著者

皆川 達夫

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.20, no.2, pp.54-74, 1969-09-30 (Released:2017-05-22)

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In this article formation and chronology of the Cyclic Mass are discussed : according to the present writer's terminology of a Cyclic Mass, the five sections of Ordinarium Missae are unified by the use of same Cantus Firmus and the Motto (Kopfmotiv). The writer tries to conclude that the Cyclic Mass-form can be one of the criteria of the Renaissance music, that the groping of the Cyclic Mass-form on the 14th century can be regarded as the "proto-Renaissance, " the end of the Medieval music, the formation of the form on the middle of the 15th century as the commencent of the Renaissance music, and the decline of the form on the middle of the 16th century as the fall of the Renaissance music and that the Masses after that period, including the works of Lassus, Palestrina and Victoria should be rather classified as the works of Manierism.

著者

皆川 達夫

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.20, no.2, pp.54-74, 1969-09-30

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In this article formation and chronology of the Cyclic Mass are discussed : according to the present writer's terminology of a Cyclic Mass, the five sections of Ordinarium Missae are unified by the use of same Cantus Firmus and the Motto (Kopfmotiv). The writer tries to conclude that the Cyclic Mass-form can be one of the criteria of the Renaissance music, that the groping of the Cyclic Mass-form on the 14th century can be regarded as the "proto-Renaissance, " the end of the Medieval music, the formation of the form on the middle of the 15th century as the commencent of the Renaissance music, and the decline of the form on the middle of the 16th century as the fall of the Renaissance music and that the Masses after that period, including the works of Lassus, Palestrina and Victoria should be rather classified as the works of Manierism.

著者

皆川 達夫

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.18, no.3, pp.68, 1967-12-30 (Released:2017-05-22)

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The libretto of a Japanese Noh-Play is divided into many strictly formalized and fixed sections, which have not only their special dramatic character, but also their own musical style. In other words, Noh is not simply drama but is socalled Gesamtkunst. The vocal melodies of Noh are regulated by one of the two scale-like stylistic composites, called Tsuyo and Yowa. Yowa has a definite scale : the interval between the upper tone and the lower one is the seventh, which is the sum of two successive statements of the fourths, the favorite interval of the Japanese. Tsuyo is highly intoned recitation rather than music. Accent, dynamic stress, tone color, and a special vocal technique are mose important than melodic movement itself. The rhythm of Noh is quite fascinating. Noh music may sound to a Westerner like pure free-rhythm music with flexible changes of rhythm and tempo ; now there is a push forward, now a slowing down, now a breaking off. However, this flexibility should not be associated with either arbitrariness or improvisation. Each change of rhythm and tempo is weighd carefully according to the patterns of the drum-beats, the content of the text, the position of the verse, the section, etc. In many aspects, Noh music is contrary to the Western music, and it offers an interesting antithesis to the Westerners. For further details, my article Japanese Noh Music (Journal of the American Musicological Society Vol. X, No.3, 1957) should be read.

著者

皆川 達夫

出版者

聖徳大学

雑誌

川並総合研究所論叢 (ISSN:09195327)

巻号頁・発行日

vol.2, pp.242-255, 1994-03-25

著者

皆川 達夫

出版者

日本音楽学会

雑誌

音楽学 (ISSN:00302597)

巻号頁・発行日

vol.36, no.2, pp.p126-139, 1990

著者

監修・解説皆川達夫

出版者

日本伝統文化振興財団(発売)

巻号頁・発行日

2006

著者

皆川 達夫

出版者

音楽之友社

雑誌

音楽芸術 (ISSN:00302600)

巻号頁・発行日

vol.9, no.12, pp.18-28, 1951-12

著者

皆川 達夫

出版者

音楽之友社

雑誌

音楽芸術 (ISSN:00302600)

巻号頁・発行日

vol.9, no.10, pp.8-18, 1951-10