| Project/Area Number |
26370100
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| Research Category |
Grant-in-Aid for Scientific Research (C)
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| Allocation Type | Multi-year Fund |
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| Section | 一般 |
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| Research Field |
Aesthetics and studies on art
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| Research Institution | Shizuoka University of Art and Culture |
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Principal Investigator |
KAMIYAMA NORIKO 静岡文化芸術大学, 文化政策学部, 講師 (90318577)
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| Project Period (FY) |
2014-04-01 – 2017-03-31
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| Project Status |
Completed (Fiscal Year 2016)
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| Budget Amount *help |
¥3,900,000 (Direct Cost: ¥3,000,000、Indirect Cost: ¥900,000)
Fiscal Year 2016: ¥780,000 (Direct Cost: ¥600,000、Indirect Cost: ¥180,000)
Fiscal Year 2015: ¥1,300,000 (Direct Cost: ¥1,000,000、Indirect Cost: ¥300,000)
Fiscal Year 2014: ¥1,820,000 (Direct Cost: ¥1,400,000、Indirect Cost: ¥420,000)
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| Keywords | 西洋音楽史 / 19世紀 / リスト / 編曲 / オペラ / ピアノ・レッスン / オペラ編曲 / １９世紀 / 音楽文化史 / ピアノ編曲 |
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| Outline of Final Research Achievements |
Among many which Franz Liszt (1811-86) transcribed for piano, operatic excerpts which amounts to 70 occupy a special position. This study dealt with Liszt’s transcribing of opera which were taken up almost continuously over a period of half a century.
First, the study paid special attention to so far very complicated and ambiguous terms, “Arrangement,” “Transcription,” and “Piano Score (Partition de Piano),” all of which originate from Liszt himself. By examining each concept of them and suggesting various types of transcribing based on these terms, it became evident that Liszt used a certain type for a particular period of time. Second, the study examined the meaning and the significance of Liszt’s operatic transcriptions as a genre, in his life as a composer, in the history of arrangement, or in 19th-century music life, respectively.
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