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J. S.バッハの鍵盤楽曲における舞踏リズム : パスピエ
https://doi.org/10.60171/00003215
https://doi.org/10.60171/0000321519222b2f-1540-495b-89f2-97180a4f3fe5
| 名前 / ファイル | ライセンス | アクション |
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30-10.pdf (805.8 kB)
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| Item type | 紀要論文 / Departmental Bulletin Paper(1) | |||||||||
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| 公開日 | 2023-03-15 | |||||||||
| タイトル | ||||||||||
| タイトル | J. S.バッハの鍵盤楽曲における舞踏リズム : パスピエ | |||||||||
| 言語 | ja | |||||||||
| タイトル | ||||||||||
| タイトル | Dance rhythms in J.S.Bach's keyboard works : The passepied | |||||||||
| 言語 | en | |||||||||
| 言語 | ||||||||||
| 言語 | jpn | |||||||||
| キーワード | ||||||||||
| 主題Scheme | Other | |||||||||
| 主題 | 音楽史 | |||||||||
| キーワード | ||||||||||
| 主題Scheme | Other | |||||||||
| 主題 | Historyof music | |||||||||
| キーワード | ||||||||||
| 主題Scheme | Other | |||||||||
| 主題 | バロック | |||||||||
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| 主題Scheme | Other | |||||||||
| 主題 | Baroque | |||||||||
| 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 | |||||||||
| ID登録 | ||||||||||
| ID登録 | 10.60171/00003215 | |||||||||
| ID登録タイプ | JaLC | |||||||||
| 著者 |
森川, 晴美
× 森川, 晴美
× Morikawa, Harumi
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| 抄録 | ||||||||||
| 内容記述タイプ | Abstract | |||||||||
| 内容記述 | The word 'passepied' was originally used to describe a dance of Brittany in the 16th century and was characterized by a fast duple-metre dance with the three-bar phrases. But this style was modified in the 17th and 18th century for performing at the court of Louis X IV. The new style of passepied employed the triple-metre with an upbeat, and consisted of two sections with four-bar phrases and a fairly constant movement in quavers and semiquavers. The dance steps of the passepied were identical with those of the minuet. therefore a passepied was often misunderstood as a 'fast minuet' by many writers simply. But passepied is a quite different style of music from minuet. The clear differences are that passepied has a faster movement and also employs some offbeat accents, which are rare in minuet. J. S. Bach composed four passepieds, one for the orchestra and the others for keyboard pieces. However, he also wrote some other pieces in this style but never titled them passepieds. In this paper, the writer studied his three passepieds from the keyboard suites, and five pieces from the "Well-Tempered Clavier" and the "Goldberg variations", which are not titled passepieds but employs the rhythms and the characteristics of the passepied in their styles. As a result of the study, the writer concludes that all of them are characterized by the 3/8 time signature. And Bach didn't employ the notatinal device of the 'double measure', but he used hemiolia and other vacillating grouping of eight notes to create the off-balanced rhythmic effects. | |||||||||
| 書誌情報 |
広島文化女子短期大学紀要 巻 30, p. 71-82, 発行日 1997-09-30 |
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| 出版者 | ||||||||||
| 出版者 | 広島文化女子短期大学 | |||||||||
| ISSN | ||||||||||
| 収録物識別子タイプ | ISSN | |||||||||
| 収録物識別子 | 09137068 | |||||||||
| 書誌レコードID | ||||||||||
| 収録物識別子タイプ | NCID | |||||||||
| 収録物識別子 | AN00213869 | |||||||||
| フォーマット | ||||||||||
| 内容記述タイプ | Other | |||||||||
| 内容記述 | application/pdf | |||||||||
| 著者版フラグ | ||||||||||
| 出版タイプ | VoR | |||||||||
| 出版タイプResource | http://purl.org/coar/version/c_970fb48d4fbd8a85 | |||||||||
