{"created":"2023-07-25T09:58:44.823905+00:00","id":1207,"links":{},"metadata":{"_buckets":{"deposit":"5a85a5c8-4c4e-4e79-8489-bd2d783395cf"},"_deposit":{"created_by":8,"id":"1207","owners":[8],"pid":{"revision_id":0,"type":"depid","value":"1207"},"status":"published"},"_oai":{"id":"oai:kunion.repo.nii.ac.jp:00001207","sets":["91:137"]},"author_link":["2448","2449"],"item_2_biblio_info_12":{"attribute_name":"書誌情報","attribute_value_mlt":[{"bibliographicIssueDates":{"bibliographicIssueDate":"2012-03-31","bibliographicIssueDateType":"Issued"},"bibliographicPageEnd":"60","bibliographicPageStart":"51","bibliographicVolumeNumber":"46","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":"バッハの《ロ短調ミサ曲》は、昭和6(1931)年に、東京高等音楽学院(本学の前身)によって、両受難曲に先立ち、日本初演された。ただし〈クルツィフィクスス〉楽章は、明治26(1893)年に東京音楽学校(現東京藝術大学)によって、「富士登山」という歌詞のもとに部分初演されていた。《ミサ曲》に関する情報の摂取は早かったものの、ラテン語典礼文を歌詞とする作品の理解は、日本では容易に進まなかった。理解の鍵を握るのは、「普遍性」の概念である。普遍性への指摘はまず野村良雄(1949)によって行われ、小林義武の資料研究を通じて展開された(「エキュメニカル・ミサ曲」の概念)。最近の研究が指摘するのは、バッハの最晩年における〈ニカイア信条〉以降の補完が、ドイツ語カンタータからラテン語教会音楽への、当地のシフトを前提としたことである。バッハ自身が普遍性への意識をもち、宗派と時代を超えようとして完成させたのが《ロ短調ミサ曲》であった。","subitem_description_type":"Other"}]},"item_2_description_15":{"attribute_name":"表示順","attribute_value_mlt":[{"subitem_description":"6","subitem_description_type":"Other"}]},"item_2_description_16":{"attribute_name":"アクセション番号","attribute_value_mlt":[{"subitem_description":"KJ00007847564","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"}]},"item_2_text_7":{"attribute_name":"著者所属(英)","attribute_value_mlt":[{"subitem_text_language":"en","subitem_text_value":"Kunitachi College of Music"}]},"item_2_title_3":{"attribute_name":"論文名よみ","attribute_value_mlt":[{"subitem_title":"ロタンチョウ ミサ キョク ノ ジュヨウ ト ゲンザイ ソノ フヘンセイ オ メグッテ"}]},"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":"礒山, 雅"},{"creatorName":"イソヤマ, タダシ","creatorNameLang":"ja-Kana"}],"nameIdentifiers":[{}]},{"creatorNames":[{"creatorName":"Isoyama, Tadashi","creatorNameLang":"en"}],"nameIdentifiers":[{}]}]},"item_keyword":{"attribute_name":"キーワード","attribute_value_mlt":[{"subitem_subject":"バッハ"},{"subitem_subject":"《ロ短調ミサ曲》"},{"subitem_subject":"日本初演"},{"subitem_subject":"普遍性"}]},"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":"《ロ短調ミサ曲》の受容と現在 : その「普遍性」をめぐって","item_titles":{"attribute_name":"タイトル","attribute_value_mlt":[{"subitem_title":"《ロ短調ミサ曲》の受容と現在 : その「普遍性」をめぐって","subitem_title_language":"ja"},{"subitem_title":"Rezeption und Gegenwart der h-moll-Messe von J. S. Bach","subitem_title_language":"en"}]},"item_type_id":"2","owner":"8","path":["137"],"pubdate":{"attribute_name":"PubDate","attribute_value":"2017-02-22"},"publish_date":"2017-02-22","publish_status":"0","recid":"1207","relation_version_is_last":true,"title":["《ロ短調ミサ曲》の受容と現在 : その「普遍性」をめぐって"],"weko_creator_id":"8","weko_shared_id":-1},"updated":"2023-09-12T03:18:12.696569+00:00"}