{"id":24922,"date":"2025-05-30T12:00:00","date_gmt":"2025-05-30T12:00:00","guid":{"rendered":"https:\/\/www.lhi.is\/?post_type=threads&p=24922"},"modified":"2026-05-11T14:06:32","modified_gmt":"2026-05-11T14:06:32","slug":"prokofiev-and-the-classical-theme-model","status":"publish","type":"threads","link":"https:\/\/www.lhi.is\/en\/thraedir\/thraedir-tolublad-10\/prokofjev-og-klassisku-stefjamodelin\/","title":{"rendered":"Prokofiev and the classic theme models\u00a0"},"content":{"rendered":"\n
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Hr\u00f3\u00f0mar I. Sigurbj\u00f6rnsson\u00a0<\/strong><\/p>\n

Inngangur<\/b>\u00a0<\/span><\/p>\n

T\u00f3nlist Prokofjevs er i\u00f0ulega l\u00fdst sem v\u00e6ri h\u00fan \u00ed n\u00fdklass\u00edskum st\u00edl. Lagl\u00ednurnar hj\u00e1 honum eru \u00fdmist mj\u00fakar og l\u00fdr\u00edskar e\u00f0a gr\u00f3far og \u00f3mstr\u00ed\u00f0ar me\u00f0 sterkum andst\u00e6\u00f0um \u00ed t\u00f3nsvi\u00f0i og tilfinningu. Klass\u00edsku stefjam\u00f3delin eru aldrei langt undan en \u00fea\u00f0 er oft erfitt a\u00f0 skilgreina \u00feau til hl\u00edtar. Hlj\u00f3mfr\u00e6\u00f0in byggir \u00e1 hef\u00f0bundnum \u00fer\u00edhlj\u00f3mum en skyndileg umskipti \u00ed fjarl\u00e6ga hlj\u00f3ma og t\u00f3ntegundir vefjast fyrir okkur, jafnvel svo a\u00f0 tala\u00f0 er um \u201erangar n\u00f3tur (e. wrong note theory). \u00dea\u00f0 sama \u00e1 vi\u00f0 um einkenni hlj\u00f3\u00f0falls, sterkar andst\u00e6\u00f0ur; \u00fdmist \u201em\u00f3tor\u00edskur dj\u00f6fulgangur\u201c, l\u00e9ttleikandi dans e\u00f0a undurfallegt h\u00e6gt ferli. Samkv\u00e6mt Taruskin var Prokofjev enginn byltingarma\u00f0ur \u00ed sinni t\u00f3nsk\u00f6pun en hann var vel \u00fej\u00e1lfa\u00f0ur \u00ed klass\u00edskum fr\u00e6\u00f0um og hreykinn af \u00fev\u00ed. T\u00f3nlist hans, eins og Stravinskys og Scriabins, var \u201e\u00fer\u00f3u\u00f0\u201c \u00e1 m\u00e6likvar\u00f0a konservator\u00edsins en h\u00fan var ekki s\u00ed\u00f0ur s\u00e9rst\u00f6k, fagmannleg \u00ed h\u00e6sta m\u00e1ta og fyrst og fremst samin til a\u00f0 \u00fer\u00f3a og \u00fatv\u00edkka hina r\u00f3mant\u00edsku hef\u00f0.<\/span>[1]<\/a><\/span>\u00a0<\/span><\/p>\n

\u00a0<\/span>Undanfarin misseri hef \u00e9g leitast vi\u00f0 a\u00f0 greina P\u00edan\u00f3konsert nr. 1 fr\u00e1 1912 eftir Sergej Prokofjev me\u00f0 Hjalta \u00de\u00f3r Dav\u00ed\u00f0ssyni, meistaranema \u00ed t\u00f3nsm\u00ed\u00f0um. \u00deetta hefur veri\u00f0 \u00e1hugavert og skemmtilegt fer\u00f0alag. \u00c9g, alinn upp \u00ed \u201eSeinni V\u00ednarsk\u00f3lanum\u201c og fylgdi s\u00ed\u00f0an eftir fram\u00fer\u00f3un 20. aldarinnar \u00e1 allskonar t\u00f3nsm\u00ed\u00f0aa\u00f0fer\u00f0um, haf\u00f0i ekki st\u00fadera\u00f0 t\u00f3nsk\u00e1ldin a\u00f0 neinu r\u00e1\u00f0i sem fylgdu eftir arfleif\u00f0 s\u00ed\u00f0r\u00f3mant\u00edsku stefnunnar, eins og Shostakovich og Prokofjev. \u00dea\u00f0 sem vakti strax athygli m\u00edna voru stefjam\u00f3delin sem birtust \u00ed p\u00edan\u00f3konsertinum og reyndar \u00f6\u00f0rum verkum sem \u00e9g haf\u00f0i kynnst sem lei\u00f0beinandi vi\u00f0 skrif BA-ritger\u00f0a.<\/span>\u00a0<\/span><\/p>\n

\u00a0<\/span>\u00cd fyrsta lagi m\u00e1 tala um fj\u00f6lbreytileika \u00ed formi og st\u00e6r\u00f0 stefjanna \u00fe\u00f3tt \u00e1tta takta stef bygg\u00f0 \u00e1 klass\u00edskum m\u00f3delum (setningar, lotur, blendingar) s\u00e9u a\u00f0 s\u00f6nnu algengust. S\u00ed\u00f0an m\u00e1 nefna samsettar setningar samkv\u00e6mt 16 takta m\u00f3delum og svo tv\u00f6f\u00f6ldun \u00feeirra \u00ed 32 takta heildir. Allt \u00feetta vakti hj\u00e1 m\u00e9r l\u00f6ngun til \u00feess a\u00f0 greina stefin og n\u00e1nari byggingu \u00feeirra samkv\u00e6mt skilgreiningum William E. Caplin \u00e1 klass\u00edskum stefjaformum eins og \u00fe\u00e6r birtast \u00ed <\/span>Classical Form <\/span><\/i>(1998) og <\/span>Analyzing Classical Form<\/span><\/i> (2013).<\/span>\u00a0<\/span><\/p>\n

\u00a0<\/span>Klass\u00edsk \u00e1tta takta stefjaform<\/span><\/b>\u00a0<\/span><\/p>\n

Samkv\u00e6mt Caplin skiptast \u00e1tta takta stefjaform klass\u00edska t\u00edmabilsins \u00ed setningar (e. sentence), lotur (e. period) og blending (e. hybrid theme) af setningu og lotu. Lykilatri\u00f0i er a\u00f0 \u00feekkja hlutverk einstakra eininga lotu og setningar vel, sem n\u00fdtist s\u00ed\u00f0an vi\u00f0 skilgreiningu \u00e1 blendingunum.<\/span>[2]<\/a>\u00a0<\/span><\/p>\n

\u00c1tta takta stefjaform er samsett \u00far tveimur fj\u00f6gurra takta hendingum. Fyrri hendingin er sett saman \u00far tveggja takta einingum, 2+2. Seinni hendingin getur teki\u00f0 \u00e1 sig fj\u00f6lbreyttari myndir, a\u00f0 s\u00f6nnu 2+2 en l\u00edka 1+1+2 og 1+2+1 me\u00f0al annars.<\/span>\u00a0<\/span><\/p>\n

Grunnhugmynd<\/span><\/i> (gh) er tveggja takta eining sett fram \u00ed upphafi hendingar.<\/span>
\n<\/span>Andst\u00e6\u00f0 hugmynd<\/span><\/i> (ah) er s\u00f6mulei\u00f0is tveggja takta eining sem lei\u00f0ir a\u00f0 ni\u00f0urlagi hendingar.<\/span>
\n<\/span>N\u00fd hugmynd <\/span><\/i>(nh) tveggja takta eining sem getur komi\u00f0 fram \u00ed seinni hendingu stefs.<\/span>
\n<\/span>Frum <\/span><\/i>er eins takta eining sem getur veri\u00f0 hluti <\/span>gh, ah<\/span><\/i> e\u00f0a <\/span>nh.<\/span><\/i>
\n<\/span>Ni\u00f0urbrot <\/span><\/i>(nbr) eru endurtekin eins takta frum, oft \u00ed sekvens.<\/span>
\n<\/span>Ni\u00f0urlag <\/span><\/i>(nlg), tveir (stundum fj\u00f3rir) taktar sem lj\u00faka hendingu.<\/span>\u00a0<\/span><\/p>\n

\u00a0<\/span>Grunnhugmynd er samsett \u00far:<\/span>\u00a0<\/span><\/p>\n

    \n
  1. a) tveimur mismunandi frumum, <\/span>a<\/span><\/i> og <\/span>b<\/span><\/i>, hvort um sig einn taktur e\u00f0a (sj\u00e1 d\u00e6mi 1 og 3)<\/span><\/li>\n
  2. b) einu frumi sem er sett fram \u00ed takti 1 og endurteki\u00f0 \u00ed takti 2 (sj\u00e1 d\u00e6mi 2).<\/span><\/li>\n<\/ol>\n

    Andst\u00e6\u00f0 hugmynd er oftast samsett \u00far tveimur frumum, \u00fear sem \u00fea\u00f0 seinna gegnir e-k ni\u00f0urlagshlutverki. H\u00e9r getur hvort sem er veri\u00f0 um a\u00f0 r\u00e6\u00f0a n\u00fd frum e\u00f0a endurtekningu annars hvors frums grunnhugmyndar me\u00f0 ni\u00f0urlagsfrumi.<\/span>\u00a0<\/span><\/p>\n

    Ni\u00f0url\u00f6g eru \u00ed grunninn eftirfarandi: fullkomnir a\u00f0alendar [F], \u00f3fullkomnir a\u00f0alendar [\u00d3], \u00feeir geta veri\u00f0 fullger\u00f0ir [FF] e\u00f0a [F\u00d3], s\u00ed\u00f0an eru h\u00e1lfendar [HE] og gabbendar [GE]. <\/span>\u00a0<\/span><\/p>\n

    Ekki endir [EE] er mikilv\u00e6gt hugtak \u00fev\u00ed vi\u00f0 l\u00edtum svo \u00e1 a\u00f0 fj\u00f6gurra takta hendingu \u00feurfi ekki a\u00f0 lj\u00faka me\u00f0 afgerandi ni\u00f0urlagi eins og a\u00f0alendi e\u00f0a h\u00e1lfendi. A\u00f0alendir er ekki til sta\u00f0ar nema a\u00f0 V og I (i) s\u00e9u \u00ed grunnst\u00f6\u00f0u annars t\u00f6lum vi\u00f0 um [EE]. Samkv\u00e6mt klass\u00edskum skilgreiningum er [HE] a\u00f0eins \u00e1 V \u00ed grunnst\u00f6\u00f0u og \u00e1n sj\u00f6undar.<\/span>[3]<\/a><\/span>\u00a0<\/span><\/p>\n

    \u00c1tta takta stefjaform er samsett \u00far tveimur fj\u00f6gurra takta hendingum, \u201e<\/span>kveikjur<\/span><\/i>\u201c (e. initiating phrase) e\u00f0a fyrri hending stefs eru <\/span>frams\u00f6gufasi<\/span><\/i>[4]<\/a><\/span><\/i> (e. presentation phrase), undanfari (e. antecedent)<\/span><\/i> og <\/span>samsett grunnhugmynd<\/span><\/i>[5]<\/a><\/span> (e. compound basic idea)<\/span> (sj\u00e1 t\u00f6flu\u00a0 1).<\/span>\u00a0<\/span><\/p>\n

    Seinni hending stefs getur veri\u00f0 <\/span>framhaldsfasi<\/span><\/i> (e. continuation phrase) e\u00f0a <\/span>aflei\u00f0ing <\/span><\/i>(e. consequence) sem hvort um sig m\u00e1 skilgreina \u00e1 \u00ferj\u00e1 vegu (sj\u00e1 t\u00f6flu 1). \u00cd aflei\u00f0ingu er grunnhugmynd \u201ekveikjunnar\u201c endurtekin en andst\u00e6\u00f0a hugmyndin getur veri\u00f0 n\u00fd. N\u00fd hugmynd getur birst \u00ed upphafi framhaldsfasa.<\/span>[6]<\/a><\/span>\u00a0<\/span>\u00a0<\/span><\/p>\n

    \u00a0<\/span>Fr\u00e1vik fr\u00e1 \u00e1tta takta m\u00f3delinu eru tilt\u00f6lulega algeng, framhaldsfasi getur t.d. veri\u00f0 endurtek-inn, oft tilbreyttur, e\u00f0a lengdur \u00e1 annan h\u00e1tt. \u00cd aflei\u00f0ingu getur ni\u00f0urlagi\u00f0 veri\u00f0 lengt um tvo takta e\u00f0a endurteki\u00f0 til \u00feess a\u00f0 n\u00e1 fram sterkari lokun. Einstaka stef eru \u00f3regluleg, samsett \u00far fimm e\u00f0a sex takta hendingum. Svo m\u00e1 nefna <\/span>raunverulegan <\/span><\/i>(R)<\/span> takt andst\u00e6tt <\/span>n\u00f3teru\u00f0um <\/span><\/i>(N) takti (e. <\/span>real<\/span><\/i> vs<\/span>. notated <\/span><\/i>measures)<\/span>[7]<\/a><\/span> \u00fear sem stef er helmingi styttra \u00ed h\u00e6gu temp\u00f3i e\u00f0a tv\u00f6falt lengra \u00ed mj\u00f6g hr\u00f6\u00f0u temp\u00f3i.<\/span>\u00a0<\/span><\/p>\n\"\"\n

    Tafla 1: <\/span><\/b>8 takta stef, tveggja hendinga form, 4+4. [<\/span>*Ef um t\u00f3ntegundaskipti er a\u00f0 r\u00e6\u00f0a eru ni\u00f0url\u00f6gin \u00feau s\u00f6mu (F e\u00f0a HE) \u00ed n\u00fdju t\u00f3ntegundinni. <\/span>**Hugtaki\u00f0 s<\/span>amsett grunnhugmynd (sgh) er tv\u00f6falt st\u00e6rri en grunnhugmynd og samsett \u00far tveimur tveggja takta einingum, gh og ah, sgh l\u00edkist undanfaranum en er \u00e1n afgerandi ni\u00f0urlags.]<\/span>\u00a0<\/span><\/p>\n

    Til a\u00f0 gl\u00f6ggva okkur betur \u00e1 framans\u00f6g\u00f0u skulum vi\u00f0 sko\u00f0a d\u00e6mi 1. \u00cd frams\u00f6gufasanum \u00ed setningu Beethovens er grunnhugmyndin samsett \u00far tveimur eins takts frumum, a og b, sem eru s\u00ed\u00f0an endurtekin fr\u00e1 forhj\u00f3mnum. \u00cd framhaldsfasanum er b-frumi\u00f0 nota\u00f0 sem efni \u00ed ni\u00f0urbrot og \u00ed ni\u00f0urlaginu koma tv\u00f6 n\u00fd frum, c og d. Allt \u00ed allt eru eins takta frumin fj\u00f6gur.<\/span>\u00a0<\/span><\/p>\nhttps:\/\/www.lhi.is\/wp-content\/uploads\/2025\/05\/Hljoddaemi-1.mp3<\/a><\/audio>\n

    Hlj\u00f3\u00f0d\u00e6mi 1:<\/span><\/b> L. v. Beethoven, P\u00edan\u00f3s\u00f3nata \u00ed f-moll, op. 2, nr. 2, 1. kafli, t.1-8.<\/span>[8]<\/a>\u00a0<\/span>\u00a0<\/span><\/p>\n\"\"\n

    D\u00e6mi 1<\/strong>: <\/span><\/span>L. v. <\/span>Beethoven<\/span>,<\/span> P\u00edan\u00f3s\u00f3nata \u00ed f-moll, op. 2, nr. 2,<\/span> 1. kafli<\/span>, t.1-8.<\/span><\/span>\u00a0<\/span><\/p>\n

    \u00cd lotu Mozarts<\/span> (d\u00e6mi 2) <\/span>er g<\/span>runn<\/span>h<\/span>ugmyndin<\/span> samsett \u00far <\/span>endurteknu <\/span>eins takts <\/span>frumi<\/span>, a, en a<\/span>ndst\u00e6\u00f0a <\/span>h<\/span>ugmyndin<\/span> inniheldur tv\u00f6 <\/span>frum<\/span>, b og c. \u00cd aflei\u00f0ingunni eru a-<\/span>frumin<\/span> endurtekin beint en a<\/span>ndst\u00e6\u00f0a <\/span>h<\/span>ugmyndin<\/span> er n\u00fd.<\/span> H\u00e9r eru eins takts <\/span>frumin<\/span> l\u00edka fj\u00f6gur.<\/span><\/p>\n

    \u00cd lotu Mozarts<\/span> (d\u00e6mi 2) <\/span>er g<\/span>runn<\/span>h<\/span>ugmyndin<\/span> samsett \u00far <\/span>endurteknu <\/span>eins takts <\/span>frumi<\/span>, a, en a<\/span>ndst\u00e6\u00f0a <\/span>h<\/span>ugmyndin<\/span> inniheldur tv\u00f6 <\/span>frum<\/span>, b og c. \u00cd aflei\u00f0ingunni eru a-<\/span>frumin<\/span> endurtekin beint en a<\/span>ndst\u00e6\u00f0a <\/span>h<\/span>ugmyndin<\/span> er n\u00fd.<\/span> H\u00e9r eru eins takts <\/span>frumin<\/span> l\u00edka fj\u00f6gur.<\/span><\/span>\u00a0<\/span><\/p>\nhttps:\/\/www.lhi.is\/wp-content\/uploads\/2025\/05\/Hljoddaemi-2.mp3<\/a><\/audio>\n

    Hlj\u00f3\u00f0d\u00e6mi 2<\/strong>:<\/span><\/span> W. A. Mozart, S\u00f3nata fyrir p\u00edan\u00f3 \u00ed <\/span>F-d\u00far<\/span>, K. 332, 1. kafli, 13-20<\/span><\/span><\/p>\n\"\"\n

    D\u00e6mi 2<\/strong>: <\/span><\/span>W. A. Mozart<\/span>,<\/span> S\u00f3nata fyrir p\u00edan\u00f3 \u00ed <\/span>F-d\u00far<\/span>, K. 332, 1. kafli, <\/span>t. <\/span>13-20<\/span><\/span>\u00a0<\/span><\/p>\n

    \u00cd <\/span>blendingi <\/span>Haydns<\/span> (d\u00e6mi 3) <\/span>inniheldur g<\/span>runn<\/span>h<\/span>ugmyndin<\/span> frum<\/span> a og b<\/span>,<\/span> og a<\/span>ndst\u00e6\u00f0a <\/span>h<\/span>ugmyndin<\/span> frum<\/span> c og d. \u00cd framhaldsfasanum kemur n\u00fd hugmynd \u00ed n<\/span>i\u00f0urbrotinu<\/span>, <\/span>frum<\/span> e<\/span>,<\/span> og svo n\u00fdtt <\/span>frum<\/span> \u00ed <\/span>nlg<\/span>.<\/span> H\u00e9r er \u00fev\u00ed um a\u00f0 r\u00e6\u00f0a sex eins takta <\/span>frum<\/span>.<\/span><\/span>\u00a0<\/span><\/p>\nhttps:\/\/www.lhi.is\/wp-content\/uploads\/2025\/05\/Hljoddaemi-3.mp3<\/a><\/audio>\n

    Hlj\u00f3\u00f0d\u00e6mi 3<\/strong>:<\/span><\/span> J. <\/span>Haydn<\/span>, <\/span>Partita<\/span> no. 16 \u00ed D-d\u00far, <\/span>Hob<\/span>. XVI:14, 2. kafli, <\/span>t. <\/span>15-22.<\/span><\/span>\u00a0<\/span><\/p>\n\"\"\n

    D\u00e6mi 3<\/span><\/strong>:<\/span><\/span> J. <\/span>Haydn<\/span>,<\/span> Partita<\/span> no. 16 \u00ed D-d\u00far, <\/span>Hob<\/span>. XVI:14, 2. kafli, <\/span>t. <\/span>15-22<\/span><\/span>\u00a0<\/span><\/p>\n

    Prokofjev, nokkur atri\u00f0i um hlj\u00f3mfr\u00e6\u00f0i og ni\u00f0url\u00f6g<\/span><\/b>\u00a0<\/span><\/p>\n

    \u00cd doktorsritger\u00f0 eftir Konrad Harley fr\u00e1 \u00e1rinu 2014, <\/span>Harmonic Function in the Music of Sergei Prokofiev, <\/span><\/i>nefnir hann r\u00fassnesku t\u00f3nfr\u00e6\u00f0ingana, Viktor Berkov (1958) og Nataliu Zaporozhets (1962) sem settu fram kenningar um hlj\u00f3mfr\u00e6\u00f0i Prokofjev. <\/span>\u00a0<\/span><\/p>\n

    Berkov benti \u00e1 \u201ehef\u00f0bundna\u201c forhlj\u00f3minn \u00e1 V-s\u00e6ti sem gat innihaldi\u00f0 sj\u00f6und, h\u00e6kka\u00f0a sj\u00f6und og st\u00e6kka\u00f0a fimmund (C: g-h-d\u00eds-f-f\u00eds) og leysist me\u00f0 fj\u00f3rum t\u00f3num sm\u00e1st\u00edgt \u00e1 I\u00a0<\/span>\u00a0<\/span><\/p>\n

    (h-c\/d\u00eds-e\/f-e\/f\u00eds-g). Ennfremur a\u00f0 Prokofjev gat nota\u00f0 VII-s\u00e6ti (h-d\u00eds-f\u00eds) sem sta\u00f0gengil V-s\u00e6tis \u00ed C<\/span>D <\/span>og <\/span>#<\/span>vii (g\u00eds-h-d\u00eds) sem sta\u00f0gengil V \u00ed a<\/span>m<\/span> \u00fear sem allir t\u00f3nar leysast me\u00f0 l\u00edtilli tv\u00edund.<\/span>[9]<\/a><\/span> \u00a0<\/span><\/p>\n

    \u00a0<\/span>Zaporozhets \u00fatv\u00edkkar kenningar Berkovs og kannar hvernig Prokofjev keppist vi\u00f0 \u201ea\u00f0 auka fegur\u00f0 og spennu\u201c (e. <\/span>strives to maximize beauty and tension<\/span>),<\/span><\/i> me\u00f0 \u00fev\u00ed sem h\u00fan kallar \u201elei\u00f0s\u00f6gu-forhlj\u00f3m\u201c og \u201elei\u00f0s\u00f6gu-undirforhlj\u00f3m\u201c sem lei\u00f0a sm\u00e1st\u00edgt a\u00f0 grunn\u00fer\u00edhlj\u00f3mnum (H<\/span>D <\/span>og Des<\/span>D<\/span> \u00ed C<\/span>D<\/span>). Forhlj\u00f3murinn hl\u00fdtur samskonar sm\u00e1st\u00edga umlykingu me\u00f0 \u201elei\u00f0s\u00f6gu-aukaforhlj\u00f3mi\u201c (F\u00eds<\/span>D <\/span>– G<\/span>D<\/span>) og \u201elei\u00f0s\u00f6gu-undirforhlj\u00f3mi\u201c (As<\/span>D<\/span> – G<\/span>D<\/span>).<\/span>[10]<\/a>\u00a0<\/span><\/p>\n

    Me\u00f0 \u00feessar skilgreiningar a\u00f0 lei\u00f0arlj\u00f3si getum vi\u00f0 n\u00e1lgast stefjam\u00f3del Prokofjevs og lagt til hugmyndir a\u00f0 ni\u00f0url\u00f6gum. Lei\u00f0s\u00f6gu-(for)hlj\u00f3mar geta birst \u00e1 mikilv\u00e6gum \u00e1fangast\u00f6\u00f0um og haft v\u00e6gt einkenni h\u00e1lfenda \u00fear sem lausn hlj\u00f3msins \u00ed upphafshlj\u00f3m n\u00e6stu hendingar byggir \u00e1 sm\u00e1st\u00edgum lausnum.<\/span>\u00a0<\/span><\/p>\n

    Inngangsstefi\u00f0 \u00ed P\u00edan\u00f3konsert nr. 1 eftir Prokofjev<\/span><\/b>\u00a0<\/span><\/p>\n

    Inngangurinn a\u00f0 fyrsta P\u00edan\u00f3konsert Prokofjevs vekur strax athygli fyrir sei\u00f0andi endurtekningar sem \u00fer\u00f3ast \u00fat fyrir ramma Des<\/span>D<\/span> t\u00f3ntegundarinnar, a\u00f0eins til a\u00f0 sn\u00faa \u00a0aftur \u201eheim\u201c. \u201eKraftmiki\u00f0 stef sem fullkomnar heildarsvip verksins\u201c (e. A powerful thematic material that assures the unity of the work) svo vitna\u00f0 s\u00e9 beint \u00ed t\u00f3nsk\u00e1ldi\u00f0.<\/span>[11]<\/a><\/span> \u00a0Hann notar inngangstefi\u00f0 \u00ferisvar \u00ed verkinu, sem inngang, \u00ed lok 1. kafla (frams\u00f6gu) og \u00ed lok verksins. <\/span>\u00a0<\/span><\/p>\n

    Form inngangsins er str\u00f3f\u00edskt, fimm \u00e1tta takta \u201eblendingar\u201c sem skiptist \u00ed \u00ferj\u00e1r framsetningar me\u00f0 p\u00edan\u00f3i (Solo) og tv\u00e6r me\u00f0 hlj\u00f3msveit \u00e1n p\u00edan\u00f3s (Ritornello). Efnivi\u00f0urinn er einstaklega einfaldur \u00fe\u00f3 h\u00e6gt s\u00e9 a\u00f0 t\u00edna til fimm eins takta frum, a,b, c, d og e<\/span>[12]<\/a><\/span> \u00ed \u00feeirri r\u00f6\u00f0 sem \u00feau birtast. A\u00f0eins tv\u00f6 frum eru notu\u00f0 a\u00f0 sta\u00f0aldri, b og c en d er nota\u00f0 tvisvar \u00ed einum blendingi. Frum b, c og d eru v\u00e6gast sagt n\u00e1skyld hva\u00f0 var\u00f0ar l\u00f6gun og stefnu.\u00a0<\/span>\u00a0<\/span><\/p>\n

    \u00a0<\/span>\u00cd d\u00e6mi 4 m\u00e1 sj\u00e1 frumin \u00ed \u00feremur fyrstu blendingum inngangsins.<\/span>\u00a0<\/span><\/p>\n\"\"\n

    D\u00e6mi 4: <\/span><\/b>Lagl\u00ednufrum \u00ed inngangi P\u00edan\u00f3konserts Prokofjevs<\/span>\u00a0<\/span><\/p>\n

    \u00cd \u00feessum 24 t\u00f6ktum skiptast frumin \u00e1 eftirfarandi h\u00e1tt: t. 3-10 <\/span>abbb-bbbc<\/span><\/i>, t. 11-18 <\/span>bbbd-bbbd<\/span><\/i> og t. 19-26 <\/span>bbbc-ccce<\/span><\/i>. \u00c1hugavert er a\u00f0 \u00ed hverri fj\u00f6gurra takta hendingu er eitt frum endurteki\u00f0 \u00ferisvar \u00e1 m\u00f3ti einni framsetningu annars frums. Hvernig getum vi\u00f0 skilgreint hendingarnar sem mynda greinilega \u00e1tta takta heildir?\u00a0<\/span>\u00a0<\/span><\/p>\n

    Sko\u00f0um d\u00e6mi 5. Samkv\u00e6mt klass\u00edsku hef\u00f0inni skiptist fj\u00f6gurra takta kveikja \u00ed 2+2 takta; tv\u00e6r grunnhugmyndir, e\u00f0a grunnhugmynd og andst\u00e6\u00f0a hugmynd. \u00cd t. 3-6 er kl\u00e1rlega ekki um tv\u00e6r grunnhugmyndir a\u00f0 r\u00e6\u00f0a svo vi\u00f0 teljum <\/span>ab<\/span><\/i> (t. 3-4) vera grunnhugmynd og <\/span>bb<\/span><\/i> (t. 5-6) sem andst\u00e6\u00f0a hugmynd. Hlj\u00f3mf\u00e6rslur \u00ed t. 5-6 sty\u00f0ja \u00feetta \u00fe\u00f3 a\u00f0eins s\u00e9 skipt um hlj\u00f3mhv\u00f6rf. Ni\u00f0urlagi\u00f0 er ekki afgerandi heldur [EE] og fyrsta kveikjan er \u00fev\u00ed samsett grunnhugmynd.<\/span>\u00a0<\/span><\/p>\n

    Seinni hluti stefs er anna\u00f0hvort framhaldsfasi e\u00f0a aflei\u00f0ing. \u00cd aflei\u00f0ingu \u00e6tti a\u00f0 endurtaka grunnhugmynd kveikjunnar, \u00fev\u00ed skilgreinum vi\u00f0 t. 7-10 sem framhaldsfasa me\u00f0 ni\u00f0urbroti og ni\u00f0urlagi. Ni\u00f0urlagi\u00f0 er afgerandi, f\u00e6rslan \u00ed vi<\/span>64<\/span> \u00ed t. 9 og lokahlj\u00f3marnir, <\/span>bb<\/span>VI+<\/span>64<\/span> og heilt\u00f3na-hlj\u00f3murinn \u00e1 II sem myndar milt lei\u00f0s\u00f6guhlj\u00f3mssamband vi\u00f0 upphafshlj\u00f3m n\u00e6stu hendingar. Takta 3-10 skilgreinum vi\u00f0 \u00fev\u00ed sem blending-3, samsetta grunnhugmynd og framhaldsfasa.<\/span>\u00a0<\/span><\/p>\n\"\"\n

    D\u00e6mi 5: <\/span><\/b>Sergej Prokofj<\/span>ev<\/span>, P\u00edan\u00f3konsert nr. 1, t. 3-10<\/span>\u00a0<\/span><\/p>\n

    Takta 11-18 m\u00e1 skilgreina sem blending-4, samsetta grunnhugmynd og aflei\u00f0ingu \u00fear sem grunnhugmyndin \u00ed t. 11 er endurtekin \u00ed sekvens \u00ed t. 15. Lokahlj\u00f3murinn ii<\/span>11 <\/span>myndar milt lei\u00f0s\u00f6guhlj\u00f3mssamband vi\u00f0 D<\/span>D<\/span> hlj\u00f3minn, upphafshlj\u00f3m \u00feri\u00f0ja blendingsins.<\/span>\u00a0<\/span><\/p>\n

     <\/p>\nhttps:\/\/www.lhi.is\/wp-content\/uploads\/2025\/05\/Hljoddaemi-4.mp3<\/a><\/audio>\n

    Hlj\u00f3\u00f0d\u00e6mi <\/span>4<\/span><\/strong>: <\/span>S<\/span><\/span>amsvarar d\u00e6mum 5-6.<\/span><\/span> (ath. hlj\u00f3\u00f0d\u00e6mi\u00f0 inniheldur t. 3-24)<\/span><\/span>\u00a0<\/span><\/p>\n\"\"\n

    D\u00e6mi 6<\/strong>: <\/span><\/span>Sergei<\/span>j<\/span> Prokof<\/span>j<\/span>ev<\/span>, <\/span>P\u00edan\u00f3konsert<\/span> nr. 1, <\/span>t. <\/span>11-24<\/span><\/span>\u00a0<\/span><\/p>\n

    \u00deri\u00f0ji blendingurinn er samsett grunnhugmynd og framhaldsfasi. N\u00fa er framhaldsfasinn meira \u00ed takt vi\u00f0 hef\u00f0bundu ger\u00f0ina, me\u00f0 t\u00f6luvert akt\u00edfari hlj\u00f3mf\u00e6rslum. Til gamans m\u00e1 geta \u00feess a\u00f0 me\u00f0 D<\/span>D<\/span> ferlinu fr\u00e1 t. 19 hefur Prokofj<\/span>ev<\/span> fyllt upp \u00ed kr\u00f3mat\u00edska t\u00f3nstigann.<\/span>\u00a0<\/span><\/p>\n

    Sext\u00e1n takta samsett stefjaform<\/span><\/b>\u00a0<\/span><\/p>\n

    Samsetta lotan og samsetta setningin eru einfaldlega tv\u00f6f\u00f6ldun \u00e1 \u00e1tta takta stefjaformunum, Tv\u00e6r setningar mynda t.d. samsetta lotu ef fyrri setningin l\u00fdkur me\u00f0 opnu ni\u00f0urlagi, HE, F\u00d3 en s\u00fa seinni me\u00f0 loku\u00f0u, FF.\u00a0<\/span>\u00a0<\/span><\/p>\n

    Samsetta setningin vir\u00f0ist vera a\u00f0eins fl\u00f3knari, tv\u00e6r samsettar grunnhugmyndir, 4+4 taktar, mynda frams\u00f6gufasann. \u00dear sem grunneiningin, samsetta grunnhugmyndin, er fj\u00f3rir taktar ver\u00f0ur ni\u00f0urbroti\u00f0 tveir taktar, \u00f3l\u00edkt einf\u00f6ldu setningunni \u00fear sem ni\u00f0urbroti\u00f0 er einn taktur; helmingurinn af grunnhugmynd e\u00f0a andst\u00e6\u00f0ri hugmynd.<\/span>\u00a0<\/span><\/p>\n

    \"\"Tafla 2<\/span><\/strong>: <\/span><\/span>16 takta samsett stef.<\/span><\/span>\u00a0<\/span><\/p>\n

    Setningarformi\u00f0 er \u00e1berandi \u00ed fyrsta konsertinum.<\/span>[13]<\/a><\/span> \u00dea\u00f0 m\u00e1 greina eitt stef sem fylgir m\u00f3deli samsettrar setningar \u00ed verkinu. Stefi\u00f0 er merkt <\/span>Animato<\/span><\/i><\/b> vi\u00f0 \u00e6fingan\u00famer 17, t. 216-233, \u00fea\u00f0 lokar seinna stefjasv\u00e6\u00f0i frams\u00f6gunnar<\/span>[14]<\/a><\/span> og undirb\u00fdr a\u00f0ra framsetningu inngangsstefsins. Frams\u00f6gufasinn er hef\u00f0bundinn (sgh+sgh, 4+4) en framhaldsfasinn er \u00f3reglulegur, 5+5 takta; ni\u00f0urbrot \u00ed 3+2 takta sem eru s\u00ed\u00f0an nota\u00f0ir sem m\u00f3del a\u00f0 ni\u00f0urlagi \u00fear sem m\u00f3d\u00falera\u00f0 er \u00ed t\u00f3ntegund inngangsstefsins. Stefi\u00f0 kemur svo aftur vi\u00f0 \u00e6fingan\u00famer 34.<\/span>\u00a0<\/span><\/p>\n

    Prokofjev b\u00e6tir um betur \u00feegar kemur a\u00f0 tv\u00f6f\u00f6ldun stefjam\u00f3dela. \u00c1 sama h\u00e1tt og h\u00e6gt er a\u00f0 tv\u00f6falda einfalda setningu \u00ed samsetta 16 takta setningu er h\u00e6gt a\u00f0 mynda 32ja takta heild sem byggir \u00e1 s\u00f6mu grundvallarreglu. Vi\u00f0 getum hugsa\u00f0 okkur eftirfarandi t\u00f6flu me\u00f0 mismunandi st\u00e6r\u00f0 af setningum:<\/span>\u00a0<\/span><\/p>\n\"\"\n

    Tafla 3<\/span><\/strong>: <\/span><\/span>M\u00f3del mismunandi setninga.<\/span><\/span>\u00a0<\/span><\/p>\n

    32ja<\/span> takta tv\u00f6f\u00f6ld samsett setning byggir \u00fe\u00e1 \u00e1 tveimur <\/span><\/span>andst\u00e6\u00f0um <\/span><\/span>samsettum grunnhug<\/span>–<\/span>myndum \u00fear sem s\u00fa fyrri er grunnhugmynd og s\u00fa seinni andst\u00e6\u00f0 hugmynd, samtals \u00e1tta taktar. Ni\u00f0urbroti\u00f0 er \u00fe\u00e1 fj\u00f6gurra takta og tv\u00edteki\u00f0 og ni\u00f0urlagi\u00f0 \u00e1tta taktar samkv\u00e6mt m\u00f3delinu en h\u00e9r \u00fearf hugsanlega a\u00f0 bj\u00f3\u00f0a upp \u00e1 einhvern sveigjanleika.<\/span><\/span><\/p>\n

     <\/p>\nhttps:\/\/www.lhi.is\/wp-content\/uploads\/2025\/05\/Hljoddaemi-5.mp3<\/a><\/audio>\n

    Hlj\u00f3\u00f0d\u00e6mi<\/span> 5<\/span><\/strong>: <\/span><\/span>Serge<\/span>j<\/span>Prokof<\/span>j<\/span>ev<\/span>, <\/span>P\u00edan\u00f3konsert<\/span> nr. 1, 45-58 (<\/span>sj\u00e1<\/span> d\u00e6mi<\/span> 7).<\/span><\/span>\u00a0<\/span><\/p>\n

    \u00cd <\/span>P\u00edan\u00f3konsert<\/span> nr. 1 eftir <\/span>Proko<\/span>f<\/span>j<\/span><\/span>ev<\/span><\/span> koma<\/span> \u00fer\u00edr <\/span>sta\u00f0ir til greina a<\/span>\u00f0 32<\/span>ja<\/span> takta samsettri setningu, \u00ed takti 378 (<\/span>10 t\u00f6ktum eftir \u00e6fingan\u00famer 30) fer af sta\u00f0 stef sem fellur n\u00e1kv\u00e6mlega a\u00f0 32<\/span>ja<\/span> takta m\u00f3delinu. Annar <\/span>spennandi <\/span>m\u00f6guleiki er p\u00edan\u00f3br\u00fain vi\u00f0 \u00e6fingan\u00famer 3, h\u00e9r hefst \u00e1hrifamiki\u00f0 uppbrot<\/span> \u00ed C<\/span><\/span>D<\/span><\/span>, sterk andst\u00e6\u00f0a \u00ed kj\u00f6lfar inngangsins<\/span> og ekki skemmir fyrir a\u00f0 fyrsta stefr\u00e6na heildin er \u00f3regluleg, e\u00f0a sj\u00f6 taktar<\/span>.<\/span> Ef vi\u00f0 pr\u00f3fum a\u00f0 m\u00e1ta t. 45-51 vi\u00f0 <\/span>frams\u00f6gufasa <\/span>32<\/span>ja<\/span> takta m\u00f3del<\/span>sins<\/span> sj\u00e1um vi\u00f0 a\u00f0 \u00feetta gengur fullkomlega upp sem fyrri hluti (\u00ed sta\u00f0 4+4 takta eru 3+4 taktar) og me\u00f0 endurtekningunni, <\/span>sekve<\/span>n<\/span>sinum<\/span> fr\u00e1 ii-s\u00e6ti, fullkomnast frams\u00f6gufasinn (sj\u00e1 d\u00e6mi 7).<\/span><\/span>\u00a0<\/span><\/p>\n

     <\/p>\n\"\"\n

    D\u00e6mi 7<\/strong>: <\/span><\/span>Sergei<\/span>j<\/span> Prokof<\/span>j<\/span><\/span>ev<\/span><\/span>, <\/span>P\u00edan\u00f3konsert<\/span> nr. 1, <\/span>t. <\/span>45-58<\/span><\/span>\u00a0<\/span><\/p>\n

    \u00cd takti 59 tekur framhaldsfasinn vi\u00f0 me\u00f0 fj\u00f6gurra takta ni\u00f0urbroti sem er endurteki\u00f0, s\u00ed\u00f0an styttra og \u00f3reglulegra ni\u00f0urbrot sem lei\u00f0ir a\u00f0 bur\u00f0arforhlj\u00f3mi, 32 t\u00f6ktum eftir upphafi\u00f0. Fj\u00f3rum t\u00f6ktum s\u00ed\u00f0ar er GE og n\u00fdtt efni tekur vi\u00f0 sem undirb\u00fdr m\u00f3d\u00falasj\u00f3n heim \u00ed D<\/span>D<\/span> \u00fear sem meginstef<\/span>[15]<\/a><\/span> (fyrra stef) kaflans birtist.\u00a0<\/span>\u00a0<\/span><\/p>\n

    \u00deri\u00f0ji m\u00f6guleikinn a\u00f0 tv\u00f6f\u00f6ldu samsettu setningunni er \u00ed \u00edtrekun\/\u00farvinnslu, \u00ed t. 318, tveimur t\u00f6ktum eftir \u00e6fingan\u00famer 27. <\/span>\u00a0<\/span><\/p>\n

    Lokaor\u00f0<\/span><\/b>\u00a0<\/span><\/p>\n

    H\u00e9rna hefur veri\u00f0 ger\u00f0 tilraun til \u00feess a\u00f0 greina stefjaform Prokofj<\/span>ev<\/span>s \u00ed P\u00edan\u00f3konsert nr. 1 \u00fat fr\u00e1 klass\u00edskum stefjaformum og skilgreiningum William E. Caplin \u00e1 \u00feeim. H\u00e9r er svo sannarlega \u00f3pl\u00e6g\u00f0ur akur sem ver\u00f0ur spennandi a\u00f0 takast \u00e1 vi\u00f0 til a\u00f0 \u00f6\u00f0last betri skilning \u00e1 \u201et\u00f3ntegundabundinni\u201c t\u00f3nlist \u00ed upphafi 20. aldar. \u00c9g vil \u00feakka Hjalta \u00de\u00f3r Dav\u00ed\u00f0ssyni fyrir samstarfi\u00f0 vi\u00f0 greininguna og \u00e1bendingar um lesefni sem n\u00fdttist vi\u00f0 ger\u00f0 greinarinnar.<\/span>\u00a0<\/span><\/p>\n

    Heimildaskr\u00e1<\/span><\/b>\u00a0<\/span><\/p>\n

    Caplin, William E.. <\/span>Analyzing Classical Form.<\/span><\/i> New York: Oxford University Press, 2013, Kindle Edition.<\/span>\u00a0<\/span><\/p>\n

    Harley, Konrad. \u201eHarmonic Function in the Music of Serge<\/span>i<\/span>y Prokofiev.\u201c PhD-ritger\u00f0, University of Toronto, 2014. <\/span>\u00a0<\/span><\/p>\n

    Prokofiev, Sergey. <\/span>Diaries 1907-1915: Prodigious Youth. <\/span><\/i>Anthony Phillips \u00fe\u00fdddi. <\/span>New York: Cornell University Press, 2006.<\/span>\u00a0<\/span><\/p>\n

    Taruskin, Richard. <\/span>Music in the Early Twentieth Century.<\/span><\/i> New York: Oxford University Press, 2010, Kindle Edition.<\/span><\/p>\n

    —<\/p>\n

    [1]<\/a> Richard <\/span>Taruskin, <\/span><\/span>Music in the Early Twentieth Century<\/span><\/span> (<\/span>New York: <\/span>Oxford University Press<\/span>, 2010,<\/span> Kindle Edition<\/span>), bls. <\/span>776<\/span>.<\/span><\/span>\u00a0<\/span>\u00a0<\/span><\/span><\/span><\/p>\n

    [2]<\/a><\/span><\/span> William E. <\/span>Caplin<\/span>, <\/span><\/span>Analyzing Classical Form<\/span><\/span> (New York<\/span>:<\/span> Oxford University Press<\/span>, 2013,<\/span> Kindle Edition<\/span>), <\/span>bls<\/span>. 33<\/span>-157<\/span><\/span>\u00a0<\/span><\/p>\n

    [3]<\/a> Vi\u00f0 \u00feurfum ekki a\u00f0 fara langt inn \u00ed r\u00f3mant\u00edkina til a\u00f0 velta \u00fev\u00ed fyrir okkur hvort \u00feetta standist \u00fear og <\/span>hvort<\/span> \u00fe\u00f6rf <\/span>s\u00e9 \u00e1 a\u00f0 skilgreina upp \u00e1 n\u00fdtt h\u00e1lfendafyrirb\u00e6ri\u00f0 <\/span>hva\u00f0 var\u00f0ar t\u00f3nlist seinni hluta 19. aldar og upphaf \u00feeirrar 20.<\/span><\/span>\u00a0<\/span><\/span><\/span><\/p>\n

    [4]<\/a><\/span><\/span> Frams\u00f6gufasi, framhaldsfasi, undanfari og aflei\u00f0ing eru hugt\u00f6k fengin \u00far \u00f3birtri \u00fe\u00fd\u00f0ingu \u00c1rna Heimis Ing\u00f3lfssonar \u00e1 <\/span><\/span>Elements of Sonata Theory <\/span><\/span>eftir James Hepokoski og Warren Darcy.<\/span><\/span>\u00a0<\/span><\/p>\n

    [5]<\/a> Caplin, <\/span><\/span>Analyzing Classical Form<\/span><\/span>,<\/span> bls.<\/span> 102<\/span>.<\/span><\/span>\u00a0<\/span><\/span><\/span><\/p>\n

    [6]<\/a> Sj\u00e1 t.d. takta 5-6 \u00ed a-moll s\u00f3n\u00f6tu Mozarts, K. 310.<\/span><\/span>\u00a0<\/span><\/span><\/span><\/p>\n

    [7]<\/a> Caplin, Analyzing Classical Form, bls.\u00a0<\/span> 63<\/span><\/span>.<\/span><\/span>\u00a0<\/span><\/span><\/span><\/p>\n

    [8]<\/a><\/span><\/span> \u00d6ll hlj\u00f3\u00f0d\u00e6mi eru \u00far n\u00f3tnaskriftarforritinu Dorico<\/span><\/span>\u00a0<\/span><\/p>\n

    [9]<\/a> Konrad <\/span><\/span>Harley, <\/span>\u201e<\/span>Harmonic Function in the Music of Serge<\/span>i<\/span> Prokofiev<\/span>\u201c (P<\/span>h<\/span>D-ritger\u00f0,<\/span> University of Toronto, 2014), bls. 2. <\/span><\/span>\u00a0<\/span><\/span><\/p>\n

    [10]<\/a><\/span><\/span> Konrad <\/span>Harley<\/span>, <\/span>\u201e<\/span>Harmonic Function in the Music of Serge<\/span>i<\/span> Prokofiev<\/span>,\u201c bls. 4.<\/span><\/span>\u00a0<\/span><\/p>\n

    [11]<\/a> Serge<\/span>i<\/span> Prokofiev, <\/span><\/span>Diaries 1907-1915: Prodigious Youth<\/span>,<\/span><\/span> Anthony Phillips<\/span><\/span> \u00fe\u00fdddi <\/span>(New York: Cornell University Press, 2006),<\/span> bls. 237<\/span>.<\/span><\/span>\u00a0<\/span><\/span><\/p>\n

    [12]<\/a><\/span><\/span> Eitt frum, f, b\u00e6tist vi\u00f0 \u00ed lok fimmta blendings<\/span>, einskonar \u201eeftir enda\u201c frum<\/span>.<\/span><\/span>\u00a0<\/span><\/p>\n

    [13]<\/a><\/span><\/span> Setningarformi\u00f0 liggur beinna vi\u00f0 en lotan, h\u00fan kallar frekar \u00e1 eitthva\u00f0 sem l\u00edkist hef\u00f0bundnum ni\u00f0url\u00f6gum.<\/span><\/span><\/p>\n

    [14]<\/a> Prokofiev,<\/span><\/span> Diaries 1907-1915: Prodigious Youth<\/span><\/span>, bls. 236.<\/span><\/span>\u00a0<\/span><\/span><\/p>\n

    [15]<\/a> Prokofiev,<\/span><\/span> Diaries 1907-1915: Prodigious Youth<\/span><\/span>, bls. 236.<\/span><\/span>\u00a0<\/span><\/span><\/p>\n

     <\/p>\n\t\t\t\t\t\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/div>\n<\/div>\n\n\n

    <\/p>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":35,"featured_media":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"wds_primary_threads_cat":0,"footnotes":""},"threads_cat":[267],"class_list":["post-24922","threads","type-threads","status-publish","hentry","threads_cat-thraedir-tolublad-10"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.lhi.is\/en\/wp-json\/wp\/v2\/threads\/24922","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.lhi.is\/en\/wp-json\/wp\/v2\/threads"}],"about":[{"href":"https:\/\/www.lhi.is\/en\/wp-json\/wp\/v2\/types\/threads"}],"author":[{"embeddable":true,"href":"https:\/\/www.lhi.is\/en\/wp-json\/wp\/v2\/users\/35"}],"replies":[{"embeddable":true,"href":"https:\/\/www.lhi.is\/en\/wp-json\/wp\/v2\/comments?post=24922"}],"version-history":[{"count":5,"href":"https:\/\/www.lhi.is\/en\/wp-json\/wp\/v2\/threads\/24922\/revisions"}],"predecessor-version":[{"id":25351,"href":"https:\/\/www.lhi.is\/en\/wp-json\/wp\/v2\/threads\/24922\/revisions\/25351"}],"wp:attachment":[{"href":"https:\/\/www.lhi.is\/en\/wp-json\/wp\/v2\/media?parent=24922"}],"wp:term":[{"taxonomy":"threads_cat","embeddable":true,"href":"https:\/\/www.lhi.is\/en\/wp-json\/wp\/v2\/threads_cat?post=24922"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}