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ベートーヴェンの足音を背後に聞きながら : ブラームス第4交響曲の形式規範(音楽表現学科)
https://shobi-u.repo.nii.ac.jp/records/198
https://shobi-u.repo.nii.ac.jp/records/198fd1e4e37-e2ca-4968-b654-834e9990f7a6
名前 / ファイル | ライセンス | アクション |
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KJ00002411906.pdf (737.8 kB)
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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 | ベートーヴェンの足音を背後に聞きながら : ブラームス第4交響曲の形式規範(音楽表現学科) | |||||
タイトル | ||||||
言語 | en | |||||
タイトル | Hearing Beethoven's Footsteps Behind : Formal Models For The Fourth Symphony Of Brahms (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 | ベートーヴェン ノ アシオト オ ハイゴ ニ キキナガラ : ブラームス ダイ4 コウキョウキョク ノ ケイシキ キハン オンガク ヒョウゲン ガッカ | |||||
著者 |
田村, 和紀夫
× 田村, 和紀夫 |
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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 | Brahms' symphonies are often discussed in comparison with Beethoven. However, his fourth symphony is sometimes said to be most original. For the first time in Brahms' symphonies, the first movement is written in repeatless sonata form and shows his new creative aspect. But, there are some precedents of the same form in the works of Beethoven. That is the first movement of Appassonato Sonata, which realized the idea to identify the exposition with the development section in the layout and length of material. Besides, in the first movement of F major Rasmofsky Quartet, Beethoven wrote the beginning of the development in same score with the beginning of the movement. Thus, repeat of the exposition effects without any repetition. Brahms obviously borrowed this idea for his fourth symphony,and in addition, developed further. Because, in order to avoid the increase of repetition which is caused from that idea, Brahms gave variation to the first theme in the beginning of the recaptulation. He understood the real meanings of the idea of those great predecessors, and did not only follow it, but also added his own originality. It may show one of the secret in the creation of Brahms. | |||||
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. 103-115, 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 | 11 | |||||
アクセション番号 | ||||||
内容記述タイプ | Other | |||||
内容記述 | KJ00002411906 | |||||
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 |