著者

西沢 昭男

出版者

横浜国立大学

雑誌

横浜国立大学教育紀要 (ISSN:05135656)

巻号頁・発行日

vol.12, pp.110-123, 1972-10-02

---

The purpose of this article is to treat, from different points of view, the revolutionary style of Debussy, and to show what place he occupies in the history of modern music. The writer of this aritcle wishes, firstly, to classify the characteristic aspects of Debussy's method of harmony and through his method of harmony, to reveal one of the techniques which enabled him to produce such sensitive and colorful musical effects. Secondly, the writer tries to explain how the classical, traditional theory of cadence had found a way of servival despite the great upheavals which had taken place in the world of modern music. Also how in the modern mothod of harmony, the control of the tune has become of secondary importance, while the principle of the overtone has still functioned. Lastly, the witer wishes, through an examination of the way in which Debussy solves the tune problem in his composition, to define the position of Debussy in the transitional stage between classical and modern music.

著者

西沢 昭男

出版者

横浜国立大学

雑誌

横浜国立大学教育紀要 (ISSN:05135656)

巻号頁・発行日

vol.14, pp.67-77, 1974-10-05

著者

西沢 昭男

出版者

横浜国立大学

雑誌

横浜国立大学教育紀要 (ISSN:05135656)

巻号頁・発行日

vol.13, pp.52-63, 1973-10-31

---

This article treats mainly the characteristics of the construction of Prokoviev's harmony. Prokoviev was well known as a unique composer in the early part of the modern musical history. In the first chapter, the author presents the general view of his music, and in the second chapter, proceedes to comment on the features of his harmony, referring often to examples from his works. The charms of his music may be said to consist of, firstly, the feeling of the dinamic rhythm, secondary, the sense of modulation which is free and facile, and thirdly, the harmonic effects which is brought by his polytonality. These contrasting effects sometimes assume an ironical expression, sometimes, go further and put his particular sentiment in the form of dry, subtle lyricism. The body of this article is divided into five parts in explaining the features of this works. a. the character of the dissonance b. deformed cadance c. clever effect of modulation d. composite cords and polytonality e. heterophony On the whole, one feels, in the harmonic character of Prokoviev, classical harmonious sense combined with the revolutionary sound effect. The decline of the classical harmony started mainly from the so-called "Ttistan method" which presented the unstability of tonality by expanding dominant cords. However, Prokoviev did not depend upon chromaticism as this but rather adapted mostly the diatonic technique. Here in this phase, we find his advanced attitude as well as his extreme modernity.

著者

西沢 昭男

出版者

横浜国立大学

雑誌

横浜国立大学教育紀要 (ISSN:05135656)

巻号頁・発行日

vol.14, pp.67-77, 1974-10-05

著者

西沢 昭男

出版者

横浜国立大学

雑誌

横浜国立大学教育紀要 (ISSN:05135656)

巻号頁・発行日

no.12, pp.110-123, 1972-10

被引用文献数

1

---

The purpose of this article is to treat, from different points of view, the revolutionary style of Debussy, and to show what place he occupies in the history of modern music. The writer of this aritcle wishes, firstly, to classify the characteristic aspects of Debussy's method of harmony and through his method of harmony, to reveal one of the techniques which enabled him to produce such sensitive and colorful musical effects. Secondly, the writer tries to explain how the classical, traditional theory of cadence had found a way of servival despite the great upheavals which had taken place in the world of modern music. Also how in the modern mothod of harmony, the control of the tune has become of secondary importance, while the principle of the overtone has still functioned. Lastly, the witer wishes, through an examination of the way in which Debussy solves the tune problem in his composition, to define the position of Debussy in the transitional stage between classical and modern music.