@article{oai:teapot.lib.ocha.ac.jp:00039360,
 author = {西田 諭子 and NISHIDA Satoko},
 journal = {人間文化創成科学論叢},
 month = {Mar},
 note = {application/pdf, 紀要論文, During the nineteenth century, as the harmonic axis of tonic-dominant, the essential characteristics of the Classical tonality, was gradually weakened, motivic association and repetition of particular pitches became to play increasingly important roles in achieving cohesion of a work. In this article, Chopin’s seven Polonaises are analyzed to examine the relations between repeated pitches and tonality. In most of the works discussed here, repeated pitches serve to create the structural cohesion of the work. However, there are also cases where repeated pitches function to weaken the structural centrality of the tonic, or juxtaposition of two repeated pitches in chromatic relationship polarizes tonality. Such expansion of structural functions of repeated pitches is a significant step in the history of tonality. And for Chopin, constructing a piece centering particular pitches seems to be essential compositional strategy. It is also worth mentioning that late Polonaises (op.44, 61) are good examples of temporary independence of the III tonality from the tonic, and “ tonal pairing”. They exemplify the tendency of deviation of tonality from a single governing tonic, in which the repeated pitches play a decisive role.},
 pages = {113--121},
 title = {ショパンのポロネーズにおける強調音の構造的機能と調性との関係},
 volume = {15},
 year = {2013}
}