２－５．技法に関するコメント

図版CXIXはバルバトル作曲《ロマンス》の楽譜。五線譜Bが、18世紀に通常演奏に用いられていた楽譜で、装飾音や不等音符、休符の指示などは表記されていない。というのも演奏家であれば、そうした指示がなくとも自ら音楽的効果をつけて演奏することが出来たからである。演奏家が通常の仕方で音楽的効果を付した場合の詳細が五線譜A。しかしアングラメルはAに対し、装飾音の64分音符は速すぎるし、各音符の正確な音の長さも分からないとする。そこで、バルバトルの趣味に基づく音楽的効果の詳細をトノテクニーの原理によって表したものが、Bの各音符の上下に記された様々な記号である。そして図版CXX-CXXVIIIが、Bを元にシリンダーに釘を打つ位置を記した展開図。ここでは、全ての音符の実際の音の長さが、持続部（黒色）と無音部（灰色）で表されており、この黒色の部分に釘が打たれることになる。ここで想定されているのは図版XCIX（図版1）に示されたシリンダーで、直径89.1cm、円周280.125cm、長さの合計489.15cm。

S. Y.

2-5 Technical remarks

Plate CXIX shows the score of the Romance by Balbastre. The lower two staves (B) show the score as it was normally used by 18th century performers, that is, without (or with few) indications of ornaments, notes inégales or silent time between the notes. It was common at that time that a performer would add these things on the spur of the moment for each performance. The upper staff (A) shows how the ornaments would normally be explained in contemporary writings. But the sixty-fourth notes, Engramelle criticizes, are quicker than in real performances, and the exact length of each note is not indicated. For that reason, Engramelle uses the signs he had developed in his tonotechnie to show all these subtleties as they were applied in Balbastre’s performance. These signs are added above and below the single notes of the two lower staves (B). On plates CXX-CXXVIII (which are connected in one large panel in this exhibition), it is shown how the pins should be positioned on the musical barrel. Every note is shown by its musical value, but acoustically it is divided into two parts, sound (black) and silence (grey). Only the sounding part is to be set on the barrel. This piece was written for barrels, as shown in plate XCIX (in ex. 1), with a diameter of 89.1 cm or circumference of 280.125 cm, and a total length of 489.15cm.

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図版1