{"created":"2023-05-15T10:54:50.454927+00:00","id":4563,"links":{},"metadata":{"_buckets":{"deposit":"f0a3d866-13ea-41a3-8507-7f94a811eec0"},"_deposit":{"created_by":17,"id":"4563","owners":[17],"pid":{"revision_id":0,"type":"depid","value":"4563"},"status":"published"},"_oai":{"id":"oai:juen.repo.nii.ac.jp:00004563","sets":["993:994:998"]},"author_link":["13983","13984"],"item_10002_biblio_info_7":{"attribute_name":"書誌情報","attribute_value_mlt":[{"bibliographicIssueDates":{"bibliographicIssueDate":"1995-09","bibliographicIssueDateType":"Issued"},"bibliographicIssueNumber":"1","bibliographicPageEnd":"20","bibliographicPageStart":"9","bibliographicVolumeNumber":"15","bibliographic_titles":[{"bibliographic_title":"上越教育大学研究紀要"}]}]},"item_10002_description_5":{"attribute_name":"抄録","attribute_value_mlt":[{"subitem_description":"モーツァルトの器楽作品においては一般的に一つの楽章の中で非常に多様な楽想が扱われているように思われる。しかし詳細に楽譜を分析することにより，それらの多くの楽想をごく少数の動機に還元することが可能のようだ。それによって楽章の中での内的な統一性が保たれていると考えられる。ただ，その基本原理は，例えばベートーヴェンやそれ以降のロマン派の作曲家たちの多くの作品のように主要動機の特徴を分解して取出し発展させていくという方法とは少し違い，むしろ変奏曲で行なうように主要な旋律の骨格となる音列を想定しそれを装飾しながら拡大や縮小を加える方法が基本となっている。今までのところ，純粋にこの技法だけで全曲が成立していることを確認できたのは今回取上げたK．545のピアノソナタの第1楽章だけである。あるいはそのことと作曲者自身がこの作品を「初心者のためのソナタ」 と呼んだこととは関係があるのかも知れない。","subitem_description_type":"Abstract"},{"subitem_description":"In Mozart's instrumental works, quite a variety of musical conceptions are found in one movement. However, it is likely that a detailed analysis of his music scores enables us to reduce his varied ideas into a extremely small number of basic motifs. These simplified motifs are considered to be cues to maintain the internal unity within one movement. Yet, in terms of Mozart, his basic principles slightly differ from the methods of his successors, such as Beethoven and composers of the romantic era, that is, breaking down, taking out and then developing some characteristics of the main motifs. On the other hand, while ornamenting them, Mozart adopts like a variation ; techniques of enlarging and diminishing some assumed series of tones which acts as a framework for the leading melody. So far, the only example that has been found to be constructed purely with this method is the first movement in piano sonata K. 545 which has been examined in the present study. In addition, this fact may also be related to the reason why the composer himself called this piece \"A little sonata for beginners.\"","subitem_description_type":"Abstract"}]},"item_10002_publisher_8":{"attribute_name":"出版者","attribute_value_mlt":[{"subitem_publisher":"上越教育大学"}]},"item_10002_relation_12":{"attribute_name":"論文ID（NAID）","attribute_value_mlt":[{"subitem_relation_type":"isIdenticalTo","subitem_relation_type_id":{"subitem_relation_type_id_text":"AN10284863","subitem_relation_type_select":"NAID"}}]},"item_10002_source_id_9":{"attribute_name":"ISSN","attribute_value_mlt":[{"subitem_source_identifier":"0915-8162","subitem_source_identifier_type":"ISSN"}]},"item_10002_version_type_20":{"attribute_name":"著者版フラグ","attribute_value_mlt":[{"subitem_version_resource":"http://purl.org/coar/version/c_970fb48d4fbd8a85","subitem_version_type":"VoR"}]},"item_creator":{"attribute_name":"著者","attribute_type":"creator","attribute_value_mlt":[{"creatorNames":[{"creatorName":"後藤,  丹"},{"creatorName":"ゴトウ, マコト","creatorNameLang":"ja-Kana"}],"nameIdentifiers":[{"nameIdentifier":"13983","nameIdentifierScheme":"WEKO"}]},{"creatorNames":[{"creatorName":"Goto,  Makoto","creatorNameLang":"en"}],"nameIdentifiers":[{"nameIdentifier":"13984","nameIdentifierScheme":"WEKO"}]}]},"item_files":{"attribute_name":"ファイル情報","attribute_type":"file","attribute_value_mlt":[{"accessrole":"open_date","date":[{"dateType":"Available","dateValue":"2015-06-17"}],"displaytype":"detail","filename":"kiyo15_1-02.pdf","filesize":[{"value":"534.7 kB"}],"format":"application/pdf","licensetype":"license_note","mimetype":"application/pdf","url":{"label":"kiyo15_1-02.pdf","url":"https://juen.repo.nii.ac.jp/record/4563/files/kiyo15_1-02.pdf"},"version_id":"5831745e-0fba-4cd4-a0e8-9ce81e07d674"}]},"item_keyword":{"attribute_name":"キーワード","attribute_value_mlt":[{"subitem_subject":"音楽分析","subitem_subject_scheme":"Other"},{"subitem_subject":"動機","subitem_subject_scheme":"Other"},{"subitem_subject":"変奏","subitem_subject_scheme":"Other"},{"subitem_subject":"同型反復","subitem_subject_scheme":"Other"},{"subitem_subject":"反行","subitem_subject_scheme":"Other"},{"subitem_subject":"逆行","subitem_subject_scheme":"Other"},{"subitem_subject":"拡大","subitem_subject_scheme":"Other"},{"subitem_subject":"縮小","subitem_subject_scheme":"Other"},{"subitem_subject":"music analysis","subitem_subject_scheme":"Other"},{"subitem_subject":"motif","subitem_subject_scheme":"Other"},{"subitem_subject":"variation","subitem_subject_scheme":"Other"},{"subitem_subject":"sequence","subitem_subject_scheme":"Other"},{"subitem_subject":"inversion","subitem_subject_scheme":"Other"},{"subitem_subject":"retrograde","subitem_subject_scheme":"Other"},{"subitem_subject":"augmentation","subitem_subject_scheme":"Other"},{"subitem_subject":"diminution","subitem_subject_scheme":"Other"}]},"item_language":{"attribute_name":"言語","attribute_value_mlt":[{"subitem_language":"jpn"}]},"item_resource_type":{"attribute_name":"資源タイプ","attribute_value_mlt":[{"resourcetype":"departmental bulletin paper","resourceuri":"http://purl.org/coar/resource_type/c_6501"}]},"item_title":"モーツァルトの器楽作品の構成原理 : ピアノソナタK.545の第1楽章を中心に","item_titles":{"attribute_name":"タイトル","attribute_value_mlt":[{"subitem_title":"モーツァルトの器楽作品の構成原理 : ピアノソナタK.545の第1楽章を中心に","subitem_title_language":"ja"}]},"item_type_id":"10002","owner":"17","path":["998"],"pubdate":{"attribute_name":"PubDate","attribute_value":"2009-05-22"},"publish_date":"2009-05-22","publish_status":"0","recid":"4563","relation_version_is_last":true,"title":["モーツァルトの器楽作品の構成原理 : ピアノソナタK.545の第1楽章を中心に"],"weko_creator_id":"17","weko_shared_id":-1},"updated":"2024-03-11T04:58:41.313243+00:00"}