| 翻訳と辞書 |
| Schenkerian theory ： ウィキペディア英語版 |
Schenkerian analysis
Schenkerian analysis is a method of musical analysis of tonal music based on the theories of Heinrich Schenker (1868–1935). The goal of a Schenkerian analysis is to interpret the underlying structure of a tonal work and to help reading the score according to that structure. The theory's basic tenets can be viewed as a way of defining tonality in music. A Schenkerian analysis of a passage of music shows hierarchical relationships among its pitches, and draws conclusions about the structure of the passage from this hierarchy. The analysis makes use of a specialized symbolic form of musical notation that Schenker devised to demonstrate various techniques of elaboration. The most fundamental concept of Schenker's theory of tonality may be that of tonal space.〔Schenker described the concept in a paper titled ''Erläuterungen'' (“Elucidations”), which he published four times between 1924 and 1926: ''Der Tonwille'' vol. 8–9, pp. 49–51, vol. 10, pp. 40–2; ''Das Meisterwerk in der Musik'', vol. 1, pp. 201–05; 2, p. 193-97. English translation, ''Der Tonwille'', vol. 2, p. 117-18 (the translation, although made from vols. 8–9 of the German original, gives as original pagination that of ''Das Meisterwerk'' 1; the text is the same). The concept of tonal space is still present in ''Free Composition'', especially § 13, but less clearly than in the earlier presentation.〕 The intervals between the notes of the tonic triad form a ''tonal space'' that is filled with passing and neighbour notes, producing new triads and new tonal spaces, open for further elaborations until the surface of the work (the score) is reached.
Although Schenker himself usually presents his analyses in the generative direction, starting from the fundamental structure (''Ursatz'') to reach the score, the practice of Schenkerian analysis more often is reductive, starting from the score and showing how it can be reduced to its fundamental structure. The graph of the ''Ursatz'' is arrhythmic, as is a strict-counterpoint cantus firmus exercise.〔''Free Composition'', § 21.〕 Even at intermediate levels of the reduction, rhythmic notation (open and closed noteheads, beams and flags) shows not rhythm but the hierarchical relationships between the pitch-events.
Schenkerian analysis is ''subjective''. There is no mechanical procedure involved and the analysis reflects the musical intuitions of the analyst.〔Robert Snarrenberg, ''Schenker’s Interpretive Practice'', Cambridge Studies in Music Theory and Analysis 11, 1997.〕 The analysis represents a way of hearing (and reading) a piece of music.
==Fundamentals==
抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』
■ウィキペディアで「Schenkerian analysis」の詳細全文を読む
スポンサード リンク
| 翻訳と辞書 : 翻訳のためのインターネットリソース |
Copyright(C) kotoba.ne.jp 1997-2016. All Rights Reserved.
|
|