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音楽の共生 : トニックを拠り所の1つとして(音楽表現学科)
https://shobi-u.repo.nii.ac.jp/records/196
https://shobi-u.repo.nii.ac.jp/records/1962a652789-9e88-465e-aec8-384690da9e15
名前 / ファイル | ライセンス | アクション |
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KJ00002411904.pdf (1.6 MB)
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Item type | [ELS]紀要論文 / Departmental Bulletin Paper(1) | |||||
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公開日 | 2017-04-21 | |||||
タイトル | ||||||
言語 | ja | |||||
タイトル | 音楽の共生 : トニックを拠り所の1つとして(音楽表現学科) | |||||
タイトル | ||||||
言語 | en | |||||
タイトル | Thinking of 21st Century Music : On the Coexistence of Musical Differences (Department of Music Expression) | |||||
言語 | ||||||
言語 | jpn | |||||
資源タイプ | ||||||
資源タイプ識別子 | http://purl.org/coar/resource_type/c_6501 | |||||
資源タイプ | departmental bulletin paper | |||||
雑誌書誌ID | ||||||
収録物識別子タイプ | NCID | |||||
収録物識別子 | AA11624171 | |||||
論文名よみ | ||||||
言語 | ja-Kana | |||||
タイトル | オンガク ノ キョウセイ : トニック オ ヨリドコロ ノ 1ツ トシテ オンガク ヒョウゲン ガッカ | |||||
著者 |
金子, 晋一
× 金子, 晋一 |
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著者所属(日) | ||||||
ja | ||||||
尚美学園大学芸術情報学部音楽表現学科 | ||||||
著者所属(英) | ||||||
en | ||||||
Shobi University | ||||||
記事種別(日) | ||||||
内容記述タイプ | Other | |||||
内容記述 | 論文 | |||||
言語 | ja | |||||
記事種別(英) | ||||||
内容記述タイプ | Other | |||||
内容記述 | Article | |||||
言語 | en | |||||
抄録(英) | ||||||
内容記述タイプ | Other | |||||
内容記述 | In this article an attempt is made to examine the features and essence of the following three types of music : Tonal music, Blues music, and Shamisen music. Basically, Eastern music and Western music are very different from each other. Western tonal music primarily has a harmonic pitch and the fundamental chords are always fixed, and evenly tempered. For example, the tonic chord I (A-Major key) is always determined by Concert pitch A 440 : the number of vibrations in the sound. 0n the other hand, the tone at the center of Eastern Shamisen music is free-floating, with freer uses of pitches. The first issue I focus on in this paper is the tonal music, especially of the late stage. I will discuss the fundamental chord and harmonic pitch of Wagner's Tristan und Isolde and Schoenberg's Verklaerte Nacht. I will also examine the Mode music of Olivier Messiuen and his floating pitches, as well as the Bluesy tonal music of George Gershwin, specifically Rhapsody in Blue and An American in Paris and their harmonic pitches. The second issue focused on is Blues Music : blue tonality (Bluesy harmonic pitch) exemplified in Dizzy Gillespie's Blue 'N' Boogie or the chord changes in Charlie Parker's works. Finally, I will discuss the uniqueness of Shamisen music and its tonal center such as Hon-Choshi, Ni-Agari and San-Sagari. My discussion and examination are meant to search for ideas aimed at creating new fresh music for the 21st century. I believe that an equal treatment of Western and Eastern music, and their distinctive notions of tone techniques, will play a key role in the creation of a new type of music. | |||||
言語 | en | |||||
書誌情報 |
ja : 尚美学園大学芸術情報学部紀要 en : Bulletin of the Faculty of Informatics for Arts, Shobi University 巻 1, p. 39-67, 発行日 2002-03-31 |
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表示順 | ||||||
内容記述タイプ | Other | |||||
内容記述 | 9 | |||||
アクセション番号 | ||||||
内容記述タイプ | Other | |||||
内容記述 | KJ00002411904 | |||||
出版社 | ||||||
言語 | ja | |||||
出版者 | 尚美学園大学芸術情報学部 | |||||
ISSN | ||||||
収録物識別子タイプ | PISSN | |||||
収録物識別子 | 13471023 |