@article{oai:teapot.lib.ocha.ac.jp:00039595,
 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, The Esquisse de l'histoire de l'harmonie, considéréé comme art et comme science systématique of FÉTIS, François-Joseph (1784-1871), published in Paris in 1840, was highly evaluated as an excellent history research on musical theory. This work outlines the theories of Franco of Cologne, Rameau, Jean-Philippe (1683-1764), Euler, Leonhard (1707-1783) and many other theorists, and includes Fétis' own criticism against them. The aim of this study is to bring out Fétis' original ideas about harmony and its theory through an analysis of his criticism towards other theories in the Esquisse. It seems that his criticism represents his fundamental attitude towards the concept of harmony. Close examination reveals that Fétis showed three fundamental concepts as his own harmonic theory. Firstly, he classified consonance and dissonance in his own way. Secondly, he harshly criticized the way of explaining harmony only by overtone theories or mathematics. And thirdly, he suggested four stages of tonality: <unitonique>, <ordre transitonique>, <ordre pluritonique> and <ordre omnitonique>.},
 pages = {177--185},
 title = {フェティスの和声理論に関する一考察 : Esquisse de l'histoire de l'harmonie, consideree comme art et comme science systematiqueを中心に},
 volume = {10},
 year = {2008}
}