As a rule in the 17th and 18th centuries musicians used to play not only the "written down" note, but extemporaneously added ornaments, arpeggios, and rhapsodic phrases. Because they themselves were composers, they also noted music just roughly, not in great detail. Therefore only in the course of playing, music emerged as it should be. But what exactly did they do in the process of performance? In this paper I will focus on the harpsichord playing, and would like to make clear that "good" playing would be "fantasying" with "discretion". For that purpose I will examine the works with "written out improvisations" by German keyboard player J. J. Froberger (1616-1667) and his contemporary keyboard schools, and analyze how players handle the keyboard in the process of playing. By doing this we can become aware of attempts to make the sound of the instrument more sonorous and find out various ways of devising through "economical" use of fingers by players themselves. But what we must take special notice of here is not only the technical treatments related to fingers and the instrument, but also players' appropriate judgement, which we can call "discretion". And if players, comprehending the style of the works and tailoring each performance suited to each occasion (when and where), have the collective strength of playing with this discretion, that is exactly "fantasying". The term "Fantasy" has been used to indicate player's flashes of genius, but in reality active "fantasying" is "good" playing.

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This paper examines the relationship between Alexander Scriabin's musical language and his philosophy by focusing on his late piano sonatas (Nos.6-10). In his Memoirs of Scriabin, Leonid Sabaneev quotes Scriabin, showing that this composer wrote sonatas of contrasting character: sacred or satanic. In light of this source and the theosophical creed to which Scriabin was devoted, the sonatas were analyzed by taking into account similarities found in them and his orchestral work Prometheus. As a result of the analysis, these sonatas can be divided into two groups according to their philosophical content. Nos.7, 8 and 10 form one group, and Nos.6 and 9 form the other. Sonatas Nos.7 (the "White Mass"), 8 and 10 share common techniques also seen in the Prometheus. In them, Scriabin imbues themes, motifs and harmonies with symbolic meaning, and, using suitable musical materials for the content of each scene, he expresses his theosophical cosmic view that "everything comes from, and returns to, the one being." In Nos. 6 and 9, however, harmonic progressions contrast sharply with those heard in Nos.7 and 8, and they reflect different content from the other three sonatas. Particularly in No.9 (the "Black Mass"), the analysis shows the content to be blasphemous: the sacred (the second theme) is desecrated by an evil spell (the first theme). While composing these sonatas, Scriabin was also mulling over his unfinished Mysterium. The writings of his brother-in-law, Boris de Schloezer, indicate that this ultimate work was to concern itself with the theosophical evolution of the universe. This is also the theme of sonatas Nos.7, 8 and 10, and the other two sonatas also have much in common with one scene of the work. Thus the significance of all five sonatas in the preparation for the Mysterium comes to light.

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　リストのピアノ編曲、《ベートーヴェンの交響曲 ピアノ・スコア》は、27 年の歳月にわたって―厳密には 1837 年と 41 年、そして 1863-4 年の二つの時期に―取り組まれた。1838 年にリスト自身によって書かれた編曲の理念表明は、 1840 年の第 5、6 番の出版譜序文として、原文の仏語とともに出版社による独訳で掲載された。そして 1866 年の全 9 曲出版の際には、日付のみが「1865 年」に変更されたその序文が一語一句変わらぬまま、再び版の冒頭を飾った。その四半世紀以上もの間、リストは本当にこれらの編曲に対する考えを変わらず維持していたのだろうか。本論は、それぞれの編曲成立の過程と取り組みの目的、そして手法を検証することによって、リストの編曲観は決して一様ではなく、これらの年月の間に大きく変化したことを明らかにする。

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「ゲネラルバスGeneralbass」は通常、16 世紀末から18 世紀後半までのドイツ語圏の西 洋芸術音楽において、実践的伴奏に必要な数字付きバスの記号やそれを使用した演奏を指 す、とされることが多い。しかし用語としてのゲネラルバスは19 世紀から20 世紀初頭に かけて長期間存在し続けたことで、その内容や使用法においては変化もあったはずである。 これについては最近までさほど議論されないままであり、19 世紀の和声とゲネラルバスは ほぼ同義として捉えられる場合もあった。たしかにこの時期に多く出版されたゲネラルバ ス教本の内容は多岐に渡っており、ゲネラルバスを定義するのは簡単ではない。しかし19 世紀のゲネラルバスは生きた音楽理論として実際に活用され続けており、現在研究が盛ん になりつつあるパルティメントの側面からも、無視できない重要な意義を持つと言える。
　本稿では19 世紀のゲネラルバスの概念と意義を、当時の音楽院の理論科目のあり方やゲ ネラルバス理論実践書の内容からその考えかた、目的、そして内容を整理し、明らかにした。 それは18 世紀からの鍵盤上の伝統を受け継ぎながら、和声理論的な側面を充実させ、最終 的には即興的な演奏を行うための理論的枠組みであった。

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Chez Brelet, la sonorite, qui se deploie dans le temps, se fonde sur la conscience et lui est matiere docile. La conscience cree une oeuvre musicale en organisant le temps reel par le moyen de cette matiere. Mais il faut que l'oeuvre possede une origine et une fin absolutes pour se suffire parfaitement. Pour cela, la conscience tient compte des aspects formels de la sonorite et la considere comme matiere formelle, et en fait la source de la forme temporelle de l'oeuvre. C'est-a-dire que la conscience applique les categories de causalite, de finalite et d'identite au deploiement temporel de la sonorite, pour que l'oeuvre musicale se replie sur elle-meme. L'objet principal de l'audition est donc la forme temporelle de l'oeuvre. Cette forme a la fois s'incarne dans le deploiement de la sonorite et se deploie dans ce silence qui est au fond de celle-ci. L'auditeur doit susciter la presence spirituelle de l'oeuvre pour entendre sa forme temporelle comme telle. Cet presence s'accomplit finalement quand la musique cesse de resonner. Or le temps musical, chez Brelet, est l'essence metaphysique du temps et c'est l'eternel present. Donc, ce temps qui s'ouvre sur l'eternite est revele dans le silence de l'oeuvre.

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There is a confusion about the school to which the heikyoku tradition in Nagoya belongs among some heikyoku players. The reason for the confusion lies in the fact that there are certain differences between the heikyoku in Nagoya and the Maeda school heikyoku tradition handed down by a family from Tsugaru.
Present Tsugaru tradition started with KUSUMI Taiso who learned heikyoku from the Maeda school master, ASAOKA kengyo Chosaiichi at the end of the Edo period. There was another heikyoku school called Hatano school which centered in Kyoto. Because of the many differences, it has been thought that heikyoku in Nagoya must belong to this Hatano school. But in considering the following four points, it is clear that Nagoya heikyoku belongs to the Maeda school: (1) the text; (2) the vocal melody; (3) the instrumental techniques and (4) the lineage of styles passed on from teachers to desciples.
(1) By comparing the actual vocal narration of the Nagoya school with the written text of the Maeda school and the Hatano school, the oral text in Nagoya is much closer to the Maeda school.
(2) The vocal melody of Nagoya heikyoku has more ornamental movements and complicated vocal techniques than Tsugaru heikyoku. This has been regarded as a characteristic of the Hatano school. But five-line staff notations of the Hatano school heikyoku from the Taisho period and that of Tsugaru heikyoku from the end of the Meiji period have clarified that Tsugaru heikyoku was more similar to Nagoya heikyoku. At the same time, Nagoya heikyoku has increased its ornamental movements since the 1960s, thereby increasing the melodic differences between Tsugaru and Nagoya.
(3) The second string of the biwa is tuned a major third above the first string in Nagoya, as was the biwa of the last blind heikyoku player of the Hatano school. On the other hand, it was tuned a minor third above the first string in the Tsugaru tradition until the 1960s. The documents on biwa from the Edo period show that the pitch of the second string was not always fixed and the Maeda school also used the major third. So the difference of the tuning does not mean there was a difference of the school.
Sawari sound is used for the biwa in Nagoya, but not in Tsugaru. A document from the Meiji period proves that sawari was used by the blind players of the Maeda school but not by the amateur players. So the existence of sawari does not mean that the Nagoya heikyoku belongs to the Hatano school.
(4) There was an innovation of the notation system by OGINO kengyo Chiichi/Tomonoichi in Nagoya at the end of the 18th century. As he learned heikyoku from both schools, Maeda and Hatano, it was uncertain which school he taught to the disciples in Nagoya. One source tells that OGINO regarded himself as a Maeda school player, while another shows that his desciple in Nagoya, NAKAMURA kengyo, taught the Maeda school heikyoku.
Therefore we can conclude that heikyoku in Nagoya belongs to the Maeda school.

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ワーグナーは、ドレスデンで《タンホイザー》を初演（1845年）してからパリでの上演のために改変（1860から61年）を行なうまでの間に、すでに4つの新しい舞台作品（すなわち《ローエングリン》から《トリスタン》まで）を完成していたが、若干の例外を除いて、当時彼はそれらの響きを実際に聴いたことはなかった。彼のパリでの改変の目的は、第１幕の最初の２場面を改めることと、いくつかのオーケストラ部分を加筆修正することであり、本論文ではこの点に着目し、パリで改変された《タンホイザー》の管弦楽法を他の総譜と比較しつつ分析を行ない、以下の特徴を明らかにした。 1.　 特にバレエ場面においては、激しく揺動する弦楽器のパッセージがつねに木管楽器やホルンによって重複されている。すでに《トリスタン》にも見られたこの技法は、彼の後期作品に典型的な特徴でもある。 2. 改訂された第2場の音楽は、「網目技法」や音色を漸次的に変化させる技法によって特徴づけられている。この技法は、ヴェ―ヌスの音楽のためだけでなく《マイスタージンガー》や《パルジファル》といった後の楽劇にも用いられている。また〈ヴェーヌスのアリア〉では、ソロ・ヴィオラとソロ・チェロのフラジョレット奏法による保持音と弦のトレモロ音形との組み合わせによる一風変わった響きが鳴り響くが、これは《ジークフリート》第2幕で再現されることになった。 3. 《指環》の最初の2つの総譜において試みられていた実験的な楽器の取り扱いや特別な音響効果を意図した管弦楽法が、バレエ場面と幕切れに再現されている。こうしたことは、ワーグナーがパリでの《タンホイザー》の上演を、《トリスタン》までに発展させた実験的な管弦楽法を、実際の音響として現実化するための好機と考えていたことを暗示している。そしてさらに、パリでの《タンホイザー》の経験は、彼の後期の創作に大きく作用をすることになったのである。

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　One unique feature of the piano is the continual decay of the sound after a key is pressed until the finger is lifted from the key. In this process, the sound from the piano attenuates the level while slightly changing the frequency structure.
　Further, when the pianist releases the key, but presses the forte pedal with the foot, the sound continues. The pianist can finely adjust the decay pattern that follows pressing a key by moving fingers and operating pedal. Thus, one of the major factors that can realize the expression of a brilliant piano performance is the decay of the sound itself, and the ability of pianist precisely control the characteristics of that decay to create a beautiful stream of sound. As shown in Fig.1, the dynamic characteristics of hearing greatly affect the perception of decaying sounds. The sound of a piano after a keystroke continues to attenuate, however, if the legato technique is performed with a finger held on a key or the forte pedal being pressed, the sounds played one after another will overlap. If dissonant sounds are generated over time, the sequence provides an unpleasant impression. If the decaying part of the preceding sound and the rising part of the following sound are superimposed, an acoustically dissonant sound is generated.
　Reflecting on the dynamic characteristics of hearing, due to the overshoot of the following sound, the decaying part of the preceding sound is masked, dissonance is not heard, and the melody progresses smoothly. Thus, it can be said that the variety of expressions from a piano is large because piano sound is a decaying sound, and the pianist skillfully adjusts attenuation patterns by using the dynamic characteristics of hearing.
　Dynamic characteristics of hearing can be investigated through psychophysical procedures under controlled conditions (Namba, S. 2013). However, it is not easy to describe the world of music in the heart, although this world is vividly expressed in excellent novels and essays. Research on the correspondence between the beauty of the sound of a piano in the world of the mind and as a precisely measured physical quantity is not highly remarkable. One reasons for this is the world of beauty in piano performances as depicted in novels is delicate, subtle and complex. Further, the physical quantities of piano sounds measured from various aspects are highly precise and complicated. Such complications are a barrier to finding psychophysical laws that reveal the relationship between the world of the mind and physical quantities.
　Historically, psychophysical measurements have not been benefical for assessing complex events. This is because of the difficulty in ensuring the reliability of experiments or in accurately controlling stimulus conditions in psychophysical experiments. In the case of a one dimensional attribute such as loudness, even if the physical quantity of sound is complex, it can be controlled by psychophysical methods. However, the tone quality that is an important attribute in the evaluation of piano sounds is multidimensional, and the physical quantity that affects the tone quality is also multidimensional. Therefore, it is not easy to find the psychophysical law between the two.
　If we can solve these problems, we should from the physical quantities, be able to correlate beautiful piano sounds that are described in novels. Not only that, it would be an important step on the path to elucidation the psychophysical relationships of complex events in daily life.
　Many studies on tone quality have been conducted in which target sound sources were selected to limit factors affecting the tone quality. Verbal expressions of tone quality, which is a multidimensional attribute, have been addressed also by selecting only a small number of adjectives. Further, statistical methods such as factor analysis were used in the selection process.
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