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パリ音楽院におけるアンリ＝モンタン・ベルトンのハーモニー講座 : エメ・ルボルヌのノートによる
https://doi.org/10.20675/0002000529
https://doi.org/10.20675/0002000529b19d6314-5f27-4846-8c4a-141f1171b61d
| 名前 / ファイル | ライセンス | アクション |
|---|---|---|
D36_149_Tang.pdf (2.3 MB)
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| Item type | 紀要論文 / Departmental Bulletin Paper(1) | |||||||||||
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| 公開日 | 2024-06-01 | |||||||||||
| タイトル | ||||||||||||
| タイトル | パリ音楽院におけるアンリ＝モンタン・ベルトンのハーモニー講座 : エメ・ルボルヌのノートによる | |||||||||||
| タイトル | ||||||||||||
| タイトル | Henri-Montan Berton’s Cours d’Harmonie in Paris Conservatory : According to Aimé LeBorne’s Notebook | |||||||||||
| 言語 | ||||||||||||
| 言語 | jpn | |||||||||||
| キーワード | ||||||||||||
| 主題 | Harmony, Music Theory, Paris Conservatory, French Music, Music Education | |||||||||||
| 資源タイプ | ||||||||||||
| 資源タイプ | departmental bulletin paper | |||||||||||
| ID登録 | ||||||||||||
| ID登録 | 10.20675/0002000529 | |||||||||||
| ID登録タイプ | JaLC | |||||||||||
| アクセス権 | ||||||||||||
| アクセス権 | open access | |||||||||||
| 著者 |
湯, 宸
× 湯, 宸
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| 抄録 | ||||||||||||
| 内容記述 | This paper explores the pedagogical methods employed by the renowned French composer and music theorist Henri-Montan Berton during his tenure as a professor at the Paris Conservatory from 1795 to 1844 (Harmony 1795-1816, Counterpoint and Fugue 1818-1844). The study relies on primary sources, including Berton's "Traité d'harmonie" (Treatise on Harmony) and the records compiled by Aimé LeBorne during Berton's 1812-13 harmony lessons, titled "Cours d'harmonie de l'année 1813" (Harmony Course of the Year 1813). By analyzing Berton's teaching materials and methods, this research sheds light on the rich tradition of partimento education that has been present since the eighteenth century. The paper begins by providing an overview of Henri-Montan Berton's background and his significant contributions to music education at the Paris Conservatory. It outlines the structure of composition courses at the institution in the nineteenth century, highlighting the hierarchical progression of instruction. One of the key aspects of Berton's pedagogy is his unique figured bass notation system, which differs from contemporary conventions. The paper discusses Berton's classification of chords into three branches (A, B, and C) based on intrinsic harmonic attributes, providing insights into his non-traditional approach to teaching harmony. The research also explores the historical lineage of chords with suspended fourths (sus4 chords). Berton's emphasis on the use of sus4 chords in his pedagogy is examined, highlighting the pedagogical link between Berton and later composers. Furthermore, the study delves into Berton's categorization of cadences and his use of schema theory in teaching. This cognitive approach to music education, where students encounter recurring musical examples (schemas) to enhance comprehension and memory, is traced through Berton's curriculum. The paper concludes by discussing the incorporation of advanced harmonic concepts, including prolongation, modulation, and extended chords, in Berton's instructional curriculum. It highlights the progressive nature of Berton's teaching, which gradually introduces complex harmonic constructs to students. In summary, this research provides a comprehensive examination of Henri-Montan Berton's harmony pedagogy at the Paris Conservatory, shedding light on his innovative teaching methods and their impact on music education. It underscores the enduring legacy of Berton's pedagogical contributions in the realm of music theory and pedagogy. |
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| 書誌情報 |
ja : 音楽研究 : 大学院研究年報 en : Ongaku Kenkyu : Journal of Graduate School, Kunitachi College of Music 巻 36, p. 149-165, 発行日 2024-03-29 |
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| 出版者 | ||||||||||||
| 出版者 | 国立音楽大学大学院 | |||||||||||
| ISSN | ||||||||||||
| 収録物識別子 | 02894807 | |||||||||||
