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AN10065043-20010531-0029  
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Title
Title モーツァルトとホルンのハンド・ストップ音 : モーツァルトによるオーケストラ作品に見られるハンド・ストップ音とそれらが持つ意義  
Kana モーツァルト ト ホルン ノ ハンド ストップオン : モーツァルト ニヨル オーケストラ サクヒン ニ ミラレル ハンド ストップオン ト ソレラ ガ モツ イギ  
Romanization Motsaruto to horun no hando sutoppuon : Motsaruto niyoru okesutora sakuhin ni mirareru hando sutoppuon to sorera ga motsu igi  
Other Title
Title Hand-stopped notes in Mozart's orchestra works  
Kana  
Romanization  
Creator
Name 石井, 明  
Kana イシイ, アキラ  
Romanization Ishii, Akira  
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Place
横浜  
Publisher
Name 慶應義塾大学日吉紀要刊行委員会  
Kana ケイオウ ギジュク ダイガク ヒヨシ キヨウ カンコウ イインカイ  
Romanization Keio gijuku daigaku hiyoshi kiyo kanko iinkai  
Date
Issued (from:yyyy) 2001  
Issued (to:yyyy)  
Created (yyyy-mm-dd)  
Updated (yyyy-mm-dd)  
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Physical description
 
Source Title
Name 慶應義塾大学日吉紀要. 人文科学  
Name (Translated)  
Volume  
Issue 16  
Year 2001  
Month  
Start page 29  
End page 55  
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401602  
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Abstract
The history of the French horn as an orchestral instrument did not begin untilthe end of the seventeenth century. Because of its origin, the playing technique forthe instrument and the music written for it very much associated with hunting callsof the time. In addition to a rather limited amount of the hunting horn's availablenotes, orchestral horn players in the beginning of the eighteenth century borrowedthe trumpet's clarino technique, which utilizes high overtone partials in order to ob-tain more notes. By the end of the eighteenth century, however, a new playing tech-pique, where the player's right hand acts as various sized mutes and thus allowingfor full chromatic scales throughout the whole range of the French horn, saw its fullmaturity. Although Mozart wrote a number of solo pieces for those horn playerswho had capitalized the hand-stopping technique, he, just like any other composersof the time, called only for those notes that belong to the overtone partials in mostof his orchestral works. A small number of orchestral pieces, however, do containfew hand-stopped notes, of which many are in the passages where the horn istreated as a solo instrument. In addition, Mozart also utilized the hand-stopped notesin the context of the traditional horn parts. This paper seeks for possible motivationsfor Mozart to write hand-stopped notes in the places where he could have omittedthe stopped notes altogether or replaced them with the traditional open, non-stopped notes.
 
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Language
日本語  
Type of resource
text  
Genre
Departmental Bulletin Paper  
Text version
publisher  
131.113.194.249
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Last modified date
May 18, 2022 01:42:07  
Creation date
Apr 27, 2007 13:32:10  
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History
 
Index
/ Public / The Hiyoshi Review / The Hiyoshi review of the humanities / 16 (2001)
 
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