چکیده:
یکی از مهمترین آرکان در متون نوشتاری موسیقایی میزان نماها هستند؛ چراکه به وسیلة آنها ضربهای دارای تاکید.ء تعداد ضربها و شکل ضربها مشخص میشوند. بسیاری از آهنگسازان پس از بداههنوازی و یا بداههخوانی برای مکتوب کردن نتیجه متوجه هستند که ملودی بداهه نواخته شده در میزاننمای ساده ترکیبی و یا مختلط است و همچنین از جملهبندی و ضربهای دارای تاکید چند ضربی بودن قطعة مذکور را نیز درمییابند؛ به عنوان میزان نمای ساده دوضربی که شامل میزان نماهای (۲/۱, ۲/۲, ۲/۴ ۲/۸ ۲/۱۶ ۲/۳۲ ۲/۶۴) هستند. سوال اصلی این مقاله اینجا شکل میگیرد که آهنگسازان به چه معیار و چه دلایلی یکی از این میزاننماها را انتخاب کرده و قطعة مذکور را با آن میزاننما مینویسند؟ در صورتی که پس از اجرای قطعة مذکور از سایر موسیقیدانها بخواهیم از طریق پخش فایل صوتی آثرء آن را مکتوب کنندء خواهیم دید که پس مشخص شدن دوضربی ساده بودن آن اثر» هر یک از آنها میزاننمای مختلفی را انتخاب میکنند و یا در انتخاب آن دچار سردرگمی میشوند. برای دستیابی به پاسخ سوّال مذکور در این موسیقی» نظریات محققین دیگر را بررسی خواهیم کرد و پس از آشنایی با آن نظریات» با شیوة توصیفی- تحلیلی مطالب گردآوری شده را با محاسبات قطعات مشخص میشود و پژوهش گران» آهنگسازان و نوازندگان میتوانند با در نظر گرفتن دستاورد این پژوهش چگونگی استفاده از میزاننما را متوجه و در نوشتار و عمل به درستی رعایت کنند.
One of the most important elements in written musical texts is Time signatures, it is determined the beats with emphasis, the number of beats and the shape of the beats. Many composers realize that their improvisations are based in Simple, Compound, complex time signatures, and also, from the phrasing and stressed beats, they can understand the multi-beat nature of the mentioned piece, for example let's assume the mentioned piece is in the simple double time signature, in this case the written generalities of the piece are specified. Due the multitude types of double pulse time signatures that contains (2/1, 2/2, 2/4, 2/8, 2/16, 2/32, 2/64), the main question of this article is formed here, according to what criteria and for what reasons, do they choose one of these time signatures and write the mentioned piece with that specific time signature? If we ask other musicians after performing the mentioned piece By playing the audio file of the work, they will write it down and we will realize that after determining that the work is a simple double pulse time signature each of them would choose a different time signature and or the will get confused about it.
In order to get the answer of the mentioned question in the research, we first explain the definitions of simple, compound, Simple complex and compound complex. Then by referring to the written sources in terms of music theory, we will examine the opinions of other researchers, and after getting acquainted with those theories, we will evaluate the collected data with mathematical calculations in a descriptive-analytical way and we will present the scientific findings as conclusions, After referring to them, we’ll discuss about how to choose the appropriate time signature for the pieces is determined and researchers, composers and musicians can consider Getting the result of this research, understanding use of the time signature and observing correctly in writing and practice. According to the results of this research, we can see that the use of different types of time signatures can be based on the writer's attitude As its sensible, some of the time signatures, such as 2/2, are less complicated than 16/2 and are easier to be read. But the most important achievement of this research indicates the inherent potential of each time signature and how to use it in terms of observing the tempo. Therefore, the theory of time signatures whose number is below 64 is inherently 1/2 the speed of time signatures whose number is below 32, time signatures whose number is below 32 are inherently 1/2 the speed of time signatures whose number is below 16, time signatures whose number is below 16 are inherently 1/2 the speed of time signatures whose number is below 8, time signatures whose number is below 8 are inherently 1/2 the speed of time signatures whose number is below 4, time signatures whose number is below 4 are inherently 1/2 the speed of time signatures whose number is below 2, and time signatures whose number is below 2 are inherently 1/2 the speed of time signatures whose number is below 1, or in other definition, scales whose number is below 1 are inherently twice as fast as time signatures whose number is below 2, time signatures with whose number is below 2 Intrinsically twice the speed of time signatures whose number is below 4, time signatures whose number is below 4 are inherently twice the speed of time signatures whose number is below 8 time signatures whose number is below 8 are inherently twice as fast as time signatures whose number is below 16, time signatures whose number is below 16 are inherently twice as fast as time signatures whose number is below 32, and time signatures whose number is below 32 are inherently twice as fast as time signatures whose number is below 64. Therefore, the scales whose lower numbers are respectively (from right to left), 64, 32, 16, 8, 4, 2, and 1 are respectively capable of performing the slowest and fastest tempos, and the scales whose lower numbers are respectively (from right to left) 1, 2, 4, 8, 16, 32 and 64 respectively, they are able to perform the fastest and slowest tempo.