{"created":"2023-07-25T09:59:37.648433+00:00","id":2372,"links":{},"metadata":{"_buckets":{"deposit":"ab510cfa-c88a-485b-8c10-7b6c3fd26588"},"_deposit":{"created_by":4,"id":"2372","owners":[4],"pid":{"revision_id":0,"type":"depid","value":"2372"},"status":"published"},"_oai":{"id":"oai:kunion.repo.nii.ac.jp:00002372","sets":["91:223"]},"author_link":["4156","4157"],"item_10002_biblio_info_7":{"attribute_name":"書誌情報","attribute_value_mlt":[{"bibliographicIssueDates":{"bibliographicIssueDate":"2021-03-31","bibliographicIssueDateType":"Issued"},"bibliographicPageEnd":"223","bibliographicPageStart":"215","bibliographicVolumeNumber":"55","bibliographic_titles":[{"bibliographic_title":"研究紀要"},{"bibliographic_title":"Kunitachi College of Music journal","bibliographic_titleLang":"en"}]}]},"item_10002_description_5":{"attribute_name":"抄録","attribute_value_mlt":[{"subitem_description":"今年生誕250年を迎えたベートーヴェンの作品は，現在もなおクラシック音楽の主要レパートリーの地位を占め続けている．筆者は昨年，ベートーヴェンのピアノソナタ全曲を含む，ベートーヴェンリサイタルシリーズを開始した．ピアノソナタは，弦楽四重奏曲，交響曲と並んで，生涯を通して作曲されているため，作風の変化を探るには最適な分野と言える．全曲演奏と研究を通して，その初期から中期を経て後期に至る作風の変遷をたどり，ベートーヴェンの独創性と魅力を聴き手に伝えていきたいと考えている．第2回となる今回のリサイタルでは，初期のソナタ第2番，第3番，第7番，第8番《悲愴》を取り上げた．本稿では，まずベートーヴェンのピアノソナタ全体の概要および初期のソナタの特徴を述べた後，演奏した各曲について，その書法的特徴，作曲の背景，演奏上の留意点などをまとめる．","subitem_description_type":"Abstract"}]},"item_10002_identifier_registration":{"attribute_name":"ID登録","attribute_value_mlt":[{"subitem_identifier_reg_text":"10.20675/00002356","subitem_identifier_reg_type":"JaLC"}]},"item_10002_publisher_8":{"attribute_name":"出版者","attribute_value_mlt":[{"subitem_publisher":"国立音楽大学"}]},"item_10002_source_id_9":{"attribute_name":"ISSN","attribute_value_mlt":[{"subitem_source_identifier":"02885492","subitem_source_identifier_type":"ISSN"}]},"item_10002_text_24":{"attribute_name":"年次","attribute_value_mlt":[{"subitem_text_value":"2020"}]},"item_creator":{"attribute_name":"著者","attribute_type":"creator","attribute_value_mlt":[{"creatorNames":[{"creatorName":"近藤, 伸子"},{"creatorName":"コンドウ, ノブコ","creatorNameLang":"ja-Kana"}],"nameIdentifiers":[{"nameIdentifier":"4156","nameIdentifierScheme":"WEKO"}]},{"creatorNames":[{"creatorName":"Kondo, Nobuko","creatorNameLang":"en"}],"nameIdentifiers":[{"nameIdentifier":"4157","nameIdentifierScheme":"WEKO"}]}]},"item_files":{"attribute_name":"ファイル情報","attribute_type":"file","attribute_value_mlt":[{"accessrole":"open_date","date":[{"dateType":"Available","dateValue":"2021-07-20"}],"displaytype":"detail","filename":"K55_215_Kondo.pdf","filesize":[{"value":"1.8 MB"}],"format":"application/pdf","licensetype":"license_note","mimetype":"application/pdf","url":{"label":"K55_215_Kondo.pdf","url":"https://kunion.repo.nii.ac.jp/record/2372/files/K55_215_Kondo.pdf"},"version_id":"2df57fa4-6dc4-4191-8b2b-fc5258c731c6"}]},"item_keyword":{"attribute_name":"キーワード","attribute_value_mlt":[{"subitem_subject":"ベートーヴェン","subitem_subject_scheme":"Other"},{"subitem_subject":"ピアノソナタ","subitem_subject_scheme":"Other"},{"subitem_subject":"ソナタ形式","subitem_subject_scheme":"Other"},{"subitem_subject":"演奏","subitem_subject_scheme":"Other"}]},"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":"ベートーヴェンの初期ピアノソナタにおける書法的特徴について : 第2番，第3番，第7番，第8番を中心に","item_titles":{"attribute_name":"タイトル","attribute_value_mlt":[{"subitem_title":"ベートーヴェンの初期ピアノソナタにおける書法的特徴について : 第2番，第3番，第7番，第8番を中心に"},{"subitem_title":"Characteristics of Musical Language of Beethoven's Early Piano Sonatas : with Particular Reference to Sonatas Nos.2, 3, 7, and 8","subitem_title_language":"en"}]},"item_type_id":"10002","owner":"4","path":["223"],"pubdate":{"attribute_name":"公開日","attribute_value":"2021-07-20"},"publish_date":"2021-07-20","publish_status":"0","recid":"2372","relation_version_is_last":true,"title":["ベートーヴェンの初期ピアノソナタにおける書法的特徴について : 第2番，第3番，第7番，第8番を中心に"],"weko_creator_id":"4","weko_shared_id":4},"updated":"2023-07-25T10:07:30.451919+00:00"}