フランソワ=ジョゼフ・フェティスの和声理論におけるⅡ度音上の7の和音
スポンサーリンク
概要
- 論文の詳細を見る
François-Joseph Fétis (1784-1871), a well-known Belgian music theorist in the 19th century, formed his influential harmonic theory out of a critique of the theories claimed by his predecessors and contemporary thinkers. Both of his two major essays on harmony, Esquisse de l'histoire de l'harmonie considérée commeart et comme science systématique, and Traité complet de la théorie et de la pratique de l'harmonie, include his theory about the generative process of the supertonic seventh chord, and he insisted that the chord is a derivative form born from the inverted dominant seventh chord, combined with the ‘ modification' process, i.e., alteration of the constituent notes of a chord by substituting with or prolonging of the note(s) from the preceding chord in a harmonic progression. Furthermore, he severely criticized the theories of J. ‒P. Rameau and C. ‒S. Catel. Close reading of Fétis' arguments on this point reveals that there were at least three different explanations regarding this chord that coexisted in 19th century Europe. This brief study summarizes these three explanations of the supertonic seventh chord, claimed by Fétis, Rameau, and Catel respectively, through analysis of Fétis' own arguments in his two major works mentioned above.
論文 | ランダム
- Forum 対談 米国と日本の現状を踏まえた進行胃癌治療における今後の展望
- 外来抗癌薬治療の実際 大阪医科大学附属病院の取り組み--副作用対策と新規治療導入を中心に
- AVAGAST trialの具体化にあたっての問題点とその対応 (特集 血管新生阻害剤の効果と功罪) -- (Bevacizumab)
- 術後補助化学療法 (特集 頭頸部・消化管がんの補助化学療法) -- (胃がんに対する補助化学療法)
- 金型の自動磨きに関する研究 : 第2報, 加圧力制御機能を持つ研磨装置の開発