{"created":"2023-07-25T09:58:42.250673+00:00","id":1160,"links":{},"metadata":{"_buckets":{"deposit":"afed95a0-1480-4f6d-8956-cfccd3a6e6c8"},"_deposit":{"created_by":8,"id":"1160","owners":[8],"pid":{"revision_id":0,"type":"depid","value":"1160"},"status":"published"},"_oai":{"id":"oai:kunion.repo.nii.ac.jp:00001160","sets":["91:133"]},"author_link":["2332","2333"],"item_2_biblio_info_12":{"attribute_name":"書誌情報","attribute_value_mlt":[{"bibliographicIssueDates":{"bibliographicIssueDate":"2008-03-25","bibliographicIssueDateType":"Issued"},"bibliographicPageEnd":"100","bibliographicPageStart":"89","bibliographicVolumeNumber":"42","bibliographic_titles":[{"bibliographic_title":"研究紀要"},{"bibliographic_title":"Kunitachi College of Music journal","bibliographic_titleLang":"en"}]}]},"item_2_description_10":{"attribute_name":"抄録(日)","attribute_value_mlt":[{"subitem_description":"日本語律文の「七五調」は、かな文字2音で構成される音節を1拍とする拍節リズムで詠じられる。この1拍を構成する2音は、音楽的な勢いにより時間の長短を生じる。これは「イネガル音符」と同じ現象である。この「イネガル音符」や「カダンス」に関わる、拍節の「ムーヴマン」という古典派以前の音楽概念を援用して考察するなら、「七五調」の「字余り」の意味とそれが許される条件、「四三調結句の忌避」の理由が、「ムーヴマン」の加速の方向を区別して認識することで明快に説明できる。また、この「ムーヴマン」の加速方向という観点で、現代の口語を分析すれば、日本語固有のリズムの原理が明らかになる。2語が連結されると、後の語頭が濁る現象、あるいは「乱れ」と捉えられている言葉の変形も、この原理に従った法則性の高いものである。","subitem_description_type":"Other"}]},"item_2_description_15":{"attribute_name":"表示順","attribute_value_mlt":[{"subitem_description":"9","subitem_description_type":"Other"}]},"item_2_description_16":{"attribute_name":"アクセション番号","attribute_value_mlt":[{"subitem_description":"KJ00004873660","subitem_description_type":"Other"}]},"item_2_source_id_1":{"attribute_name":"雑誌書誌ID","attribute_value_mlt":[{"subitem_source_identifier":"AN00066006","subitem_source_identifier_type":"NCID"}]},"item_2_source_id_19":{"attribute_name":"ISSN","attribute_value_mlt":[{"subitem_source_identifier":"02885492","subitem_source_identifier_type":"ISSN"}]},"item_2_text_6":{"attribute_name":"著者所属(日)","attribute_value_mlt":[{"subitem_text_value":"国立音楽大学非常勤"}]},"item_2_title_3":{"attribute_name":"論文名よみ","attribute_value_mlt":[{"subitem_title":"シチゴチョウ オ シハイスル ニホンゴ ノ ムーヴマン ニホンゴ ノ リズム ゲンリ"}]},"item_access_right":{"attribute_name":"アクセス権","attribute_value_mlt":[{"subitem_access_right":"metadata only access","subitem_access_right_uri":"http://purl.org/coar/access_right/c_14cb"}]},"item_creator":{"attribute_name":"著者","attribute_type":"creator","attribute_value_mlt":[{"creatorNames":[{"creatorName":"古山, 和男"},{"creatorName":"フルヤマ, カズオ","creatorNameLang":"ja-Kana"}],"nameIdentifiers":[{}]},{"creatorNames":[{"creatorName":"Furuyama, Kazuo","creatorNameLang":"en"}],"nameIdentifiers":[{}]}]},"item_keyword":{"attribute_name":"キーワード","attribute_value_mlt":[{"subitem_subject":"七五調"},{"subitem_subject":"日本語リズム"},{"subitem_subject":"字余り"},{"subitem_subject":"四三調忌避"},{"subitem_subject":"連濁"}]},"item_language":{"attribute_name":"言語","attribute_value_mlt":[{"subitem_language":"jpn"}]},"item_resource_type":{"attribute_name":"資源タイプ","attribute_value_mlt":[{"resourcetype":"departmental bulletin paper","resourceuri":"http://purl.org/coar/resource_type/c_6501"}]},"item_title":"「七五調」を支配する日本語の「ムーヴマン」 : 日本語のリズム原理","item_titles":{"attribute_name":"タイトル","attribute_value_mlt":[{"subitem_title":"「七五調」を支配する日本語の「ムーヴマン」 : 日本語のリズム原理","subitem_title_language":"ja"},{"subitem_title":"'Mouvement' that Rules Japanese Poetical 'Septem & Penta Metre' : The Principle of Japanese Metrical Rhythm","subitem_title_language":"en"}]},"item_type_id":"2","owner":"8","path":["133"],"pubdate":{"attribute_name":"PubDate","attribute_value":"2017-02-22"},"publish_date":"2017-02-22","publish_status":"0","recid":"1160","relation_version_is_last":true,"title":["「七五調」を支配する日本語の「ムーヴマン」 : 日本語のリズム原理"],"weko_creator_id":"8","weko_shared_id":-1},"updated":"2023-09-12T03:16:22.120196+00:00"}