フランソワ=ジョゼフ・フェティスの和声理論における導音上の7の和音

音楽文化教育学研究紀要 Issue 22・23 Page 91-97 published_at 2011-03-22
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Title ( jpn )
フランソワ=ジョゼフ・フェティスの和声理論における導音上の7の和音
Title ( eng )
The Seventh Chord on Leading-tone in F. -J. Fétis' Theory of Harmony
Creator
Osako Chikako
Source Title
音楽文化教育学研究紀要
Bulletin of music culture education
Issue 22・23
Start Page 91
End Page 97
Journal Identifire
[ISSN] 1347-0205
[NCID] AA11546850
Abstract
"Qu'est-ce que la tonalité?" is the question raised by François-Joseph Fétis (1784-1871), a highly influential Belgian music theorist in the 19th century, in the several his theoretical works. As an answer the question, he defined "La tonalité se forme de la collection des rapports nécessaires, successifs ou simultanés, des sons de la gamme". He systematized diverse elements of harmony and rhythm under this concept of tonalité. Further to this, he was harshly critical of the major theories of tonality and harmony claimed by his predecessors and contemporary thinkers.
This brief study is focusing on the different explanations of the seventh chord on leading-tone, claimed by Fétis and Charles-Simon Catel (1773-1830) through analysis of Fétis' own arguments in his Traité complet de la théorie et de la pratique de l'harmonie. This analysis reveals that Fétis explained the process of chord generation consistently in relation to a major or minor scale, while Catel regarded chord as mere aggregation of tones independent of scale. Fetis' arguments seem to suggest the differences not only between their explanations about the chord generation, but also between their concepts of tonality itself.
NDC
Music [ 760 ]
Language
jpn
Resource Type departmental bulletin paper
Publisher
広島大学大学院教育学研究科音楽文化教育学講座
Date of Issued 2011-03-22
Publish Type Version of Record
Access Rights open access
Source Identifier
[ISSN] 1347-0205
[NCID] AA11546850