@article{oai:sakuranoseibo.repo.nii.ac.jp:00000191,
 author = {富山, 律子 and トミヤマ, リツコ and Tomiyama, Ritsuko},
 issue = {45},
 journal = {桜の聖母短期大学紀要, Bulletin of Sakura no Seibo Junior College},
 month = {Mar},
 note = {pdf, What gives birth to the rich sound of chamber music? In continuation of a previous article, the author will make an analysis and consideration of the second through fourth movements of Brahms’ Op.114. Previously, the writer analyzed the first movement. There, the combination of singing technique and technique in honing in on the quality of each other’s sound, derives and expresses the assimilated timbre of instruments having different tonal qualities. Sound develops timbre through the overlapping harmonics born from resonance. It is the author’s belief that the blending of resonances in chamber music is the result of musicians responding to each other’s sounds and sensitivities.
As Op.114 features the combination of a keyboard instrument, stringed instrument, and wind instrument, the essential tones of each instrument differ. From an analysis of the piece, it becomes clear that unison is frequently employed in Op. 114 during the delivery of melody and accompaniment among the instruments. Thus, this technique employed by Brahms prompts the instrumentalists to an awareness of the harmony produced by their overlapping sounds. This harmony becomes the rich tones of chamber music.},
 pages = {77--88},
 title = {室内楽における楽器間で織りなす共鳴に関する一考察（Ⅱ） : ピアノ演奏者からみるブラームスのクラリネット三重奏曲},
 year = {2021}
}