WEKO3
アイテム
演奏と理論の調和について : J. UhdeによるBeethoven：ピアノソナタop.110の分析手法を例に
http://hdl.handle.net/10105/249
http://hdl.handle.net/10105/24987de3597-f6be-482d-81fe-916686dd0219
| 名前 / ファイル | ライセンス | アクション |
|---|---|---|
55-1-14_2006.pdf (1.7 MB)
|
|
| アイテムタイプ | 紀要論文 / Departmental Bulletin Paper(1) | |||||||
|---|---|---|---|---|---|---|---|---|
| 公開日 | 2010-06-07 | |||||||
| タイトル | ||||||||
| タイトル | 演奏と理論の調和について : J. UhdeによるBeethoven：ピアノソナタop.110の分析手法を例に | |||||||
| 言語 | ||||||||
| 言語 | jpn | |||||||
| キーワード | ||||||||
| 主題 | piano playing, analysis of composition, Beethoven,s piano sonata op.110, Jurgen UHDE, ピアノ演奏法, 楽曲分析, ベートーヴェンのピアノソナタop.110, ユルゲン・ウーデ | |||||||
| 資源タイプ | ||||||||
| 資源タイプ | departmental bulletin paper | |||||||
| 著者 |
前田, 則子
× 前田, 則子
|
|||||||
| 著者(ヨミ) | ||||||||
| 姓名 | マエダ, ノリコ | |||||||
| 著者別名 | ||||||||
| 姓名 | MAEDA, Noriko | |||||||
| 抄録 | ||||||||
| 内容記述タイプ | Abstract | |||||||
| 内容記述 | Recent studies on the playing piano have considerably clarified the movement upon playing, the mechanisms of physical activities. Such analyses in detail are concerned with structure of bone and muscle, movement of joints from the shoulder to the tip of a finger, maintaining the balance, direction of a touch, speed and so on. They also actually help players and students who practice the piano repeatedly by their own senses. Anatomical indications are firmly generalized as bases in the world. Another main study on the playing piano is that on a piece of music. The works by the past composers are transferred to the present players through scores. To read music in the score is deep and infinite. Thus, we usually analyze a composition at first to find a clue. Such analyses have been carried out mainly by musicologists, theorists and composers, and are also fairly helpful to the players. However, actual playing is hardly in harmony with theoretical understanding, which seems to be ascribed to the fact that analyses of composition have been established as a field of theory. Furthermore, the contents of the analyses are likely to be limited to those of techniques to compose such as form, motif, harmony and tonality. In this study, a piano sonata op.110, which was composed by Beethoven and analyzed by Uhde, was adopted as a good example of the analysis of composition well matched with the playing, and discussed from the viewpoints of the transition of processes, unification of the motifs, analysis of the form of sonata, meaning to determine the relation of tonality, the comparison of mode and form, and the contents of the words which direct music playing. The author analyzed a process-transition in fugue of the op.110 based on the above analytical methods. | |||||||
| 書誌情報 |
奈良教育大学紀要. 人文・社会科学 巻 55, 号 1, p. 145-152, 発行日 2006-10-31 |
|||||||
| ISSN | ||||||||
| 収録物識別子タイプ | ISSN | |||||||
| 収録物識別子 | 05472393 | |||||||
| 書誌レコードID | ||||||||
| 収録物識別子タイプ | NCID | |||||||
| 収録物識別子 | AN00181081 | |||||||
| 著者版フラグ | ||||||||
| 出版タイプ | VoR | |||||||
| その他のタイトル | ||||||||
| その他のタイトル | Harmonization of Playing and Theory : analytical method for Beethoven,s piano sonata op.110 by J. Uhde | |||||||
| 出版者 | ||||||||
| 出版者 | 奈良教育大学 | |||||||
