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J.S.バッハの鍵盤曲における舞踏リズム : ジーグ
https://doi.org/10.60171/00003226
https://doi.org/10.60171/00003226db63298b-d342-4bf4-aab9-fb10bdb4ce3f
| 名前 / ファイル | ライセンス | アクション |
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28-6.pdf (636.9 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.バッハの鍵盤曲における舞踏リズム : ジーグ | |||||||||
| 言語 | ja | |||||||||
| タイトル | ||||||||||
| タイトル | Dance rhythms in J.S. Bach's keyboard works / The gigue | |||||||||
| 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 | history of music | |||||||||
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| 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 | 10.60171/00003226 | |||||||||
| 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 gigue originated in the British Isles, where it has been known as a popular dance and tune since the 15th century. At the begining of the 17th century in France, the gigue was introduced by the lutenist Jacques Gautier, who had been in London for 30 years, and it became one of the most popular Baroque dance musics. By the end of this century, it was splited into two types; the French gigue and the Italian giga. But we see a great variety of styles, metric structures, textures, types of upbeats, affects and time signatures in J.S. Bach's gigues. M. Little and N. Jenne classify Bach's gigue into three types --the French gigue, giga I and giga II-- based on the analysis of its metric structure. Giga I is diffrent from the other types because of the tripleness on the lowest metric level. The French gigue and giga II have a similar metric structure: they have another metric level below the tripleness. But the French gigue is characterized by the use of the "sautillant" figure. In these three types, the type of giga II is the most complex and challenging one by Bach, and it is difficult to find the good example other than the Bach's works. From this viewpoint, I classified the Bach's keyboard works which were titled as gigue, and also studied some works which were untitled as gigue in the "Well-Tempered Clavier" and "Inventions and sinfonias". In these works, the 5 pieces can be classified as the rhythm of gigue. And then the writer studied their metric structures and characteristics for finding out their appropriate tempos. As a result, it was clarified that the 4 pieces of them (BWV781, 848, 876, 880) are the types of the giga I, and the another one (BWV775) is giga II. | |||||||||
| 書誌情報 |
広島文化女子短期大学紀要 巻 28, p. 45-55, 発行日 1995-07-10 |
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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 | |||||||||
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| 収録物識別子タイプ | NCID | |||||||||
| 収録物識別子 | AN00213869 | |||||||||
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| 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 | |||||||||
