻋﺸﺭﻭﻥ‬ ‫ﺃﺭﺒﻊ‬ ‫ﺩﻴﺒﻭﺴﻲ‬ ‫ﺃﻟﻑ‬ ‫ﻭﻗﺩ‬ ‫ﻫﺫﺍ‬ ‫ﺫﻟـﻙ‬ ‫ﻭﻤﻌﻨﻰ‬ ، ‫ﺍﻟﺨﺎﺹ‬ ‫ﻁﺎﺒﻌﻬﺎ‬ ‫ﻤﻨﻬﺎ‬ ‫ﻭﺍﺤﺩﺓ‬ ‫ﻓﻠﻜل‬ ، ‫ﺍﻟﻤﻌﺭﻭﻓﺔ‬ ‫ﺍﻟﻨﻤﺎﺫﺝ‬ ‫ﻤﻥ‬ ‫ﻨﻭﻉ‬ ‫ﺃﻥ‬ ‫ﹰ‬ ‫ﺠﺩﻴﺩﺍ‬ ‫ﹰ‬ ‫ﻤﻭﺴﻴﻘﻴﺎ‬ ‫ﹰ‬ ‫ﻨﻤﻭﺫﺠﺎ‬ ‫ﺘﻤﺜل‬ ‫ﺠﺩﻴﺩﺓ‬ ‫ﻤﻘﺩﻤﺔ‬ ‫ﻜل‬ ] ٢ : ٢٦٢ [ ‫ﺝ‬ . ‫ﺍﻟﻤﻘﺩﻤﺎﺕ‬ Preludes Dieterich Buxtehude ١٦٣٧ ‫ـ‬ ١٦٩٧ ‫ﺒﺭﻭﻨﺯ‬ ‫ﻭ‬ Nikolaus Bruhns ١٦٦٥ ‫ـ‬ ١٦٩٧ . ‫ﻜﺭﻴﻜﻭﻓﻥ‬ ‫ﺃﻟﻤﺎﻨﻴﺎ‬ ‫ﺨﺎﺭﺝ‬ ‫ﻭﻤﻥ‬ , ‫ﻤﺼﻨﻑ‬ ‫ﻤﻘﺩﻤﺔ‬ ‫ﻭﻋﺸﺭﻭﻥ‬ ‫ﺃﺭﺒﻊ‬ ١١ ‫ﺭﺍﻓﻴل‬ ‫ﺃﻟﻑ‬ ‫ﻭﻗﺩ‬ ، Ravel Le ‫ﻜﺘﺎﺒﻪ‬ Tombeau de Couperin ‫ﺃﺜﻨﺎﺀ‬ ١٩١٤ ‫ﺇﻟﻰ‬ ١٩١٧ ‫ﺸ‬ ‫ﻭﺍﻟﻤﺅﻟﻑ‬ ، ‫ﻡ‬ ‫ﻤﻥ‬ ‫ﺘﻭﻨﺎﻟﻲ‬ ‫ﻻ‬ ‫ﺒﺠﺯﺀ‬ ‫ﺍﻟﺜﺎﻟﺜﺔ‬ ‫ﺍﻟﻔﻜﺭﺓ‬ ‫ﺒﺩﺃﺕ‬ ٣٠ ‫ﻡ‬ ‫ﺒﺩﺍﻴﺔ‬ ‫ﻭﻤﻊ‬ ٣٤ ‫ﻓﻲ‬ ‫ﺒﺩﺃ‬ ‫ﻭﻨﺒﺭﺝ‬ Abraham van den Kerckhoven ١٦١٨ ‫ـ‬ ١٧٠١ ‫ﻤﺼﻨﻑ‬ ‫ﺍﻟﺒﻴﺎﻨﻭ‬ ‫ﺴﻭﻴﺕ‬ ‫ﻓﻲ‬ ٢٥ ‫ﻫﻴﻨﺩﻤﻴﺙ‬ ‫ﺃﻟﻑ‬ ‫ﻭﻗﺩ‬ ، Paul Hindemith ‫ﺴﻠﻡ‬ ‫ﺍﺴﺘﺨﺩﺍﻡ‬ E ‫ﻟﻠ‬ ‫ﺍﺴﺘﺨﺩﺍﻤﻪ‬ ‫ﻤﻊ‬ ‫ﻋﻠـﻰ‬ ‫ﺒﻬـﺎ‬ ‫ﻤﺴﺘﻘﺭ‬ ‫ﻏﻴﺭ‬ ‫ﻷﺠﺯﺍﺀ‬ ‫ﺍﻟﺘﺎﻟﻲ‬ ‫ﺠﺯﺀ‬ ‫ﻋﺎﻡ‬ ‫ﻤﻥ‬ ‫ﺸﻜل‬ ‫ﺃﻟﻑ‬ ‫ﺍﻟﺫﻱ‬ ‫ﺍﻷﺼل‬ ‫ﺍﻟﻬﻭﻟﻨﺩﻱ‬ ‫ﻋﺸﺭ‬ ‫ﺍﻟﺴﺎﺒﻊ‬ ‫ﺍﻟﻘﺭﻥ‬ ‫ﻤﻥ‬ ‫ﺍﻟﺜﺎﻨﻲ‬ ‫ﺍﻟﻨﺼﻑ‬ ‫ﻭﺨﻼل‬ ، ‫ﺍﻟﻤﻘﺩﻤﺎﺕ‬ ‫ﺃﺸﻜﺎل‬ ١٩٤٠ ‫ﻜﺘﺏ‬ Ludus Tonalis ‫ﻟﻠﻤﻘﺩﻤﺔ‬ ‫ﻋﺎﻡ‬ ‫ﻭﻓﻲ‬ ، ‫ﻭﺍﻟﻔﻭﺠﺎ‬ ١٩٤٦ ‫ﻓـﻲ‬ ‫ﻭﺍﻟﻭﺼﻭل‬ ‫ﺍﻟﻜﺭﻭﻤﺎﺘﻴﺔ‬ ‫ﻟﻠﺤﺭﻜﺎﺕ‬ ‫ﺍﺴﺘﺨﺩﺍﻤﻪ‬ ‫ﺇﻟﻰ‬ ‫ﺒﺎﻹﻀﺎﻓﺔ‬ ‫ﻤﺤﺩﺩﺓ‬ ‫ﺘﻭﻨﺎﻟﻴﺔ‬ ‫ﻜﺘﺏ‬ ‫ﺍﻟﻤﺅﻟﻔﻭﻥ‬ ‫ﺒﺩﺃ‬ ‫ﻭ‬ ‫ﺍﻟﻔﻭﺠﺎ‬ ‫ﻓﻥ‬ ‫ﺒﻴﻥ‬ ‫ﺍﻟﺩﻤﺞ‬ ‫ﺒﺩﺃ‬ ‫ﺍﻷﻟﻤﺎﻥ‬ ‫ﺍﻟﻤﻘﺩﻤﺎﺕ‬ ‫ﺠﻴﻨﺎﺴﺘﺭﺍ‬ Alberto Ginastera ‫ﻤﻘﺩﻤﺔ‬ ‫ﻋﺸﺭ‬ ‫ﺍﺜﻨﺎ‬ ‫ﻋﺎﻡ‬ ‫ﻭﻓﻲ‬ ، ‫ﺃﻤﺭﻴﻜﻲ‬ ‫ﻡ‬ ٤١ ‫ﻡ‬ ‫ﺇﻟﻰ‬ ٤٨ ‫ﻤﺼﻨﻭﻉ‬ ‫ﺨﻤﺎﺴﻲ‬ ‫ﺴﻠﻡ‬ ‫ﻻﺴﺘﺨﺩﺍﻡ‬ ‫ﺍﻟﺘﺤﻭل‬ . ١٩٥١ ‫ﺒﺎﺨﺒل‬ ‫ﻴﺩ‬ ‫ﻋﻠﻰ‬ ‫ﺍﻟﺴﻠﻡ‬ ‫ﺒﻨﻔﺱ‬ Johann Pachelbel ١٦٥٣ ‫ـ‬ ١٧٠٦ ‫ﺸﻭﺴﺘﺎﻜﻭﻓﻴﺘﺵ‬ ‫ﻜﺘﺏ‬ Dmitri Shostakovich ‫ﻭﻓﻭﺝ‬ ‫ﻤﻘﺩﻤﺔ‬ ‫ﻭﻋﺸﺭﻭﻥ‬ ‫ﺃﺭﺒﻊ‬ ‫ﺍﻟﺜﺎﻨﻴﺔ‬ ‫ﺍﻟﻔﻜﺭﺓ‬ B2 ‫ﻡ‬ ‫ﻡ‬ ٤٩ -‫ﻡ‬ ٥٤ ‫ﺍﻟﺩﻤﺞ‬ ‫ﺒﻬﺫﺍ‬ ‫ﻗﺎﻡ‬ ‫ﻤﻥ‬ ‫ﺃﻭل‬ ‫ﻜﺎﻥ‬ ‫ﺤﻴﺙ‬ ‫ﺒﺎﺥ‬ ‫ﺘﻼﻩ‬ ‫ﺜﻡ‬ Johann Sebastian Bach ١٦٨٥ ‫ـ‬ ١٧٥٠ ‫ﻋﺎﻡ‬ ‫ﻭﻓﻲ‬ ، ١٩٦٥ ‫ﺃﻭﺭﺒﺎﺥ‬ ‫ﻜﺘﺏ‬ Lera Auerbac ‫ﻤﻘﺩﻤﺔ‬ ‫ﻭﻋﺸﺭﻭﻥ‬ ‫ﺃﺭﺒﻊ‬ ] ١٣ ‫ﻡ‬ ٤٩ ، ٥٤ ‫ﺍﻟﺼﻐﻴﺭ‬ ‫ﻓﺎ‬ ‫ﺴـﻠﻡ‬ ‫ﻓﻲ‬ . ‫ﻓﻴﺸﺭ‬ ‫ﻜﺎﻥ‬ ، Johann Caspar Ferdinand Fischer ‫ﺍﻷﻟﻤﺎﻥ‬ ‫ﺍﻟﻤﺅﻟﻔﻴﻥ‬ ‫ﺃﻭﺍﺌل‬ ‫ﻤﻥ‬ ‫ﹰ‬ ‫ﻭﺍﺤﺩﺍ‬ : ٨٩ [ . ‫ﺍﻟﺭﺍﺒﻌﺔ‬ ‫ﺍﻟﻔﻜﺭﺓ‬ D ‫ﻡ‬ ٥٥ -‫ﻡ‬ ٦٢ . ‫ﻤﺜل‬ ‫ﺍﻟﻘﺼﻴﺭﺓ،‬ ‫ﺍﻟﺘﺄﻟﻴﻑ‬ ‫ﺼﻴﻎ‬ ‫ﻨﺤﻭ‬ ‫ﺍﻟﺘﺄﺜﻴﺭﻴﺔ‬ ‫ﻤﺎﻟﺕ‬ ‫ﻤ‬ ‫ﻘﻁ‬ ‫ﻭ‬ ‫ﻋ‬ ‫ﺎﺕ‬ ‫ﺃﻭ‬ ‫ﺍﻟﻤﻘﺩﻤﺔ‬ ‫ﺍﻻﺴﺘﻬﻼل‬ préludes ‫ﻭ‬ ، ‫ﺍﻟﻠﻴﻠﻴﺔ‬ nocturne ‫ﻭﺍﻷﺭﺍﺒﻴﺴﻙ‬ ، arabesque. ‫ﻭﻤﻊ‬ ‫ﻜﺎﻷﻭﺒﺭﺍ‬ ‫ﻜﺒﻴﺭﺓ‬ ‫ﻤﺅﻟﻔﺎﺕ‬ ‫ﻟﺩﻴﻬﻡ‬ ‫ﻅﻬﺭﺕ‬ ‫ﻓﻘﺩ‬ ‫ﺫﻟﻙ‬ -‫ﻜﻭﻨﺸﺭﺘﻭ‬ opera-concerto ‫ﻓﻲ‬ ‫ﻭﺍﻟﻀﺨﺎﻤﺔ‬ ‫ﺍﻹﺒﺩﺍﻋﻲ‬ ‫ﺍﻷﺴﻠﻭﺏ‬ ‫ﻋﻅﻤﺔ‬ ‫ﺘﺤﺎﺸﺕ‬ ‫ﻭﻟﻜﻨﻬﺎ‬ ‫ﻭﻏﻴﺭﻫﺎ،‬ ‫ﺤﺸﺭﺠ‬ ‫ﺫﻟﻙ‬ ‫ﺒﺩل‬ ‫ﻭﺍﺴﺘﺨﺩﻤﺕ‬ ‫ﺍﻵﻟﻲ،‬ ‫ﺍﻟﺘﻭﺯﻴﻊ‬ ‫ﺔ‬ ‫ﻓﻲ‬ ‫ﺍﻟﻔﺭﻨﺴﻴﺔ‬ ٢٢ ‫ﻤﻥ‬ ‫ﺃﻏﺴﻁﺱ‬ ‫ﻋﺎﻡ‬ ١٨٦٢ ‫ﻓﻲ‬ ‫ﻭﺘﻭﻓﻲ‬ ٢٦ ‫ﻤﻥ‬ ‫ﻤـﺎﺭﺱ‬ ‫ﻋـﺎﻡ‬ ١٩١٨ ‫ﻋﻥ‬ ٥٦ ‫ﹰ‬ ‫ﻋﺎﻤﺎ‬ ] ٤ : ٢ . [ ‫ﻋﺎﻡ‬ ‫ﺍﻟﻜﻭﻨﺴﻴﺭﻓﺘﻭﺍﺭ‬ ‫ﺇﻟﻰ‬ ‫‪‬ﻌﺙ‬ ‫ﺒ‬ ١٨٧٣ ‫ﻤﻭﺴـﻴﻘﺎ‬ ‫ﻋﻠﻰ‬ ‫ﹰ‬ ‫ﻤﺒﻜﺭﺍ‬ ‫ﺘﻌﺭﻑ‬ ‫ﻭﻗﺩ‬ ‫ﺘﺸﺎﻴﻜﻭﻓﺴﻜﻲ‬ P. I. Tchaikovsky * ] 16 : ٢٥ [ . ‫ﻋﺎﻡ‬ ‫ﻓﻲ‬ ١٨٩٢ ‫ﺍﻟﺸـﻌﺭ‬ ‫ﺴﻤﻔﻭﻨﻴﺎﺘﻪ‬ ‫ﺃﻭل‬ ‫ﺃﻟﻑ‬ ‫ﺍﻷﻭﻟـﻰ‬ ‫ﻴﺔ‬ à l'après-Introduction ‫ﻭﺒﺎﻹﻴﻁﺎﻟﻴﺔ‬ Preluodio ‫ﻭﺒﺎﻻﻟﻤﺎﻨﻴﺔ‬ Vorspile ‫ﻭﺒﺎ‬ ‫ﻟﻼﺘﻴﻨﻴﺔ‬ Praelludim ‫ﺍﻟﻤﻘﺩﻤﺔ‬ ‫ﺒﻤﻌﻨﻰ‬ ‫ﻭﻜﻠﻬﺎ‬ ] ١٨ : ٢٩١ ، ٢٩٢ [ ‫ﺘﻌﺘﺒﺭ‬ ‫ﻜﻤﺎ‬ ، ‫ﺩﺍﻜ‬ ‫ﺍﻟﺼﻭﻨﺎﺘﺎ‬ ‫ﻓﻲ‬ ‫ﻜﺘﻘﺩﻴﻡ‬ ‫ﺘﺴﺘﺨﺩﻡ‬ ‫ﺁﻟﻴﺔ‬ ‫ﺤﺭﻜﺔ‬ ‫ﻭﺍﻟﻤﺘﺘﺎﺒﻌﺔ‬ ‫ﺎﻤﻴﺭﺍ‬ ) ‫ﺍﻟﻘﺭﻥ‬ ‫ﺃﻭﺍﺨﺭ‬ ‫ﻓﻲ‬ ‫ﺃﺩﺨل‬ ‫ﻭﺍﻟﺫﻱ‬ ١٧ ‫ﺍ‬ ‫ﺍﻟﻤﻭﺴﻴﻘﺎ‬ ‫ﻓﻲ‬ ‫ﺍﻟﻔﺭﻨﺴﻲ‬ ‫ﺍﻷﺴﻠﻭﺏ‬ ‫ﻷﻟﻤﺎﻨﻴﺔ‬ ، ‫ﺍﻟﻤﻘﺩﻤﺎﺕ‬ ‫ﻓﻲ‬ ‫ﻟﻺﻓﺘﺘﺎﺤﻴﺔ‬ ‫ﺍﻟﻔﺭﻨﺴﻴﺔ‬ ‫ﺍﻟﻘﻭﺍﻋﺩ‬ ‫ﹰ‬ ‫ﻤﺴﺘﺒﺩﻻ‬ ‫ﺍﻟﻬﺎﺭﺒﺴﻴﻜﻭﺭﺩ‬ ‫ﻵﻟﺔ‬ ‫ﻭﺒﺫﻟﻙ‬ ‫ﻭﻓﻭﺠﺎ‬ ‫ﻤﻘﺩﻤﺔ‬ ‫ﻭﺃﺭﺒﻌﻭﻥ‬ ‫ﺍﻟﺜﻤﺎﻥ‬ ‫ﻤﻨﻬﺎ‬ ‫ﺸﻜل‬ ‫ﺍﻟﺘﻲ‬ ‫ﺍﻟﻤﻼﺌﻤﺔ‬ ‫ﺍﻟﻤﺎﺩﺓ‬ ‫ﺒﺎﺥ‬ ‫ﻭﺠﺩ‬ ‫ﺒﺎﻟﻜﺘﺎﺒﻴﻥ‬ Well-Tempered Clavier ‫ﹰ‬ ‫ﺜﺎﻨﻴﺎ‬ : ‫ﺍﻟﺘﺤﻠﻴﻠﻴﺔ‬ ‫ﺃﻭ‬ ‫ﺍﻟﺘﻁﺒﻴﻘﻴﺔ‬ ‫ﺍﻟﺩﺭﺍﺴﺔ‬ ‫ﺍﻷﻭﻟﻰ‬ ‫ﺍﻟﻤﻘﺩﻤﺔ‬ : ‫ﺭﻗﻡ‬ XI ‫ﺍﻟﺠﻥ‬ ‫ﺭﻗﺼﺔ‬ ‫ﺒﻌﻨﻭﺍﻥ‬ La danse de Puck ‫ﺍﻟﺴـــﻠﻡ‬ : E ‫ﺍﻟﻜﺒﻴ‬ ‫ﺭ‬ . ‫ﺍﻟﺼﻴﻐﺔ‬ : ‫ﻗﻭﺴﻴﺔ‬ ‫ﻡ‬ ٥٥ ‫ﻡ‬ ‫ﺇﻟﻰ‬ ٥٧ ‫ﻡ‬ ، ‫ﺍﻷﻭﻟﻰ‬ ‫ﺍﻟﻔﻜﺭﺓ‬ A2 ‫ﻡ‬ ٦٣ -٨٦ ‫ﻭﺍﻟﺘﺠﺎﻨﺱ‬ ‫ﺍﻟﺘﻨﻭﻉ‬ ‫ﺭﺍﻋﻰ‬ ‫ﺤﻴﺙ‬ ‫ﻗﺎﻟﺏ‬ ‫ﻓﻲ‬ ‫ﺭﺍﻗﺹ‬ ( ‫ﺍﻟﻔﻭﺠﺎ‬ ‫ﺃﻭ‬ ‫ﹰ‬ ‫ﻗﺩﻴﻤﺎ‬ ) ‫ﺤﺭﺓ‬ ‫ﻜﻔﺎﻨﺘﺎﺯﻴﺎ‬ ( ‫ﻤﻥ‬ ‫ﻜﻭﻨﺘﺭﺍﺒﻨﻁﻴﺔ‬ ‫ﺃﻋﻤﺎل‬ ‫ﺇﻟﻰ‬ ‫ﺒﺎﻻﻀﺎﻓﺔ‬ ، ‫ﺍﻟﺒﺎﺭﻭﻜﻴﺔ‬ ‫ﻟﻠﺭﻗﺼﺎﺕ‬ ‫ﻭﺍﻟﻤﻼﺌﻤﺔ‬ ‫ﺍﻷﻭﻟﻰ‬ ‫ﺍﻟﻔﻜﺭﺓ‬ A ‫ﻡ‬ ١ -‫ﻡ‬ ١٧ ‫ﻡ‬ ‫ﻤﻥ‬ ٦٣ ‫ﺩﺭﺠﺔ‬ ‫ﻋﻠﻰ‬ ‫ﺍﻟﻤﺼﻭﺭ‬ ‫ﺩﻭﺭﻴﺎﻥ‬ ‫ﻤﻘﺎﻡ‬ ‫ﺇﻟﻰ‬ ‫ﻋﻭﺩﺓ‬ F ‫ﻤﺭﻜـﺯ‬ ‫ﻭﺠـﻭﺩ‬ ‫ﻤﻊ‬ ‫ﻷﻭﺒﺭﺍ‬ ‫ﺍﻷﻭﺭﻜﺴﺘﺭﺍﻟﻴﺔ‬ ‫ﺍﻟﻤﻘﺩﻤﺔ‬ ‫ﺃﻭ‬ ‫ﺍﻟﻤﻜﺘﻭﻤﺔ‬ ‫ﻭﺃﺼﻭﺍﺘﻬﺎ‬ ‫ﺍﻵﻻﺕ‬ sordino ‫ﺍﻟ‬ ‫ﺁﻻﺕ‬ ‫ﺃﺼﻭﺍﺕ‬ ‫ﻭﻜﺫﻟﻙ‬ ، midi d'un Faune ‫ﺒﻴﻠﻴﺘـﻴﺱ‬ ‫ﺃﻏـﺎﻨﻲ‬ ‫ﺍﻟﻔﺭﻴﺩﺓ‬ ‫ﻤﻘﻁﻭﻋﺎﺘﻪ‬ ‫ﺫﻟﻙ‬ ‫ﺒﻌﺩ‬ ‫ﻅﻬﺭﺕ‬ ، ‫ﻴﻌ‬ ‫ﺍﻟﺘﻲ‬ ‫ﺍﻟﻤﻘﻁﻭﻋﺔ‬ ‫ﻭﻜﺫﺍ‬ ، ‫ﻜﺎﻨﺘﺎﺘﺎ‬ ‫ﺃﻭ‬ ‫ﺃﻭﺭﺍﺘﻭﺭﻴﻭ‬ ‫ﺃﻭ‬ ‫ﺒﺎﺥ‬ ‫ﻗﺩﻡ‬ ‫ﻜﻤﺎ‬ ، ‫ﺴﻴﻤﻔﻭﻨﻴﺎﺘﻪ‬ ‫ﻋﻥ‬ ‫ﻤﺨﺘﻠﻔﺔ‬ ‫ﻟﻴﺴﺕ‬ ‫ﺒﺒﺭﺍﻋﺔ‬ ‫ﺃﺼﻭﺍﺕ‬ ‫ﻭﺜﻼﺜﺔ‬ ‫ﺼﻭﺘﻴﻥ‬ ‫ﺍﻷﻭﻟﻰ‬ ‫ﺍﻟﻔﻜﺭﺓ‬ ‫ﺒﺩﺃﺕ‬ ‫ﻡ‬ ‫ﻤﻥ‬ ١ ‫ﺩﺭﺠﺔ‬ ‫ﻋﻠﻰ‬ ‫ﺍﻟﻤﺼﻭﺭ‬ ‫ﺩﻭﺭﻴﺎﻥ‬ ‫ﺒﻤﻘﺎﻡ‬ F ‫ﺜﻡ‬ ‫ﺘﻭﻨﺎﻟﻲ‬ B ‫ﻡ‬ ‫ﺤﺘﻰ‬ ٦٦ ‫ﻡ‬ ، ٦٧ ، ٦٨ ‫ﻤﻘﺎﻤﻲ‬ ‫ﺍﺯﺩﻭﺍﺝ‬ ‫ﺍﻷﺼﻭﺍﺕ‬ ‫ﺒﻴﻥ‬ . ‫ﺒﺩﺍﻴﺔ‬ ‫ﻓﻲ‬ ‫ﺍﻷﺭﻏﻥ‬ ‫ﺯﻓﻬﺎ‬ ‫ﻭﺍﻷﺼﻭﺍﺕ‬ ‫ﺍﻟﻤﻨﺨﻔﻀﺔ‬ ‫ﻭﺍﻟﻜﻼﺭﻴﻨﻴﺕ‬ ‫ﻔﻠﻭﺕ‬ ‫ﺍﻟﻜﻤﺎﻥ‬ ‫ﻵﻻﺕ‬ ‫ﺍﻟﻌﻠﻴﺎ‬ . Chansons de Bilitis ‫ﺍﻟﺜﻼﺙ‬ ‫ﻭﺍﻷﻤﺴﻴﺎﺕ‬ Nocturnes ‫ﻟﻸﻭﺭﻜﺴﺘﺭﺍ‬ ] ٩ : ‫ﻭﺘﺴﻤﻰ‬ ‫ﺍﻟﺼﻼﺓ‬ ‫ﻁﻘﻭﺱ‬ Service Voluntary ) ‫ﺍﻷﻟﻤﺎﻨﻲ‬ ‫ﺍﻟﻤﻘﺎﺒل‬ ‫ﺒﻴﺘﻬﻭﻓﻥ‬ ‫ﻜﺘﺏ‬ ‫ﻜﻤﺎ‬ ، ‫ﺍﻹﻨﺠﻠﻴﺯﻱ‬ ‫ﻟﻠﺴـﻭﻴﺕ‬ ‫ﻤﻘﺩﻤﺎﺕ‬ Ludwig Van ‫ﻡ‬ ‫ﻤﻥ‬ ‫ﺒﺩﺍﻴﺔ‬ ‫ﻟﺤﻨﻴﺔ‬ ‫ﺒﻤﺎﺩﺓ‬ ‫ﺘﻔﺎﻋل‬ ٨ ‫ﺼـﺎﻋﺩﺓ‬ ‫ﺃﺭﺒﻴﺠﻴـﺔ‬ ‫ﻟﺤﻨﻴـﺔ‬ ‫ﻤﺎﺩﺓ‬ ‫ﻋﻠﻰ‬ ‫ﺘﻌﺘﻤﺩ‬ ‫ﻡ‬ ٦٩ ‫ﻡ‬ ، ٧٢ Link . ‫ﻟﻶﻻﺕ،‬ ‫ﺍﻟﻤﻨﺨﻔﻀﺔ‬ ‫ﺍﻷﺼﻭﺍﺕ‬ ‫ﻓﻭﻕ‬ ‫ﻋﻠﺕ‬ ‫ﻤﺎ‬ ‫ﹰ‬ ‫ﻭﻜﺜﻴﺭﺍ‬ ‫ﺍﻟﻬﺎﺭﺏ‬ ‫ﺁﻻﺕ‬ ‫ﻤﻥ‬ ‫ﻭﺭﺍﺌﻌﺔ‬ ‫ﺭﻗﻴﻘﺔ‬ ‫ﻨﻐﻤﺎﺕ‬ harp ‫ﻭﺍﻟﺴﻴﻠﻴﺴﺘﺎ‬ celesta ‫ﻓﺄﻋﻁﺕ‬ ‫ﺒﻌﻴﺩﺓ‬ ‫ﻋﻭﺍﻟﻡ‬ ‫ﺇﻟﻰ‬ ‫ﺘﻨﺘﻤﻲ‬ ‫ﻭﻜﺄﻨﻬﺎ‬ ‫ﺘﺒﺩﻭ‬ ‫ﻭﺴﺤﺭﻴﺔ‬ ‫ﺤﺎﻟﻤﺔ‬ ‫ﺼﻭﺘﻴﺔ‬ ‫ﺴﻤﺎﺕ‬ ‫ﺍﻷﻭﺭﻜﺴﺘﺭﺍ‬ ‫ﻤﺩﻫﺸﺔ‬ . ‫ﺒ‬ ‫ﺍﻟﺘﺄﺜﻴﺭﻴﺔ‬ ‫ﺤﻅﻴﺕ‬ ‫ﻭﻭﻗﻊ‬ ‫ﺍﻟﺯﻤﻥ‬ ‫ﻤﻥ‬ ‫ﺴﻨﺔ‬ ‫ﺜﻼﺜﻴﻥ‬ ‫ﻓﻲ‬ ‫ﺍﻟﻤﺩﻯ‬ ‫ﺒﻌﻴﺩ‬ ‫ﺎﻨﺘﺸﺎﺭ‬ ‫ﻤﻨﻬﻡ‬ ‫ﻭﺘﺄﺜﻴﺭﻫﺎ،‬ ‫ﺴﺤﺭﻫﺎ‬ ‫ﺘﺤﺕ‬ ‫ﺍﻟﻤﺅﻟﻔﻴﻥ‬ ‫ﻤﻥ‬ ‫ﻜﺎﻤل‬ ‫ﺠﻴل‬ : ‫ﺭﺍﻓﻴل‬ M.Ravel ‫ﺍﻟﺫﻱ‬ ٤٩٠ -٤٩٢ [ ‫ﻋﻠـﻰ‬ ‫ﻭﺨﺭﺝ‬ ‫ﺍﻟﻤﻭﺴﻴﻘﻲ‬ ‫ﺍﻟﺘﺄﻟﻴﻑ‬ ‫ﻓﻲ‬ ‫ﺍﻟﻤﺘﺒﻌﺔ‬ ‫ﺍﻟﺘﻘﺎﻟﻴﺩ‬ ‫ﻋﻠﻰ‬ ‫ﺩﻴﺒﻭﺴﻲ‬ ‫ﺜﺎﺭ‬ ‫ﺃﺴﺎﺘ‬ ‫ﻋﻠﻴﻪ‬ ‫ﺃﺜﺎﺭ‬ ‫ﻤﻤﺎ‬ ، ‫ﺘﺄﻟﻴﻔﻪ‬ ‫ﻓﻲ‬ ‫ﻗﻭﺍﻋﺩﻫﺎ‬ ‫ﺒﺂﺭﺍﺌﻬﻡ‬ ‫ﻴﺄﺒﻪ‬ ‫ﻓﻠﻡ‬ ‫ﺍﻟﻤﻭﺴﻴﻘﻴﺔ‬ ‫ﺍﻷﻜﺎﺩﻴﻤﻴﺔ‬ ‫ﺫﺓ‬ ‫ﺍﻟﺘـﺄﺜﻴﺭﻱ‬ ‫ﻟﻠﻤـﺫﻫﺏ‬ ‫ﺒﺎﺒﺘﺩﺍﻋـﻪ‬ ‫ﺍﻟﺭﻭﻤﺎﻨﺘﻴﻜﻴﺔ‬ ‫ﻟﻘﻭﺍﻋﺩ‬ ‫ﹰ‬ ‫ﻤﻀﺎﺩﺍ‬ ‫ﹰ‬ ‫ﺍﺘﺠﺎﻫﺎ‬ ‫ﻭﺍﺘﺠﻪ‬ ‫ﺒل‬ Impressionism ‫ﻋﺎﻡ‬ ‫ﻭﻓﻲ‬ ١٨٩٤ ‫ﻓﺭﻭﺒﺭﺠﺭ‬ Johann Jakob Froberger ‫ﻓﺭﺴﻜﻭﺒﺎﻟﺩﻱ‬ ‫ﻭ‬ Girolamo Sergei Rachmaninoff ‫ﻤﺼﻨﻑ‬ ٣ ‫ﺭﻗﻡ‬ ٢ ‫ﻤﺼﻨﻑ‬ ‫ﻤﻘﺩﻤﺔ‬ ‫ﻭﻋﺸﺭ‬ ، ٢٣ ، ‫ﺍﻟﺜﺎﻟﺜﺔ‬ ‫ﺍﻟﻔﻜﺭﺓ‬ C ‫ﻡ‬ ٣٠ -٤٨ ‫ﺃﻤﺴـﻴﺔ‬ ‫ﻤﻘﺩﻤﺔ‬ ‫ﺍﻟﺴﻴﻤﻔﻭﻨﻲ‬ ‫ﺍﻟﻘﺼﻴﺩ‬ ‫ﺃﻟﻑ‬ Vorspiel ( ‫ﻭﻤﺴﺘﻘل‬ ‫ﻤﻨﻔﺼل‬ ‫ﻜﻴﺎﻥ‬ ‫ﺫﺍﺕ‬ ‫ﺁﻟﻴﺔ‬ ‫ﻤﻘﻁﻭﻋﺔ‬ ‫ﺃﺼﺒﺤﺕ‬ ‫ﻭﻗﺩ‬ ، ‫ﺸﻭﺒﺎﻥ‬ ‫ﻜﻤﻘﺩﻤﺎﺕ‬ Chopin ‫ﻭﺭﺤﻤﺎﻨﻴﻨﻭﻑ‬ Rachmaninov ‫ﻭﺩﻴﺒﻭﺴﻲ‬ Debussy ‫ﻟﻠﺒﻴﺎﻨﻭ‬ ] ٢ : ٤١٤ [ ، ‫ﻓﻲ‬ ‫ﻟﻠﻤﻘﺩﻤﺎﺕ‬ ‫ﺍﻟﺤﻘﻴﻘﻴﺔ‬ ‫ﺍﻟﺒﻭﺍﺩﺭ‬ ‫ﻅﻬﺭﺕ‬ ‫ﺁﻟﺔ‬ ‫ﻤﺅﻟﻔﺎﺕ‬ Beethoven ‫ﻤﺼﻨﻑ‬ ‫ﻤﻘﺩﻤﺘﻴﻥ‬ ٣٩ ، ‫ﺸـﻭﺒﺎﻥ‬ ‫ﻜﺘﺏ‬ ‫ﻜﻤﺎ‬ Frédéric Chopin ١٨١٠ ‫ـ‬ ١٨٤٩ ‫ﻤﺼﻨﻑ‬ ‫ﻤﻘﺩﻤﺔ‬ ‫ﻭﻋﺸﺭﻭﻥ‬ ‫ﺃﺭﺒﻊ‬ ٢٨ ‫ﻤﺼﻨﻭﻉ‬ ‫ﹰ‬ ‫ﺨﻤﺎﺴﻴﺎ‬ ‫ﹰ‬ ‫ﺴﻠﻤﺎ‬ ‫ﻤﻜﻭﻨﺔ‬ ‫ﻭﻫﺎﺒﻁﺔ‬ ، ‫ﺍﻟﺠﺯﺀ‬ ‫ﻫﺫﺍ‬ ‫ﹰ‬ ‫ﻤﻨﺘﻬﻴﺎ‬ ‫ﻜﺭﻭﻤ‬ ‫ﺒﺤﺭﻜﺔ‬ ‫ﺎﺘﻴﻜﻴﺔ‬ . ‫ﻡ‬ ‫ﻤﻥ‬ ٨٧ -‫ﻡ‬ ٩٦ Coda ‫ﻭ‬ ‫ﺩﺭﺠـﺔ‬ ‫ﻋﻠﻰ‬ ‫ﺍﻟﻤﺼﻭﺭ‬ ‫ﺍﻟﺩﻭﺭﻴـﺎﻥ‬ ‫ﻟﻤﻘﺎﻡ‬ ‫ﻋﻭﺩﺓ‬ F . ‫ﺠﺎﺀ‬ ‫ﻭﻗﺩ‬ ، Claude ‫ﺍﻟﺜﺎﻨﻴﺔ‬ ‫ﺍﻟﻔﻜﺭﺓ‬ B ‫ﻡ‬ ١٨ -٢٩ ‫ﻡ‬ ‫ﻓﻲ‬ ‫ﻟﻴﻨﺘﻬﻲ‬ ٩٦ ‫ﺜﺎﺒﺘــﺔ‬ ‫ﺃﺒﻌـﺎﺩ‬ ‫ﺒﺎﺴـﺘﺨﺩﺍﻤﻪ‬ ١ ‫ـ‬ ١ ‫ـ‬ ½ ‫ـ‬ ١ ‫ﺩﻴﺒﻭﺴﻲ‬ ‫ﻋﺩﺍ‬ ‫ﻤﺎ‬ ‫ﺴﺎﺒﻘﻴﻬﻡ‬ ‫ﻤﻊ‬ ‫ﺘﺸﺎﺒﻬﻭﺍ‬ ‫ﺍﻟﻠﺫﻴﻥ‬ ‫ﺍﻟﻤﺅﻟﻔﻴﻥ‬ ‫ﻤﻥ‬ ‫ﺍﻟﻌﺩﻴﺩ‬ Debussy ‫ﻜﺘﺎﺏ‬ ‫ﺒﻜل‬ ‫ﻟﻠﺒﻴﺎﻨﻭ‬ ‫ﺍﻟﺘﺄﺜﻴﺭﻴﺔ‬ ‫ﻟﻠﻤﻘﺩﻤﺎﺕ‬ ‫ﻜﺘﺎﺒﻴﻥ‬ ‫ﺃﻟﻑ‬ ‫ﺍﻟﺫﻱ‬ ‫ﺇ‬ ‫ﻤﻥ‬ ‫ﺍﻟﺜﺎﻨﻴﺔ‬ ‫ﺍﻟﻔﻜﺭﺓ‬ ‫ﺒﺩﺃﺕ‬ ‫ﻡ‬ ١٨ ‫ﺍﻟﻤﺼـﻭﺭ‬ ‫ﻤﻜﺴﻭﻟﻴﺩﻴﺎﻥ‬ ‫ﻟﻤﻘﺎﻡ‬ ‫ﺒﺎﺴﺘﺨﺩﺍﻤﻪ‬ ‫ﻡ‬ ‫ﺍﻷﻭل‬ ‫ﻟﻠﻜﺭﻭﺵ‬ ‫ﻨﻐﻤﺎﺕ‬ ‫ﻟﺨﻤﺱ‬ ٩٥ ‫ﺍﻟﻤﻜﺴﻭﻟﻴﺩﻴﺎﻥ‬ ‫ﻤﻘﺎﻡ‬ ‫ﻋﻥ‬ ‫ﺍﻟﺠﺯﺀ‬ ‫ﻫﺫﺍ‬ ‫ﻭﻴﻌﺒﺭ‬ ‫ﻋﺸﺭ‬ ‫ﺜﻨﺎ‬ ‫ﻋﺸﺭ‬ ‫ﺍﻟﺴﺎﺒﻊ‬ ‫ﺍﻟﻘﺭﻥ‬ ‫ﻓﻲ‬ ‫ﺍﻟﻤﻘﺩﻤﺎﺕ‬ ‫ﺘﻁﻭﺭﺕ‬ ، ‫ﺍﻟﻨﻬﻀﺔ‬ ‫ﺒﻌﺼﺭ‬ ‫ﺍﻟﻌﻭﺩ‬ ‫ﻤﻥ‬ ‫ﻟﻜل‬ ‫ﻟﻠﺘﻭﻜﺎﺘﺎ‬ ‫ﺍﻟﻤﻔﺎﺘﻴﺢ‬ ‫ﻟﻭﺤﺎﺕ‬ ‫ﻋﻠﻰ‬ ‫ﻤﺘﺸﺎﺒﻬﺔ‬ ‫ﺒﺄﺸﻜﺎل‬ ‫ﺃﻟﻤﺎﻨﻴﺎ‬ ‫ﻓﻲ‬ ‫ﺭﺤﻤﺎﻨﻴﻨﻭﻑ‬ ‫ﺃﻟﻑ‬ ‫ﻜﻤﺎ‬ ، ‫ﺍﻟﻤﻘﺩﻤﺎﺕ‬ ‫ﺘﺄﻟﻴﻑ‬ ‫ﻓﻲ‬ ‫ﻻﺤﻘﻴﻪ‬ ‫ﻋﻠﻰ‬ ‫ﺃﺜﺭ‬ ‫ﺍﻟﺫﻱ‬ ‫ﺍﻷﻤﺭ‬ ‫ﻤﻘﺩﻤﺔ‬ ‫ﺩﺭﺠﺔ‬ ‫ﻋﻠﻰ‬ E ‫ﺍﻟﺤﺭﻜ‬ ‫ﺍﺴﺘﺨﺩﺍﻡ‬ ‫ﻓﻲ‬ ‫ﻤﺘﻭﻏﻼ‬ ‫ﻡ‬ ‫ﺤﺘﻰ‬ ‫ﺍﻟﻤﺘﺘﺎﻟﻴﺔ‬ ‫ﺍﻟﻜﺭﻭﻤﺎﺘﻴﺔ‬ ‫ﺎﺕ‬ ٢٩ . ‫ﻋﻠﻰ‬ ‫ﺍﻟﻤﺼﻭﺭ‬ A ‫ﺜﻡ‬ E ‫ﺜﻡ‬ A ‫ﺜﻡ‬ E .
	‫ﺴﺘﺔ‬ ‫ﺃﻭ‬ ‫ﺃﺼﻭﺍﺕ‬ ‫ﺨﻤﺴﺔ‬ ، ‫ﻗﻁﻌﺘﻪ‬ ‫ﺍﺸﺘﻬﺭﺕ‬ » ‫ﺒﻭﻟﻴﺭﻭ‬ * ‫ﺘﺸﺎﻴﻜﻭﻓﺴﻜﻲ‬ ‫ﺇﻴﻠﻴﺘﺵ‬ ‫ﺒﻴﺘﺭ‬ Peter I. Tchaikovsky ‫ﻭﺍﻟﻤﻤﺘﺩﺓ‬ ‫ﺍﻟﻤﺴﺘﻤﺭﺓ‬ ‫ﺍﻟﺤﺎﺩﺓ‬ ‫ﺍﻷﺼﻭﺍﺕ‬ ‫ﺍﺴﺘﺨﺩﻤﻭﺍ‬ ‫ﻜﻤﺎ‬ « Boléro ‫ﺍﻹﺴﺒﺎﻨﻴﺔ‬ ‫ﻷﻟﺤﺎﻨﻬﺎ‬ ‫ﺍﻟﺸﻌﺒﻲ‬ ‫ﺍﻟﻤﺴﺘﻭﻯ‬ ‫ﻓﻲ‬ -‫ﻋﺎﻡ‬ ‫ﻭﻟﺩ‬ ١٨٤٠ ‫ﺍﻟﺒﺎﻟﻴﻪ‬ ‫ﺒﻌﺒﻘﺭﻱ‬ ‫ﻟﻘﺏ‬ Frescobaldi ‫ﺒﻜﺴﺘﻬﻭﺩﻩ‬ ‫ﻫﻭ‬ ‫ﺍﻷﻟﻤﺎﻨﻲ‬ ‫ﺍﻟﺸﻤﺎل‬ ‫ﻓﻲ‬ ‫ﺍﻟﻤﻘﺩﻤﺎﺕ‬ ‫ﻤﺅﻟﻔﻲ‬ ‫ﺃﻫﻡ‬ ‫ﻭﻤﻥ‬ ، ‫ﻭ‬ ١٣ ‫ﻤﺼﻨﻑ‬ ‫ﻤﻘﺩﻤﺔ‬ ٣٢ ‫ﺴﻜﺭﻴﺎﺒﻥ‬ ‫ﺃﻟﻑ‬ ‫ﻜﻤﺎ‬ ، Alexander Scriabin ‫ﻋﺩﺩ‬
				[	٤٣٦	:	٥	] .	١٨٩٣	‫ﻋﺎﻡ‬ ‫ﺘﻭﻓﻲ‬ ، ‫ﺍﻟﺭﻭﺴﻲ‬
	( ( ( ( ( ( (	١٩ ٢٠ ٢١ ٢٢ ٢٣ ٢٤ ٢٥	) ) ) ) ) ) )	‫اﻟﻌﺪد‬ -‫اﻟﻌﺪد‬ ) ٢٤ ) ٢٤ ( ‫أﻛﺘﻮﺑﺮ‬ ( ‫أﻛﺘﻮﺑﺮ‬ ٢٠١٩ ٢٠١٩ ‫اﻟﻌﺪد‬ ) ٢٤ ( ‫أﻛﺘﻮﺑﺮ‬ ٢٠١٩ -‫اﻟﻌﺪد‬ ) ٢٤ ( ‫أﻛﺘﻮﺑﺮ‬ ٢٠١٩ ‫اﻟﻌﺪد‬ ) ٢٤ ( ‫أﻛﺘﻮﺑﺮ‬ ٢٠١٩ -‫اﻟﻌﺪد‬ ) ٢٤ ( ‫أﻛﺘﻮﺑﺮ‬ ٢٠١٩ ‫اﻟﻌﺪد‬ ) ٢٤ ( ‫أﻛﺘﻮﺑﺮ‬ ٢٠١٩	‫اﻟﻤﺠ‬ ‫اﻟﻤﺘﺨﺼﺼﺔ‬ ‫ﻟﻠﺪراﺳﺎت‬ ‫اﻟﻤﺼﺮﻳﺔ‬ ‫اﻟﻤﺠﻠﺔ‬ ‫اﻟﻤﺘﺨﺼﺼﺔ‬ ‫ﻟﻠﺪراﺳﺎت‬ ‫اﻟﻤﺼﺮﻳﺔ‬ ‫ﻠﺔ‬ -‫اﻟﻤﺠ‬ ‫اﻟﻤﺘﺨﺼﺼﺔ‬ ‫ﻟﻠﺪراﺳﺎت‬ ‫اﻟﻤﺼﺮﻳﺔ‬ ‫ﻠﺔ‬ -‫اﻟﻤﺘﺨﺼﺼﺔ‬ ‫ﻟﻠﺪراﺳﺎت‬ ‫اﻟﻤﺼﺮﻳﺔ‬ ‫اﻟﻤﺠﻠﺔ‬ ‫اﻟﻤﺠ‬ ‫اﻟﻤﺘﺨﺼﺼﺔ‬ ‫ﻟﻠﺪراﺳﺎت‬ ‫اﻟﻤﺼﺮﻳﺔ‬ ‫ﻠﺔ‬ -‫اﻟﻤﺘﺨﺼﺼﺔ‬ ‫ﻟﻠﺪراﺳﺎت‬ ‫اﻟﻤﺼﺮﻳﺔ‬ ‫اﻟﻤﺠﻠﺔ‬ ‫اﻟﻤﺠ‬ ‫اﻟﻤﺘﺨﺼﺼﺔ‬ ‫ﻟﻠﺪراﺳﺎت‬ ‫اﻟﻤﺼﺮﻳﺔ‬ ‫ﻠﺔ‬ -