@article{oai:nara-edu.repo.nii.ac.jp:00007870,
 author = {前田, 則子},
 issue = {1},
 journal = {奈良教育大学紀要. 人文・社会科学},
 month = {Oct},
 note = {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.},
 pages = {145--152},
 title = {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},
 volume = {55},
 year = {2006}
}