 -     -   


• ‫ﻤﻨﻬﺞ‬ ‫ﺍﻟﺒﺤﺙ‬ : ‫ﺍﻟﻭﺼﻔﻲ‬ ‫ﺍﻟﻤﻨﻬﺞ‬ ) ‫ﺍﻟﻤﺤﺘﻭﻯ‬ ‫ﺘﺤﻠﻴل‬ (  -      -     ) ١٣٠٥ ( • ‫ﻋﻴﻨﺔ‬ ‫ﺍﻟﺒﺤﺙ‬ : ‫ﻤﻘﻁﻭﻋﺔ‬ " ‫ﺍﻟﺠﻨـﺩﻭل‬ ‫ﻓـﻲ‬ " In A Gondola ‫ﻤـﺼﻨﻑ‬ ٢٥٤ ‫ﺭﻗـﻡ‬ ٣ ، ‫ﻭﻤﻘﻁﻭﻋﺔ‬ " ‫ﺍﻟﻭﺭﺩﺓ‬ " Rose ‫ﻤﺼﻨﻑ‬ ٩٤ ‫ﺭﻗﻡ‬ ١ ، ‫ﻭﻤﻘﻁﻭﻋﺔ‬ " ‫ﺍﻟﻨﺎﻓﻭﺭﺓ‬ " La Fontaine ‫ﻤﺼﻨﻑ‬ ٢٢١ . • ‫ﺃﺩﻭﺍﺕ‬ ‫ﺍﻟﺒﺤﺙ‬ : ‫ﺍﻟﻤﻭﺴﻴﻘﻴﺔ‬ ‫ﺍﻟﻤﺩﻭﻨﺎﺕ‬ ، ‫ﺍﻟﺒﻴﺎﻨﻭ‬ ‫ﺁﻟﺔ‬ ، ‫ﺍﻟﻤﺭﺍﺠﻊ‬ ، ‫ﺍﻹﻨﺘﺭﻨﺕ‬ ‫ﻤﺼﺎﺩﺭ‬ . ‫ﺤﺩﻭﺩ‬ ‫ﺍﻟﺒﺤﺙ‬ : ‫ﺤﺩﻭﺩ‬ ‫ﺯﻤﻨﻴﺔ‬ : ‫ﻋﺸﺭ‬ ‫ﺍﻟﺘﺎﺴﻊ‬ ‫ﺍﻟﻘﺭﻥ‬ ‫ﻤﻥ‬ ‫ﺍﻷﺨﻴﺭ‬ ‫ﺍﻟﺭﺒﻊ‬ ‫ﺤﺩﻭﺩ‬ ‫ﻤﻜﺎﻨﻴﺔ‬ : ‫ﺍﻟﻤﺎﻨﻴﺎ‬ • ‫ﻤﺼﻁﻠﺤﺎﺕ‬ ‫ﺍﻟﺒﺤﺙ‬ : ‫ﺍﻟﺘﻜﻨﻴﻙ‬ Technique ‫ﻫﻲ‬ ‫ﻭﺘﺤﻜﻡ‬ ‫ﻭﺤﺭﻴﺔ‬ ‫ﻤﺭﻭﻨﺔ‬ ‫ﺍﻜﺘﺴﺎﺏ‬ ‫ﻋﻥ‬ ‫ﺍﻟﻨﺎﺘﺠﺔ‬ ‫ﺍﻟﻌﺯﻓﻴﺔ‬ ‫ﺍﻟﻤﻬﺎﺭﺓ‬ ‫ﻓﻲ‬ ‫ﺍﻟﻌﻀﻼﺕ‬ ‫ﺍﻟﻤﺴﺘﺨﺩﻤﺔ‬ ) ‫ﺃﺼﺎﺒﻊ‬ - ‫ﻴﺩ‬ - ‫ﺭﺴﻎ‬ - ‫ﺴﺎﻋﺩ‬ - ‫ﺫﺭﺍﻉ‬ - ‫ﻤﻔﺎﺼل‬ ( ‫ﻟﻺﺴ‬ ‫ﻟﻠﻭﺼﻭل‬ ‫ﺘﺨﺩﺍﻡ‬ ‫ﺍﻟﺴﻠﻴﻡ‬ ). ٨ - ٧٢٣ ( ‫ﺍﻟﺘﻌﺒﻴﺭ‬ Expression ‫ﻫﻭ‬ ‫ﺍﻟﻤﻔـﺎﻫﻴﻡ‬ ‫ﺒﺎﺴﺘﻌﻤﺎل‬ ‫ﺍﻟﻌﺎﺯﻑ‬ ‫ﺒﻪ‬ ‫ﻭﻴﺸﻌﺭ‬ ‫ﺍﻟﻤﺅﻟﻑ‬ ‫ﻴﺭﻏﺒﻪ‬ ‫ﺍﻟﺫﻱ‬ ‫ﺒﺎﻟﺸﻜل‬ ‫ﺍﻟﻤﻘﻁﻭﻋﺔ‬ ‫ﺍﺨﺭﺍﺝ‬ ‫ﻁﺭﻴﻘﺔ‬ ‫ﺍﻟﺨﺎﻓﺕ‬ ‫ﺍﻟﻌﺯﻑ‬ ‫ﻤﺜل‬ ‫ﺍﻟﺩﻴﻨﺎﻤﻴﻜﻴﺔ‬ ) P ( ‫ﺍﻟﻘﻭﻱ‬ ‫ﻭﺍﻟﻌﺯﻑ‬ ) F ( ‫ﺍﻟﻘﻭﺓ‬ ‫ﻓﻲ‬ ‫ﻭﺍﻟﺘﺩﺭﺝ‬ ) Cres. ( ‫ﻓﻲ‬ ‫ﻭﺍﻟﺘﺩﺭﺝ‬ ‫ﺍﻟﻠﻴﻥ‬ ) Dim ( ) . ١ - ١٨٣ ( ‫ﺍﺴﻠﻭﺏ‬ ‫ﺃﺩﺍﺀ‬

‫ﺍﻟﺩﺭﺍﺴﺔ‬ ‫ﺒﻌﻨﻭﺍﻥ‬ ‫ﺍﻟﺜﺎﻟﺜﺔ‬

" ‫ﻤﺼﻨﻑ‬ ‫ﺍﻷﻁﻔﺎل‬ ‫ﻤﻘﻁﻭﻋﺎﺕ‬ ) ٦٢ ( ‫ﺍﻟﺒﻴﺎ‬ ‫ﻵﻟﺔ‬ ‫ﺸﻴﺭﻭﻨﻜﺎ‬ ‫ﺍﻜﺯﻓﻴﺭ‬ ‫ﻋﻨﺩ‬ ‫ﻨﻭ‬ " ) ٢ ( ‫ﻴﻬﺩﻑ‬ ‫ﺍﻷﻁﻔﺎل‬ ‫ﻤﻘﻁﻭﻋﺎﺕ‬ ‫ﺩﺭﺍﺴﺔ‬ ‫ﺍﻟﻰ‬ ‫ﺍﻟﺒﺤﺙ‬ ‫ﻫﺫﺍ‬ ‫ﻤﺼﻨﻑ‬ ‫ﺭﻗﻡ‬ ٦٢ ‫ﺍﻜﺯﻓﻴـﺭ‬ ‫ﻋﻨـﺩ‬ ‫ﺍﻟﺒﻴـﺎﻨﻭ‬ ‫ﻵﻟﺔ‬ ‫ﻭﺃﺩﺍﺌﻴﺔ‬ ‫ﻋﺯﻓﻴﺔ‬ ‫ﺘﻘﻨﻴﺎﺕ‬ ‫ﻤﻥ‬ ‫ﻋﻠﻴﻪ‬ ‫ﺘﺸﺘﻤل‬ ‫ﻭﻤﺎ‬ ‫ﺸﻴﺭﻭﻨﻜﺎ‬ ، ‫ﻋﻠـﻰ‬ ‫ﺍﻟﻀﻭﺀ‬ ‫ﺍﻟﻘﺎﺀ‬ ‫ﻋﻠﻰ‬ ‫ﺍﻟﺒﺤﺙ‬ ‫ﺍﺸﺘﻤل‬ ‫ﻭﻗﺩ‬ ) ١ ( ‫ﺃﻤل‬ ‫ﻤﺤﻤﺩ‬ ‫ﻁﻠﻌﺕ‬ ‫ﺍﺴﻤﺎﻋﻴل‬ : ‫ﺒﺤﺙ‬ ‫ﻤﻨﺸﻭﺭ،‬ ‫ﻤﺠﻠﺔ‬ ‫ﻋﻠﻭﻡ‬ ‫ﻭﻓﻨﻭﻥ‬ ‫ﺍﻟﻤﻭﺴﻴﻘﻰ‬ ، ‫ﺍﻟﻤﺠﻠﺩ‬ ‫ﺍﻟﺜﺎﻨﻲ‬ ‫ﻭﺍﻟﻌﺸﺭﻭﻥ‬ ، ‫ﻜﻠﻴﺔ‬ ‫ﺍﻟﺘﺭﺒﻴﺔ‬ ‫ﺍﻟ‬ ‫ﻤﻭﺴﻴﻘﻴﺔ‬ ، ‫ﺠﺎﻤﻌﺔ‬ ‫ﺤﻠﻭﺍﻥ‬ ، ٢٠١١ ) ٢ ( ‫ﺩﺍﻟﻴﺎ‬ ‫ﺍﺴﻤﺎﻋﻴل‬ ‫ﻤﺤﻤﺩ‬ ‫ﺒﺤﺙ‬ ‫ﻤﻨﺸﻭﺭ،‬ ‫ﻤﺠﻠﺔ‬ ‫ﻋﻠﻭﻡ‬ ‫ﻭﻓﻨﻭﻥ‬ ‫ﺍﻟﻤﻭﺴﻴﻘﻰ‬ ‫ﺍﻟﻤﺠﻠﺩ‬ ‫ﺍﻟﺭﺍﺒـﻊ‬ ‫ﻭﺍﻟـﺸﺭﻭﻥ‬ ، ‫ﻜﻠﻴﺔ‬ ‫ﺍﻟﺘﺭﺒﻴـﺔ‬ ‫ﺍﻟﻤﻭﺴﻴﻘﻴﺔ‬ ‫ﺠﺎﻤﻌﺔ‬ ‫ﺤﻠﻭﺍﻥ،ﺍﻟﻘﺎﻫﺭﺓ‬ ، ‫ﻴﻨﺎﻴﺭ‬ ٢٠١٢  -      -     ) ١٣٠٧ ( ‫ﺍﺸﺘ‬ ‫ﻜﻤﺎ‬
• ‫ﻤﻘﻁﻭﻋﺔ‬ ‫ﻤﺼﻨﻑ‬ ‫ﺍﻟﻨﺎﻓﻭﺭﺓ‬ ٢٢١ • ‫ﻤﻘﻁﻭﻋﺔ‬ ‫ﻤﺼﻨﻑ‬ ‫ﺍﻟﻭﺭﺩﺓ‬ ٩٤ ‫ﺭﻗﻡ‬ ١ • ‫ﻤﻘﻁﻭﻋﺔ‬ ‫ﻤﺼﻨﻑ‬ ‫ﺍﻟﺠﻨﺩﻭل‬ ٢٥٤ ‫ﺭﻗﻡ‬ ٣ • ‫ﺭﻭﻨﺩﻭ‬ ‫ﻤﺼﻨﻑ‬ ‫ﺍﻟﻜﺒﻴﺭ‬ ‫ﺼﻭل‬ ‫ﻤﻘﺎﻡ‬ ‫ﻓﻲ‬ ‫ﺼﻐﻴﺭﺓ‬ ٩٩ . • ‫ﺴﺩﺍﺴﻴﺎﺕ‬ ‫ﻤﺜﻨﻑ‬ ‫ﻟﻭﺴﻴﺎ‬ ‫ﻤﻥ‬ ١١٤ . • ‫ﺃﺠﺭﺍﺱ‬ ‫ﻤﺼﻨﻑ‬ ‫ﻤﺎﻴﻭ‬ ١٣٥ . • ‫ﺠﺭﺍﻨﺩ‬ ‫ﺍﻟﻌﺴﻜﺭﻴﺔ‬ ‫ﺠﺎﻟﻭﺏ‬ ‫ﻤﺼﻨﻑ‬ ٢١٣ . • ‫ﻟﺤﻥ‬ " ‫ﻗﻠﺒﻬﻡ‬ ‫ﻴﻌﻁﻭﻨﻲ‬ ‫ﻜﺫﻟﻙ‬ ‫ﻜﺎﻥ‬ ‫ﺇﺫﺍ‬ If Thou They Heart wii Give me" ‫ﻤـﺼﻨﻑ‬ ٢٦٦ • ‫ﺃﻏﻨﻴﺔ‬ ‫ﻤﺼﻨﻑ‬ ‫ﺍﻟﺴﻨﻭﻨﻭ‬ ٢٧٠ • ‫ﺍﻟﺭﻗﺼﺔ‬ ‫ﺍﻟﺨﻴﺎﻟﻴﺔ‬ Fairy Dance ‫ﻤﺼﻨﻑ‬ ٢٨١ • ‫ﻤﺎﺯﻭﺭﻜﺎ‬ ‫ﻤﺼﻨﻑ‬ ‫ﻤﺠﺭﻴﺔ‬ ١٠٢  -      -     ) ١٣١١ ( • ‫ﻤﺭﺡ‬ ‫ﻤﺼﻨﻑ‬ ‫ﺍﻟﻔﺭﺍﺸﺎﺕ‬ ‫ﻤﻊ‬ ٢٨٢ • ‫ﺍﻟﻨﻌﻤﺔ‬ ‫ﻤﺼﻨﻑ‬ ٣٠٢ ‫ﺭﻗﻡ‬ ٥ • ‫ﺒﻭﻟﻭﻨﻴﺯ‬ ‫ﻤﺼﻨﻑ‬ ‫ﺍﻟﻤﻠﻜﺔ‬ ‫ﺭﻗﺼﺔ‬ ٢٠٥ ‫ﺭﻗﻡ‬ ٢ • ‫ﺃﻏﻨﻴﺔ‬ ‫ﻤﺼﻨﻑ‬ ‫ﺃﺴﺒﺎﻨﻴﺔ‬ ٣٢٧ ‫ﺭ‬ ‫ﻗﻡ‬ ١٤ • ‫ﺒﻭﻟﻜﺎ‬ ‫ﻤﺼﻨﻑ‬ ٣٥٧ ‫ﺭﻗﻡ‬ ٣ • ‫ﺭﻭﺯﻴﺘﺎ‬ ‫ﻤﺼﻨﻑ‬ ٣٥٧ ‫ﺭﻗﻡ‬ ٤ • ‫ﻤﺎﺭﺵ‬ ‫ﻤﺼ‬ ‫ﻗﺎﺩﻤﻭﻥ‬ ‫ﺍﻟﻀﺒﺎﻁ‬ ‫ﺒﻌﻨﻭﺍﻥ‬ ‫ﻨﻑ‬ ٣٦٢ ‫ﹰ‬ ‫ﺜﺎﻨﻴﺎ‬ : ‫ﺍﻟﺘﻁﺒﻴﻘﻲ‬ ‫ﺍﻹﻁﺎﺭ‬ ‫ﺍﻟﻤﻘﻁﻭﻋﺔ‬ ‫ﺍﻷﻭﻟﻰ‬ : ‫ﺍﺴﻡ‬ ‫ﺍﻟﻤﻘﻁﻭﻋﺔ‬ : ‫ﺍﻟﻭﺭﺩﺓ‬ Rose ‫ﻤﺼﻨﻑ‬ ٩٤ ‫ﺭﻗﻡ‬ ١ ‫ﺍﻟﺴﻠﻡ‬ : ‫ﺍﻟﻜﺒﻴﺭ‬ ‫ﻓﺎ‬ ‫ﺍﻟﻤﻴﺯﺍﻥ‬ ‫ﺍﻟﻁﻭل‬ ‫ﺍﻟﺒﻨﺎﺌﻲ‬ : ٨٤ ‫ﻤﺎﺯﻭﺭﺓ‬ ‫ﺍﻟﺼﻴﻐﺔ‬ : ‫ﺭﻭﻨﺩﻭ‬ ‫ﺍﻟﺴﺭﻋﺔ‬ : Grazioso ‫ﻭﺭﺸﺎﻗﺔ‬ ‫ﻭﺭﻗﺔ‬ ‫ﺒﺄﻨﺎﻗﺔ‬ ‫ﻭﺘﻌﻨﻲ‬ ‫ﺍﻟﺘﺤﻠﻴل‬ ‫ﺍﻟﺒﻨﺎﺌﻲ‬ : - ‫ﺍﻟﻔﻜﺭﺓ‬ ) A ( ‫ﻡ‬ ‫ﻤﻥ‬ ) ١ : ١٦ ( ‫ﺍﻷﺴﺎﺴﻴﺔ‬ ‫ﺍﻟﺩﺭﺠﺔ‬ ‫ﻋﻠﻰ‬ ‫ﺘﺎﻡ‬ ‫ﺒﺭﻜﻭﺯ‬ ‫ﺘﻨﺘﻬﻲ‬ ) ‫ﻓﺎ‬ ( . ‫ﺍﻟﻰ‬ ‫ﻭﺘﻨﻘﺴﻡ‬ ‫ﺠﻤﻠﺘﻴﻥ‬ ، ‫ﺍﻷﻭﻟ‬ ‫ﺍﻟﺠﻤﻠﺔ‬ ‫ﻰ‬ ‫ﻡ‬ ‫ﻤﻥ‬ ) ١ : ٨ ( ‫ﺍﻟﻜﺒﻴﺭ‬ ‫ﻓﺎ‬ ‫ﺴﻠﻡ‬ ‫ﻓﻲ‬ ‫ﺘﺎﻤﺔ‬ ‫ﺒﻘﻔﻠﺔ‬ ‫ﺘﻨﺘﻬﻲ‬ ، ‫ﺍﻟﺜﺎﻨﻴﺔ‬ ‫ﻭﺍﻟﺠﻤﻠﺔ‬ ‫ﻡ‬ ) ٩ : ١٦ ( ‫ﺍﻟﻜﺒﻴﺭ‬ ‫ﻓﺎ‬ ‫ﺴﻠﻡ‬ ‫ﻓﻲ‬ ‫ﺘﺎﻤﺔ‬ ‫ﺒﻘﻔﻠﺔ‬ ‫ﻭﺘﻨﺘﻬﻲ‬ . - ‫ﺍﻟﻔﻜ‬ ‫ﺭﺓ‬ ) B ( ‫ﻡ‬ ‫ﻤﻥ‬ ) ١٧ : ٣٢ ( ‫ﻗﺎﻡ‬ ‫ﻤﻘﺎﻡ‬ ‫ﺍﻟﻰ‬ ‫ﺒﺎﻟﺘﺤﻭﻴل‬ ) ‫ﺩﻭ‬ ( ‫ﺒﻘﻔﻠﺔ‬ ‫ﺍﻟﻔﻜﺭﺓ‬ ‫ﻫﺫﻩ‬ ‫ﻟﺘﻨﺘﻬﻲ‬ ‫ﺍﻟﻜﺒﻴﺭ‬ ‫ﻤﻘﺎﻡ‬ ‫ﻓﻲ‬ ‫ﺘﺎﻤﺔ‬ ) ‫ﺩﻭ‬ ( ‫ﺍﻟﻜﺒﻴﺭ‬ . ‫ﻡ‬ ‫ﻤﻥ‬ ‫ﺍﻷﻭﻟﻰ‬ ‫ﺍﻟﺠﻤﻠﺔ‬ ‫ﺠﻤﻠﺘﻴﻥ‬ ‫ﺍﻟﻰ‬ ‫ﻭﺘﻨﻘﺴﻡ‬ ) ١٧ : ٢٤ ( ‫ﻭﺘﻨﺘﻬﻲ‬  -      -     ) ١٣١٢ ( ‫ﺍﻟﺜﺎﻟﺜﺔ‬ ‫ﺍﻟﺩﺭﺠﺔ‬ ‫ﻋﻠﻰ‬ ‫ﺒﻘﻔﻠﺔ‬ ) ‫ﻤﻲ‬ ( ‫ﻤﻘﺎﻡ‬ ‫ﻓﻲ‬ ) ‫ﺩﻭ‬ ( ‫ﺍﻟﻜﺒﻴﺭ‬ ، ‫ﻡ‬ ‫ﻤﻥ‬ ‫ﺍﻟﺜﺎﻨﻴﺔ‬ ‫ﻭﺍﻟﺠﻤﻠﺔ‬ ) ٢٥ : ٣٢ ( ‫ﻓ‬ ‫ﺘﺎﻤﺔ‬ ‫ﺒﻘﻔﻠﺔ‬ ‫ﻭﺘﻨﺘﻬﻲ‬ ‫ﻤﻘﺎﻡ‬ ‫ﻲ‬ ) ‫ﺩﻭ‬ ( ‫ﺍﻟﻜﺒﻴﺭ‬ . - ‫ﺍﻟﻔﻜﺭﺓ‬ ) A2 ( ‫ﻡ‬ ‫ﻤﻥ‬ ) ٣٣ : ٤٨ ( ‫ﺇﻋﺎﺩﺓ‬ ‫ﺤﺭﻓﻴﺔ‬ ‫ﻟﻠﻔﻜﺭﺓ‬ (ِ A ( ‫ﺍﻟﺩﺭﺠﺔ‬ ‫ﻋﻠﻰ‬ ‫ﺘﺎﻡ‬ ‫ﺒﺭﻜﻭﺯ‬ ‫ﻭﺘﻨﺘﻬﻲ‬ ‫ﺍﻷﺴﺎﺴﻴﺔ‬ ) ‫ﻓﺎ‬ .( - ‫ﺍﻟﻔﻜﺭﺓ‬ ) C ( ‫ﻡ‬ ) ٤٩ : ٦٤ ( ‫ﻗﺎﻡ‬ ‫ﻤﻘﺎﻡ‬ ‫ﺍﻟﻰ‬ ‫ﺒﺎﻟﺘﺤﻭﻴل‬ ) ‫ﺒﻴﻤﻭل‬ ‫ﺴﻲ‬ ( ‫ﺒﻘﻔ‬ ‫ﻟﺘﻨﺘﻬﻲ‬ ‫ﺍﻟﻜﺒﻴﺭ‬ ‫ﻠﺔ‬ ‫ﻓﻲ‬ ‫ﺘﺎﻤﺔ‬ ‫ﻤﻘﺎﻡ‬ ) ‫ﺒﻴﻤﻭل‬ ‫ﺴﻲ‬ ( ‫ﺍﻟﻜﺒﻴﺭ‬ . - ‫ﺍﻟﻔﻜﺭﺓ‬ ) A3 ( ‫ﻡ‬ ‫ﻤﻥ‬ ) ٦٥ : ٨٤ ( ‫ﻭﻫﻲ‬ ‫ﺇﻋﺎﺩﺓ‬ ‫ﺤﺭﻓﻴ‬ ‫ﺔ‬ ‫ﻟﻠﻔﻜﺭﺓ‬ (ِ A ( ‫ﻋﻠﻰ‬ ‫ﺘﺎﻡ‬ ‫ﺒﺭﻜﻭﺯ‬ ‫ﻭﺘﻨﺘﻬﻲ‬ ‫ﺍﻷﺴﺎﺴﻴﺔ‬ ‫ﺍﻟﺩﺭﺠﺔ‬ ) ‫ﻓﺎ‬ .( ‫ﺍﻟﺘﺤﻠﻴل‬ ‫ﺍﻟﻌﺯﻓﻲ‬ : ‫ﺍﻟﻨﻤﺎﺫﺝ‬ ‫ﺍﻹﻴﻘﺎﻋﻴﺔ‬ : ‫ﺘﻤﻴﺯﺕ‬ ‫ﻤﻜﺭﺭﺓ‬ ‫ﺇﻴﻘﺎﻋﻴﺔ‬ ‫ﺒﻨﻤﺎﺫﺝ‬ ‫ﺍﻟﻤﺅﻟﻔﺔ‬ ‫ﻓﻲ‬ ‫ﻓﻜﺭﺓ‬ ‫ﻜل‬ . • ‫ﺍﻟﻤﻭﺫﺝ‬ ‫ﻓﻲ‬ ‫ﺍﻹﻴﻘﺎﻋﻲ‬ ‫ﺍﻟﻔﻜﺭﺓ‬ ) A ( ‫ﺇﻴﻘﺎﻋﻴﻴﻥ‬ ‫ﺒﻨﻤﻭﺫﺠﻴﻥ‬ ‫ﺘﻤﻴﺯﺕ‬ ‫ﺒﺎﻟﻴﺩﺍﻥ‬ ‫ﻭﺍﻟﻴﺴﺭﻯ‬ ‫ﺍﻟﻴﻤﻨﻰ‬ ‫ﻜﺎﻟﺘﺎﻟﻲ‬ : ‫ﺸﻜل‬ ‫ﺭﻗﻡ‬ ) ١ ( ‫ﻴﻭﻀﺢ‬ ‫ﻟﻨﻤﻭﺫﺝ‬ ‫ﺍﻹ‬ ‫ﻓﻲ‬ ‫ﻴﻘﺎﻋﻲ‬ ‫ﻡ‬ ) ١ - ٢ ( ‫ﺍﻟﻭﺭﺩﺓ‬ ‫ﻤﻘﻁﻭﻋﺔ‬ ‫ﻤﻥ‬ ‫ﺍﻟﻨﻤﻭﺫﺝ‬ ‫ﺍﻟﺜﺎﻨﻲ‬ ‫ﺸﻜل‬ ‫ﺭﻗﻡ‬ ) ٢ ( ‫ﻡ‬ ‫ﻓﻲ‬ ‫ﺍﻹﻴﻘﺎﻋﻲ‬ ‫ﺍﻟﻨﻤﻭﺫﺝ‬ ‫ﻴﻭﻀﺢ‬ ) ١٥ - ١٦ ( ‫ﺍﻟﻭﺭﺩﺓ‬ ‫ﻤﻘﻁﻭﻋﺔ‬ ‫ﻤﻥ‬  -      -     ) ١٣١٣ ( • ‫ﺍﻟﻨﻤﻭﺫﺝ‬ ‫ﻓﻲ‬ ‫ﺍﻟﻤﺴﻴﻁﺭ‬ ‫ﺍﻹﻴﻘﺎﻋﻲ‬ ‫ﺍﻟﻔﻜﺭﺓ‬ ) B ( ‫ﻫﻭ‬ ‫ﺸﻜل‬ ‫ﺭﻗﻡ‬ ) ٣ ( ‫ﻡ‬ ‫ﻓﻲ‬ ‫ﺍﻹﻴﻘﺎﻋﻲ‬ ‫ﺍﻟﻨﻤﻭﺫﺝ‬ ‫ﻴﻭﻀﺢ‬ ) ١٧ - ١٨ ( ‫ﺍﻟﻔﻜﺭﺓ‬ ‫ﻤﻥ‬ ) B ( • ‫ﺍﻟﻨﻤﻭﺫﺝ‬ ‫ﻓﻲ‬ ‫ﺍﻟﻤﺴﻴﻁﺭ‬ ‫ﺍﻟﻔﻜﺭﺓ‬ ) C ( ‫ﻫﻭ‬ : ‫ﺸﻜل‬ ‫ﺭﻗﻡ‬ ) ٤ ( ‫ﻡ‬ ‫ﻓﻲ‬ ‫ﺍﻹﻴﻘﺎﻋﻲ‬ ‫ﺍﻟﻨﻤﻭﺫﺝ‬ ‫ﻴﻭﻀﺢ‬ ) ٤٩ - ٥٠ ( ‫ﺍﻟﻔﻜﺭﺓ‬ ‫ﻓﻲ‬ ) C ( ‫ﺍﻷﻓﻜﺎﺭ‬ ‫ﺍﻟﻠﺤﻨﻴﺔ‬ • ‫ﻴﻌﺘﻤﺩ‬ ‫ﺍﻟﻠﺤﻥ‬ ‫ﻓﻲ‬ ‫ﺍﻟﻔﻜﺭﺓ‬ ) A ( ‫ﻓﻲ‬ ‫ﺘﻌﺒﻴﺭﻱ‬
‫ﺸﻜل‬ ‫ﺭﻗﻡ‬ ) ٦ ( ‫ﺍﻟﻔﻜﺭﺓ‬ ‫ﻓﻲ‬ ‫ﺍﻟﻠﺤﻥ‬ ‫ﻴﻭﻀﺢ‬ ) B ( ‫ﻡ‬ ‫ﻓﻲ‬ ) ١٧ - ١٩ ( • ‫ﻴﻌﺘﻤﺩ‬ ‫ﺍﻟﻔﻜﺭﺓ‬ ‫ﻓﻲ‬ ‫ﺍﻟﻠﺤﻥ‬ ) C ( ‫ﻗـﺼﻴﺭ‬ ‫ﺘﻌﺒﻴﺭﻱ‬ ‫ﻗﻭﺱ‬ ‫ﻋﻠﻰ‬ ‫ﺍﻟﻴﻤﻨﻰ‬ ‫ﺍﻟﻴﺩ‬ ‫ﻓﻲ‬ Slur ‫ﻟﻨﻐﻤﺘـﻴﻥ‬ ‫ﺫﻟﻙ‬ ‫ﻴﻭﻀﺢ‬ ‫ﺍﻟﺘﺎﻟﻲ‬ ‫ﻭﺍﻟﺸﻜل‬ : ‫ﺸﻜل‬ ‫ﺭﻗﻡ‬ ) ٧ ( ‫ﺍﻟﻔﻜﺭﺓ‬ ‫ﻓﻲ‬ ‫ﺍﻟﻠﺤﻥ‬ ‫ﻴﻭﻀﺢ‬ ) C ( ‫ﻡ‬ ‫ﻓﻲ‬ ) ٤٩ - ٥٠ ( ‫ﺍﻟﻤﺼﺎﺤﺒﺔ‬ : ‫ﺠﺎﺀﺕ‬ ‫ﺍﻟﻤﺼﺎﺤﺒﺔ‬ ‫ﺍﻟ‬ ‫ﻜل‬ ‫ﻓﻲ‬ ‫ﺍﻟﻴﺴﺭﻯ‬ ‫ﺍﻟﻴﺩ‬ ‫ﻓﻲ‬ ‫ﻤﺅﻟﻔﺔ‬ ‫ﻗـﻭ‬ ‫ﺩﺍﺨـل‬ ‫ﻤﻨﻔـﺭﻁ‬ ‫ﺃﺭﺒﻴﺞ‬ ‫ﺒﻨﻐﻤﺎﺕ‬ ‫ﺱ‬ ‫ﻤﺘﺼل‬ ‫ﺘﻌﺒﻴﺭﻱ‬ . ‫ﺍﻟﺘﻅﻠﻴل‬ : ‫ﻅﻬﺭﺕ‬ ‫ﺍﻟﺘﻌﺒﻴﺭ‬ ‫ﻋﻠﻰ‬ ‫ﺘﺩل‬ ‫ﺍﻟﺘﻲ‬ ‫ﺍﻟﻌﻼﻤﺎﺕ‬ ‫ﻤﻥ‬ ‫ﻤﺠﻤﻭﻋﺔ‬ ‫ﺍﻟﻤﻘﻁﻭﻋﺔ‬ ‫ﻓﻲ‬ : - ) P . ( ‫ﻟﻜﻠﻤـﺔ‬ ‫ﺍﺨﺘﺼﺎﺭ‬ ‫ﻫﻲ‬ piano ‫ﻭﺠـﺎ‬ ‫ﺍﻟﺨﺎﻓـﺕ‬ ‫ﺍﻷﺩﺍﺀ‬ ‫ﻭﺘﻌﻨـﻲ‬ ‫ﺍﻟﻤـﻭﺍﺯﻴﺭ‬ ‫ﻓـﻲ‬ ‫ﺀﺕ‬ ) ٣٢،٤٩ ، ٥٧ ، ٦٥،٨١ ( - ‫ﺍﻟﺘﺩﺭﺝ‬ ‫ﻭﺘﻌﻨﻲ‬ ‫ﺍﻟﻜﺭﻴﺸﻨﺩﻭ‬ ‫ﻋﻼﻤﺔ‬ ‫ﻫﻲ‬ ‫ﺒﺎﻟﺼﻭﺕ‬ ‫ﻤﻥ‬ ‫ﺍﻟ‬ ‫ﺍﻟﺨﻔﻭﺕ‬ ‫ﻰ‬ ‫ﻓﻲ‬ ‫ﻭﺠﺎﺀﺕ‬ ‫ﺍﻟﺸﺩﺓ‬ ‫ﺍﻟﻤﻭﺍﺯﻴﺭ‬ ) ٣ ، ٧،٣٥،٣٩،٥٥،٦٢،٦٤،٧١ (  -      -     ) ١٣١٥ ( - ‫ﻭﺠـﺎﺀﺕ‬ ‫ﺍﻟﺨﻔﻭﺕ‬ ‫ﺍﻟﻰ‬ ‫ﺍﻟﺸﺩﺓ‬ ‫ﻤﻥ‬ ‫ﺒﺎﻟﺼﻭﺕ‬ ‫ﺍﻟﺘﺩﺭﺝ‬ ‫ﻭﺘﻌﻨﻲ‬ ‫ﺍﻟﺩﻴﻤﻨﻭﻴﻨﺩﻭ‬ ‫ﻋﻼﻤﺔ‬ ‫ﻫﻲ‬ ‫ﺍﻟﻤﻭﺍﺯﻴﺭ‬ ‫ﻓﻲ‬ ) ٤ ، ٨ ، ٣٦ ، ٤٠ ، ٥٦ ، ٦٣ ، ٦٨ ، ٧٢ ( - ) mf ( ‫ﻫﻲ‬ ‫ﻟـ‬ ‫ﺍﺨﺘﺼﺎﺭ‬ mezzo forte ‫ﻭﺘﻌﻨﻲ‬ ‫ﻭﺠﺎﺀﺕ‬ ‫ﺍﻟﻘﻭﺓ‬ ‫ﻤﺘﻭﺴﻁ‬ ‫ﺍﻭ‬ ‫ﻤﻌﺘﺩل‬ ‫ﺒﺼﻭﺕ‬ ‫ﻓ‬ ‫ﻲ‬ ‫ﻤﺎﺯﻭﺭﺓ‬ ) ١٧ ( - ) pp ( ‫ﺍﺨﺘ‬ ‫ﻭﻫﻲ‬ ‫ﺼﺎﺭ‬ ‫ﻟـ‬ pianissimo ‫ﻭﺘﻌﻨ‬ ‫ﻲ‬ ‫ﻤﺎﺯﻭﺭﺓ‬ ‫ﻓﻲ‬ ‫ﻭﺠﺎﺀﺕ‬ ‫ﹰ‬ ‫ﺠﺩﺍ‬ ‫ﺨﺎﻓﺕ‬ ‫ﺒﺼﻭﺕ‬ ) ٨٣ ( - ‫ﻋﻼﻤﺔ‬ ‫ﺘﺴﻤﻰ‬ Fermate ‫ﻤﺎﺯﻭﺭﺓ‬ ‫ﻓﻲ‬ ‫ﺠﺎﺀﺕ‬ ‫ﻜﻤﺎ‬ ‫ﺍﻟﻨﻐﻤﺔ‬ ‫ﺘﻁﻭﻴل‬ ‫ﻋﻼﻤﺔ‬ ‫ﻭﻫﻲ‬ ) ٨٤ ( ‫ﺍﻟﻤﺼﻁﻠﺤﺎﺕ‬ ‫ﺍﻟ‬ ‫ﺘﻌﺒﻴﺭﻴﺔ‬ : - Grazioso ‫ﺍﻟﻤﻭﺍﺯﻴﺭ‬ ‫ﻓﻲ‬ ‫ﻭﺠﺎﺀﺕ‬ ‫ﻭﺃﻨﺎﻗﺔ‬ ‫ﺒﺭﺸﺎﻗﺔ‬ ‫ﺘﻌﻨﻲ‬ ) ١ ، ٣٣ ، ٦٥ ( . - Delicato ‫ﺍﻟﻤﻭﺍﺯﻴﺭ‬ ‫ﻓﻲ‬ ‫ﺠﺎﺀﺕ‬ ‫ﺒﺭﻗﺔ‬ ‫ﺘﻌﻨﻲ‬ ) ٣ ، ٣٥ ، ٦٧ ( - Dolce ‫ﺍﻟﻤﻭﺍﺯﻴﺭ‬ ‫ﻓﻲ‬ ‫ﻭﺠﺎﺀﺕ‬ ‫ﺒﻌﺫﻭﺒﺔ‬ ‫ﻭﺘﻌﻨﻲ‬ ) ٤٩ ، ٥٧ ( - Cresc. ‫ﻟﻜﻠﻤﺔ‬ ‫ﺍﺨﺘﺼﺎﺭ‬ crescendo ‫ﺍﻟﺸﺩﺓ‬ ‫ﺍﻟﻰ‬ ‫ﺍﻟﺨﻔﻭﺕ‬ ‫ﻤﻥ‬ ‫ﺒﺎﻟﺼﻭﺕ‬ ‫ﺍﻟﺘﺩﺭﺝ‬ ‫ﻭﺘﻌﻨﻲ‬ ‫ﻤﺎﺯﻭﺭﺓ‬ ‫ﻓﻲ‬ ‫ﻭﺠﺎﺀﺕ‬ ) ٦١ ( . - Dimin ‫ﻟﻜﻠﻤﺔ‬ ‫ﺍﺨﺘﺼﺎﺭ‬ diminuendo ‫ﺍﻟﺨﻔﻭﺕ‬ ‫ﺍﻟﻰ‬ ‫ﺍﻟﺸﺩﺓ‬ ‫ﻤﻥ‬ ‫ﺒﺎﻟﺼﻭﺕ‬ ‫ﺍﻟﺘﺩﺭﺝ‬ ‫ﻭﺘﻌﻨﻲ‬ ‫ﻤﺎﺯﻭﺭﺓ‬ ‫ﻓﻲ‬ ‫ﺠﺎﺀﺕ‬ ) ٦٣ ( . ‫ﺍﻟﺤﻠﻴﺎﺕ‬ : ‫ﺍﺴﺘﺨﺩﻡ‬ ‫ﺍﻟﺤﻠﻴﺎﺕ‬ ‫ﻤﻥ‬ ‫ﺃﻨﻭﺍﻉ‬ ‫ﺜﻼﺙ‬ ‫ﺍﻟﻤﻘﻁﻭﻋﺔ‬ ‫ﻫﺫﻩ‬ ‫ﻓﻲ‬ ‫ﺒﻭﻫﻡ‬ : - ‫ﺤﻠﻴﺔ‬ ‫ﺍﻟﻤﻭﺭﺩﻨﺕ‬ ‫ﺃﺭﻗﺎﻡ‬ ‫ﻤﻭﺍﺯﻴﺭ‬ ‫ﻓﻲ‬ ‫ﻭﺠﺎﺀﺕ‬ ) ١٥ ، ٤٧ ، ٧٩ ( - ‫ﺤﻠﻴﺔ‬ ‫ﺍﻻﺘﺸﻴﻜﺎﺘﻭﺭﺍ‬ ‫ﻭﺠﺎﺀﺕ‬ ‫ﺍﻟﻤ‬ ‫ﻓﻲ‬ ‫ﻭﺍﺯﻴﺭ‬ ‫ﺃﺭﻗﺎﻡ‬ ) ٦ ، ١٥ ، ١٩ ، ٢٠ ، ٢٧ ، ٢٨ ، ٣١ ، ٣٨ ، ٤٧ ، ٧٠ ، ٧٩ ( - ‫ﺤﻠﻴﺔ‬ ‫ﺍﻷﺭﺒﻴﺠﻴﻭ‬ ‫ﻭﺠ‬ ‫ﺎﺀﺕ‬ ‫ﻡ‬ ‫ﻓﻲ‬ ) ٥١ ، ٥٩ ، ٦٣ ( ‫ﺫﻟﻙ‬ ‫ﻴﻭﻀﺢ‬ ‫ﺍﻟﺘﺎﻟﻲ‬ ‫ﻭﺍﻟﺸﻜل‬ ‫ﺍﻟﺼﻌﻭﺒﺎﺕ‬ ‫ﻋﻠﻴﻬﺎ‬ ‫ﺍﻟﺘﻐﻠﺏ‬ ‫ﻭﻜﻴﻔﻴﺔ‬ ‫ﺍﻟﻌﺯﻓﻴﺔ‬ : ‫ﺃﻗﻭﺍﺱ‬ ‫ﺍﻷﻁﻭﺍل‬ ‫ﻤﺨﺘﻠﻔﺔ‬ ‫ﻟﺤﻨﻴﺔ‬ • ‫ﻗﻭﺱ‬ ‫ﻤﻨﻔﺭﺩﺘﻴﻥ‬ ‫ﻟﻨﻐﻤﺘﻴﻥ‬ ‫ﻗﺼﻴﺭ‬ ‫ﻟﺤﻨﻲ‬ slur  -      -     ) ١٣١٦ ( ‫ﺠﺎﺀﺕ‬ ‫ﻤـﻭﺍﺯﻴﺭ‬ ‫ﻓﻲ‬ ‫ﺍﻟﻴﻤﻨﻰ‬ ‫ﺍﻟﻴﺩ‬ ‫ﻓﻲ‬ ) ٤ ، ٨ ، ١١ ، ٣٦ ، ٤٠ ، ٤٤ ، ٤٩ ، ٥٠ ، ٥١ ، ٥٢ ، ٥٣ ، ٥٤ ، ٥٧ ، ٥٨ ، ٥٩ ، ٦١ ، ٦٢ ، ٦٣ ، ٦٨ ، ٧٠ ، ٧٢ ، ٧٤ ، ٧٦ ( ‫ـﺎﻟﻲ‬ ‫ﺍﻟﺘـ‬
) ١ ، ٤ ، ٥ ، ٨ ، ٩ ، ٣٢ ، ٣٣ ، ٣٦ ، ٣٧ ، ٤٠ ، ٤١ ، ٦٤ ، ٦٥ ، ٦٨ ، ٦٩ ، ٧٢ ، ٧٣ ( ‫ﺫﻟﻙ‬ ‫ﻴﻭﻀﺢ‬



  ‫ﺒﻘﻭﺱ‬ ‫ﻤﻨﻔﺭﺩﺓ‬ ‫ﻨﻐﻤﺎﺕ‬ ‫ﺜﻼﺙ‬ ‫ﻋﻠﻰ‬ ‫ﹰ‬ ‫ﻭﻫﺒﻭﻁﺎ‬ ‫ﹰ‬ ‫ﺼﻌﻭﺩﺍ‬ ‫ﻤﻨﻔﺭﻁﺔ‬ ‫ﺍﻷﺭﺒﻴﺞ‬ ‫ﻨﻐﻤﺎﺕ‬ ‫ﺒﻌﺯﻑ‬ ‫ﺍﻟﻴﺴﺭﻯ‬ ‫ﺍﻟﻴﺩ‬ ‫ﺘﻘﻭﻡ‬ ‫ﺒﻴﻨﻤﺎ‬ ‫ﺍﻟﻴﻤﻨﻰ‬ ‫ﺍﻟﻴﺩ‬ ‫ﺫﻟﻙ‬ ‫ﻴﻭﻀﺢ‬ ‫ﺍﻟﺘﺎﻟﻲ‬ ‫ﻭﺍﻟﺸﻜل‬ ‫ﻤﻨﻔﺭﻁﺔ‬ ‫ﻨﻐﻤﺎﺕ‬ ‫ﻋﻠﻰ‬ ‫ﺍﻟﻴﻤﻨﻰ‬ ‫ﺍﻟﻴﺩ‬ ‫ﻓﻲ‬ ‫ﻨﻐﻤﺎﺕ‬ ‫ﺘﺄﺘﻲ‬ ‫ﺜﻡ‬ ‫ﹰ‬ ‫ﺃﻴﻀﺎ‬ ‫ﻫﺒﻭﻁ‬ ‫ﺤﺎﻟﺔ‬ ‫ﻓﻲ‬ ‫ﻟﻸﺭﺒﻴﺞ‬ ‫ﻤﻨﻔﺭﻁﺔ‬ ‫ﻨﻐﻤﺎﺕ‬ ‫ﺫﻟﻙ‬ ‫ﻭﻴﻠﻲ‬ ‫ﻫﺒﻭﻁ‬ ‫ﺤﺎﻟﺔ‬ ‫ﻓﻲ‬ ‫ﺼﻌﻭﺩ‬ ‫ﻤﺘﺘﺎﻟﻴﺔ‬ ‫ﺍﻷﺭﺒﻴﺞ‬ ‫ﻨﻐﻤﺎﺕ‬ ‫ﻋﺯﻑ‬ ‫ﻓﻲ‬ ‫ﺍﻟﻴﺴﺭﻯ‬ ‫ﺍﻟﻴﺩ‬ ‫ﻭﺘﺴﺘﻤﺭ‬ ‫ﺍﻷﺭﺒﻴﺞ‬ ‫ﻟﻨﻐﻤﺎﺕ‬ ‫ﹰ‬ ‫ﻫﺒﻭﻁﺎ‬ ‫ﺜﻡ‬ ‫ﹰ‬ ‫ﺍ‬ ‫ﺍﻟﻤﻨﻔﺭﻁ‬ . ‫ﺫﻟﻙ‬ ‫ﻴﻭﻀﺢ‬ ‫ﺍﻟﺘﺎﻟﻲ‬ ‫ﻭﺍﻟﺸﻜل‬ : 


‫ﺃ‬ ‫ﺴﻠﻭﺏ‬ ‫ﺒﻭﻫﻡ‬ ‫ﻜﺎﺭل‬ ‫ﻤﺅﻟﻔﺎﺕ‬ ‫ﺒﻌﺽ‬ ‫ﺃﺩﺍﺀ‬ Carl Bohm ‫ﻟﻠﺒﻴﺎﻨﻭ‬

  
	‫ﺩ‬ ‫ﻴـﺴﺎﻋﺩ‬ ‫ﻤﻤـﺎ‬ ‫ﻟﻬﺎ‬ ‫ﻭﺍﻟﻌﺯﻓﻲ‬ ‫ﺍﻟﻨﻅﺭﻱ‬ ‫ﻭﺍﻟﺘﺤﻠﻴل‬ ‫ﺒﺎﻟﺩﺭﺍﺴﺔ‬ ‫ﻭﺘﻨﺎﻭﻟﻬﺎ‬ ‫ﺍﻟﺒﻴﺎﻨﻭ‬ ‫ﻵﻟﺔ‬ ‫ﺒﻪ‬ ‫ﺍﻟﺨﺎﺼﺔ‬ ‫ﺍﻟﻤﺅﻟﻔﺎﺕ‬ / ) ١ ( ‫ﺍﻟﺩﺍﺭﺱ‬ ‫ﻓﻲ‬ ‫ﺍﻟﻤﺅﻟﻔﺎﺕ‬ ‫ﻟﺘﻠﻙ‬ ‫ﺍﻟﺠﻴﺩ‬ ‫ﻟﻸﺩﺍﺀ‬ ‫ﺍﻟﻭﺼﻭل‬ . ‫ﻤﺼﻁﻔﻰ‬ ‫ﺴﺎﻤﻲ‬ ‫ﻤﺤﻤﺩ‬ ‫ﻫﺒﻪ‬ ‫ﻤﻘﺩﻤﺔ‬ ‫ﺃﻫﺩﺍﻑ‬ ‫ﺍﻟﺒﺤﺙ‬ : : ‫ﺘﻌﺩ‬ ١ . ‫ﺍﻟ‬ ‫ﺘﻌﺭﻑ‬ ‫ﺍﻟﺒﻴﺎﻨﻭ‬ ‫ﻵﻟﺔ‬ ‫ﻭﺃﻋﻤﺎﻟﺔ‬ ‫ﺒﻭﻫﻡ‬ ‫ﻜﺎﺭل‬ ‫ﺤﻴﺎﺓ‬ ‫ﻋﻠﻰ‬ . ‫ﺍﻟﺘﻲ‬ ‫ﻭﺍﻟﻔﻜﺭﻴﺔ‬ ‫ﺍﻟﺴﻴﺎﺴﻴﺔ‬ ‫ﻭﻟﻠﺜﻭﺭﺍﺕ‬ ‫ﻟﻠﻜﻼﺴﻴﻜﻴﺔ‬ ‫ﻓﻌل‬ ‫ﻜﺭﺩ‬ ‫ﻨﺸﺄﺕ‬ ‫ﻭﺃﺩﺒﻴﺔ‬ ‫ﻓﻨﻴﺔ‬ ‫ﺤﺭﻜﺔ‬ ‫ﺍﻟﺭﻭﻤﺎﻨﺘﻴﻜﻴﺔ‬ ‫ﺍﻟﻔﺘﺭﺓ‬ ‫ﺘﻠﻙ‬ ‫ﻓﻲ‬ ‫ﻅﻬﺭﺕ‬ ، ‫ﻋﻠ‬ ‫ﻭﺍﻟﺴﻴﻁﺭﺓ‬ ‫ﺍﻟﻬﺎﺭﻤﻭﻨﻴﺔ‬ ‫ﺍﻹﻤﻜﺎﻨﻴﺎﺕ‬ ‫ﺍﺴﺘﻐﻼل‬ ‫ﻓﻲ‬ ‫ﺭﻏﺒﺔ‬ ‫ﻭﺭﺍﺀﻫﺎ‬ ‫ﻜﺎﻥ‬ ‫ﻓﻘﺩ‬ ‫ﻰ‬ ‫ﺍﻟﻤﻭﺴـﻴﻘﻴﺔ‬ ‫ﻟـﻶﻻﺕ‬ ‫ﻭﺍﻟﺘﻌﺒﻴﺭﻴﺔ‬ ‫ﺍﻟﺼﻭﺘﻴﺔ‬ ‫ﺍﻹﻤﻜﺎﻨﻴﺎﺕ‬ ) ٣ -٧٧ ( ‫ﺃﺸـﺎﺭ‬ ‫ﺃﻥ‬ ‫ﺍﻟـﻰ‬ ‫ﺍﻟﻤﺅﺭﺨـﻭﻥ‬ ٢ . ‫ﺍﻟﺘﻌﺭﻑ‬ ‫ﻭﺍﻟﺘﻌﺒﻴﺭﻴﺔ‬ ‫ﺍﻟﺘﻜﻨﻴﻜﻴﺔ‬ ‫ﺍﻟﺼﻌﻭﺒﺎﺕ‬ ‫ﻭﺘﺤﺩﻴﺩ‬ ‫ﺒﻭﻫﻡ‬ ‫ﻜﺎﺭل‬ ‫ﻤﺅﻟﻔﺎﺕ‬ ‫ﺒﻌﺽ‬ ‫ﻋﻠﻰ‬ . ٣ . ‫ﺍﻟﺘﻌﺭﻑ‬ ‫ﺍﻟﺘﻜﻨﻴﻜﻴﺔ‬ ‫ﺍﻟﺼﻌﻭﺒﺎﺕ‬ ‫ﺘﺫﻟﻴل‬ ‫ﻋﻠﻰ‬ ‫ﺘﺴﺎﻋﺩ‬ ‫ﺍﻟﺘﻲ‬ ‫ﺍﻟﻌﺯﻓﻴﺔ‬ ‫ﻭﺍﻹﺭﺸﺎﺩﺍﺕ‬ ‫ﺍﻟﺘﺩﺭﻴﺒﺎﺕ‬ ‫ﻋﻠﻰ‬ ‫ﺍﻟﺠﻴﺩ‬ ‫ﻟﻸﺩﺍﺀ‬ ‫ﺒﻬﺎ‬ ‫ﻟﻠﻭﺼﻭل‬ ‫ﻭﺍﻟﺘﻌﺒﻴﺭﻴﺔ‬ . ‫ﺍﻟﻐﺭﺍﺌـﺯ‬ ‫ﻜﺄﻏﻠﺏ‬ ‫ﺍﻹﻨﺴﺎﻥ‬ ‫ﻟﺩﻯ‬ ‫ﻓﻁﺭﻴﺔ‬ ‫ﻨﺯﻋﺔ‬ ‫ﻭﺃﻨﻬﺎ‬ ‫ﺍﻹﻨﺴﺎﻨﻴﺔ‬ ‫ﺍﻟﺭﻭﺡ‬ ‫ﻓﻲ‬ ‫ﻜﺎﻤﻨﺔ‬ ‫ﺤﺭﻜﺔ‬ ‫ﺍﻟﺭﻭﻤﺎﻨﺘﻴﻜﻴﺔ‬ ‫ﺍﻟﻔﻨﻴـﺔ‬ ‫ﺍﻷﻋﻤﺎل‬ ‫ﻓﻲ‬ ‫ﻭﻅﻬﻭﺭﻫﺎ‬ ‫ﺍﻟﻭﻋﻲ‬ ‫ﻓﻲ‬ ‫ﻭﺘﻅﻬﺭ‬ ‫ﺘﺴﺘﺜﺎﺭ‬ ‫ﺃﻥ‬ ‫ﺍﻟﻰ‬ ‫ﺨﺎﻤﻠﺔ‬ ‫ﺴﺎﻜﻨﺔ‬ ‫ﺘﻅل‬ ‫ﺍﻟﺘﻲ‬ ‫ﺍﻟﻔﻁﺭﻴﺔ‬ ‫ﻫﻴﺌ‬ ‫ﻋﻠﻰ‬ ‫ﺍﻷﺴﻠﻭﺏ‬ ‫ﺍﻨﺴﺎﻨﻴﺔ‬ ‫ﺭﻭﻤﺎﻨﺘﻴﻜﻴﺔ‬ ‫ﻨﺯﻋﺔ‬ ‫ﺫﺍﺕ‬ ‫ﻤﻭﺴﻴﻘﻴﺔ‬ ‫ﺃﻟﺤﺎﻥ‬ ‫ﺔ‬ . ) ٦ -٢٢٧ ‫ﺃﻫﻤﻴﺔ‬ ‫ﺍﻟﺒﺤﺙ‬ : ( ‫ﻗﺎﻡ‬ ‫ﺘﻁـﻭﺭﺕ‬ ‫ﻭﻓﻴﻬـﺎ‬ ‫ﻭﺍﻟـﺼﻴﻎ‬ ‫ﺍﻟﻤﻭﺴﻴﻘﻴﺔ‬ ‫ﺍﻟﻤﺎﺩﺓ‬ ‫ﻟﻤﻌﺎﻟﺠﺔ‬ ‫ﺠﺩﻴﺩﺓ‬ ‫ﻁﺭﻕ‬ ‫ﺒﺈﻴﺠﺎﺩ‬ ‫ﺍﻟﻤﺅﻟﻔﻴﻥ‬ ‫ﻤﻥ‬ ‫ﺍﻟﻌﺩﻴﺩ‬ ‫ﻗﻭﺍﻟﺒﻬﺎ‬ ‫ﺠﻤﻴﻊ‬ ‫ﻓﻲ‬ ‫ﺍﻟﻤﻭﺴﻴﻘﻰ‬ ) ٢ -٢٣١ ( ، ‫ﻋﻠـﻰ‬ ‫ﻁﺭﺃﺕ‬ ‫ﺒﺘﺤﺴﻴﻨﺎﺕ‬ ‫ﻭﻤﺭﺕ‬ ‫ﺍﻟﺒﻴﺎﻨﻭ‬ ‫ﺁﻟﺔ‬ ‫ﺘﻁﻭﺭﺕ‬ ‫ﻜﻤﺎ‬ ‫ﺁﻟﺔ‬ ‫ﻫﻭ‬ ‫ﺍﻟﺒﻴﺎﻨﻭ‬ ‫ﻭﺃﺼﺒﺢ‬ ‫ﺼﻨﺎﻋﺘﻬﺎ‬ ‫ﺍﻟﺭﻭﻤﺎﻨﺘﻴﻜﻲ‬ ‫ﺍﻟﻌﺼﺭ‬ ‫ﻟﻘﺩﺭﺘﻬﺎ‬ ‫ﻋ‬ ‫ﻠﻰ‬ ١ . ‫ﺍﻟﺘﻌﺭﻴﻑ‬ ‫ﺒﺎ‬ ‫ﺍﻟـﺩﺍﺭﺱ‬ ‫ﻟﻤﺴﺎﻋﺩﺓ‬ ‫ﺍﻟﺒﻴﺎﻨﻭ‬ ‫ﺒﺂﻟﺔ‬ ‫ﺍﻟﺨﺎﺼﺔ‬ ‫ﻭﺃﻋﻤﺎﻟﻪ‬ ‫ﺒﻭﻫﻡ‬ ‫ﻜﺎﺭل‬ ‫ﺍﻟﻤﻭﺴﻴﻘﻲ‬ ‫ﻟﻤﺅﻟﻑ‬ ‫ﺍﻟﺠﻴﺩ‬ ‫ﺍﻷﺩﺍﺀ‬ ‫ﺍﻟﻰ‬ ‫ﻟﻠﻭﺼﻭل‬ . ٢ . ‫ﺍﻟﺘﻌﺭﻴﻑ‬ ‫ﺍﻟـﺩﺍﺭﺱ‬ ‫ﻟﻤـﺴﺎﻋﺩﺓ‬ ‫ﺍﻟﺒﻴـﺎﻨﻭ‬ ‫ﻵﻟـﺔ‬ ‫ﺒﻭﻫﻡ‬ ‫ﻜﺎﺭل‬ ‫ﻤﺅﻟﻔﺎﺕ‬ ‫ﺒﻌﺽ‬ ‫ﺼﻴﺎﻏﺔ‬ ‫ﺒﺄﺴﻠﻭﺏ‬ ‫ﺍﻟﺩﻓﻴﻨﺔ‬ ‫ﺍﻷﺤﺎﺴﻴﺱ‬ ‫ﻋﻥ‬ ‫ﺍﻟﺘﻌﺒﻴﺭ‬ ‫ﺍﻟﻤﻭﺴﻴﻘﻴﻴﻥ‬ ‫ﻟﻠﻤﺅﻟﻔﻴﻥ‬ ‫ﻓﻘﺩ‬ ‫ﺍﻟﻌﻭﺍﻁﻑ‬ ‫ﻋﻥ‬ ‫ﺘﻌﺒﺭ‬ ‫ﺍﻟﺘﻲ‬ ‫ﺍﻟﻤﺅﻟﻔﺎﺕ‬ ‫ﻟﺘﻘﺩﻴﻡ‬ ‫ﺍﻟﻤﺜﻠﻰ‬ ‫ﺍﻟﻭﺴﻴﻠﺔ‬ ‫ﻫﻭ‬ ‫ﺍﻟﺒﻴﺎﻨﻭ‬ ‫ﺃﺼﺒﺢ‬ ‫ﺃﺨﺭﻯ‬ ‫ﺠﻬﺔ‬ ‫ﻤﻥ‬ ‫ﺍﻟﻤﺘﺄﻟﻕ‬ ‫ﺍﻹﺴﺘﻌﺭﺍﺽ‬ ‫ﻋﻠﻰ‬ ‫ﻭﺍﻟﻘﺩﺭﺓ‬ ‫ﺠﻬﺔ‬ ‫ﻤﻥ‬ . ) ٥ -١٦٧ ( ‫ﻭﻤﻥ‬ ‫ﺍﻟﺠﻴﺩ‬ ‫ﺍﻷﺩﺍﺀ‬ ‫ﺍﻟﻰ‬ ‫ﻟﻠﻭﺼﻭل‬ . ٣ . ‫ﺍﻟﺘﻌﺭﻴﻑ‬ ‫ﺍﻟﺩﺍﺭﺱ‬ ‫ﻟﻤﺴﺎﻋﺩﺓ‬ ‫ﺍﻟﺒﻴﺎﻨﻭ‬ ‫ﻵﻟﺔ‬ ‫ﺒﻭﻫﻡ‬ ‫ﻜﺎﺭل‬ ‫ﻤﺅﻟﻔﺎﺕ‬ ‫ﺒﻌﺽ‬ ‫ﺃﺩﺍﺀ‬ ‫ﺒﺄﺴﻠﻭﺏ‬ ‫ﻟﻠﻭﺼـﻭل‬ ‫ﺍﻟﻤـﺅﻟﻔﻴﻥ‬ ‫ﺨﻼل‬ ‫ﺘﺤﻭ‬ ‫ﺍﻟﺭﻭﻤﺎﻨﺘﻴﻜﻴﻴﻥ‬ ‫ﺍﻟﻤﻭﺴﻴﻘﻴﻴﻥ‬ ‫ﺍﻟﺠﻴﺩ‬ ‫ﺍﻷﺩﺍﺀ‬ ‫ﺍﻟﻰ‬ . ‫ﺍﻟﻤﻘﻁﻭﻋـﺎﺕ‬ ‫ﻜﺈﺒـﺩﺍﻉ‬ ‫ﺃﺨـﺭﻯ‬ ‫ﺍﺘﺠﺎﻫـﺎﺕ‬ ‫ﺍﻟﻰ‬ ‫ﺍﻟﺒﻴﺎﻨﻭ‬ ‫ﻤﻭﺴﻴﻘﻰ‬ ‫ﻟﺕ‬ ‫ﺍﻟﺼﻐﻴﺭﺓ‬ Pieces ‫ﻭﺍﻟﻨﻜﺘﻭﺭﻥ‬ Nocturen ‫ﻭﺍﻟﺩﺭﺍﺴﺎﺕ‬ Studies ‫ﻭﺍﻟﻌﺩﻴﺩ‬ ‫ﺃﺴﺌﻠﺔ‬ ‫ﺍﻟﺒﺤﺙ‬ : ‫ﺍﻟﺭﺍﻗـﺼﺔ‬ ‫ﺍﻟﻘﻭﺍﻟﺏ‬ ‫ﻤﻥ‬ ‫ﺍﻟﻤﻭﺴﻴﻘﻴﺔ‬ ‫ﺍﻷﻋﻤﺎل‬ ‫ﺒﻌﺽ‬ ‫ﻋﻠﻰ‬ ‫ﻭﺼﻔﻴﺔ‬ ‫ﻭﺃﺴﻤﺎﺀ‬ ‫ﻋﻨﺎﻭﻴﻥ‬ ‫ﺍﺨﺘﻴﺎﺭ‬ ‫ﺍﻟﻰ‬ ‫ﺒﺎﻹﻀﺎﻓﺔ‬ ‫ﺍﻷﺨﺭﻯ‬ . ‫ﻴﻌﺘﺒﺭ‬ ‫ﺒﻭﻫﻡ‬ ‫ﻜﺎﺭل‬ Carl Bohm ) ١٨٤٤ ‫ﻡ‬ -١٩٢٠ ( ‫ﻤﻥ‬ ‫ﺍﻟ‬ ‫ﺃﻫﻡ‬ ‫ﺍﻨﺘﻬـﺕ‬ ‫ﺍﻟـﺫﻴﻥ‬ ‫ﺍﻷﻟﻤﺎﻥ‬ ‫ﻤﺅﻟﻔﻴﻥ‬ ‫ﺤﻴﻨﻬﺎ‬ ‫ﻭﻨﺠﺎﺡ‬ ‫ﺸﻬﺭﺓ‬ ‫ﻻﻗﺕ‬ ‫ﺍﻟﺘﻲ‬ ‫ﺍﻟﺭﺍﺌﻌﺔ‬ ‫ﺍﻷﻋﻤﺎل‬ ‫ﻤﻥ‬ ‫ﺍﻟﺭﻏﻡ‬ ‫ﻋﻠﻰ‬ ‫ﺒﻤﻭﺘﻬﻡ‬ ‫ﺸﻬﺭﺘﻬﻡ‬ ١ . ‫ﻤﻥ‬ ‫ﺒﺎﻟﺒﻴﺎﻨﻭ؟‬ ‫ﺍﻟﺨﺎﺼﺔ‬ ‫ﺃﻋﻤﺎﻟﻪ‬ ‫ﻭﻤﺎﻫﻲ‬ ‫ﺒﻭﻫﻡ‬ ‫ﻜﺎﺭل‬ ‫ﻫﻭ‬ ٢ . ‫ﻤﺎ‬ ‫ﺍﻟﻔﻨﻴﺔ‬ ‫ﺍﻟﺨﺼﺎﺌﺹ‬ ‫ﻭﺍﻟﺘﻘﻨﻴﺎﺕ‬ ‫ﻵﻟﺔ‬ ‫ﺒﻭﻫﻡ‬ ‫ﻜﺎﺭل‬ ‫ﻤﺅﻟﻔﺎﺕ‬ ‫ﺒﻌﺽ‬ ‫ﻋﻠﻴﻬﺎ‬ ‫ﺘﺸﺘﻤل‬ ‫ﺍﻟﺘﻲ‬ ‫ﺍﻷﺩﺍﺌﻴﺔ‬ ‫ﺍﻟﺒﺤﺙ؟‬ ‫ﻋﻴﻨﺔ‬ ‫ﺍﻟﺒﻴﺎﻨﻭ‬ . ‫ﻤﺸﻜﻠﺔ‬ ‫ﺍﻟﺒﺤﺙ‬ : ٣ . ‫ﻤﺎ‬ ‫ﺍﻟﺘﺩﺭﻴﺒﺎﺕ‬ ‫ﺍﻟﻤﻘﺘﺭﺤﺔ‬ ‫ﺍ‬ ‫ﺍﻟﺘﻘﻨﻴﺎﺕ‬ ‫ﺃﺩﺍﺀ‬ ‫ﻋﻠﻰ‬ ‫ﺘﺴﺎﻋﺩ‬ ‫ﺍﻟﺘﻲ‬ ‫ﺍﻟﻌﺯﻓﻴﺔ‬ ‫ﻭﺍﻹﺭﺸﺎﺩﺍﺕ‬ ‫ﻟﺒﻌﺽ‬ ‫ﻷﺩﺍﺌﻴﺔ‬ ‫ﺍﻟﺒﺤﺙ؟‬ ‫ﻋﻴﻨﺔ‬ ‫ﺍﻟﺒﻴﺎﻨﻭ‬ ‫ﻵﻟﺔ‬ ‫ﺒﻭﻫﻡ‬ ‫ﻜﺎﺭل‬ ‫ﻤﺅﻟﻔﺎﺕ‬
	‫ﻴﻌﺩ‬ ‫ﻭﺍﻟﺩﺭﺍﺴﺔ‬ ‫ﺒﻭﻫﻡ‬ ‫ﻜﺎﺭل‬ ‫ﻟﺩﺍﺭﺴﻲ‬ ‫ﺍﻟﻤﺅﻟﻔﻴﻥ‬ ‫ﺍﻟﺒﻴﺎﻨﻭ‬ ‫ﻭﺒﻌـﺽ‬ ‫ﺍﻟﻤﺅﻟـﻑ‬ ‫ﻋﻠﻰ‬ ‫ﺍﻟﺘﻌﺭﻑ‬ ‫ﻓﻲ‬ ‫ﺘﻔﻜﺭ‬ ‫ﺍﻟﺒﺎﺤﺜﺔ‬ ‫ﺠﻌل‬ ‫ﺍﻟﺫﻱ‬ ‫ﺍﻷﻤﺭ‬ ‫ﻋﺎﻟﻴﺔ‬ ‫ﺘﻜﻨﻴﻜﻴﺔ‬ ‫ﻤﻬﺎﺭﺓ‬ ‫ﺘﺘﻁﻠﺏ‬ ‫ﺍﻟﺭﻭﻤﺎﻨﺘﻴﻜﻲ‬ ‫ﺍﻟﻌﺼﺭ‬ ‫ﻓﻲ‬ ‫ﺍﻷﻟﻤﺎﻥ‬ ‫ﺇﻻ‬ ‫ﺒﺎﻟﺒﺤـﺙ‬ ‫ﺒﺎﻹﻫﺘﻤـﺎﻡ‬ ‫ﻴﺤﻅﻰ‬ ‫ﻟﻡ‬ ‫ﺃﻨﻪ‬ ‫ﺒﺎﻟﺭﻏﻡ‬ ‫ﺍﻟﻌﺩﻴﺩ‬ ‫ﻋﻠﻰ‬ ‫ﻤﺅﻟﻔﺎﺘﻪ‬ ‫ﺍﺤﺘﻭﺍﺀ‬ ‫ﻤﻥ‬ ‫ﺍﻟ‬ ‫ﻤﻥ‬ ‫ﻌﻨﺎﺼﺭ‬ ‫ﺍﻟﺘـﻲ‬ ‫ﺍﻟﻤﻭﺴـﻴﻘﻴﺔ‬ ‫ﺇ‬ ‫ﺠﺭﺍﺀﺍﺕ‬ ‫ﺍﻟﺒﺤﺙ‬ :
					.	‫ﺭﻴﺔ‬	‫ﺍﻹﺴﻜﻨﺩ‬	‫ﺠﺎﻤﻌﺔ‬	‫ﺍﻟﻨﻭﻋﻴﺔ‬	‫ﺍﻟﺘﺭﺒﻴﺔ‬	‫ﻜﻠﻴﺔ‬	-	‫ﺍﻟﻤﻭﺴﻴﻘﻴﺔ‬	‫ﺍﻟﺘﺭﺒﻴﺔ‬	‫ﺒﻘﺴﻡ‬	‫ﺍﻟﺒﻴﺎﻨﻭ‬	‫ﻤﺩﺭﺱ‬	١ (	)
		 	-		  	-	
										١٣٠٤ (	)			

‫ﺍﻟﺩﺭﺍﺴﺎﺕ‬ ‫ﺍﻟﺒﺤﺙ‬ ‫ﺒﻤﻭﻀﻭﻉ‬ ‫ﺍﻟﻤﺭﺘﺒﻁﺔ‬ ‫ﺍﻟﺴﺎﺒﻘﺔ‬ ‫ﺍﻟﺩﺭﺍﺴﺔ‬ ‫ﺒﻌﻨﻭﺍﻥ‬ ‫ﺍﻷﻭﻟﻰ‬ " ‫ﻤﻘﻁﻭﻋﺎ‬ ‫ﻤﺼﻨﻑ‬ ‫ﺘﻌﺒﻴﺭﻴﺔ‬ ‫ﺕ‬ ٢١ ‫ﻓﺎﺭﻭﻴل‬ ‫ﺁﺭﺜﺭ‬ ‫ﻋﻨﺩ‬ "

  
	‫ﺃﺩﺍﺌﻬﺎ‬ . ‫ﺃﻋﻤﺎﻟﻪ‬ ‫ﻭﺃﻫﻡ‬ ‫ﺍﺸﺘﻤل‬ ‫ﺍﻟﺫﻱ‬ ‫ﺍﻟﻨﻅﺭﻱ‬ ‫ﺍﻟﺠﺎﻨﺏ‬ ‫ﻋﻠﻰ‬ ‫ﺍﻟﺒﺤﺙ‬ ‫ﺍﺸﺘﻤل‬ ‫ﻭﻗﺩ‬ ، ‫ﺍﻟﻤﻘ‬ ‫ﺘـﻀﻤﻨﺘﻬﺎ‬ ‫ﺍﻟﺘﻲ‬ ‫ﺍﻷﺩﺍﺌﻴﺔ‬ ‫ﺍﻟﺼﻌﻭﺒﺎﺕ‬ ‫ﻋﻠﻰ‬ ‫ﻭﺍﺸﺘﻤل‬ ‫ﺍﻟﺘﻁﺒﻴﻘﻲ‬ ‫ﻭﺍﻟﺠﺎﻨﺏ‬ ‫ﻓﺎﺭﻭﻴـل‬ ‫ﺁﺭﺜـﺭ‬ ‫ﺍﻟﻤﺅﻟﻑ‬ ‫ﺤﻴﺎﺓ‬ ‫ﻋﻠﻰ‬ ‫ﻁﻭﻋـﺎﺕ‬
	‫ﻤﺼﻨﻑ‬ ‫ﺍﻟﺘﻌﺒﻴﺭﻴﺔ‬ ‫ﺒﻁـﺎﺒ‬ ‫ﺘﺘﻤﻴﺯ‬ ‫ﻜﻤﺎ‬ ‫ﺍﻟﻤﻌﺘﺩﻟﺔ‬ ‫ﺍﻟﺴﺭﻋﺔ‬ ‫ﻤﻊ‬ ‫ﺍﻟﻬﺎﺩﺌﺔ‬ ‫ﺒﺎﻷﻟﺤﺎﻥ‬ ‫ﻓﺎﺭﻭﻴل‬ ‫ﺁﺭﺜﺭ‬ ٢١ ‫ﺍﻟﺼﻌﻭﺒﺎﺕ‬ ‫ﺘﻠﻙ‬ ‫ﺘﺫﻟﻴل‬ ‫ﻭﻜﻴﻔﻴﺔ‬ . ‫ﻤﺅﻟﻔﺎﺕ‬ ‫ﺘﻤﻴﺯ‬ ‫ﺍﻟﻰ‬ ‫ﺍﻟﺒﺤﺙ‬ ‫ﻨﺘﺎﺌﺞ‬ ‫ﺘﻭﺼﻠﺕ‬ ‫ﻭﻗﺩ‬ ‫ﻴـﻭﺤﻲ‬ ‫ﺍﻟـﺫﻱ‬ ‫ﺍﻟﺘـﺄﻟﻴﻑ‬ ‫ﻊ‬ ‫ﻓـﻲ‬ ‫ﻭﺍﻟﺭﺒﺎﻋﻴـﺔ‬ ‫ﺍﻟﺜﻼﺜﻴـﺔ‬ ‫ﻭﺍﻟﺘﺂﻟﻔـﺎﺕ‬ ‫ﺍﻟﻬﺎﺭﻤﻭﻨﻴﺔ‬ ‫ﺍﻟﻤﺴﺎﻓﺎﺕ‬ ‫ﺍﺴﺘﺨﺩﺍﻡ‬ ‫ﻤﻊ‬ ‫ﺍﻟﺭﻭﻤﺎﻨﺘﻴﻜﻲ‬ ‫ﺒﺎﻷﺴﻠﻭﺏ‬
																			‫ﺍﻟﻤﺼﺎﺤﺒﺔ‬ .
	‫ﺁﻟﺔ‬ ‫ﻋﻠﻰ‬ ‫ﺍﻷﺩﺍﺀ‬ ‫ﺼﻌﻭﺒﺎﺕ‬ ‫ﺒﺘﺫﻟﻴل‬ ‫ﺍﻹﻫﺘﻤﺎﻡ‬ ‫ﻓﻲ‬ ‫ﺍﻟﺭﺍﻫﻥ‬ ‫ﺍﻟﺒﺤﺙ‬ ‫ﻤﻊ‬ ‫ﺍﻟﺩﺭﺍﺴﺔ‬ ‫ﻫﺫﻩ‬ ‫ﺘﺘﻔﻕ‬	:	‫ﺍﻟﺒﺎﺤﺜﺔ‬	‫ﺘﻌﻠﻴﻕ‬
	‫ﻜـﺎﺭل‬ ‫ﺒﻤﺅﻟﻔـﺎﺕ‬ ‫ﻴﻬﺘﻡ‬ ‫ﺍﻟﺤﺎﻟﻲ‬ ‫ﺍﻟﺒﺤﺙ‬	‫ﺃﻥ‬ ‫ﻓﻲ‬ ‫ﻤﻌﻬﺎ‬ ‫ﻭﻴﺨﺘﻠﻑ‬ ‫ﺍﻟﺭﻭﻤﺎﻨﺘﻴﻜﻲ‬ ‫ﺍﻟﻌﺼﺭ‬ ‫ﻟﻤﺅﻟﻔﺎﺕ‬ ‫ﺍﻟﺒﻴﺎﻨﻭ‬ ‫ﺒﻭﻫﻡ‬ .
		١ (	)	"	‫ﺼﺎﻨﺹ‬		‫ﺴﺎﻥ‬ ‫ﻋﻨﺩ‬	٧٢	‫ﻤﺼﻨﻑ‬ ‫ﺍﻟﺒﻴﺎﻨﻭ‬ ‫ﻤﻘﻁﻭﻋﺎﺕ‬ ‫ﺃﺩﺍﺀ‬	‫ﺃﺴﻠﻭﺏ‬	"	‫ﺒﻌﻨﻭﺍﻥ‬ ‫ﺍﻟﺜﺎﻨﻴﺔ‬	‫ﺍﻟﺩﺭﺍﺴﺔ‬
	‫ﻭﺍﻟﺘﻌـﺭﻑ‬ ‫ﻭﺃﻋﻤﺎﻟﻪ‬ ‫ﻭﺍﺴﻠﻭﺒﻪ‬ ‫ﺼﺎﻨﺹ‬ ‫ﺴﺎﻥ‬ ‫ﺍﻟﻤﻭﺴﻴﻘﻲ‬	‫ﺍﻟﻤﺅﻟﻑ‬	‫ﻋﻠﻰ‬ ‫ﺍﻟﺘﻌﺭﻑ‬	‫ﻰ‬	‫ﺍﻟ‬ ‫ﺍﻟﺒﺤﺙ‬ ‫ﻫﺫﺍ‬	‫ﻴﻬﺩﻑ‬
	‫ﻤﺼﻨﻑ‬ ‫ﺍﻟﺒﻴﺎﻨﻭ‬ ‫ﻵﻟﺔ‬ ‫ﺍﻟﻤﻘﻁﻭﻋﺎﺕ‬ ‫ﺒﻌﺽ‬ ‫ﺃﺩﺍﺀ‬ ‫ﺍﺴﻠﻭﺏ‬ ‫ﻋﻠﻰ‬ ‫ﺍﻟﻌﺯﻓﻴـﺔ‬ ‫ﻭﺍﻹﺭﺸـﺎﺩﺍﺕ‬ ‫ﻟﻬـﺎ‬ ‫ﺍﻟﻌﺯﻓﻴـﺔ‬ ‫ﺍﻟﻤـﺸﻜﻼﺕ‬ ‫ﻭﺘﺫﻟﻴل‬ ‫ﻟﻬﺎ‬ ‫ﻭﺍﻟﻌﺯﻓﻲ‬ ‫ﺍﻟﻨﻅﺭﻱ‬ ‫ﺍﻟﺘﺤﻠﻴل‬ ‫ﺨﻼل‬ ) ٧٢ ( ‫ﻟﻤﺅﻟﻑ‬ ‫ﻋﻨﺩ‬ ‫ﻤـﻥ‬ ‫ﺼـﺎﻨﺹ‬ ‫ﺴﺎﻥ‬
	‫ﻟﻬﺎ‬ . ‫ﻤﺼﻨﻑ‬ ‫ﺍﻟﺒﻴﺎﻨﻭ‬ ‫ﻤﻘﻁﻭﻋﺎﺕ‬ ‫ﻋﻠﻴﻬﺎ‬ ‫ﺍﺸﺘﻤﻠﺕ‬ ‫ﺍﻟﺘﻲ‬ ‫ﺍﻷﺩﺍﺌﻴﺔ‬ ‫ﺍﻟﺼﻌﻭﺒﺎﺕ‬ ‫ﺘﺫﻟﻴل‬ ‫ﻁﺭﻕ‬ ‫ﻭﺘﻭﺼﻠﺕ‬ ‫ﺍﻟﺒﺎ‬ ‫ﺘﻭﺼﻠﺕ‬ ‫ﻜﻤﺎ‬ ‫ﺍﻟﺘﺄﻟﻴﻑ‬ ‫ﻓﻲ‬ ‫ﺼﺎﺹ‬ ‫ﺴﺎﻥ‬ ‫ﺍﺴﻠﻭﺏ‬ ‫ﺨﺼﺎﺌﺹ‬ ‫ﺍﻟﻰ‬ ‫ﺍﻟﺒﺎﺤﺜﺔ‬ ) ٢٧ ( ‫ﺍﻟﺒﻴﺎﻨﻭ‬ ‫ﻵﻟﺔ‬ ‫ﺤﺜـﺔ‬ ‫ﺍﻟـﻰ‬ .
	‫ﺘﻌﻠ‬ ‫ﻫﻭ‬ ‫ﻴﻕ‬ ‫ﻭﺍﻟﻐـﺭﺽ‬ ‫ﺍﻟﻤﺅﻟﻑ‬ ‫ﺍﺴﻠﻭﺏ‬ ‫ﻋﻥ‬ ‫ﻭﺍﻀﺤﺎ‬ ‫ﺘﻌﺒﻴﺭﺍ‬ ‫ﺘﻌﺒﺭ‬ ‫ﻭﺍﻟﺘﻲ‬ ‫ﺍﻟﻤﻭﺴﻴﻘﻴﺔ‬ ‫ﻟﻠﻤﺅﻟﻔﺔ‬ ‫ﺍﻟﻤﻤﻴﺯﺓ‬ ‫ﺍﻟﺼﻔﺔ‬ ‫ﺍﻟﺒﺎﺤﺜﺔ‬ : ‫ﻴﺘﻔﻕ‬ ‫ﻭﺘﻨـﺎﻭل‬ ‫ﺍﻟﺭﻭﻤﺎﻨﺘﻴﻜﻲ‬ ‫ﺍﻟﻌﺼﺭ‬ ‫ﺘﻨﺎﻭل‬ ‫ﺤﻴﺙ‬ ‫ﻤﻥ‬ ‫ﺍﻟﺭﺍﻫﻥ‬ ‫ﺍﻟﺒﺤﺙ‬ ‫ﻤﻊ‬ ‫ﺍﻟﺒﺤﺙ‬ ‫ﻫﺫﺍ‬ Performance Style ‫ﻭﻴﻭﻀﺤﻪ‬ ‫ﻋﻨﻪ‬ ‫ﻴﻌﺒﺭ‬ ‫ﺃﻥ‬ ‫ﻴﺭﻴﺩ‬ ‫ﺍﻟﺫﻱ‬ ). ٩ -٧٤ ( ‫ﺍﻟﻤﺅﻟﻑ‬ ‫ﺤﻴﺙ‬ ‫ﻤﻥ‬ ‫ﻭﻴﺨﺘﻠﻑ‬ ‫ﻟﻠﺒﻴﺎﻨﻭ‬ ‫ﺍﻟﺤﺭﺓ‬ ‫ﺍﻟﻤﻘﻁﻭﻋﺎﺕ‬ ‫ﻨﻭﻋﻴﺔ‬ ‫ﻨﻔﺱ‬ ‫ﺤﻴﺙ‬ ‫ﺍﻟـﺭﺍﻫﻥ‬ ‫ﺍﻟﺒﺤـﺙ‬ ‫ﻴﺘﻨﺎﻭل‬ ‫ﺍﻟﺒﻴﺎﻨﻭ‬ ‫ﻵﻟﺔ‬ ‫ﺒﻭﻫﻡ‬ ‫ﻜﺎﺭل‬ ‫ﻤﻘﻁﻭﻋﺎﺕ‬ ‫ﺒﻌﺽ‬ .
							١ (	)								
	‫ﺍﻟـﺼﻌﻭﺒﺎﺕ‬ ‫ﻭﺘﺤﺩﻴـﺩ‬ ‫ﻓﺎﺭﻭﻴل‬ ‫ﺁﺭﺜﺭ‬ ‫ﻋﻨﺩ‬ ‫ﺍﻟﺒﻴﺎﻨﻭ‬ ‫ﻤﻘﻁﻭﻋﺎﺕ‬ ‫ﺒﻌﺽ‬ ‫ﺩﺭﺍﺴﺔ‬ ‫ﺍﻟﻰ‬ ‫ﺍﻟﺩﺭﺍﺴﺔ‬ ‫ﻫﺫﻩ‬	‫ﺘﻬﺩﻑ‬
	‫ﻋﻠـﻰ‬ ‫ﺍﻟـﺩﺍﺭﺱ‬ ‫ﻴﺴﺎﻋﺩ‬ ‫ﺒﻤﺎ‬ ‫ﺍﻟﺼﻌﻭﺒﺎﺕ‬ ‫ﺘﻠﻙ‬ ‫ﺘﺫﻟﻴل‬ ‫ﻋﻠﻰ‬ ‫ﻭﺍﻟﻌﻤل‬ ‫ﺒﻬﺎ‬ ‫ﺍﻟﻤﻭﺠﻭﺩﺓ‬ ‫ﻭﺍﻟﺘﻌﺒﻴﺭﻴﺔ‬ ‫ﺍﻟﺘﻜﻨﻴﻜﻴﺔ‬
	‫ﺍﻟﻘـﺭﻥ‬	‫ﻓـﻲ‬	‫ﺍﻟﻤﻭﺴـﻴﻘﻲ‬	‫ﺍﻟﻔﻜـﺭ‬	‫ﺍﺘﺠﺎﻫـﺎﺕ‬	)	‫ﺍﻟـﺴﺎﺒﻊ‬	‫ﺍﻟﻌﻠﻤﻲ‬	‫ﺍﻟﻤﺅﺘﻤﺭ‬	‫ﻤﻨﺸﻭﺭ‬	‫ﺒﺤﺙ‬	:	‫ﺃﺤﻤﺩ‬	‫ﺭﻓﺎﻋﻲ‬	‫ﺃﻓﻜﺎﺭ‬	(	١	)
														٢٠٠٣	‫ﺤﻠﻭﺍﻥ‬	‫ﺠﺎﻤﻌﺔ‬	‫ﺍﻟﻤﻭﺴﻴﻘﻴﺔ‬	‫ﺍﻟﺘﺭﺒﻴﺔ‬	‫ﻜﻠﻴﺔ‬	‫ﺍﻷﻭل‬	‫،ﺍﻟﺠﺯﺀ‬	(	‫ﺍﻟﻌﺸﺭﻴﻥ‬
		 	-		  	-	
																		١٣٠٦ (	)



  ‫ﻷﺩﺍﺀ‬ ‫ﺍﻟﻤﻔﺎﺘﻴﺢ‬ ‫ﻟﻭﺤﺔ‬ ‫ﻋﻠﻰ‬ ‫ﺍﻹﺼﺒﻊ‬ ‫ﺒﻨﺯﻭل‬ ‫ﺒﺘﺭﺍﺒﻁ‬ ‫ﻴﻥ‬ ‫ﺍﻟـﻰ‬ ‫ﹰ‬ ‫ﻗﻠـﻴﻼ‬ ‫ﺍﻟﺭﺴﻎ‬ ‫ﺭﻓﻊ‬ ‫ﻤﻊ‬ ‫ﻭﻫﺩﻭﺀ‬ ‫ﺒﺨﻔﺔ‬ ‫ﺍﻟﺜﺎﻨﻴﺔ‬ ‫ﺍﻟﻨﻐﻤﺔ‬ ‫ﻋﺯﻑ‬ ‫ﺜﻡ‬ ‫ﻤﺒﺎﻟﻐﺔ‬ ‫ﺩﻭﻥ‬ ‫ﺍﻟﺫﺭﺍﻉ‬ ‫ﻤﻥ‬ ‫ﺍﻟﻘﻭﺱ‬ ‫ﻨﻬﺎﻴﺔ‬ ‫ﻓﻲ‬ ‫ﺃﻋﻠﻰ‬ . 


	‫ـﺸﻜل‬ ‫ﻭﺍﻟـ‬ ‫ﺍﻟﺘﻤﺭﻴﻥ‬ ‫ﺍﻟﺒﺎﺤﺜﺔ‬ ‫ﺘﻘﺘﺭﺡ‬ ‫ﻭﻟﺫﻟﻙ‬ ‫ﺍﻟﻤﻨﻔﺭﺩﺓ‬ ‫ﻟﻠﻨﻐﻤﺎﺕ‬ ‫ﺍﻟﻘﺼﻴﺭ‬ ‫ﺍﻟﻘﻭﺱ‬ ‫ﺃﺩﺍﺀ‬ ‫ﻁﺭﻴﻘﺔ‬ ‫ﻨﻔﺱ‬ ‫ﺍﻹﺭﺸﺎﺩﺍﺕ‬ ‫ﺍﻟﻌﺯﻓﻴ‬ ‫ﺔ‬ : ‫ﺘﻁﺒﻕ‬ ‫ﺫﻟﻙ‬ ‫ﻴﻭﻀﺢ‬ ‫ﺍﻟﻘﺼﻴﺭ‬ ‫ﺍﻟﻘﻭﺱ‬ ‫ﺃﺩﺍﺀ‬ ‫ﻋﻠﻰ‬ ‫ﻟﻠﺘﺩﺭﻴﺏ‬ ‫ﺍﻟﺘﺎﻟﻲ‬ ‫ﻟﻐﻤﺔ‬ ‫ﻭ‬ ‫ﻤﺯﺩﻭﺠﺔ‬ ‫ﺃﻭﻜﺘﺎﻑ‬ ‫ﺒﻌﺩ‬ ‫ﻋﻠﻰ‬ ‫ﻤﻨﻔﺭﺩﺓ‬ ‫ﻨﻐﻤﺔ‬ ‫ﻟﻸﺼﺎﺒﻊ‬ ‫ﺍﻟﻜﺎﻤﻠﺔ‬ ‫ﺍﻹﺴﺘﺩﺍﺭﺓ‬ ‫ﻤﻊ‬ ‫ﺍﻟﻤﺯﺩﻭﺠﺘﻴﻥ‬ ‫ﺍﻟﻨﻐﻤﺘﻴﻥ‬ ‫ﻋﻠﻰ‬ ‫ﺍﻟﻀﻐﻁ‬ ‫ﺘﺴﺎﻭﻱ‬ ‫ﻤﺭﺍﻋﺎﺓ‬ ‫ﻤﻊ‬ ‫ﺍﻟﻨ‬ ‫ﻗﻭﺓ‬ ‫ﻟﺘﻌﺎﺩل‬ ‫ﻐﻤﺎﺕ‬ ‫ﺍﻷﺨﺭﻯ‬ ‫ﻋﻠﻰ‬ ‫ﺍﺤﺩﺍﻫﺎ‬ ‫ﺘﻁﻐﻰ‬ ‫ﻻ‬ ‫ﺤﺘﻰ‬ .
	‫ﺸﻜل‬ ‫ﺍﻹﺭﺸﺎﺩﺍﺕ‬ ‫ﺭﻗﻡ‬ ) ‫ﺘﺘﻁﻠﺏ‬ ‫ﻟﻨﻐﻤﺘﻴﻥ‬ ‫ﺍﻟﻤﻤﺘﺩ‬ ‫ﺍﻟﻘﺼﻴﺭ‬ ‫ﺍﻟﺘﻌﺒﻴﺭﻱ‬ ‫ﺍﻟﻘﻭﺱ‬ ‫ﺃﺩﺍﺀ‬ ‫ﻟﺤﺭﻜﺔ‬ ‫ﺍﻟﻌﺯﻓﻴﺔ‬ ‫ﺍﻟﺘﻘﻨﻴﺔ‬ ‫ﻫﺫﻩ‬ ٨ ( ‫ﺍﻟـ‬ ‫ﻴﻭﻀﺢ‬ slur ‫ﻡ‬ ‫ﻓﻲ‬ ) ٤٩ -٥٤ ( ‫ﺍﻟﻌﺯﻓﻴ‬ ‫ﺔ‬ : ) slur ( ‫ﺍﻟﻨﻐﻤﺘ‬ ‫ﺃﺩﺍﺀ‬ ‫ﺒﺎﻟﺘﺎﻟﻲ‬ ‫ﺍﻹﻟﺘﺯﺍﻡ‬ ‫ﺍﻟﺘﺩﺭﻴﺏ‬ ‫ﺃﺩﺍﺀ‬ ‫ﻋﻨﺩ‬ : ١ . ‫ﺃﺩﺍﺀ‬ ‫ﺍﻟﺴﺭﻋ‬ ‫ﻓﻲ‬ ‫ﺍﻟﺘﺩﺭﺝ‬ ‫ﺜﻡ‬ ‫ﺍﻟﺒﺩﺍﻴﺔ‬ ‫ﻓﻲ‬ ‫ﺒﺒﻁﺊ‬ ‫ﺍﻟﺘﺩﺭﻴﺏ‬ ‫ﺍﻟﻤﻁﻠﻭﺒﺔ‬ ‫ﺍﻟﺴﺭﻋﺔ‬ ‫ﺍﻟﻰ‬ ‫ﺔ‬ ٢ . ‫ﺍﻹﻟﺘﺯﺍﻡ‬ ‫ﺍﻟﻨﻐﻤﺎﺕ‬ ‫ﻋﻠﻰ‬ ‫ﺍﻟﻤﺤﺩﺩ‬ ‫ﺍﻷﺼﺎﺒﻊ‬ ‫ﺒﺘﺭﻗﻴﻡ‬ ‫ﻭﻹﺘﻘﺎﻥ‬ ‫ﺍﻟﺘﺎﻟﻲ‬ ‫ﺍﻟﺘﺩﺭﻴﺏ‬ ‫ﺍﻟﺒﺎﺤﺜﺔ‬ ‫ﺍﻗﺘﺭﺤﺕ‬ ‫ﺍﻟﺘﻘﻨﻴﺔ‬ ‫ﻫﺫﻩ‬ : . . ‫ﺸﻜل‬ ‫ﺭﻗﻡ‬ ) ١١ ( ‫ﻭﻨﻐﻤﺔ‬ ‫ﻤﺯﺩﻭﺠﺔ‬ ‫ﻟﻨﻐﻤﺔ‬ ‫ﻗﺼﻴﺭ‬ ‫ﻟﺤﻨﻲ‬ ‫ﻗﻭﺱ‬ ‫ﻟﺘﻘﻨﻴﺔ‬ ‫ﻤﻘﺘﺭﺡ‬ ‫ﺘﺩﺭﻴﺏ‬ ‫ﻴﻭﻀﺢ‬ ‫ﺃﻭﻜﺘﺎﻑ‬ ‫ﺒﻌﺩ‬ ‫ﻋﻠﻰ‬ ‫ﻤﻨﻔﺭﺩﺓ‬ ‫ﻗﻭﺱ‬ ‫ﻗﺼ‬ ‫ﻟﺤﻨﻲ‬ ‫ﺃﻭﻜﺘﺎﻑ‬ ‫ﻨﻁﺎﻕ‬ ‫ﺩﺍﺨل‬ ‫ﻤﻨﻔﺭﺩﺓ‬ ‫ﻨﻐﻤﺎﺕ‬ ‫ﻟﺜﻼﺙ‬ ‫ﻴﺭ‬ ‫ﺒﺜﻘل‬ ‫ﺍﻷﻭﻟﻰ‬ ‫ﺍﻟﻨﻐﻤﺔ‬ ‫ﻴﺭﺍﻋﻰ‬ ‫ﺃﺭﻗﺎﻡ‬ ‫ﺍﻟﻤﻭﺍﺯﻴﺭ‬ ‫ﻓﻲ‬ ‫ﺍﻟﻴﻤﻨﻰ‬ ‫ﺍﻟﻴﺩ‬ ‫ﻓﻲ‬ ‫ﺠﺎﺀﺕ‬ •
					‫ﺸﻜل‬ ‫ﻗﻭﺱ‬ ‫ﺠﺎﺀﺕ‬ ‫ﺭﻗﻡ‬ ‫ﻟﺤ‬ ‫ﻨﻲ‬ ) ‫ﻡ‬ ‫ﻓﻲ‬ ‫ﺍﻟﻴﻤﻨﻰ‬ ‫ﺍﻟﻴﺩ‬ ‫ﻓﻲ‬ ٩ ( ‫ﺘﻘﻨﻴﺔ‬ ‫ﻷﺩﺍﺀ‬ ‫ﺍﻟﻤﻘﺘﺭﺡ‬ ‫ﺍﻟﺘﺩﺭﻴﺏ‬ ‫ﻴﻭﻀﺢ‬ ‫ﻤﺯﺩﻭﺠﺔ‬ ‫ﻟﻨﻐﻤﺔ‬ ‫ﻗﺼﻴﺭ‬ ‫ﻭﻨﻐﻤﺔ‬ ‫ﺃﻭﻜﺘﺎﻑ‬ ‫ﺒﻌﺩ‬ ‫ﻋﻠﻰ‬ ‫ﻤﻨﻔﺭﺩﺓ‬ slur ) ٦٤ ( ‫ﺫﻟﻙ‬ ‫ﻴﻭﻀﺢ‬ ‫ﺍﻟﺘﺎﻟﻲ‬ ‫ﻭﺍﻟﺸﻜل‬	•
	‫ﺃﻭﻜﺘﺎﻑ‬ ‫ﺒﻌﺩ‬ ‫ﻋﻠﻰ‬ ‫ﻤﻨﻔﺭﺩﺓ‬ ‫ﻭﻨﻐﻤﺔ‬ ‫ﻤﺯﺩﻭﺠﺔ‬ ‫ﻟﻨﻐﻤﺔ‬ ‫ﻗﺼﻴﺭ‬ ‫ﻟﺤﻨﻲ‬ ‫ﻗﻭﺱ‬ ‫ﻴﻭﻀﺢ‬ ‫ﻡ‬ ‫ﻓﻲ‬ ٦٤	(	١٠	)	‫ﺭﻗﻡ‬	‫ﺸﻜل‬
		 	-		  	-	
						١٣١٧ (	)



  ‫ﻤـﻊ‬ ‫ﺃﻋﻠـﻰ‬ ‫ﺍﻟﻰ‬ ‫ﹰ‬ ‫ﻗﻠﻴﻼ‬ ‫ﺍﻟﺭﺴﻎ‬ ‫ﺒﺎﺘﺠﺎﻩ‬ ‫ﺒﺨﻔﺔ‬ ‫ﺍﻷﺨﻴﺭﺓ‬ ‫ﺍﻟﻨﻐﻤﺔ‬ ‫ﻭﻋﺯﻑ‬ ‫ﹰ‬ ‫ﺼﻌﻭﺩﺍ‬ ‫ﺍﻟﺘﺎﻟﻴﺔ‬ ‫ﺍﻟﻨﻐﻤﺔ‬ ‫ﻋﺯﻑ‬ ‫ﻓﻲ‬ ‫ﺍﻟﺸﺩ‬ ‫ﺃﻭ‬ ‫ﻟﻠﺘﺸﻨﺞ‬ ‫ﹰ‬ ‫ﻤﻨﻌﺎ‬ ‫ﺍﻷﺩﺍﺀ‬ ‫ﻓﻲ‬ ‫ﺍﻹﻨﺴﻴﺎﺒﻴﺔ‬ ‫ﻋﻠﻰ‬ ‫ﹰ‬ ‫ﺤﻔﺎﻅﺎ‬ ‫ﺍﻟﻴﻤﻴﻥ‬ ‫ﻨﺎﺤﻴﺔ‬ ‫ﺨﻔﻴﻑ‬ ‫ﻤﻴل‬ . ‫ﻤﻭﻗﻊ‬ ‫ﺘﺤﺩﻴﺩ‬ ‫ﻴﺘﻁﻠﺏ‬ ‫ﻤﻤﺎ‬ ‫ﹰ‬ ‫ﺼﻌﻭﺩﺍ‬ ‫ﺍﻷﻭﻜﺘﺎﻑ‬ ‫ﻗﻔﺯﺓ‬ ‫ﺤﺭﻜﺔ‬ ‫ﺍﺘﻘﺎﻥ‬ ‫ﺍﻟﺘﻘﻨﻴﺔ‬ ‫ﻫﺫﻩ‬ ‫ﻟﻠﻌـﺎﺯﻑ‬ ‫ﻴﺘـﺴﻨﻰ‬ ‫ﺤﺘـﻰ‬ ‫ﺍﻟﺫﺭﺍﻉ‬ ‫ﻤﻥ‬ ‫ﺍﻟﺤﺭﻜﺔ‬ ‫ﺘﺄﺘﻲ‬ ‫ﺃﻥ‬ ‫ﻋﻠﻰ‬ ‫ﻷﺩﺍﺌﻬﺎ‬ ‫ﺍﻟﻌﻀﻠﻲ‬ ‫ﻭﺍﻹﺴﺘﻌﺩﺍﺩ‬ ‫ﹰ‬ ‫ﻭﺒﺼﺭﻴﺎ‬ ‫ﻓﻲ‬ ‫ﺍﺴﺘﺩﺍﺭ‬ ‫ﺸﻜل‬ ‫ﻓﻲ‬ ‫ﺘﻜﻭﻥ‬ ‫ﻭﺍﻟﺘﻲ‬ ‫ﺍﻷﺼﺎﺒﻊ‬ ‫ﻤﻥ‬ ‫ﺍﻟﻌﺯﻓﻴﺔ‬ ‫ﺍﻟﺤﺭﻜﺔ‬ ‫ﺘﺘﻡ‬ ‫ﺍﻟﺤﺎﻟﺔ‬ ‫ﺘﻠﻙ‬ ‫ﻟﻭﺤـﺔ‬ ‫ﻋﻠـﻰ‬ ‫ﺓ‬ ‫ﻭﺍﻻﺴﺘﺭﺨﺎﺀ‬ ‫ﺍﻟﺸﺩ‬ ‫ﺒﻴﻥ‬ ‫ﺘﻭﺍﺯﻥ‬ ‫ﻓﻴﺤﺎﻟﺔ‬ ‫ﻭﺍﻟﺴﺎﻋﺩ‬ ‫ﺍﻟﺭﺴﻎ‬ ‫ﻭﺒﺎﻗﻲ‬ ‫ﺍﻟﻤﻔﺎﺘﻴﺢ‬ . ‫ﺘﺅﺩﻯ‬ ‫ﺍﻟﺜﺎﻨﻲ‬ ‫ﺍﻟﺼﻭﺕ‬ ‫ﻴﻜﻭﻥ‬ ‫ﺒﺄﻥ‬ ‫ﺍﻟﺤﻠﻴﺔ‬ ‫ﻋﻠـﻰ‬ ‫ﺍﻟﺘـﺩﺭﻴﺏ‬ ‫ﻭﻴﺭﺍﻋﻰ‬ ‫ﺍﻷﺴﺎﺴﻲ‬ ‫ﺍﻟﺼﻭﺕ‬ ‫ﻤﻥ‬ ‫ﺃﻋﻠﻰ‬ ‫ﺃﺩﺍﺀ‬ ‫ﻋﻠـﻰ‬ ‫ﺍﻟﺘـﺩﺭﻴﺏ‬ ‫ﺒﻌـﺩ‬ ‫ﺍﻟﻠﺤﻨﻲ‬ ‫ﺍﻟﺨﻁ‬ ‫ﻤﻊ‬ ‫ﻭﻋﺯﻓﻬﺎ‬ ‫ﺍﺩﺨﺎﻟﻬﺎ‬ ‫ﺜﻡ‬ ‫ﺃﻭﻻ‬ ‫ﺒﺒﻁﺊ‬ ‫ﺒﻤﻔﺭﺩﻫﺎ‬ ‫ﻋﺯﻓﻬﺎ‬ ‫ﺍﻟﻨﻐﻤﻲ‬ ‫ﺒﺎﻹﻴﻘﺎﻉ‬ ‫ﻟﻼﺤﺴﺎﺱ‬ ‫ﹰ‬ ‫ﺃﻭﻻ‬ ‫ﺒﺩﻭﻨﻬﺎ‬ ‫ﺍﻟﻤﻘﻁﻭﻋﺔ‬ ‫ﻟﻠﻤﻘﻁﻭﻋﺔ‬ ‫ﺜﻡ‬ ‫ﺒﺒﻁﺊ‬ ‫ﺍﻷﺩﺍﺀ‬ ‫ﻤﺭﺍﻋﺎﺓ‬ ‫ﻤﻊ‬ ‫ﺍﻟﺘﺩﺭﺝ‬ ‫ﺍﻟﻤﻁﻠﻭﺒﺔ‬ ‫ﺍﻟﺴﺭﻋﺔ‬ ‫ﺍﻟﻰ‬ ‫ﺍﻟﺴﺭﻋﺔ‬ ‫ﻓﻲ‬ . ‫ﻴﻠﺯﻡ‬ ‫ﺍﻟﺘـﻲ‬ ‫ﺍﻟﻨﻐﻤـﺔ‬ ‫ﺘﺭﻙ‬ ‫ﻋﺩﻡ‬ ‫ﻤﻊ‬ ‫ﺒﺴﺭﻋﺔ‬ ‫ﺍﻷﺨﺭﻯ‬ ‫ﺘﻠﻭ‬ ‫ﺍﻟﻨﻐﻤﺔ‬ ‫ﺘﻌﺯﻑ‬ ‫ﺃﻥ‬ ‫ﺍﻟﺤﻠﻴﺔ‬ ‫ﻫﺫﻩ‬ ‫ﺃﺩﺍﺀ‬ ‫ﻋﻨﺩ‬ ‫ﻋﺯﻓﺕ‬ ‫ﻭﺘﺄﺘﻲ‬ ‫ﺒﺤﻴﺙ‬ ‫ﹰ‬ ‫ﻤﻌﺎ‬ ‫ﻭﺍﻷﺼﺎﺒﻊ‬ ‫ﺍﻟﺭﺴﻎ‬ ‫ﻤﻥ‬ ‫ﺍﻟﺤﺭﻜﺔ‬ ‫ﺍﻟﺜﺎﻨﻴﺔ‬ ‫ﺍﻟﻨﻐﻤﺔ‬ ‫ﻋﻠﻰ‬ ‫ﺍﻟﻀﻐﻁ‬ ‫ﻴﻜﻭﻥ‬ . ‫ﻴﺘﻁﻠﺏ‬ ‫ﺍﻟﺯﻤﻨـﻲ‬ ‫ﺍﻟﺭﺒﺎﻁ‬ ‫ﻟﺘﺤﻘﻴﻕ‬ ‫ﺍﻟﻌﻼﻤﺎﺕ‬ ‫ﺯﻤﻥ‬ ‫ﺍﻨﺘﻬﺎﺀ‬ ‫ﺤﺘﻰ‬ ‫ﺍﻟﺼﻭﺕ‬ ‫ﺒﺎﺴﺘﻤﺭﺍﺭﻴﺔ‬ ‫ﺍﻟﻌﻨﺎﻴﺔ‬ ‫ﺫﻟﻙ‬ ‫ﺍﻟ‬ ‫ﺭﻓﻊ‬ ‫ﻤﺭﺍﻋﺎﺓ‬ ‫ﻤﻊ‬ ‫ﺍﻟﺯﻤﻨﻴﺔ‬ ‫ﺍﻻﺴﺘﻤﺭﺍﺭﻴﺔ‬ ‫ﻟﺘﺤﻘﻴﻕ‬ ‫ﺍﻟﻤﻤﺘﺩ‬ ‫ﺍﻷﻴﻤﻥ‬ ‫ﺒﺎﻟﺒﺩﺍل‬ ‫ﺍﻻﺴﺘﻌﺎﻨﺔ‬ ‫ﻭﻴﻤﻜﻥ‬ ‫ﻤﻁﻠﻭﺏ‬ ‫ﻫﺎﺭﻤﻭﻨﻴﺔ‬ ‫ﺃﺼﻭﺍﺕ‬ ‫ﻤﻥ‬ ‫ﻤﺎﻴﻠﻴﻬﺎ‬ ‫ﻤﻊ‬ ‫ﺍﻷﺼﻭﺍﺕ‬ ‫ﺘﺘﺩﺍﺨل‬ ‫ﻻ‬ ‫ﺤﺘﻰ‬ ‫ﺍﻟﺯﻤﻥ‬ ‫ﺍﻨﺘﻬﺎﺀ‬ ‫ﺒﻌﺩ‬ ‫ﺍﻟﺒﺩﺍل‬ ‫ﻋﻥ‬ ‫ﺍﻟﻘﺩﻡ‬ 


	‫ﻭﻴﺭﺍﻋﻰ‬ ‫ﺍﻟﺒﺎﺤﺜﺔ‬ ‫ﻗﺒل‬ ‫ﺍﻟﻤﻘﺘ‬ ‫ﺍﻷﺼﺎﺒﻊ‬ ‫ﺒﺘﺭﻗﻴﻡ‬ ‫ﺍﻹﻟﺘﺯﺍﻡ‬ ‫ﻤﻊ‬ ‫ﺍﻟﺴﺭﻋﺔ‬ ‫ﻓﻲ‬ ‫ﺍﻟﺘﺩﺭﺝ‬ ‫ﺜﻡ‬ ‫ﺍﻷﺩﺍﺀ‬ ‫ﻓﻲ‬ ‫ﺍﻟﺸﺩﻴﺩ‬ ‫ﺍﻟﺒﻁﺊ‬ ‫ﻤﻥ‬ ‫ﺭﺡ‬ .
	‫ﺘﻘﻨﻴﺔ‬ ‫ﺘﻘﻭﻡ‬ ٢١ ، ‫ﺒﻤﻨﺘﻬ‬ ‫ﻴﺅﺩﻯ‬ ‫ﻤﺴﺘﻌﺭﺽ‬ ‫ﺨﻁ‬ ‫ﻴﻘﻁﻌﻪ‬ ‫ﻜﺭﻭﺵ‬ ‫ﺒﺸﻜل‬ ‫ﺼﻐﻴﺭﺓ‬ ‫ﻫﻴﺌﺔ‬ ‫ﺃﻭﻜﺘﺎﻑ‬ ‫ﻤﺴﺎﻓﺔ‬ ‫ﺍﻟﻴﺴﺭﻯ‬ ‫ﺍﻟﻴﺩ‬ ‫ﺒﻌﺯﻑ‬ ‫ﻤﺴﺎﻓﺔ‬ ‫ﺍﻟﻤﻭﺍﺯﻴﺭ‬ ‫ﻓﻲ‬ ‫ﻜﻤﺎ‬ ‫ﻤﻨﻔﺭﻁ‬ ‫ﺘﺂﻟﻑ‬ ‫ﻋﺯﻑ‬ ‫ﺜﻡ‬ ‫ﺃﻭﻜﺘﺎﻑ‬ ‫ﺸﻜل‬ ‫ﺭﻗﻡ‬ ) ١٦ ( ‫ﻡ‬ ‫ﻤﻥ‬ ‫ﺍﻟﻴﻤﻨﻰ‬ ‫ﺍﻟﻴﺩ‬ ‫ﻓﻲ‬ ‫ﺍﻷﺘﺸﻴﻜﺎﺘﻭﺭﺍ‬ ‫ﺤﻠﻴﺔ‬ ‫ﻴﻭﻀﺢ‬ ) ) ٦ ١٢ ، ( ٢٣ ، ٢٥ ، ٢٩ ، ٣١ ، ٤٤ ، ٤٥ ، ٥١ ، ٥٩ ، ٦٣ ، ٧٦ ، ٧٧ ( ‫ﻰ‬ ‫ﺍﻷﺴﺎﺴﻲ‬ ‫ﺍﻟﺼﻭﺕ‬ ‫ﺯﻤﻥ‬ ‫ﻤﻥ‬ ‫ﺍﻟﺯﻤﻨﻴﺔ‬ ‫ﻤﺩﺘﻪ‬ ‫ﻭﻴﺄﺨﺫ‬ . ‫ﻭﻤﺭﻭﻨـﺔ‬ ‫ﻭﺒﺨﻔـﺔ‬ ‫ﺍﻟﺴﺭﻋﺔ‬ ١٣ ، ١٧ ، ‫ﺫﻟﻙ‬ ‫ﻴﻭﻀﺢ‬ ‫ﺍﻟﺘﺎﻟﻲ‬ ‫ﻭﺍﻟﺸﻜل‬ ‫ﻫﻲ‬ ‫ﻋﻠﻰ‬ ‫ﺯﺨﺭﻓﺘﻬﺎ‬ ‫ﺍﻟﻤﻁﻠﻭﺏ‬ ‫ﺍﻟﻨﻐﻤﺔ‬ ‫ﻗﺒل‬ ‫ﺘﻜﺘﺏ‬ ‫ﺍﻷﺴﺎﺴﻴﺔ‬ ‫ﺍﻟﻠﺤﻨﻴﺔ‬ ‫ﺍﻟﺼﻴﺎﻏﺔ‬ ‫ﺨﺎﺭﺝ‬ ‫ﺯﺨﺭﻓﻴﺔ‬ ‫ﻨﻐﻤﺔ‬ ‫ﺸﻜل‬ ‫ﺭﻗﻡ‬ ) ١٨ ( ‫ﻡ‬ ‫ﻓﻲ‬ ‫ﺍﻟﻴﻤﻨﻰ‬ ‫ﺍﻟﻴﺩ‬ ‫ﻓﻲ‬ ‫ﺍﻷﺭﺒﻴﺠﻴﻭ‬ ‫ﺤﻠﻴﺔ‬ ‫ﻴﻭﻀﺢ‬ ) ٦٣ (
								‫ﻭﻫﺎﺒﻁﺔ‬ ‫ﺼﺎﻋﺩﺓ‬ ‫ﺴﻠﻤﻴﺔ‬ ‫ﻨﻐﻤﺎﺕ‬	‫ﺃﺩ‬ ‫ﺍﺀ‬	‫ﺘﻘﻨﻴﺔ‬
	‫ﺍﻟﺘﺎﻟﻲ‬ ‫ﻭﺍﻟﺸﻜل‬ ‫ﻡ‬ ‫ﻓﻲ‬ ‫ﺍﻟﻴﺴﺭﻯ‬ ‫ﺍﻟﻴﺩ‬ ‫ﻴﻭﻀﺢ‬ ‫ﺍﻟﻤﻭﺭﺩﻨﺕ‬ ) ١٤ ( ) ( ‫ﻡ‬ ‫ﻓﻲ‬ ‫ﺍﻟﻴﻤﻨﻰ‬ ‫ﺍﻟﻴﺩ‬ ‫ﻓﻲ‬ ‫ﺸﻜل‬ ‫ﺭﻗﻡ‬ ‫ﺃﺩﺍﺀ‬ ‫ﺤﻠﻴﺔ‬ ‫ﺠﺎﺀﺕ‬ ‫ﺘﺘﻁﻠﺏ‬ ‫ﺘﻘﻨﻴﺔ‬ ) ١٥ ، ٤٧ ، ٧٩ ( ‫ﺫﻟﻙ‬ ‫ﻴﻭﻀﺢ‬ ‫ﺍﻟﺘﺎﻟﻲ‬ ‫ﻭﺍﻟﺸﻜل‬ ) ١٧ ( ‫ﺍﻷﻭﻜﺘﺎ‬ ‫ﻗﻔﺯﺓ‬ ‫ﺘﻭﻀﺢ‬ ‫ﻭﺍﻟﺘﻲ‬ ‫ﻑ‬ ‫ﻴﺘﻁﻠﺏ‬ ‫ﺍﻻﻟﺘﺯﺍﻡ‬ ‫ﻤﻊ‬ ‫ﺍﻟﻤﻁﻠﻭﺒﺔ‬ ‫ﺍﻟﺴﺭﻋﺔ‬ ‫ﺍﻟﻰ‬ ‫ﺒﺎﻟﺴﺭﻋﺔ‬ ‫ﺍﻟﺘﺩﺭﺝ‬ ‫ﺜﻡ‬ ‫ﺒﺒﻁﺊ‬ ‫ﺍﻟﻨﻐﻤﺎﺕ‬ ‫ﻋﺯﻑ‬ ‫ﺫﻟﻙ‬ ‫ﺃﺩﺍﺀ‬ ‫ﺍﻹﻨﺴﻴﺎﺒﻴﺔ‬ ‫ﺍﻟﺤﺭﻜﺔ‬ ‫ﻭﻤﺭﺍﻋﺎﺓ‬ ‫ﺍﻷﺼﺎﺒﻊ‬ ‫ﺒﺘﺭﻗﻴﻡ‬ ‫ﻟﻤﺭﻭﺭ‬ ‫ﺍﻷﺼﺎﺒﻊ‬ ‫ﺘﺩﻭﻴﺭ‬ ‫ﺃﻭ‬ ‫ﺍﻷﺼﺎﺒﻊ‬ ‫ﺘﺤﺕ‬ ‫ﺍﻹﺒﻬﺎﻡ‬ ‫ﺍﻟ‬ ‫ﺘﻜﻭﻥ‬ ‫ﺤﻴﺙ‬ ‫ﺍﻹﺒﻬﺎﻡ‬ ‫ﻓﻭﻕ‬ ‫ﺒﺎﻟﻘ‬ ‫ﺍﻻ‬ ‫ﻭﺍﻟﻴﺩ‬ ‫ﺍﻟﺭﺴﻎ‬ ‫ﺘﺤﺭﻴﻙ‬ ‫ﻋﺩﻡ‬ ‫ﻤﻊ‬ ‫ﻭﺍﻨﺴﻴﺎﺒﻴﺔ‬ ‫ﺒﻠﻴﻭﻨﺔ‬ ‫ﺤﺭﻜﺔ‬ ‫ﺩﺭ‬ ‫ﺍﻟﺫﻱ‬ ‫ﺍﻹﺒﻬﺎﻡ‬ ‫ﺒﻤﺭﻭﺭ‬ ‫ﻴﺴﻤﺢ‬ . ‫ﹰ‬ ‫ﺫﻫﻨﻴـﺎ‬ ‫ﺍﻟﻘﻔـﺯﺓ‬ ‫ﺍﻟﻤﻭﺘﻴﻔﻪ‬ ‫ﺍﺴﺘﻜﻤﺎل‬ ‫ﻟﻴﻌﺯﻑ‬ ‫ﺍﻟﻤﻨﻔﺭﻁ‬ ‫ﺍﻟﺘﺂﻟﻑ‬ ، ‫ﺍﻟﺘ‬ ‫ﺘﻠﻙ‬ ‫ﻋﻠﻰ‬ ‫ﻟﻠﺘﺩﺭﻴﺏ‬ ‫ﺍﻟﺘﺎﻟﻲ‬ ‫ﺍﻟﺘﻤﺭﻴﻥ‬ ‫ﺍﻟﺒﺎﺤﺜﺔ‬ ‫ﻭﺘﻘﺘﺭﺡ‬ ‫ﻘﻨﻴﺔ‬ ‫ﺘﻘﻨﻴﺔ‬ ‫ﺯﻤﻨﻲ‬ ‫ﺒﺭﺒﺎﻁ‬ ‫ﻤﻤﺘﺩﺓ‬ ‫ﻨﻐﻤﺎﺕ‬ ‫ﺃﺩﺍﺀ‬
	٧٤ (	)	١٢ ( ‫ﻤﻭﺍﺯﻴﺭ‬ ‫ﻓﻲ‬ ‫ﻡ‬ ‫ﻓﻲ‬ ‫ﺃﻭﻜﺘﺎﻑ‬ ‫ﻨﻁﺎﻕ‬ ‫ﻓﻲ‬ ‫ﻤﻨﻔﺭﺩﺓ‬ ‫ﻨﻐﻤﺎﺕ‬ ‫ﻟﺜﻼﺙ‬ ‫ﻗﺼﻴﺭ‬ ‫ﻟﺤﻨﻲ‬ ‫ﻗﻭﺱ‬ ‫ﻴﻭﻀﺢ‬ ) ١٦ ، ٢٤ ، ٣٢ ، ٤٨ ، ٥٢ ، ٦٥ ، ٦٠ ، ٨٠ ، ٨٢ ، ٨٤ (	‫ﺸﻜل‬ ‫ﺠﺎﺀﺕ‬ ‫ﺭﻗﻡ‬ )
	‫ﺍﻟﺘـﺩﺭﺝ‬ ‫ﺜﻡ‬ ‫ﺃﺴﻔل‬ ‫ﺍﻟﻰ‬ ‫ﺍﻟﺭﺴﻎ‬	‫ﻨﺯﻭل‬	‫ﺍ‬ ‫ﻫﺫﺍ‬ ‫ﺃﺩﺍﺀ‬ ‫ﺨﻼل‬ ‫ﻤﻥ‬ ‫ﺒﻌﻤﻕ‬ ‫ﺍﻷﻭﻟﻰ‬ ‫ﺍﻟﻨﻐﻤﺔ‬ ‫ﻋﺯﻑ‬ ‫ﻟﻘﻭﺱ‬	‫ﻴﺘﻁﻠﺏ‬
	‫ﻟﻠﺘﺩﺭﻴﺏ‬ ‫ﻤﻴﻠﻭﺩﻴﺔ‬ ‫ﺃﻭ‬ ‫ﻤ‬ ‫ﺍﻟﻨﻭﻉ‬ ‫ﻫﺫﺍ‬ ‫ﺃﺩﺍﺀ‬ ‫ﻋﻠﻰ‬ ‫ﺸﻜل‬ ‫ﺭﻗﻡ‬ ) ١٥ ( ‫ﻤﻨﻔﺭﻁ‬ ‫ﺘﺂﻟﻑ‬ ‫ﻋﺯﻑ‬ ‫ﻴﻠﻴﻪ‬ ‫ﺃﻭﻜﺘﺎﻑ‬ ‫ﻟﻘﻔﺯﺓ‬ ‫ﻤﻘﺘﺭﺡ‬ ‫ﺘﺩﺭﻴﺏ‬ ‫ﻴﻭﻀﺢ‬ ‫ﺸﻜل‬ ‫ﺭﻗﻡ‬ ) ١٧ ( ‫ﻡ‬ ‫ﻓﻲ‬ ‫ﺍﻟﻴﻤﻨﻰ‬ ‫ﺍﻟﻴﺩ‬ ‫ﻓﻲ‬ ‫ﺍﻟﻤﻭﺭﺩﻨﺕ‬ ‫ﺤﻠﻴﺔ‬ ‫ﻴﻭﻀﺢ‬ ) ٧٩ ( . ‫ﺍﻟﻠﺤﻨـﻲ‬ ‫ﺍﻟﻘـﻭﺱ‬ ‫ﻷﺩﺍﺀ‬ ‫ﺍﻟﺘـﺎﻟﻲ‬ ‫ﺍﻟﺘﻤﺭﻴﻥ‬ ‫ﺍﻟﺒﺎﺤﺜﺔ‬ ‫ﺘﻘﺘﺭﺡ‬ ‫ﺍﻷﻗﻭﺍﺱ‬ ‫ﻥ‬ ‫ﺃﻭﻜﺘﺎﻑ‬ ‫ﻨﻁﺎﻕ‬ ‫ﻓﻲ‬ ‫ﻤﻨﻔﺭﺩﺓ‬ ‫ﻨﻐﻤﺎﺕ‬ ‫ﻟﺜﻼﺙ‬ ‫ﺍﻟﻘﺼﻴﺭ‬ ‫ﺸﻜل‬ ‫ﺭﻗﻡ‬ ) ١٣ ( ‫ﺃﻭﻜﺘﺎﻑ‬ ‫ﻨﻁﺎﻕ‬ ‫ﻓﻲ‬ ‫ﻨﻐﻤﺎﺕ‬ ‫ﻟﺜﻼﺙ‬ ‫ﻟﺤﻨﻲ‬ ‫ﻗﻭﺱ‬ ‫ﻷﺩﺍﺀ‬ ‫ﻤﻘﺘﺭﺡ‬ ‫ﺘﺩﺭﻴﺏ‬ ‫ﻴﻭﻀﺢ‬ ‫ﻴﺭﺍﻋﻰ‬ ‫ﺘﺩﺭ‬ ‫ﺍﻟﺴﺭﻋﺔ‬ ‫ﻓﻲ‬ ‫ﻭﺍﻟﺘﺩﺭﺝ‬ ‫ﺍﻷﺩﺍﺀ‬ ‫ﻋﻨﺩ‬ ‫ﺍﻟﺸﺩﻴﺩ‬ ‫ﺍﻟﺒﻁﺊ‬ ‫ﹰ‬ ‫ﻴﺠﻴﺎ‬ ‫ﺍﻷﺼـﺎﺒﻊ‬ ‫ﺘـﺭﻗﻴﻡ‬ ‫ﻤﺭﺍﻋﺎﺓ‬ ‫ﻤﻊ‬ ‫ﻭﺘﻘﺘﺭﺡ‬ ‫ﺍﻟﻤﻤﺘﺩ‬ ‫ﺍﻟﺒﺩﺍل‬ ‫ﺍﺴﺘﺨﺩﺍﻡ‬ ‫ﺍﻟﺒﺎﺤﺜﺔ‬ sustaining pedal ‫ﺘﻘﻨﻴﺔ‬ ‫ﺍﻟﻤﺘﻘﻁﻊ‬ ‫ﺍﻟﻌﺯﻑ‬ ‫ﺃﺩﺍﺀ‬ ‫ﻭﺇﺜﺭﺍﺌﺔ‬ ‫ﺍﻟﺼﻭﺕ‬ ‫ﻻﻤﺘﺩﺍﺩ‬ ‫ﺘﻘﻨﻴﺔ‬ ‫ﺤﻠﻴﺔ‬ ‫ﺃﺩﺍﺀ‬ ‫ﺍﻷﺘﺸﻴﻜﺎﺘﻭﺭﺍ‬ ) ‫ﺠﺎﺀﺕ‬ ‫ﺍﻟﻤﻭﺍﺯﻴﺭ‬ ‫ﻓﻲ‬ ) ٣ ، ٧ ، ١١ ، ١٩ ، ٣٥ ، ٣٩ ، ٤٣ ، ٦٧ ، ٧١ ، ٧٥ ( ( ‫ﺠﺎﺀﺕ‬ ‫ﻡ‬ ‫ﻓـﻲ‬ ‫ﺍﻟﻴﻤﻨﻰ‬ ‫ﺍﻟﻴﺩ‬ ‫ﻓﻲ‬ ) ٦ ، ١٥ ، ١٩ ، ٢٠ ، ٢٧ ، ٢٨ ، ٣١ ، ٣٨ ، ٤٧ ، ٧٩ ( ‫ﻴﺘﻁﻠﺏ‬ ‫ﺍﻟﺯ‬ ‫ﻨﺼﻑ‬ ‫ﺍﻟﻨﻐﻤﺔ‬ ‫ﺘﺄﺨﺫ‬ ‫ﺃﻥ‬ ‫ﺍﻟﻤﺘﻘﻁﻊ‬ ‫ﺍﻷﺩﺍﺀ‬ ‫ﻋﺯﻑ‬ ‫ﻤﻥ‬ ‫ﺍﻟﺭﺴـﻎ‬ ‫ﻤﻥ‬ ‫ﺍﻟﺤﺭﻜﺔ‬ ‫ﺘﺄﺘﻲ‬ ‫ﺃﻥ‬ ‫ﻋﻠﻰ‬ ‫ﻭﺍﻟـﺸﻜل‬ ‫ﺫﻟﻙ‬ ‫ﻴﻭﻀﺢ‬ ‫ﺍﻟﺘﺎﻟﻲ‬ ‫ﺘﻘﻨﻴﺔ‬ ‫ﺍﻷ‬ ‫ﺤﻠﻴﺔ‬ ‫ﺃﺩﺍﺀ‬ ‫ﺭﺒﻴﺠﻴﻭ‬ ) ( ‫ﺍﺴﺘﺩﺍﺭﺓ‬ ‫ﻤﻊ‬ ‫ﺃﻭﻻ‬ ‫ﺒﺒﻁﺊ‬ ‫ﻴﻜﻭﻥ‬ ‫ﻋﻠﻴﻪ‬ ‫ﻭﺍﻟﺘﺩﺭﻴﺏ‬ ‫ﻤﺘﻭﺍﺯﻥ‬ ‫ﻭﻀﻊ‬ ‫ﻓﻲ‬ ‫ﻭﺍﻟﺴﺎﻋﺩ‬ ‫ﺍﻟﺫﺭﺍﻉ‬ ‫ﻴﻜﻭﻥ‬ ‫ﺒﺤﺙ‬ ‫ﺍﻷﺼﺎﺒﻊ‬ ‫ﺒﺘﺭﻗﻴﻡ‬ ‫ﻭﺍﻻﻟﺘﺯﺍﻡ‬ ‫ﺍﻷﺼﺎﺒﻊ‬ .
							‫ﺫﻟﻙ‬ ‫ﻴﻭﻀﺢ‬ ‫ﺍﻟﺘﺎﻟﻲ‬ ‫ﻭﺍﻟﺸﻜل‬	٦٣ (	٥٩ ،	٥١ ،	)	‫ﻡ‬ ‫ﻓﻲ‬ ‫ﺍﻟﻴﻤﻨﻰ‬ ‫ﺍﻟﻴﺩ‬ ‫ﻓﻲ‬	‫ﺠﺎﺀﺕ‬
	  	     	- - -	  	        	- - -	  
								١٣١٨ ( ١٣١٩ ( ١٣٢٠ (	) ) )

‫ﻗﺒل‬ ‫ﻤﻥ‬ ‫ﺍﻟﻤﻘﺘﺭﺡ‬ ‫ﺍﻷﺼﺎﺒﻊ‬ ‫ﺘﺭﻗﻴﻡ‬ ‫ﻤﺭﺍﻋﺎﺓ‬ ‫ﻤﻥ‬ ‫ﻻﺒﺩ‬ ‫ﻜﻤﺎ‬ ‫ﺍﻟﺴﺭﻋﺔ‬ ‫ﻓﻲ‬ ‫ﻭﺍﻟﺘﺩﺭﺝ‬ ‫ﺒﺒﻁﺊ‬ ‫ﺍﻷﺩﺍﺀ‬ ‫ﻤﺭﺍﻋﺎﺓ‬ ‫ﻤﻊ‬ ‫ﺍﻟﺒﺎﺤﺜﺔ‬ . 
Summery

The style of performing some of Karl Boehm's piano works Romanticism is an artistic and literary movement that arose in reaction to the classics and the political and intellectual revolutions that emerged during that period, and behind them was a desire to exploit the hormonal capabilities and control the vocal and expressive capabilities of musical instruments. 
Through romantic musical composers, piano music has shifted to other directions such as the creation of small pieces, the nickturne, studies and many other dancing templates, in addition to choosing titles and descriptive names for some musical works. 
Carl Boehm is considered one of the most important German composer whose fame ended with their death despite the wonderful works that were famous and successful at the time.
 -     -   