The effect of the agogic on F. Chopin's piano performance : example of Chopin’s 24 Preludes Op. 28

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  • F.ショパンのピアノ演奏におけるアゴーギクの効果 : 24の前奏曲 作品28を例として
  • F. ショパン ノ ピアノ エンソウ ニ オケル アゴーギク ノ コウカ : 24 ノ ゼンソウキョク サクヒン 28 オ レイ ト シテ

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In Chopin's (1810-1849) piano performances, the agogic is considered indispensable. This is because unlike the dynamic and expressive notations used in all scores, in the process of actually playing the agogic approach imagines the sound the composer sought through music analysis and interpretation, and produces a performance related to the minute changes of speed, in the relative lengths of the notes, and the sound value produced by the performer himself. In this research, by conducting a practical examination of performance interpretation that can be read from the score and rendition style of 24 Preludes Op. 28, it was found that Chopin wrote the fine notation and characteristic harmony using the agogic rendition style necessary for realizing them as sounds; from which was derived the cause of the occurrence and an effective performance method.

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