1 平成24年度組織的な若手研究者等海外派遣

平成２４年度組織的な若手研究者等海外派遣プログラム
帰国報告書（研究留学）
提出日：平成 25 年 2 月 22 日
フリガナ
氏
名
派遣先名
（国名）
オオサコ
チカコ
所属
大迫 知佳子
大学院人間文化創成科学研究科 研究院研究員
ブリュッセル自由大学（ベルギー）
(日 本 出 発 日 )
派遣期間
研究テーマ
（日本到着日）
平成 24 年 9 月 28 日
～
平成 25 年 2 月 10 日
19 世紀初期のベルギーにおける諸和声理論と自然科学の関係
－ジェローム＝ジョゼフ・ド・モミニおよびフランソワ＝ジョゼフ・フェティスの理論に焦点をあてて－
①
生活や研究の達成度などの総括
派遣期間中に行った研究活動は、中間報告書にて報告した以下の 4 点、つまり、①ベルギー王立図書館、
ブリュッセル王立音楽院附属図書館における資料調査・分析、
②仏語論文の作成、③受け入れ教員及び研究協力者との面談、
④研究所主催の会議等への参加、に加え、⑤VUB（ブリュッセ
ル自由大学 / オランダ語圏）の物理学者との面談、⑥ベルギー
研究会へ参加の 6 つである。以下に中間報告書以降 1 ヵ月間で
新たに行った活動の詳細を示す。
①’ 受け入れ教員からの助言を踏まえ、19 世紀初期ドイツの音
楽理論（Stufentheorie）及び 18 世紀フランスの音楽理論を研
究の背景として考慮した。その結果、モミニ（自然
写真 1 ブリュッセル自由大学研究室
科学に基づく理論/絶対的）とフェティス（歴史に基づく理論/相対的）という 2 者の対立は、18 世紀フラ
ンスの理論家ラモー（自然科学に基づく理論/絶対的）とルソー（自然科学に基づく理論/相対的）の対立
関係と類似しながら展開し、リーマンへと受け継がれたことが判明した。また、モミニ及びフェティス理
論の基礎に共通して見られる organisation humaine の概念は、モミニとフェティス理論の基礎における二
面性を示唆していることが明らかとなった。
②’ 3 部構成のうち、第 2 部までのネイティブチェックを終えていたが、研究内容に①’の視点を加えたこと
からフランス語論文の大幅な改稿に着手した。
③’ ＋⑤ 2 月 5 日には Corten 教授、2 月 8 日には Dufour 教授とそれぞれ面談を行った。また VUB の物理学
研究者（馬渡健太郎氏）と同大学にて面会し、本研究に関する説明を行った。
④’ 研究プロジェクト “Culture, Mobilité, Territoire : émergence de l’identité métropolitaine à Bruxelles. 18e-21e
siècles” に関する第 2 回講演会（本研究所にて 1 月 30 日に開催）に出席した。
⑥神戸大学に事務局を置く「ベルギー研究会」の定例研究会（神戸大学ブリュッセルオフィス）に参加した。
同研究会は 2 部構成となっており、第 1 部は研究発表、第 2 部はブリュッセル王立音楽院でのコンサート
であった。なお、報告者は、同研究会発行の会報において本コンサートに関する記録を担当する。
同じく中間報告書にて報告を行った滞在許可書は、最終的に「緊急手続き」として 150 ユーロを支払い、
帰国 4 日前に入手した。また、帰国前 2 週間は、共同洗濯機が故障したため手洗いで洗濯を行った。これ
ら 2 つの出来事と、それに係る諸手続きが、数あるカルチャーショックの中でもっとも印象的であった。
4 ヵ月余りの滞在期間中、大きな怪我や病気もなく計画通り研究を遂行できたのは、ブリュッセル
自由大学教授陣、研究協力者、お茶の水女子大学の諸先生方、同大学事務の方々、そして日本から私を支え
てくれた夫と家族のお陰である。ここに深く感謝の意を表し、研究生活の総括とする。全体の達成度は、研
究の結果新たに山積した課題を考慮し、85%とする。
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②
氏名：
大迫 知佳子
1. My research plan
1． Clarification of Momigny’s harmonic theory based on acoustics
Momigny’s harmonic theory
Clarification of
Momigny’s musical thoughts
(expressed in his theoretical writings)
2．Examination of the musical ideas of Momigny’s contemporary thinkers toward natural science
Contextualization of Fétis’ musical thoughts as a natural science
(expressed in his theoretical writings)
3．Examination of how 19th century Belgian theorists prepared the way for Riemann’s natural scientific theory
of harmony, and the dawn of the modern natural scientific theories of harmony
2. Report on research activities
2-1. Clarification of Momigny’s harmonic theory based on acoustics / natural science
Momigny’s theory of harmony was examined through a detailed analysis of his writings, which
included Cours complet d’harmonie et de composition: d’après une théorie neuve et générale de la
musique (1806), La seule vraie théorie de la musique utile à ceux qui excellent dans cet art comme à
ceux qui en sont aux premiers élémens, ou moyen le plus court pour devenir mélodiste, harmoniste,
contrepointiste et compositeur (s.d.), Réponse aux observations de M. Morel, ou à ses attaques contre la
seule vraie théorie de la musique (s.d.), and Exposé succinct du seul système musical qui soit vraiment
fondé et complet; Du seul système qui soit par-tout d'accord avec la nature, avec la raison et avec la
pratique (1808). Close examination revealed that according to Momigny, music was based on two
elements: nature (la nature) and our human organization (notre organisation humaine). In particular,
his theory was related to the natural sciences, in the following ways. (1) He took a sonorous
single-string (un monocorde) G as the chord generator. In other words, he explained the nature of
harmony in terms of acoustics. (2) He stated that a melody was produced from chords (which were
based on nature); therefore, he did not regard Greek music as the origin of his theory because it was
said that there were no harmonies in the Middle Ages. (3) He defined musical cadence as a law of chord
progressions, according to the unity (l’unité) and variety (la variété) produced by nature. (4) He
explained tetra-chords in terms of harmonies that were related to our planetary system.
Momigny’s theory was also based on the social conceptions of this time, especially as related to
familial hierarchy and politics. For example, he considered the 24-tone systems as aristocratic
republics reigned by 24 kings.
The details of his theory were further examined, such as his justification for minors and his concepts
of scale (gamme), tone (ton), and tonality (tonalité). His theory was unique in the following ways: (1) it
was freed from the “fundamental bass” of Rameau, (2) he compared his theory to the political
hierarchy, (3) he placed the C, not the F, in the center of the tetra-chord, and (4) he included 27 notes in
C-major, which were, in ascending order: F, C, G, D, A, E, B : F#, C♯, G♯, D♯, A♯, E♯, B♯, F+, C+,
and G+; and in descending: B, E, A, D, G, C, F : B♭, E♭, A♭, D♭, G♭, C♭, F♭, B♭♭, E♭♭, and
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氏名：
大迫 知佳子
A♭♭.
2-1+. Clarification of the connection between Momigny and politics
Following the advice of Professor Corten, the connection between Momigny and politics was examined
through an analysis of earlier research, in particular of «Communication: Un grand théoricien belge
méconnu de la musique : Jérôme-Joseph de Momigny (1762-1842)» in Bulletin de la classe des
beaux-arts (1966) written by Jaques Chailley, Harmonic tonality in the music theories of
Jérôme-Joseph Momigny 1762-1842 (2001) by Glenn Caldwell, « Contribution à la connaissance de J.
–J. de Momigny, » in Recherches sur la musique française classique (1967) by Albert Palm. According to
this research, it was verified that Momigny had been politically active in his early adult life.
2-2. Examination of the musical ideas of Momigny’s contemporary thinkers toward
natural science
The various ideas of his contemporary thinkers in relation to “natural science,” such as those of
Fétis, were outlined through an analysis of their own writings, for example, Esquisse de l’histoire de
l’harmonie considérée comme art et comme science systématique (1840) written by Fétis, Observations
sur la seule vraie théorie de la misique de M. de Momigny (1822), and Principe acoustique nouveau et
universel de la théorie musicale, ou musique expliquée (1816) by Alexandre-Jean Morel, a
mathematician in early 19th century France. The ideas were also reviewed through an analysis of
earlier research, for example: “Nineteenth-century harmonic theory: the Austro-German legacy,” in The
Cambridge history of Western music theory (2001) written by David Bernstein (on the theories of Vogler, Weber, and
Riemann), “Dualist tonal space and transformation in nineteenth-century musical thought,” in The Cambridge history
of Western music theory (2001) by Henry Klumpenhouwer (on the theory of Riemann), “Choron, Fétis, and the
theory of tonality,” in Journal of music theory (1975) by Bryan Simms, and others.
The musical ideas of Fétis were re-examined through a reading of my doctoral thesis, in which I
showed that Fétis’ theory was not based on natural science. Fétis claimed that harmony is dependent
on one’s nationality (or culture), that theories regarding it should be understood through the cultural
and historical background of each nation, and that harmonies and melodies are based on the same law,
the law of human organization (notre organisation humaine).
2-2+. Examination of the musical ideas of the thinkers in 18th century France toward
natural science
Following the advice of Professor Corten, the musical ideas of the thinkers in 18th century France,
especially those of Rameau and Rousseau, were examined by reference to Traité de l’harmonie (1722)
written by Rameau, The musical thoughts of J. –J. Rousseau (2002) by Yoshihiro Naito, Élémens de
musique, théorique et pratique, suivant les principes de M. Rameau (2012) by Jean Le Rond d’Alembert
(translated to Japanese by Chikako Katayama, Tomoko Yasukawa, and Nahoko Sekimoto), and others.
Through a detailed readings of these texts, comparisons of the theories of Momigny and of Fetis and
those of Rameau and of Rousseau were reviewed ( Fig. 1).
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氏名：
大迫 知佳子
Fig. 1 Comparison of Rameau vs Rousseau with Momigny vs Fétis
Rameau
Rousseau
based on the rationalized nature
based on the untouched nature
superiority of harmonies
superiority of melodies
universality of harmonies(or theory of music)
relativity of harmonies(or theories of music)
based on auditory organs
based on the sensation
based on a sonorous body
based on a single-string C
Momigny
Fétis
based on one only nature
not based on nature
superiority of harmonies
they are based on the same law
universality of harmonies(or theory of music)
relativity of harmonies(or theories of music)
not based on auditory organs
not based on auditory organs
based on a single-string G and our human our human organization
organization
2-2++. Examination of the concepts of “our human organization” by Momigny and Fétis
According to professor Corten, the concept of human organization has two meanings: (1) the
organization of a society and that of a group, and (2) the harmonious organization of the physical
human body. Judging from the context, Momigny probably used the phrase “human organization” in
both senses. On the other hand, Fétis used the word in the sense of (2).
As a result of the discussions with professor Dufour, it would seem that Fétis’ concept of “our human
organization” conceals ambivalent implication of his theory (as understood in the context of the cultural
and historical background of each nation) as the word meant “the harmonious organization of the
physical i.e., scientific and universal human body .
On the other hand, it would seem that Momingny’s concept of “our human organization” also conceals
an ambivalent implication, as the two meanings include the word as related to politics or relativity (1)
as well as to science and universality (2).
2-3. Examination of how 19th century Belgian theorists prepared the way for Riemann’s
natural scientific theory of harmony, and the dawn of the modern natural scientific
theories of harmony
This section addresses how 19th century Belgian theorists prepared the ground for Riemann’s
scientific theory of harmony which represents the dawn of modern scientific theories of harmony.
In 19th century Belgium, it seems that there were two different traditions of musical theory: (1) a
scientific and universal theory, which does not change according to nationality and which is based on
the natural scientific law, and (2) a theory which transforms according to each nation or each cultural
history. However, the “scientific theory of Momigny versus the non-scientific theory of Fétis” should be
revised through an examination 2-2++.
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氏名：
大迫 知佳子
It is clear that Riemann was influenced by the theory of Momigny (« Vers la même époque, Momigny
était découvert par Hugo Riemann, qui lui rendait en 1904 un hommage enthousiaste dans la revue Die
Musik et le revendiquait comme son prédécesseur en lui décernant le titre, recopié depuis lors dans
tous les dictionnaires, de « père de la théorie du phrasé » . Chailley 1966: 97). Our four months of
research has elucidated the transformation of the theories based on scientific universal law (18th
century) to these based on ambivalent law (19th century), i.e., the transformation from scientific
universal law to social or historical relative law. The transformation prepared the ground for modern
theories that emerged in the following two centuries. The results of this research will be published in
Revue belge de musicologie.
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