著者

松原 薫

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.66, no.1, pp.161-172, 2015

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This paper considers the role of the theory of melody (die Melodielehre) in Johann Mattheson's Der vollkommene Capellmeister. In the first half of the eighteenth century, the mathematical view of music and the strict artificial contrapuntal theory were often criticized. As this paper will exemplify, Mattheson criticized the former in "Die canonische Anatomie" (in a dispute with Heinrich Bokemeyer) and the latter in Das neu-eroffnete Orchestre. These two criticisms, however, seem to be inconsistent with his description of the contrapuntal theory in the third part of Der vollkommene Capellmeister, which encompasses the northern German Baroque theory. I then turn my attention to the role of Mattheson's theory of melody, wherein he regards the melody as 'noble simplicity' or 'naturalness'. He also introduced the words 'Symphoniurgie', instead of 'counterpoint' at the bridge of the explanation of a single melody, and 'Vollstimmigkeit', or full-voicedness, which means an artistic combining of different melodies sounding together simultaneously. This re-definition of the counterpoint indicates that he considered it the mass of the plural melodies. Mattheson's theory of melody leads to the integration, without inconsistency, of the contrapuntal theory and the criticism of the mathematical view or rational, artificial treatment of music.

著者

山口 あゆみ 橋本 公男 松原 薫 蒔田 愛

出版者

日本化粧品技術者会

雑誌

日本化粧品技術者会誌 (ISSN:03875253)

巻号頁・発行日

vol.53, no.1, pp.24-30, 2019

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<p>顔立ちや表情がその人の印象形成に影響することは当然ながら,われわれは顔の肌質感も印象を決める重要な要素と考えている。今回は,ミドルエイジ男性が年齢は相応でも若々しい印象に見られたい意識があることに着目し,若々しさ印象の要因を探ることを試みた。見た目年齢は「シワ」の評価スコアとの関連が確認できた一方,若々しい印象スコアは,「シミ」,「くすみ」,「血色」の評価スコアと関連することがわかった。さらに視線解析結果より,見た目年齢評価時に比べ若々しい印象評価時に視線滞在時間が最も長かった部位は,肌質が顕著に現れやすいほほの部分であった。モデル乳液を連用すると,肌をよく観察できる条件である近距離でのみ若々しい印象がアップした結果が得られた。若いときと比べて肌の変化が顕著に起こっているミドルエイジ男性にとって,日々のスキンケアは年齢相応でありながら若々しい印象を作り出せる有効な手段であるといえる。</p>

著者

松原 薫

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.66, no.1, pp.161-172, 2015-06-30 (Released:2017-05-22)

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This paper considers the role of the theory of melody (die Melodielehre) in Johann Mattheson's Der vollkommene Capellmeister. In the first half of the eighteenth century, the mathematical view of music and the strict artificial contrapuntal theory were often criticized. As this paper will exemplify, Mattheson criticized the former in "Die canonische Anatomie" (in a dispute with Heinrich Bokemeyer) and the latter in Das neu-eroffnete Orchestre. These two criticisms, however, seem to be inconsistent with his description of the contrapuntal theory in the third part of Der vollkommene Capellmeister, which encompasses the northern German Baroque theory. I then turn my attention to the role of Mattheson's theory of melody, wherein he regards the melody as 'noble simplicity' or 'naturalness'. He also introduced the words 'Symphoniurgie', instead of 'counterpoint' at the bridge of the explanation of a single melody, and 'Vollstimmigkeit', or full-voicedness, which means an artistic combining of different melodies sounding together simultaneously. This re-definition of the counterpoint indicates that he considered it the mass of the plural melodies. Mattheson's theory of melody leads to the integration, without inconsistency, of the contrapuntal theory and the criticism of the mathematical view or rational, artificial treatment of music.

著者

松原 薫

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.64, no.2, pp.137, 2013-12-31 (Released:2017-05-22)