紀要論文

紀要論文

text

阪大音楽学報. 2021, 18, p. 65-88

日本語

text

2021-10-12

This paper discusses Monodies of Charles Koechlin (1867－1950), a less known French composer. Koechlin’s monodie consisting of a melody without any accompanying parts is one of his composing style after 1930’s, and focusing this characteristic genre, the author tries to cast a new light on the ties between Koechlin and french musical world at that time. From the historical view, monodie as a song format was established in Italy in the late 16th century and the humanists appreciated it as relating ancient Greece. In Koechlin’s writings, monodie is related not only to ancient Greece, but also to the plainsong and the traditional folksong. Examining his career, what stimulated him into monodie can be seen from four points of view : the musical trend of his time, returning to melody, admiration for ancient Greece, and his political attitude. All of these led him to a simple melodic concept, and it suggests that his monodies represent his aesthetic of simplicity. However, the analyses show that they have, far from simple, so various contents that one can see no proper natures in them. Therefore, being comprehensively various is the essence for their part, and each monodie exists as a milestone proving what monodie can achieve. On the contrary to this genuine artistic purpose, Koechlin’s monodie also implicates that french music inherits orthodoxly the art of ancient Greece, ancestor of Europe civilization, and that Koechlin himself stood upon the frontiers of the legitimate history of music. This logic makes french music superior to the other European countries, especially German and Italy. The case of monodie shows how the arts or artists are controlled by Contemporary ideology.

10.18910/98484

98484

シャルル・ケクランのモノディー

佐藤, 馨

大阪大学文学部・大学院文学研究科音楽学研究室

日本語

2021-10-12

阪大音楽学報

18

65

88

https://hdl.handle.net/11094/98484

10.18910/98484

https://doi.org/10.18910/98484