@article{oai:osaka-shoin.repo.nii.ac.jp:00002905,
 author = {山崎, 晃男 and ヤマザキ, テルオ},
 journal = {大阪樟蔭女子大学人間科学研究紀要},
 month = {Jan},
 note = {P(論文), 音楽美学では,音楽の意味を音楽の形式そのものに求める立場と音楽の意味を音楽がもたらす感情に求める立場との間で長い対立の歴史がある。本論文では,心理学的立場から,その両方の意味の存在を認める必要性があることを指摘した。その上で,演奏者の意図として,形式的意図と感情的意図の2つを区別し,各々の意図の表現と伝達に関わる音楽心理学的研究についてのレヴューを行った。, There is a long history of argument about musical meaning in musical aesthetics. One thinks that musical meaning comes from musical form itself, whereas the other believes that musical meaning relies on the emotional meaning. In this paper, after such argument was surveyed, it was pointed out to need to accept both meanings of music from psychological point of view. Then, it was proposed to discriminate two types of performer's intention, that is formal intention and emotional intention, and music psychological studies on each intention were reviewed.},
 pages = {128--135},
 title = {演奏者の意図の表現と伝達について},
 volume = {6},
 year = {2007}
}