ベートーヴェン《第9》解釈の系譜: ハインリヒ・シェンカーの音楽物語を中心に

研究成果: ジャーナルへの寄稿記事

抄録

This paper discusses the interpretations of Beetoven's "Ninth Symophony" by Richard Wargner, Hermann Kretzschmar, and Heinrich Schenker, eithin the framework of a musical narrative. First, foundamental problems in musical narratology are discussed in order to bridge between recent studies and the narrative acts in Schenker's time. Second, Schenker's work "Beethoven's NInth Symphony" (1912) can be regarded as the starting point of this examination, because it includes a detailed criticism of the interpretations by Wagner and Kretzschmer. Wagner modified Beetoven's own text in oeder to make the main melody clear and provided legitimacy to the voice and language in the finale through his meta-narrative of music history. Moreover, Kretzschmer applied Goethe's "Fausr" to the narrative of the finale. Both attempts were quite unacceptable to Schenker, who did not deviate from the authority of Beethoven's own text and the superiority of absolute music. Schenker's meta-narrative was so powerful thet he characterized the finales as a narrative of the victory pg absolute music and possibly of Beethoven's failure. Such persistance of music's autonomy and the identity of musacal interpretations can also be observed in recent musical narratology.
元の言語Japanese
ページ(範囲)1-14
ページ数14
ジャーナル芸術工学研究 : 九州大学大学院芸術工学研究院紀要
15
DOI
出版物ステータス出版済み - 2011

これを引用

@article{5ee79de43ecf40a8b7c1f37f59a75273,
title = "ベートーヴェン《第9》解釈の系譜: ハインリヒ・シェンカーの音楽物語を中心に",
abstract = "This paper discusses the interpretations of Beetoven's {"}Ninth Symophony{"} by Richard Wargner, Hermann Kretzschmar, and Heinrich Schenker, eithin the framework of a musical narrative. First, foundamental problems in musical narratology are discussed in order to bridge between recent studies and the narrative acts in Schenker's time. Second, Schenker's work {"}Beethoven's NInth Symphony{"} (1912) can be regarded as the starting point of this examination, because it includes a detailed criticism of the interpretations by Wagner and Kretzschmer. Wagner modified Beetoven's own text in oeder to make the main melody clear and provided legitimacy to the voice and language in the finale through his meta-narrative of music history. Moreover, Kretzschmer applied Goethe's {"}Fausr{"} to the narrative of the finale. Both attempts were quite unacceptable to Schenker, who did not deviate from the authority of Beethoven's own text and the superiority of absolute music. Schenker's meta-narrative was so powerful thet he characterized the finales as a narrative of the victory pg absolute music and possibly of Beethoven's failure. Such persistance of music's autonomy and the identity of musacal interpretations can also be observed in recent musical narratology.",
author = "紘子 西田",
year = "2011",
doi = "10.15017/20475",
language = "Japanese",
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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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N2 - This paper discusses the interpretations of Beetoven's "Ninth Symophony" by Richard Wargner, Hermann Kretzschmar, and Heinrich Schenker, eithin the framework of a musical narrative. First, foundamental problems in musical narratology are discussed in order to bridge between recent studies and the narrative acts in Schenker's time. Second, Schenker's work "Beethoven's NInth Symphony" (1912) can be regarded as the starting point of this examination, because it includes a detailed criticism of the interpretations by Wagner and Kretzschmer. Wagner modified Beetoven's own text in oeder to make the main melody clear and provided legitimacy to the voice and language in the finale through his meta-narrative of music history. Moreover, Kretzschmer applied Goethe's "Fausr" to the narrative of the finale. Both attempts were quite unacceptable to Schenker, who did not deviate from the authority of Beethoven's own text and the superiority of absolute music. Schenker's meta-narrative was so powerful thet he characterized the finales as a narrative of the victory pg absolute music and possibly of Beethoven's failure. Such persistance of music's autonomy and the identity of musacal interpretations can also be observed in recent musical narratology.

AB - This paper discusses the interpretations of Beetoven's "Ninth Symophony" by Richard Wargner, Hermann Kretzschmar, and Heinrich Schenker, eithin the framework of a musical narrative. First, foundamental problems in musical narratology are discussed in order to bridge between recent studies and the narrative acts in Schenker's time. Second, Schenker's work "Beethoven's NInth Symphony" (1912) can be regarded as the starting point of this examination, because it includes a detailed criticism of the interpretations by Wagner and Kretzschmer. Wagner modified Beetoven's own text in oeder to make the main melody clear and provided legitimacy to the voice and language in the finale through his meta-narrative of music history. Moreover, Kretzschmer applied Goethe's "Fausr" to the narrative of the finale. Both attempts were quite unacceptable to Schenker, who did not deviate from the authority of Beethoven's own text and the superiority of absolute music. Schenker's meta-narrative was so powerful thet he characterized the finales as a narrative of the victory pg absolute music and possibly of Beethoven's failure. Such persistance of music's autonomy and the identity of musacal interpretations can also be observed in recent musical narratology.

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