著者

高際 澄雄

出版者

宇都宮大学国際学部

雑誌

宇都宮大学国際学部研究論集 (ISSN:13420364)

巻号頁・発行日

no.29, pp.13-22, 2010-02

著者

高際 澄雄 高際 澄雄

出版者

宇都宮大学

雑誌

基盤研究(C)

巻号頁・発行日

2006

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18世紀イギリスの音楽と詩との関係は、音楽研究と文学研究が分離していたために長く解明されて来なかった。本研究では、18世紀イギリス文学の研究者がCDやDVDなどの記録を利用して当時のイギリスにおける音楽と詩の結び付き方を明らかにしたものである。これにより、詩に音楽を付す3形式が17世紀末に確立し、18世紀に入ってまずイタリア歌劇で、1730年代からオラトリオで独特の展開が行われたことが明らかにされた。

著者

高際 澄雄

出版者

宇都宮大学

雑誌

外国文学 (ISSN:02883309)

巻号頁・発行日

vol.51, pp.95-115, 2002

著者

高際 澄雄

出版者

宇都宮大学国際学部

雑誌

宇都宮大学国際学部研究論集 = Journal of the Faculty of International Studies, Utsunomiya University (ISSN:13420364)

巻号頁・発行日

no.16号, pp.105-123, 2003-10-01

著者

高際 澄雄

出版者

宇都宮大学国際学部

雑誌

宇都宮大学国際学部研究論集 (ISSN:13420364)

巻号頁・発行日

no.28, pp.43-53, 2009-09

著者

高際 澄雄 Sumio TAKAGIWA

出版者

宇都宮大学国際学部

雑誌

宇都宮大学国際学部研究論集 (ISSN:13420364)

巻号頁・発行日

no.28, pp.43-53, 2009-09

著者

高際 澄雄

出版者

宇都宮大学

雑誌

宇都宮大学国際学部研究論集 (ISSN:13420364)

巻号頁・発行日

vol.16, pp.105-123, 2003-10-01

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In the 1730's George Frideric Handel faced a great number of problems: the gradual loss of the popularity of his operas, the establishment of a rival opera company, the Opera of the Nobility, the change of opera theatres, and the final collapse of his opera company. In an effort to counteract these difficulties, he wrote various types of music: new operas, remakings of his old operas, pasticcios, odes, and a fairly new genre, oratorios. Because of the versatile attempts, it is rather difficult to grasp what was really happening in his music itself. This paper closely analyses the four oratorios composed in this period, Deborah, Athalia, Saul, and Israel in Egypt to claim that all of them are great achievements composed with different ideas, disclaiming the evaluation of Winton Dean, who asserted that only Athalia and Saul were masterpieces that could be compared with Greek tragedies, while he judged Deborah as a failure, neglecting the accomplishment of Israel in Egypt.

著者

高際 澄雄

出版者

宇都宮大学

雑誌

宇都宮大学国際学部研究論集 (ISSN:13420364)

巻号頁・発行日

vol.24, pp.105-114, 2007-10

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Hndel composed an ode for the birthday of Queen Anne in 1713. This ode was one of Handel's earliest compositions based on English texts. By analyzing the music and text, it was found that Handel used Purcell's form of the occasional ode, but he introduced some new elements in ode composition, by applying a more mechanical consideration in forming the whole. Handel also composed the ode seemingly to show his musical techniques. Particularly in the second and final movements, his skills of composing fugues are impressively exhibited. While the meaning of the poem is rather neglected, the outward beauty increased, which served Handel's purpose of the composition of this music, to gain reputation as a great musician. This ode of his is not as great as an artistic work as Purcell's occasional odes, but it was a great success, as it showed Handel's great music skills not only to the Royal family, but also to musicians.

著者

高際 澄雄

出版者

宇都宮大学

雑誌

基盤研究(C)

巻号頁・発行日

2009

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18世紀前半イギリスの音楽と演劇の関係は、これまで詳しい研究がなされなかったが、17世紀末イギリスに歌劇が成立したのは、文学者と作曲家の緊密な協力の結果であり、その後も常に強い影響関係をもっていた。特にヘンデルのイタリア歌劇の作曲公演に当時の演劇が強い影響を与え、とりわけ1730年代にヘンデルの王立音楽アカデミーに対抗して貴族歌劇団が結成されたのも、演劇界の活性化が作用したことを、本研究は明らかにした。

著者

高際 澄雄

出版者

宇都宮大学

雑誌

宇都宮大学国際学部研究論集 (ISSN:13420364)

巻号頁・発行日

vol.15, pp.123-140, 2003-03-01

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Milton's poems, L'Allegro and Ill Penseroso, and Dryden's A Song for St Cecilia's Day and Alexander's Feast were essentially important for Handel's career in that they showed him how rich the English literary tradition was so that he completely abandoned writing Italian opera for the composition of oratorio in English after the setting of music to these poems. Not only the English literary tradition, but also the musical one was important for him, though the precise influence of the late seventeeth-century English music on Handel's career has never been fully described. This paper analyses the six predecessors of Handel's Odes for St Cecilia's Day, i.e. the odes by Henry Purcell, Giovanni Baptista Draghi and John Blow, showing how quickly English music developed after the restoration of monarchy in 1660. It also tries to prove how rich the English musical activities had already been before Handel's arrival in London in 1710.