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＜紀要論文＞
グレン・グールドのシェーンベルク解釈（作品23-5の演奏を通して）
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| 概要 | This critical essay aimed to demonstrate the rightness of Glenn Gould's interpretation of the music pieces with 'Twelve-note Technique', which have been composed by Arnold Schoenberg, through this pia...nist's way of playing. Analysis of this theme was also related to think about the question that how interpretations should be done for Schoenberg's music. As specifically described, the clear objective here was Shoenberg's Opus 23-5 ("Five Piano Pieces" - 'Walzer'). Because of the necessity to compare Gould with some other pianists in order to achieve the aim stated above, another three pianists' interpretations were also referred in this criticism. Most of the 'Twelve-note Compositions' made by Shoenberg were based on the classical style. It was because that Shoenberg regarded 'Twelve-note Composition' as a substitute for 'Tonality'. Josef Rufer, one of his followers, has showed that Shoenberg and Beethoven had some similarities and shared something in common for both of their music. Therefore, the right interpretation of Shoenberg's music with 'Twelve-note Composition' should be the one that tells the audience what his music is like as intelligible as 'Tonality' helps. It can be said that Glenn Gould's way of playing has been carrying Shoenberg's music more smoothly to the audience. The points of Gould's interpretation are listed below; to make 'part construction' clear, to make 'conjunctions of motives in a phrase' clear, to make 'principal figure' clear, to make 'outward of the phrase' clear, to make 'division or integrity of phrases and motives' clear. In order to define those things, Gould really minds how to use 'Dymanik' or 'Agogik'.続きを見る |
| 目次 | 1. 序 2. シェーンベルクの十二音技法 3. 作品23 『5つのピアノ曲』の第5曲"Walzer" 4. グレン・グールドの演奏解釈 5. 結論 |
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| 登録日 | 2020.05.20 |
| 更新日 | 2023.06.21 |