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en: A Study of Brahms' <Ein Deutsches Requiem>-from a Viewpoint of the Symbolic Expression -Studies on Johann Sebastian Bach' s Works-

ja: ヨハネス・ブラームス作曲:<ドイツ・レクイエム>(op.45) に関する一考察-バッハの音楽作品における象徴的表現の研究の視点から-

en: Journal of Human Sciences and Arts Faculty of Integrated Arts and Sciences The University of Tokushima

ja: 徳島大学総合科学部人間社会文化研究


en: A Study on the Parody of the Secular-Cantata No.215<Preise dein Glucke, gesegnetes Sachsen>(BWV215)(the First Tune)and<Messe in h-moll>(BWV232)(the Twentythird Tune and the Twentyfifth Tune as the Repeat-Part) (Osanna in Excelsis)

ja: カンタータ第215番<汝の幸をたたえよ，恵まれしザクセン>(BWV215)(第1曲)とミサ曲ロ短調(BWV232)(第23曲とその反復部分の第25曲-いと高きところにオザンナ-)の転用関係についての研究

en: In this study,I investigated the parody-relation of the secular-cantataNo.215<Preise dein Glücke，gesegnetes Sachsen> (BWV 215) (the first tune) and<Messe in h-moll> (BWV 232) (the twentythird tune and the twentyfifth tune asthe repeat-part) (Osanna in excelsis).As a result of this study，I could confirm that Bach did the parody very naturallyand large-heartedly on his mature and pure-musical conception，as the both worksare quite alike in these feelings and the atmosphere of these text.Further，I could recognize the symbolic technique of number on 3 and thesimple symbolic technique of a sensuous level.

ja: 徳島大学総合科学部人間社会文化研究


en: A Study of the Cantata No.215 <Preise dein Glucke, gesegnetes Sachsen>(BWV215)

ja: カンタータ第215番<汝の幸をたたえよ，恵まれしザクセン>(Preise dein Glucke, gesegnetes Sachsen)(BWV215)研究

en: In this study，I mainly investigeated the symbolic expressionof the cantata NO.215 <Preise dein Glücke，gesegnetes Sachsen>(BWV215).As a result of this study，I understood the symbolic expression ofthe cantata NO.215 was not all over found out precisely，but meltedlarge - heartedly in the pure-musical idea.Now，after this，I should like to study the parody-relation of thecantata NO.215 and (Messe in h-moll) (BWV232).

ja: 徳島大学総合科学部人間社会文化研究


en: A Study on the Parody of the Church- Cantata No.12 <Weinen, Klagen, Sorgen, Zagen>(BWV12-the Second Tune-) and <Messe in h-moll -Crucifixus->(BWV232 -the Seventeenth Tune-)

ja: カンタータ第12番<泣き，嘆き，憂い，怯え>(第2曲)と<ミサ曲ロ短調ー十字架につけられー>(第17曲)の転用関係についての研究

en: In this study，I considerd the parody-problem of 2 tunes (the second tuneof church-cantata No.12 (BWV12) and the sevevteenth tune of (Messe inh-moll) (BWV232)).I examined both tunes synthetically and minutely from the viewpoint ofbar-number，cycle and melody pattern of chacconne，tonality，kind andusing-way of accompaniment-instrument，contents and arrangement of text andchanges of tune-construction...As a result of this study，in Bach's parody-working to (Messe in h-moll)，I understood that Bach did the parody in earnest and he completed theuniversal and deep masterpiece，and his parody-working is always in harmonywith the world of symbolyc expression.Now，after this，I should like to continue to study the problems of parody bythe consideration of another part of parody-working of (Messe in h-moll).

ja: 徳島大学総合科学部人間社会文化研究


en: A Study of the Church Cannta No.12 <Weinen, Klagen, Sorgen, Zagen>(BWV12)

ja: カンタータ第12番<泣き，嘆き，憂い，怯え>(BWV12)研究

en: This study follows my old ones on symbolic expression of J.S. Bach's music.In it，I started that the study of the problems on Bach's parody. This time，Iinvestigated the church cantata NO.12 in detail, and examined the contents of itssymbolic expression.(The cantata NO.12 was composed at 1714，and it was prodied to Messe inh-moll=Crucifixus⋯ as the oldest work.)As a result of this study，I understood that the cantata NO.12 is a mature workhabing almost all symbolic method of Messe in h-moll.Now，I should like to continue this study and investigate the parody-referenceof both works.

ja: 徳島大学総合科学部人間社会文化研究


en: A Study of Messe in h-moll (BWV232) -on the Whole Organization of One- (Pt.3)

ja: <ミサ曲ロ短調>(BWV232)研究 -<ミサ曲ロ短調>の全体構成について- (第3編)

en: In this study，I considered the whole organization of Messe in h-moll，being founded on myold studies .→(1) A Study of Messe in h-moll (BWV 232) -General Consideration on theLocation of the Point at Issue basing on the Viewpoint of Symbolic Expression-，Journal of HumanScinces and Arts Faculty of Integrated Arts and Sciences The University of Tokushima Vo1.5 1998Tokushima，Japan pp.153-169 (2) A Study of Messe in h-moll (BWV232) -on theWhole Organization of One-，Journal of Human Sciences and Arts Faculty of Integrated Arts andScinces The University of Tokushima Vol.6 1999 Tokushima，Japan pp.159-208 (3) AStudy of Messe in h-moll (BWV 232) -on the Whole Organization of One- (Series)，Journal of Human Scinces and Arts Faculty of Integrayed Arts and Sciences The University ofTokushima Vol.7 2000 Tokushima，Japan pp.65-113In Chapter Ⅰ，I considered Messe in h-moll from the general viewpoint. (Paragraph 1→The circumstances of coming into existence on Bach's Messe in h-moll (theexistence-year，the intention of composition) ，Paragraph 2→ the structure ofMesse in h-moll (the method of arrangement and organization，the problemson the mental world) )In Chapter I，I considered each tune of Messe in h-moll from the sectional viewpoint.(Paragraph 1→ key， Paragraph 2→ time， Paragraph 3→ the number of the part， Paragraph 4→thenumber of the bar， Paragraph 5→the method of composition)In Chpter Ⅲ，I wrote the conclusion according to the contents of Chapter Ⅰ・Ⅱ .→(1)Bach compiled his last work (Messe in h-moll) ， being resigned to death. (2) In Messein h-moll， all of Bach's view of life・religion・art・music are embodied with the highest level.(3) In this work， we can't find the useless points and the real musical world is in perfectlyharmony with the Christian-metaphysical one. (4) Messe in h-moll is the ecumenical workwhich is Catholic though it is based on the Protestant thoughts. (5) This work is very attractiveand universal，so it is loved by the people of every period，race，religion and culture. (6) WhenI look over this work from the symbolic viewpoint，it seems to me that the all symbolic elementsare contained in it，so I think that we can almost understand the attraction and the university of itby the keyword SYMBOL. (7) It seems to me that the words in this work takea role of the native and original symbol.Now，after this, I should like to study the problems of parody， that is tosay, to study the tunes which are the foudations of Messe in h-moll and through its study, to deepen my understanding on one.

ja: 徳島大学総合科学部人間社会文化研究


en: A Study of Messe in h-moll (BWV232) :On the Whole Organization of One (Series)

ja: <ミサ曲ロ短調>(BWV232)研究 -<ミサ曲ロ短調>の全体構成について(続)-

ja: 徳島大学総合科学部人間社会文化研究


en: A Study of Messe in h moll (BWV232) -On the Whole Organization of One-

ja: <ミサ曲ロ短調>(BWV232)研究 -<ミサ曲ロ短調>の全体構成について-

ja: 徳島大学総合科学部人間社会文化研究


en: A Study of <Messe in H-moll> -General Consideration on the Location of the Point at Issue basing on the Viewpoint of Symbolic Expression-

ja: <ミサ曲ロ短調>(BWV232)研究ー象徴的表現の視座を基盤とする問題点の所在に関する概観的考察ー

en: This study follows my old ones on symbolic expression of J.S. Bach's music.To embody the subtitle of this study，I referred to the circumstances of coming into existenceon <Messe in h-moll> in Chapter Ⅰ，and in Chapter Ⅱ，I arranged my ideas inthe form of three clauses (1. a synthetic analysis of < Messe in h-moll > 2. the problemsof parody on < Messe in h-moll > 3. the final philosophical and aesthetic consideration).As the aim of this study is the investigation of the location of the point at issue basingon the viewpoint of symbolic expression in the study of < Messe in h-moll >，so to speak，it carries a part of an introduction to the studies of < Messe in h-moll > in the future.Concerning the studies of < Messe in h-moll > in the future， I foresee the extending overa long period， because it is a work on a grand scale of Bach's later years and its circumstancesof coming into existence is very complicated.Anyway， as for me， I schould like to continue this study little by little within the limitsof my ability.

ja: 徳島大学総合科学部人間社会文化研究


en: A Study on the Contents of Die Bildlichkeit der wortgebundenen Musik Johann Sebastian Bachs by Arnold Schmitz

ja: アルノルト·シュミッツ著:Die Bildlichkeit der Wortgebundenen Musik Johann Sebastian Bach's の内容に関する一考察

ja: 徳島大学総合科学部人間社会文化研究


en: On the Structure of Music-Pedagogy (as Subject in School) -A Second Study of the Opinion of Mr. Humishige YAMAMOTO-

ja: 音楽(科)教育学の構造についてー山本文茂氏の見解に関する再考察ー

en: Previously，I wrote a paper"音楽科教育学の構造について-山本文茂氏の見解をめぐって"(Journal of the Faculty of Integrated Arts and Sciences，The University of Tokushima，Humanities，Tokushima，Japan pp.63-75 1992). In the paper， I investigated Mr.Yamamoto's structure-diagram of music-pedagogy (as subject in school)，and compared itwith one of myself. Through the study，I could confirm that the opinion of Mr.Yamamoto was very persuasive and it would be a very important theoretical-base for thefuture development of this learning，and my previous opinion corresponded to Mr.Yamamoto's one in many respects.After that，the book "音楽教育研究の方法と分野"written by Mr. Yamamoto was publishedon the 25th of October in 1992，which showed the compilation of his study about theproblems for the construction of music-pedagogy (as subject in school). The contents ofthis book are very much similar to his opinion which I investigated in the study "音楽科教育学の構造について-山本文茂氏の見解をめぐって"， and they are more detailed， morewell organized and can be more clearly understood than his previous studies.In this paper，I investigated the contents of the book adjusting the focus of his construction-diagram of music-pedagogy (as subject in school)， and I showed my tentative plan onthe construction-diagram of music-pedagogy ( as subject in school).My plan is fundamentally one which follows Mr.Yamamoto's opinion，but I think thatit is more organized and it has a more dynamic image than his structure-diagram.However，as my construction-diagram is written in the form of a plane figure，I shouldlike to construct the diagram in the form of a three-dimensional picture.

ja: 徳島大学総合科学部人間社会文化研究


en: On Symbolic Expression of J.S.Bach's Works -Reflective Examination from the Aesthetic Viewpoint about a Tentative Plan of its Phasic Classification-

ja: J.S.バッハの作品における象徴的表現についてーその段階的区分試案に対する美学的視点からの反省的吟味·検討ー(続)

en: Journal of Human Sciences and Arts Faculty of Integrated Arts and Sciences The University of Tokushima

ja: 徳島大学総合科学部人間社会文化研究


en: On Symbolic Expression of J.S.Bach's Works -Reflective Examination and Investigation from the Aesthetic Viewpoint about a Tentative Plan of its Phasic Classification-

ja: J.S.バッハの作品における象徴的表現についてーその段階的区分試案に対する美学的視点からの反省的吟味·検討ー

ja: 徳島大学総合科学部人間社会文化研究


en: On Brelet's Ideas of Musical Time

ja: ブルレの音楽的時間論について

en: Journal of the Faculty of Integrated Arts and Sciences, The University of Tokushima (Humanities)

ja: 徳島大学総合科学部紀要(人文·芸術研究篇)


en: On the Structure of Music-Pedagogy as Subject in School -About the Opinion Of Mr. Humisige Yamamoto-

ja: 音楽科教育学の構造についてー山本文茂氏の見解をめぐってー

ja: 徳島大学総合科学部紀要(人文·芸術研究篇)


en: Some Problems of <Gestalt>, <Words>, and <the Visual Approach> in Music

ja: 音楽におけるゲシュタルト·歌詞·研究の視点に関する諸問題について

ja: 徳島大学総合科学部紀要(人文·芸術研究篇)


en: A Consideration of < Idee Concrete>

ja: <具体的イデー>に関する一考察

ja: 徳島大学総合科学部紀要(人文·芸術研究篇)


en: About the Symbolic Theory of Music in the Book <ONGAKUBI NO KOZO> written by Mr. Mamoru Watanabe

ja: 渡辺護氏著<音楽美の構造>における音楽象徴論について

ja: 徳島大学総合科学部紀要(人文·芸術研究篇)


en: About the Concept and the Meaning of "Symbol"

ja: 象徴の概念とその意義について

ja: 徳島大学総合科学部紀要(人文·芸術研究篇)


en: A Study of the Cantata No.196<Der Herr denket an uns>(BWV196)

ja: カンタータ第196番<Der Herr denket an uns>(BWV196)研究

en: commemoration volume of the founding of the faculty of integrated arts and sciences. the university of tokushima

ja: 徳島大学総合科学部創立記念論文集


en: A Study of the Cantata No.4<Christ lag in Todesbanden>(BWV4)

ja: カンタータ第4番<Christ lag in Todesbanden>(BWV4)研究

en: 徳島大学学芸紀要(人文科学)

ja: 徳島大学学芸紀要(人文科学)


en: a consideration from the aesthetic-side on the propriety that nusic as a course is indipendent

ja: 教科としての音楽の独立の妥当性に関する美学的側面からの一考察

en: Journal of Gakugei Tokushima University ( Educational Science )

ja: 徳島大学学芸紀要(教育科学)


en: A Study of the Cantata No.71<Gott ist mein Konig>(BWV71)

ja: カンタータ第71番<Gott ist mein Konig>(BWV71)研究

en: 徳島大学学芸紀要(人文科学)

ja: 徳島大学学芸紀要(人文科学)


en: A Study of the <Quodlibet>(BWV524)

ja: クオドリベット(BWV524)研究

en: 徳島大学学芸紀要(人文科学)

ja: 徳島大学学芸紀要(人文科学)


en: a consideration from a psychorogical side about the propriety that music as a course of studiy is independent

ja: 教科としての音楽の独立の妥当性に関する心理学的側面からの一考察

en: Journal of Gakugei, Tokushima University ( Educational Science )

ja: 徳島大学学芸紀要(教育科学)


en: A Study of the Cantata No.106<Gottes Zeit ist die allerbeste Zeit>(BWV106)

ja: カンタータ第106番<Gottes Zeit ist die alllerbeste Zeit>研究

en: 徳島大学学芸紀要(人文科学)

ja: 徳島大学学芸紀要(人文科学)


en: A Study of the Cantata No.131<Aus der Tiefew rufe ich, Herr, zu dir>(BWV131)(Series)

ja: カンタータ第131番<Aus der Tiefe rufe ich, Herr, zu dir>(BWV131)研究

en: 徳島大学学芸紀要(人文科学)

ja: 徳島大学学芸紀要(人文科学)


en: a Study of the Cantata No.131 <Aus der Tiefe rufe ich, Herr, zu dir>(BWV131)

ja: カンタータ第131番<Aus der Tiefe rufe ich, Herr, tu dir>(BWV131)研究

en: 徳島大学学芸紀要(人文科学)

ja: 徳島大学学芸紀要(人文科学)


en: A Study of the <Orgelbuchlein> No.3 (Series)

ja: <オルガン小曲集>研究 そのⅢ(続)

en: 徳島大学学芸紀要(人文科学)

ja: 徳島大学学芸紀要(人文科学)


en: A consideration of the conditions which establish a music-pedagogy as a science

ja: 音楽教育学が学として成立するための条件についての一考察

en: 徳島大学学芸紀要(教育科学)

ja: 徳島大学学芸紀要(教育科学)


en: A Study of the <Orgelbuchlein> (Series)

ja: <オルガン小曲集>研究 そのⅢ(続)

en: 徳島大学学芸紀要(人文科学)

ja: 徳島大学学芸紀要(人文科学)


en: A Study of the <Orgelbuchlein> No.3

ja: <オルガン小曲集>研究 そのⅢ

en: 徳島大学学芸紀要(人文科学)

ja: 徳島大学学芸紀要(人文科学)


en: A Study of the <Orgelbuchlein> No.2

ja: <オルガン小曲集>研究 そのⅡ

en: 佐賀大学教育学部研究論文集

ja: 佐賀大学教育学部研究論文集


en: A Study of the <Orgelbuchlein> No.1 J.S.Bach's Organ-Works and the Position of the <Orgelbuchlein> in them

ja: <オルガン小曲集>研究 そのⅠーJ.S.Bachのオルガン作品と<オルガン小曲集>の占める位置についてー

ja: 佐賀大学教育学部研究論文集