WEKO3
アイテム
Types of melody lines in Hugo Wolf's lieder : Transition from the Italian Songbook to lieder composed in his later years
https://nuk.repo.nii.ac.jp/records/151
https://nuk.repo.nii.ac.jp/records/1511f0910e7-26f7-4d87-8e84-1b6ff70112df
| 名前 / ファイル | ライセンス | アクション |
|---|---|---|
https://ir.kagoshima-u.ac.jp/?action=repository_uri&item_id=10880&file_id=16&file_no=1 | https://ir.kagoshima-u.ac.jp/?action=repository_uri&item_id=10880&file_id=16&file_no=1
|
|
| Item type | 学術雑誌論文 / Journal Article(1) | |||||||
|---|---|---|---|---|---|---|---|---|
| 公開日 | 2012-12-14 | |||||||
| タイトル | ||||||||
| タイトル | Types of melody lines in Hugo Wolf's lieder : Transition from the Italian Songbook to lieder composed in his later years | |||||||
| 言語 | ||||||||
| 言語 | eng | |||||||
| キーワード | ||||||||
| 言語 | en | |||||||
| 主題Scheme | Other | |||||||
| 主題 | Hugo Wolf | |||||||
| キーワード | ||||||||
| 言語 | en | |||||||
| 主題Scheme | Other | |||||||
| 主題 | German lieder | |||||||
| キーワード | ||||||||
| 言語 | en | |||||||
| 主題Scheme | Other | |||||||
| 主題 | Italian Songbook | |||||||
| キーワード | ||||||||
| 言語 | en | |||||||
| 主題Scheme | Other | |||||||
| 主題 | Michelangelo-Lieder | |||||||
| 資源タイプ | ||||||||
| 資源タイプ識別子 | http://purl.org/coar/resource_type/c_6501 | |||||||
| 資源タイプ | journal article | |||||||
| アクセス権 | ||||||||
| アクセス権 | metadata only access | |||||||
| アクセス権URI | http://purl.org/coar/access_right/c_14cb | |||||||
| 著者 |
梅林, 郁子
× 梅林, 郁子
|
|||||||
| 抄録 | ||||||||
| 内容記述タイプ | Abstract | |||||||
| 内容記述 | I examine the diferences between Vols. I and II of Hugo Wolf's ltalian Songhook, and the development of the lieder in his later years. I categorise Wolf's compositions into three periods and show how his creative process in composing melody lines seems to change in the third period. His use of single repeated notes in his lieder peaked in Vol.Ⅰ.Although Wolf's use of single repeated notes was a big component in the formation of his declamatory lieder, in Vol.II, the use of single repeated notes reduced. The types of melody lines without single repeated notes were divided into three main categories: types of scale, sequences of two or three notes, and the zigzag pattern. The types of scale reduced from Vols. I to Ⅱ but increased in his last six lieder.Moreover, the sequences of two or three notes vanished in these lieder, although the zigzag Pattern continued with the exception of Michelangelo Lieder-composed as as his last songs. In the third period, he began to attempt new techniques, and there was a clear departure to melody lines combining different notes and types of scales･ | |||||||
| 内容記述 | ||||||||
| 内容記述タイプ | Other | |||||||
| 内容記述 | 本稿は査読により、『研究論文集－教育系・文系の九州地区国立大学間連携論文集－. 2012, vol.5, no.2』に掲載されたものである。 | |||||||
| 書誌情報 |
研究論文集－教育系・文系の九州地区国立大学間連携論文集－ 巻 5, 号 2, 発行日 2012-03-01 |
|||||||
| 出版者 | ||||||||
| 出版者 | 九州地区国立大学間の連携に係る企画委員会リポジトリ部会 | |||||||
| ISSN | ||||||||
| 収録物識別子タイプ | ISSN | |||||||
| 収録物識別子 | 1882-8728 | |||||||
| 情報源 | ||||||||
| 関連名称 | 鹿児島大学 個人投稿枠 | |||||||
| フォーマット | ||||||||
| 内容記述タイプ | Other | |||||||
| 内容記述 | application/pdf | |||||||
| URI | ||||||||
| 識別子 | http://hdl.handle.net/10232/00010872 | http://hdl.handle.net/10232/00010872 | |||||||
| 識別子タイプ | HDL | |||||||
