著者

三島 郁

出版者

甲南女子大学

雑誌

甲南女子大学研究紀要 = Konan Women's University researches of literature and culture volume (ISSN:1347121X)

巻号頁・発行日

no.49, pp.143-154, 2013-03-18

著者

三島 郁

出版者

甲南女子大学

雑誌

甲南女子大学研究紀要 文学・文化編 (ISSN:1347121X)

巻号頁・発行日

no.45, pp.81-88, 2008

著者

三島 郁

出版者

甲南女子大学

雑誌

甲南女子大学研究紀要. 文学・文化編 = Studies in Literature and Culture (ISSN:1347121X)

巻号頁・発行日

no.46, pp.77-88, 2010-03-18

著者

三島 郁

出版者

甲南女子大学

雑誌

甲南女子大学研究紀要. 文学・文化編 = Studies in Literature and Culture (ISSN:1347121X)

巻号頁・発行日

no.42, pp.83-91, 2006-03-18

---

The revival of J. S. Bach's "Matthauspassion" in 1829 in Leipzig under the direction of Mendelssohn, is regarded as a monumental festivity; the work had been performed under Bach's own direction just one hundred years earlier. But also in Kassel, the "Matthauspassion" was five times performed on the initiative of the Kapellmeister there, Louis Spohr (1784-1859), in spite of repeated reactionary pressure by the Court. Analyzing and examining Spohr's ideas about early music and the activities of the most elite choral society in Kassel, the "Cacilienverein", which was directed by Spohr himself, we can see that the revival of the "Matthaus" was not a mere musico-historical event. In other words, looking at the repertoire of the "Cacilienverein" and early-music elements in Spohr's "Messe" (Op. 54, 1821), it turns out that they learned early music under the influence of historicism and brought it into Spohr's works in various ways. Thus elite people were able to realize that they had gained an understanding of high culture by singing early music together.

著者

三島 郁

出版者

大阪大学

雑誌

大阪大学大学院文学研究科紀要 (ISSN:13453548)

巻号頁・発行日

vol.43, pp.34-36, 2003-03-31

著者

仲万 美子 三島 郁

出版者

同志社女子大学

雑誌

総合文化研究所紀要 (ISSN:09100105)

巻号頁・発行日

vol.22, pp.145-164, 2005-03-31

---

For about ten years, Kishi Koichi (1909-1937) was active both in Japan and abroad as a musician and composer. In this paper we focus on his third extended stay in Berlin, which we believe was the most important because it was during the period that he created his concept of "Japanese Western music" based on Western principles. As research materials we have used items which were donated to the Kishi Koichi Memorial Room by his bereaved family as well as other resources in German institutions such as the Ufa-Kinemathek Foundation in Berlin. We have analyzed and compared two of Kishi's essays in which he demonstrated his concept of "Japanese music" newspaper and articles about a concert titled "Japanisher Abend (Japanese evening)," which he held in 1934. We also examined Kishi's attitude toward production, the German public's reaction to his works, and the significance of a Japanese musician performing in the West at he beginning of the 20th century. As a result, we have found much consistency between the Japanese and German source materials and have been able to clearly determine how important Kishi was in establishing a dialogue between Eastern and Western culture.論文 (Articles)

著者

三島 郁

出版者

日本音楽表現学会

雑誌

音楽表現学 (ISSN:13489038)

巻号頁・発行日

vol.17, pp.1-12, 2019-11-30 (Released:2020-11-30)

参考文献数

28

---

19世紀におけるドイツ語圏での「ゲネラルバス」という用語は、バロック期の「通奏低音」としてではなく、和声理論にも使われていた。その延長上にフーゴ・リーマン Hugo Riemann (1849–1919) は理論・実践書『ゲネラルバス奏法の手引き(ピアノの和声練習)Anleitung zum Generalbass=Spielen (Harmonie=Übungen am Klavier)』(1889–1917)を出版した。彼はそこでバロック作品の通奏低音についての説明や実践課題も多く載せながら、さまざまな記号を駆使して和声の機能面を強調する。 本稿では、この『手引き』の内容を、リーマンのゲネラルバスの使用法や和声理論教育の方法の観点から分析し、彼のゲネラルバスの捉えかたを考察し、明らかにした。リーマンのゲネラルバス理論は、和音の縦の構成音を示すバロックの通奏低音の理論と、和音の横の流れを示す19世紀の和声理論という、一見逆のシステムをもつようにみえる二つの理論に対して、それらを鍵盤上で実践する指の動きで結びつけることによって整合性をもたせようとしたものである。そのゲネラルバス実践には、機能和声という条件の下でも、指感覚を重んじながら「正しい」進行をすることが求められている。

著者

三島 郁

出版者

甲南女子大学

雑誌

甲南女子大学研究紀要. 文学・文化編 (ISSN:1347121X)

巻号頁・発行日

vol.43, pp.69-77, 2007-03-20

---

The history of music, in most cases, has actually been the history of musical style. Such a history involves identifying and connecting the characteristics of those outstanding composers that modern historians would judge as great musicians. However, in reality, the history of music encompasses all the activities of human life. In this article, I would like to restructure musical history by discussing the activities of Louis Spohr (1784-1859), a musician who lived in Germany in the first half of the nineteenth century. Spohr is known for his "Violinschule" (a manual for the violin); however, he is currently regarded as a second-class or trivial epigonic composer between the Classical and the Romantic era. Nevertheless, Spohr was admired by the critics of his time such as Johann Friedrich Rochlitz (1769-1842) in the "Allgemeine musikalische Zeitung, " and his works ranked at a high position in the repertoire of the Gewanthauskonzert. Furthermore, he founded "Cailienverin" and attempted to perform Bach's "Matthauspassion." Therefore, I would like to consider Louis Spohr as not only a composer but also a violin virtuoso, a Kapellmeister in the court, and a director in the theatrical and choral society. It is very likely that he was an integral part of musical life at that time; considering him in such a perspective can serve as a useful reference in the reexamination of musical history.

著者

三島 郁

出版者

甲南女子大学

雑誌

甲南女子大学研究紀要. 文学・文化編 (ISSN:1347121X)

巻号頁・発行日

vol.41, pp.53-63, 2005-03-18

---

In the eighteenth century in Germany, the center of society moved from the aristocracy to the middle class, who came to be owners of property and wanted to be musically cultivated. Leipzig, a merchant city, was not a court city like Berlin or Dresden, but it had a textile industry, a university and publishing business, and the famous Thomaskirche. An international trade fair was held twice a year, and there were many foreign visitors to the city. So they had a base for receiving new music culture. The most characteristic feature was the choir. They founded many choral societies for four voices or male voices, where they devoted themselves to singing songs. At first their interest was in religious music or early music repertories, but gradually shifted to pieces by contemporary composers or by their own members, and they were satisfied with just participating in a Gesangverein (choral society). This change in their quality and taste is thought to be closely related to the multi-layered middle-class society.