{"_buckets": {"deposit": "bb13a38b-4a2a-44fd-875a-cdc47877adff"}, "_deposit": {"created_by": 8, "id": "549", "owners": [8], "pid": {"revision_id": 0, "type": "depid", "value": "549"}, "status": "published"}, "_oai": {"id": "oai:shokei.repo.nii.ac.jp:00000549", "sets": ["51"]}, "author_link": ["1525", "1523", "1524", "1526"], "item_2_biblio_info_12": {"attribute_name": "書誌情報", "attribute_value_mlt": [{"bibliographicIssueDates": {"bibliographicIssueDate": "2021-07-30", "bibliographicIssueDateType": "Issued"}, "bibliographicIssueNumber": "81", "bibliographicPageEnd": "54", "bibliographicPageStart": "45", "bibliographic_titles": [{"bibliographic_title": "尚絅学院大学紀要"}, {"bibliographic_title": "Bulletin of Shokei Gakuin University", "bibliographic_titleLang": "en"}]}]}, "item_2_description_10": {"attribute_name": "抄録(日)", "attribute_value_mlt": [{"subitem_description": "本稿は「ロシアのクラシック音楽の理念をどう理解すべきか」という問いを論究する。天才作曲家とは、世界を見つめて「思索する音楽家」に他ならない。作曲するときに世界をのみこみ、音楽という言語でもって存在の深みを抑揚づけているのである。芸術作品にある深い意味や理念については、哲学の次元で掘り下げなければ見えてくるものではない。しかし必ずしも哲学的に研究すれば本質を捉えられるというわけでもない。研究法が大事である。そこで楽曲分析をめぐる研究法の学術論争に焦点を当て、音楽学と存在論を結びつける架け橋を探してみたい。キリスト教存在論の観点に立ち、その全一的な愛・徳・苦行・神成といった理想に照合してはじめて、ロシアの巨匠が書いた曲の意味が明らかになる。ロシア音楽哲学は、ひたすら「内なる人」に向かう点が他の哲学と異なる。神世界を除外して人間界を考えることはしない。ロシア宗教哲学と同じく「信じる理性」という大原則に支えられた哲学なのである。", "subitem_description_type": "Other"}]}, "item_2_description_15": {"attribute_name": "表示順", "attribute_value_mlt": [{"subitem_description": "18", "subitem_description_type": "Other"}]}, "item_2_description_2": {"attribute_name": "ページ属性", "attribute_value_mlt": [{"subitem_description": "P", "subitem_description_type": "Other"}]}, "item_2_description_8": {"attribute_name": "記事種別(日)", "attribute_value_mlt": [{"subitem_description": "論文", "subitem_description_type": "Other"}]}, "item_2_description_9": {"attribute_name": "記事種別(英)", "attribute_value_mlt": [{"subitem_description": 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