C・Ph・E・バッハのフライエ・ファンタジーにおける演奏表現の可能性 : 後期の作品Wq61/3に焦点を当てて

藝術研究 Issue 36 Page 21-43 published_at 2023-08-31
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Title ( jpn )
C・Ph・E・バッハのフライエ・ファンタジーにおける演奏表現の可能性 : 後期の作品Wq61/3に焦点を当てて
Title ( eng )
Possibilities of Expression in the Music Performance of Carl Philipp Emanuel Bach’s Free Fantasias: Focusing on the Late Work Wq61/3
Creator
SUENAGA Masako
Source Title
藝術研究
Annual Review of Hiroshima Society for Science of Arts
Issue 36
Start Page 21
End Page 43
Number of Pages 23
Journal Identifire
[ISSN] 09149872
[NCID] AN10217323
Abstract
Carl Philipp Emanuel Bach (hereinafter “E. Bach”) was a leading composer of freyen fantasie (free fantasias). In his Versuch über die wahre Art das Clavier zu spielen (Essay on the True Art of Playing Keyboard Instruments), he cites conditions for a piece to be identified as a freyen fantasie as being unmeasured and moving through many keys. In his later years, this description was revised with a presentation of his new concept of modulation. In this research, an analysis of E. Bach’s late fantasia Wq61/3 from the perspective of time and modulation and a consideration of expression in performance led to the discovery of numerous compositional devices, including omission of chords, bass notes, and bar lines, and alternation of meters. In addition, the author found that the concept of modulation from E. Bach’s later years brought about new methods of modulation, and that the composer demanded special performance expression from performers. In order to realize performance expressions that reflect the composer’s intentions, the author added dynamic and tempo marks to the score of Wq61/3 and proposed specific playing methods.
Language
jpn
Resource Type journal article
Publisher
広島芸術学会
Hiroshima Society for Science of Arts
Date of Issued 2023-08-31
Rights
本誌掲載の著作物の著作権は、著者に帰属する。
Publish Type Version of Record
Access Rights open access