@article{oai:ir.kagoshima-u.ac.jp:00010880,
 author = {梅林, 郁子 and Umebayashi, Ikuko},
 issue = {2},
 journal = {研究論文集－教育系・文系の九州地区国立大学間連携論文集},
 month = {Mar},
 note = {I examine the diferences between Vols. I and II of Hugo Wolf's ltalian Songhook, and the development of the lieder in his later years. I categorise Wolf's compositions into three periods and show how his creative process in composing melody lines seems to change in the third period. His use of single repeated notes in his lieder peaked in Vol.Ⅰ.Although Wolf's use of single repeated notes was a big component in the formation of his declamatory lieder, in Vol.II, the use of single repeated notes reduced. The types of melody lines without single repeated notes were divided into three main categories: types of scale, sequences of two or three notes, and the zigzag pattern. The types of scale reduced from Vols. I to Ⅱ but increased in his last six lieder.Moreover, the sequences of two or three notes vanished in these lieder, although the zigzag Pattern continued with the exception of Michelangelo Lieder-composed as as his last songs. In the third period, he began to attempt new techniques, and there was a clear departure to melody lines combining different notes and types of scales･},
 title = {Types of melody lines in Hugo Wolf's lieder : Transition from the Italian Songbook to lieder composed in his later years},
 volume = {5},
 year = {2012},
 yomi = {ウメバヤシ, イクコ}
}