@article{oai:teapot.lib.ocha.ac.jp:00039432,
 author = {大迫, 知佳子 and OSAKO, Chikako},
 journal = {人間文化創成科学論叢},
 month = {Mar},
 note = {application/pdf, 紀要論文, François-Joseph Fétis (1784-1871), a well-known Belgian music theorist in the 19th century, formed his influential harmonic theory out of a critique of the theories claimed by his predecessors and contemporary thinkers. Both of his two major essays on harmony, Esquisse de l'histoire de l'harmonie considérée commeart et comme science systématique, and Traité complet de la théorie et de la pratique de l'harmonie, include his theory about the generative process of the supertonic seventh chord, and he insisted that the chord is a derivative form born from the inverted dominant seventh chord, combined with the ‘ modification' process, i.e., alteration of the constituent notes of a chord by substituting with or prolonging of the note(s) from the preceding chord in a harmonic progression. Furthermore, he severely criticized the theories of J. ‒P. Rameau and C. ‒S. Catel. Close reading of Fétis' arguments on this point reveals that there were at least three different explanations regarding this chord that coexisted in 19th century Europe. This brief study summarizes these three explanations of the supertonic seventh\
 chord, claimed by Fétis, Rameau, and Catel respectively, through analysis of Fétis' own arguments in his two major works mentioned above.},
 pages = {29--37},
 title = {フランソワ＝ジョゼフ・フェティスの和声理論におけるⅡ度音上の７の和音},
 volume = {13},
 year = {2011}
}