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.

言及状況

Yahoo!知恵袋 (1 users, 1 posts)

40文字/行 36文字/頁 なので、1440文字ですが、改行が入るので、1200文字位に成るでしょう。 どれも同じです。例えば「ドビュッシー」2290文字にしかなりません。 http://ongakusitanbou.seesaa.net/article/432267477.html 近代音楽の始まりとドビュッシーの印象主義 19世紀末から20世紀初頭に ...

Twitter (1 users, 1 posts, 1 favorites)

@kazuki232 読み物を見つけたのでリプライしてみます。 いくつかの側面から平易に解説していて、 なんとなく分かった気になれた(錯覚)気がしなくもないとは言えません。 https://t.co/plAvfzVl7G

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