フリッツ・イェーデによる音楽作品論の諸特徴: 空間の言語化と視覚化をめぐって

Translated title of the contribution: Characteristics in Fritz Jode's Interpretations of the Musical Works: Verbalization and Visualization of the Space

Research output: Contribution to journalArticle

Abstract

This study examines characteristics of Fritz Jöde's (1887-1970) verbalization and visualization of musical works by fucusing on his Die Kunst Backs(1926). Although few preceding studies focus on Jöde's interpretation of musical works (Kimura 1933; Hinrichsen 2000, etc), one can find specific spatail representation. Jöde, who believed that music despences with any temporal and spatail reference, constructed an imaginary sense of time and space in order to interpret the unity of musical works. He observed that such an act helped determine what is essencial. For example, Jöde proposed the theory of inner melody (Innenmelodek), which referes to the melodic continuity by adding imaginary notes that are not present in reality. Furthemore, Jöde's interpretation of space was also visualised : this study examine its nature. His representation of space aspired after a rehabilitation og the interpreter's feeling of the space (Raumempfinden)
Original languageJapanese
Pages (from-to)35-44
Number of pages10
Journal芸術工学研究 : 九州大学大学院芸術工学研究院紀要
Volume20
DOIs
Publication statusPublished - 2014

Cite this

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title = "フリッツ・イェーデによる音楽作品論の諸特徴: 空間の言語化と視覚化をめぐって",
abstract = "This study examines characteristics of Fritz J{\"o}de's (1887-1970) verbalization and visualization of musical works by fucusing on his Die Kunst Backs(1926). Although few preceding studies focus on J{\"o}de's interpretation of musical works (Kimura 1933; Hinrichsen 2000, etc), one can find specific spatail representation. J{\"o}de, who believed that music despences with any temporal and spatail reference, constructed an imaginary sense of time and space in order to interpret the unity of musical works. He observed that such an act helped determine what is essencial. For example, J{\"o}de proposed the theory of inner melody (Innenmelodek), which referes to the melodic continuity by adding imaginary notes that are not present in reality. Furthemore, J{\"o}de's interpretation of space was also visualised : this study examine its nature. His representation of space aspired after a rehabilitation og the interpreter's feeling of the space (Raumempfinden)",
author = "紘子 西田",
year = "2014",
doi = "10.15017/1448850",
language = "Japanese",
volume = "20",
pages = "35--44",
journal = "芸術工学研究 : 九州大学大学院芸術工学研究院紀要",
issn = "1349-0915",
publisher = "九州大学大学院芸術工学研究院紀要『芸術工学研究』編集委員会",

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TY - JOUR

T1 - フリッツ・イェーデによる音楽作品論の諸特徴

T2 - 空間の言語化と視覚化をめぐって

AU - 西田, 紘子

PY - 2014

Y1 - 2014

N2 - This study examines characteristics of Fritz Jöde's (1887-1970) verbalization and visualization of musical works by fucusing on his Die Kunst Backs(1926). Although few preceding studies focus on Jöde's interpretation of musical works (Kimura 1933; Hinrichsen 2000, etc), one can find specific spatail representation. Jöde, who believed that music despences with any temporal and spatail reference, constructed an imaginary sense of time and space in order to interpret the unity of musical works. He observed that such an act helped determine what is essencial. For example, Jöde proposed the theory of inner melody (Innenmelodek), which referes to the melodic continuity by adding imaginary notes that are not present in reality. Furthemore, Jöde's interpretation of space was also visualised : this study examine its nature. His representation of space aspired after a rehabilitation og the interpreter's feeling of the space (Raumempfinden)

AB - This study examines characteristics of Fritz Jöde's (1887-1970) verbalization and visualization of musical works by fucusing on his Die Kunst Backs(1926). Although few preceding studies focus on Jöde's interpretation of musical works (Kimura 1933; Hinrichsen 2000, etc), one can find specific spatail representation. Jöde, who believed that music despences with any temporal and spatail reference, constructed an imaginary sense of time and space in order to interpret the unity of musical works. He observed that such an act helped determine what is essencial. For example, Jöde proposed the theory of inner melody (Innenmelodek), which referes to the melodic continuity by adding imaginary notes that are not present in reality. Furthemore, Jöde's interpretation of space was also visualised : this study examine its nature. His representation of space aspired after a rehabilitation og the interpreter's feeling of the space (Raumempfinden)

U2 - 10.15017/1448850

DO - 10.15017/1448850

M3 - 記事

VL - 20

SP - 35

EP - 44

JO - 芸術工学研究 : 九州大学大学院芸術工学研究院紀要

JF - 芸術工学研究 : 九州大学大学院芸術工学研究院紀要

SN - 1349-0915

ER -