慶應義塾大学学術情報リポジトリ(KOARA)KeiO Associated Repository of Academic resources

慶應義塾大学学術情報リポジトリ(KOARA)

Home  »»  Listing item  »»  Detail

Detail

Item Type Article
ID
AN10065043-20010531-0029  
Preview
Image
thumbnail  
Caption  
Full text
AN10065043-20010531-0029.pdf
Type :application/pdf Download
Size :1.3 MB
Last updated :Apr 27, 2007
Downloads : 2667

Total downloads since Apr 27, 2007 : 2667
 
Release Date
 
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  
Affiliation  
Affiliation (Translated)  
Role  
Link  
Edition
 
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)  
Captured (yyyy-mm-dd)  
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  
ISSN
 
ISBN
 
DOI
URI
JaLCDOI
NII Article ID
 
Ichushi ID
 
Other ID
401602  
Doctoral dissertation
Dissertation Number  
Date of granted  
Degree name  
Degree grantor  
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.
 
Table of contents

 
Keyword
 
NDC
 
Note

 
Language
日本語  
Type of resource
text  
Genre
Departmental Bulletin Paper  
Text version
publisher  
Related DOI
Access conditions

 
Last modified date
Mar 29, 2024 08:39:43  
Creation date
Apr 27, 2007 13:32:10  
Registerd by
mediacenter
 
History
 
Index
/ Public / The Hiyoshi Review / The Hiyoshi review of the humanities / 16 (2001)
 
Related to
 

Ranking

most accessed items
1st 新自由主義に抗す... (427) 1st
2nd 斎藤隆夫の「粛軍... (340)
3rd 慶應義塾図書館史... (271)
4th 認知文法から考え... (265)
5th M&Aにおける... (263)

most downloaded items
1st <<Qu'... (1470) 1st
2nd 新参ファンと古参... (437)
3rd 731部隊と細菌戦 ... (314)
4th 日本における美容... (268)
5th 新自由主義に抗す... (267)

LINK

慶應義塾ホームページへ
慶應義塾大学メディアセンターデジタルコレクション
慶應義塾大学メディアセンター本部
慶應義塾研究者情報データベース