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An étude (; (:eˈtyd), a French word meaning ''study'') is an instrumental musical composition, usually short, of considerable difficulty, and designed to provide practice material for perfecting a particular musical skill. The tradition of writing études emerged in the early 19th century with the rapidly growing popularity of the piano. Of the vast number of études from that era some are still used as teaching material (particularly pieces by Carl Czerny and Muzio Clementi), and a few, by major composers such as Frédéric Chopin, Franz Liszt and Claude Debussy, achieved a place in today's concert repertory. Études written in the 20th century include those related to traditional ones (György Ligeti), those that require wholly unorthodox technique (John Cage), and ones that are unusually easy to play. ==19th century== Studies, lessons and other didactic instrumental pieces composed before the 19th century are very varied, without any established genres. The pieces in lute instruction books, such as the celebrated ''Varietie of Lute-Lessons'' (1610), may be arranged in order of increasing difficulty, but will usually include both simple teaching pieces and masterworks by renowned composers. Domenico Scarlatti's ''30 Essercizi per gravicembalo'' ("30 Exercises for harpsichord", 1738) do not differ in scope from his other keyboard works, and Johann Sebastian Bach's four volumes of ''Clavier-Übung'' ("keyboard practice") contain everything from simple organ duets to the extensive and difficult ''Goldberg Variations''. The situation changed in the early 19th century because of the growing popularity of the piano as a domestic instrument. Instruction books with exercises became very common. Of particular importance were collections of "studies" by Johann Baptist Cramer (published between 1804 and 1810), early parts of Muzio Clementi's ''Gradus ad Parnassum'' (1817–26), numerous works by Carl Czerny, Maria Szymanowska's ''Vingt exercises et préludes'' (c. 1820), and Ignaz Moscheles' ''Studien'' Op. 70 (1825–26). Most of these pieces concentrated on the technical side of music and were not intended for performance. However, with the late parts of Clementi's collection and Moscheles' ''Charakteristische Studien'' Op. 95 (1836–37) the situation began to change, with both composers striving to create music that would both please the audiences in concert and serve as a good teaching tool. Such combination of didactic and musical value in a study is sometimes referred to as a concert study. Frédéric Chopin's études, Op. 10 (1833) and Op. 25 (1837) were the first to retain a firm position in the concert repertory, and are commonly regarded today as some of the finest études ever written. The technique required to play them was extremely novel at the time of their publication, and the first performer who succeeded at mastering these pieces was the renowned virtuoso composer, Franz Liszt (to whom Chopin's Op. 10 is dedicated). Liszt himself composed a number of études that were more extensive, and even more complex than Chopin's. Among these, the most well-known is the collection ''Études d'Execution Transcendante'' (final version published in 1852). These did not retain the didactic aspect of Chopin's work, however, since the difficulty (and the technique used) varies within a given piece. Each of the etudes has a different character designated by its name: Preludio; Molto Vivace; Paysage / Landscape; Mazeppa; Feux Follets - Irrlichter/ Will-o'-the-wisp ; Vision; Eroica; Wilde Jagd/ Wild Hunt; Ricordanza; Allegro Molto Agitato; Harmonies du Soir/ Evening Harmonies; and Chasse-neige / Snow-whirls. Collections of études by Charles-Valentin Alkan, marked by harmonic and structural experimentation, are similar in this aspect. Alkan's work includes some of the first études written for a single hand. The 19th century also saw a number of étude and study collections for instruments other than the piano. Guitarist composer Fernando Sor published his 12 Studies,op. 6 for guitar in London as early as 1815. Violin études by Rodolphe Kreutzer, Federigo Fiorillo and others, and cello études by Friedrich Dotzauer and Friedrich Wilhelm Grutzmacher are used mostly as teaching tools today. The only études to make their way to concert repertory are those by Niccolò Paganini: ''24 Caprices'' (1802–17). These works all conform to the standard definition of 19th century étude in that they are short compositions, each exploiting a single facet of technique. Collections of studies for flute were published during the second half of the 19th century by Ernesto Köhler, Wilhelm Popp and Adolf Terschak. 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「Étude」の詳細全文を読む スポンサード リンク
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