@article{oai:do-bunkyodai.repo.nii.ac.jp:00000853,
 author = {西野, 美穂 and Nishino, Miho},
 issue = {22},
 journal = {北海道文教大学論集, Journal of Hokkaido Bunkyo University},
 month = {Mar},
 note = {シューベルト（Franz Schubert 1797-1828）の作曲活動のなかで，ピアノ連弾曲は生涯にわたって作曲された．それらは内容，規模ともに多岐にわたり，現在でも愛奏されているものが多い．本稿ではシューベルトの死の年1828 年に作曲されたピアノ連弾作品「幻想曲　D940」の分析を中心として，彼の最晩年にみられた新たな作曲様式の試みと，本作品が生まれた背景を考察する．また，本作品をプリモ（第1 奏者），セコンド（第2 奏者）ともに演奏実践を試みた筆者の経験をもとに，演奏上の技術的な問題点を考察する．, Franz Schubert (1797-1828) composed many piano pieces for four-handed performances throughout
his life. They vary, both in content and scales, and many of them are still played by those who love music. I intend to explore the composition styles he attempted in his later years, and the context of these efforts, by analyzing the four-handed piece, “Fantasie D940” written in 1828, the year in which he died. Furthermore, I am going to examine this work from a technical viewpoint based on my own experience as a 1st player as a 2nd, as well.},
 pages = {45--55},
 title = {シューベルト最晩年のピアノ連弾作品について ─ 幻想曲　Op.103 D940　ヘ短調を中心として ─},
 year = {2021},
 yomi = {ニシノ, ミホ}
}