Updated on 2024/12/22

写真a

 
MATSUO, Risa
 
Affiliation
Affiliated organization, Waseda Institute for Advanced Study
Job title
Assistant Professor(non-tenure-track)

Research Experience

  • 2024.04
    -
    Now

    Waseda University   Institute for Advanced Study   Assistant Professor

  • 2024.04
    -
    Now

    Université Sorbonne Nouvelle   Centre d'Études et de Recherches Comparatistes - EA 172   Chercheuse associée

  • 2022.09
    -
    2024.03

    Université Sorbonne Nouvelle   Centre d'Études et de Recherches Comparatistes - EA 172   JSPS - Overseas Research Fellow

  • 2018.04
    -
    2021.03

    Hitotsubashi University   Graduate School of Language and Society   JSPS - Postdoctoral Fellow

  • 2010.04
    -
    2013.03

    The University of Tokyo   Graduate School of Arts and Sciences   JSPS - DC1 Fellow

Education Background

  • 2010.04
    -
    2018.03

    The University of Tokyo   Graduate School of Arts and Sciences   Interdisciplinary Cultural Studies  

    PhD in Comparative Literature and Culture

  • 2012.09
    -
    2013.08

    Uniwersytet Warszawski   Instytut Muzykologii  

  • 2010.09
    -
    2011.08

    Uniwersytet Warszawski   Instytut Muzykologii  

  • 2008.04
    -
    2010.03

    The University of Tokyo   Graduate School of Arts and Sciences   Interdisciplinary Cultural Studies  

    MA in Comparative Literature and Culture

  • 2004.04
    -
    2008.03

    Keio University   Faculty of Letters   Department of Humanities and Social Science (Philosophy)  

    BA in Aesthetics

Committee Memberships

  • 2024.04
    -
    Now

    WIAS Research Bulletin (Waseda Institute for Advanced Study)  editorial board member

  • 2018.04
    -
    2020.03

    ONGAKUGAKU: Journal of the Musicological Society of Japan  editorial secretary

Professional Memberships

  • 2017.04
    -
    Now

    The Japan Society for the Study of Slavic Languages and Literatures (JSSSLL)

  • 2012.04
    -
    Now

    International Comparative Literature Association

  • 2012.04
    -
    Now

    Japan Comparative Literature Association

  • 2007.04
    -
    Now

    The Musicological Society of Japan

Awards

  • The 25th Japan Comparative Literature Association Award

    2020.11   Japan Comparative Literature Association  

    Winner： Risa Matsuo

  • 2018-19 Encouragement award of the Japan Society for the Study of Slavic Languages and Literatures

    2020.06   Japan Society for the Study of Slavic Languages and Literatures  

    Winner： Risa Matsuo

 

Papers

  • International Workshop: Comparing "Comparative literature"－Japan, Germany, France and the world

    Risa Matsuo (Ed.), Stefan Buchenberger, Hiroaki Daimon, Tugce Beycan, Tomohiro Kambayashi

       2024.06  [International journal]  [International coauthorship]

    Authorship：Corresponding author

  • “Fantaisie” by Fryderyk Chopin: A Study on the Relationship with French and Polish Literary Works

    MATSUO, Risa

    Research Report of Tokyo Section (Japan Comparative Literature Association)   20   2 - 10  2024.03  [Refereed]  [Domestic journal]

    Authorship：Corresponding author

  • Aspekty dramatyzacji w balladach Fryderyka Chopina w odniesieniu do form romantycznej ballady literackiej

    Risa Matsuo

    Litteraria Copernicana   43 ( 3 )  2022.11  [Refereed]  [International journal]

    Authorship：Corresponding author

    DOI

  • Paroles et musique pour Lutosławski : article illustré par des poèmes de Iłłakowiczówna

    Risa Matsuo

    Slavia Iaponica = Studies in Slavic languages and literatures   ( 24 ) 77 - 103  2021.05  [Refereed]

    Authorship：Corresponding author

    　View Summary

    L’objectif de cet article est de clarifier la pensée de Witold Lutosławski (1913−94) sur la relation entre paroles et musique en analysant ses mélodies composées pour les poèmes polonais de Kazimiera Iłłakowiczówna (1892?−1983) à la fois du point de vue de la poétique et de la composition.
    Dans les œuvres vocales de Lutosławski, deux langues sont principalement utilisées : le polonais et le français. Il a surtout employé les textes polonais dans les chansons comprenant des éléments folkloriques ou dans les chansons pour enfants alors que les textes français ont été utilisés dans les œuvres vocales adoptant de nouvelles techniques musicales depuis les années 1960. Et juste à leur charnière, il existe l’œuvre 5 pieśni do słów Kazimiery Iłłakowiczówny (5 chansons en paroles de Kazimiera Iłłakowiczówna) créée en 1957 après le « dégel » en Pologne.
    Les poèmes d’Iłłakowiczówna sont caractérisés par les styles de ballades romantiques ou de contes de fées, l’application des thèmes de la littérature fantastique folklorique et simultanément, par l’abandon innovant des formes traditionnelles. Lutosławski a choisi 5 poèmes pour sa composition dans son recueil de poèmes Rymy dziecięce (Rimes pour enfants). Il a appliqué ici le dodécaphonisme et a introduit les « accords-agrégat » comme sa propre technique. Les études précédentes se sont trop attachées à ces « accords-agrégat », de sorte qu’elles n’ont pas prêté suffisamment attention à la façon dont il traitait le caractère des mots, les textes polonais d’Iłłakowiczówna, pour ses mélodies.
    Ainsi, cet article fera d’abord référence aux remarques de Lutosławski sur les mots, les textes, les langues et sa musique, puis analysera les poèmes d’Iłłakowiczówna Morze (La mer) et Dzwony cerkiewne (Les cloches de l’église orthodoxe) utilisés dans ses œuvres vocales d’un point de vue poétique. Ensuite, dans l’analyse de la composition de Lutosławski, nous examinerons comment le compositeur réagit à la technique (paronomase, éléments prosaïques, instrumentation etc.) de ces deux vers libres. Par cette analyse comparative, nous conclurons que les particularités partagées de deux langues (le polonais et le français) sont incluses dans l’idéal musical de Lutosławski, et que sa correspondance avec les textes polonais pourrait se connecter avec les œuvres vocales du français après les années 1960.

  • Fryderyk Chopin and Stefan Witwicki

    Risa Matsuo

    Slavia Iaponica = Studies in Slavic languages and literatures   ( 22 ) 115 - 125  2019.04  [Invited]

    Authorship：Corresponding author

    　View Summary

    This study aims to elucidate the ways in which the poetic rhythm of the Polish language influenced Fryderyk Chopin’s (1810–1849) compositional choices in his song settings of poems by Stefan Witwicki (1801–1847). Witwicki’s poetry often pertains to local themes and poetic rhythms. Chopin set 10 poems by Witwicki to music. Most of the poems with trochaic scansion he set as a Dumka, which is a duple-meter folksong style that originates in the Ukraine. On the other hand, Chopin set as a Mazurka the 3 poems the use trochee, amphibrach, peon III and dactyl feet. Only in Życzenie did he use a mixed style blending the Mazurka and Waltz. The mazurka is a Polish folk dance from the Mazowsze region, and it has simple triple meter and its accents often occur not on the first but on the second or the third beats. Analyses of these songs reveal that Chopin responded sensitively to the rhythms of the Polish words and composed the music so as to fit such rhythms strictly.
    In the conclusion I discuss what was “Polish” music in Chopin’s compositions. In reality, Chopin wrote not only Polish folk music but he also composed songs that referenced musical styles connected with non-Polish styles such as ones originating in present-day Western Ukraine, which belonged politically to Poland until 1795. As a result of my research, I now think about the possibility that Chopin’s “Poland” was, in this sense, an amalgamation of different musical styles and cultures from wider Slavic regions beyond Poland.

  • Chopin's poetics : a comparative analysis of musical form and Polish literary construction

    Risa Matsuo

       2018.03

    DOI

  • Requirements of a “Ballade for Piano” : A Study of the New Genre Created by Chopin

    Risa Matsuo

      6   264 - 284  2016.03  [Invited]

    Authorship：Corresponding author

    DOI

  • Z gor, gdzie dzwigali : Chopin's Song Interpreted by the Poem of Krasinski

    MATSUO Risa

    ONGAKUGAKU: Journal of the Musicological Society of Japan   61 ( 1 ) 16 - 34  2015  [Refereed]

    Authorship：Corresponding author

    　View Summary

    According to the Polish National 2008 Edition, all the 18 known songs by Fryderyk Chopin (fragments contained in the supplement not counted) are based on lyrics by Polish poets. Among them, his last song composition, Z gor, gdzie dzwigali (Bowed 'neath their Crosses), based on a poem by Zygmunt Krasinski, seems to be the most difficult, but also the most creative vocal work of the composer from both poetic and the musical techniques. This study aims to elucidate the relation between Chopin's composition and Polish poetics by analysing Z gor, gdzie dzwigali as an example. First, the style of Krasinski's poetry is characterized within the context of his biography. He was born in 1812 as a son of a General. His agony of the conflict between his father's support to the Russian Imperialism and Krasinski's Polish patriotism produced the ideas of 'early socialism,' 'redemption' and 'classical elements,' which became important components in his texts. Based on these factors, the poem Z gor, gdzie dzwigali is analysed in comparison with his epic Ostatni (Last Man), which contains the poem as the preface, and in comparison with Chopin's music. Moreover, this song and the peculiar relationship between Chopin and Krasinski is also illuminated in relation to Delfina Potocka, who was not only the dedicatee of this song but also a key person for both artists. The musical analysis shows Chopin's creative method of harmony in connection with the poem's narrative elements. Chopin's frequent use of a series of major thirds seems to represent Krasinski's sublime world symbolized by heavenly ray and the promised land. Such narrative strategies may also relate to other works of the composer, namely, the four ballades.

    DOI CiNii

  • Styl literacki i struktura muzyki Chopina: w poszukiwaniu nowej metody analitycznej

    Risa Matsuo

    Interdisciplinary Cultural Studies   17   105 - 120  2012.11  [Refereed]  [Domestic journal]

    Authorship：Corresponding author

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Books and Other Publications

  • Chopin’s Poetics - From Literary Ballade to Piano Ballade

    Risa Matsuo( Part： Sole author)

    2019.02 ISBN: 9784622087595

    　View Summary

    This book clarifies the meaning of the ballade genre of music for solo piano created by Fryderyk Chopin (1810–1849), focusing on the relationship between his compositional technique and Polish literature (poetics in particular).

    The origin of this research was an investigation into the style of letters written by Chopin. Almost all of his childhood letters are written in Polish and in fact the style often resonates musically, continually rhyming and beating out a certain rhythm. Could Chopin’s Polish style, with its nonsense and humor, have had a direct bearing on his musical inspirations and creations? His work includes songs (melodies and accompaniments for Polish lyrics) and pieces for solo piano given the poetic title of his Ballades (the term ballade originally referred to a literary genre of narrative poem, and Chopin was the first person in Western musical history to use this term as the title for pieces for solo piano).

    Part 1, therefore, examines Chopin’s songs. Chopin was extremely close to some Polish poets (e.g., Witwicki, Zaleski, and Mickiewicz), and continued to write music set to their work throughout his life. This book carefully considers the structure of the poems, tendencies in the poets who wrote them, and their relationship to Chopin, with reference to Chopin’s own Polish style (as mentioned above). Chopin’s songs are analyzed on the basis of this consideration. As a result of this analysis, it became clear how Chopin composed his works with a recognition of the genius of the poets and the artistry and unique features of each poem.

    In other words, Chopin was possessed of the ability to grasp Polish literary works structurally and theoretically, and to express that understanding in music. If one pays attention to this hitherto unrecognized aspect of Chopin, it becomes possible to point out more precisely the meaning of the title Ballade used for his famous piano pieces, the literary significance of which has never been clear. Part 2 analyzes all four of his Ballades (Op. 23, 38, 47, and 52) from this perspective. Numerous literary ballades that emerged in Poland during Chopin’s era are analyzed here, and their structural features are compared to those of Chopin’s four Ballades. As a result, it ultimately became clear that his Ballades can be established as a genre and, moreover, that they have a generally parallel structure with the ballades of Polish literature. This conclusion will be useful for any pianists who have struggled to interpret Chopin’s Ballades.

    Chopin has already come to be called the “poet of the piano,” but this was only intended to mean that he was a composer of sentimental salon-style piano pieces. However, according to the conclusion of this book, he is not a “poet of the piano” in that sense. As the first study in the world addressing Chopin from an interdisciplinary perspective that combines poetics and musicology, this book highlights Chopin as the “poet” of the piano in a real sense, distinct from the previous meaning.

Presentations

  • Rethinking the novel from the perspective of modernity

    (Maison Suger (Fondation Maison des Sciences de l'Homme))  Risa Matsuo (Waseda University), Lina Guo (Sun Yat-sen University)

    Event date：
    2024.06
    　
    　

  • Trois Fantaisies de Frédéric Chopin : Une inspiration des œuvres de George Sand et d'Adam Mickiewicz

    Risa Matsuo

    Colloque international : Cercle romantique. Les héros français et polonais en dialogue  (Bibliothèque Polonaise de Paris, Musée Maison de Victor Hugo, Ambassade de Pologne à Paris)  The Fryderyk Chopin Museum

    Presentation date： 2023.12

    Event date：
    2023.12
    　
    　

  • Mickiewicz, Sand et Chopin : Une étude comparée de la pensée religieuse et philosophique en Pologne et en France dans la première moitié du XIXe siècle

    Risa Matsuo

    Colloque international : Les relations culturelles européennes au sein du Triangle de Weimar (Europäische Kulturbeziehungen im Weimarer Dreieck / Europejskie relacje kulturowe w ramach Trójkąta Weimarskiego)  (Pädagogische Hochschule Freiburg)  Pädagogische Hochschule Freiburg, Uniwersytet Wrocławski, Université Paul-Valéry Montpellier 3, Université Toulouse-Jean Jaurès, Universität Augsburg, Bundesinstitut für Kultur und Geschichte der Deutschen im östlichen Europa

    Presentation date： 2023.10

    Event date：
    2023.10
    　
    　

  • "Fantasy" according to F. Chopin: A Comparative Analysis Using Subjects by G. Sand and A. Mickiewicz

    International workshop: Comparing "Comparative literature" －Japan, Germany, France and the World－  (Maison Suger (Fondation Maison des Sciences de l'Homme))  Risa Matsuo

    Presentation date： 2023.08

  • Eléments de dumka ukraino-polonaise dans les Ballades de Fryderyk Chopin

    Risa Matsuo

    Colloque « Les arts de la parole au-delà de la « Grande Division » : futurs de l'ethnopoétique »  (Université Paris Cité / Université Paris 3 Sorbonne nouvelle)  Tristan Mauffrey (Université Sorbonne Nouvelle, CERC); Maxime Pierre (Université Paris Cité, CERILAC); Cyril Vettorato (Université Paris Cité, CERILAC)

    Presentation date： 2023.05

    Event date：
    2023.05
    　
    　

  • Elementy ukraińsko-polskiej dumki w Chopinowskich balladach

    Risa Matsuo

    International Chopin Conference: The integration of a work: from miniature to large scale  (The Institute of Art of the Polish Academy of Science (Warsaw))  The Fryderyk Chopin Institute

    Presentation date： 2018.09

    Event date：
    2018.09
    　
    　

  • Wpływ poezji polskiej na formę ballad Chopina

    Risa Matsuo

    International Chopin Conference: The lyric and the vocal element in instrumental music of the nineteenth century  (Dom Pracy Twórczej w Radziejowicach)  The Fryderyk Chopin Institute

    Presentation date： 2016.09

    Event date：
    2016.09
    　
    　

  • The Significance of Polish Poetics for an Understanding of Fryderyk Chopin’s Four Ballades

    Risa Matsuo

    The 9th World Congress of ICCEES in Makuhari  (Kanda University of International Studies (KUIS))  ICCEES (International Council for Central and East European Studies)

    Presentation date： 2015.08

    Event date：
    2015.08
    　
    　

  • How Can Japanese Translation Reflect Polish Poetic Techniques? Chopin’s Songs as an Example

    Risa Matsuo

    The first East Asian Translation Studies Conference  (University of East Anglia)  East Asian Translation Studies (EATS)

    Presentation date： 2014.06

    Event date：
    2014.06
    　
    　

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Research Projects

  • Comparative Literary Studies of 19th Century Europe Focusing on Fryderyk Chopin, George Sand, and Adam Mickiewicz

    Japan Society for the Promotion of Science  Grants-in-Aid for Scientific Research

    Project Year :

    2023.04
    -
    2027.03
     

  • Chopin's organology: focusing on the relationship between four Ballades and Pleyel's instruments

    Japan Society for the Promotion of Science  Grants-in-Aid for Scientific Research

    Project Year :

    2021.08
    -
    2023.03
     

    Matsuo Risa

    　View Summary

    This research project focuses on the relationship between Fryderyk Chopin's compositions and the pianos he actually used. In particular, the Pleyel piano which he loved had a single escapement function, and compared to the double escapement developed by Erard since the 1830s, it must have been an instrument that still made it difficult to hit the same keys rapidly. I focused on how the characteristics of this company's instruments affect the performance of repeated chords, as typified by the coda of his Ballade op. 38.
    The results suggest the following two points: 1) it is possible that a performance in which each chord is grasped one by one is more suitable than a series of speedy hits, 2) the influence of the keystroke feeling of the instruments he used in Warsaw up to 1830 may have remained until the latter half of his life.
    For this research, I would like to thank Ohtagaki Piano Studio and Musee de la Musique de Paris for their particular cooperation.

  • ショパンの「ポーランド」：東スラヴの芸術文化と西欧伝統の交差点として

    日本学術振興会  科学研究費助成事業

    Project Year :

    2018.04
    -
    2021.03
     

    松尾 梨沙

    　View Summary

    本研究はフリデリク・ショパン（1810－1849）の楽曲と現在のポーランド以東・以西地域の芸術との影響関係を明らかにすることを目的としており、2020年度はまず①ポーランド以東のエリアでショパンの影響が考えられる作曲家としてヴィトルト・ルトスワフスキ（1913－1994）を取り上げ、彼が雪解け期に発表した《カジミェラ・イワコヴィチュヴナの詩による5つの歌曲》について、詩と楽曲の両面からの分析を行った。ショパンとルトスワフスキは年代こそ違うものの、「詩」に対する共通のスタンスを見出すことができるポーランド人作曲家たちであり、いずれも「ポーランド以東」（リトアニア等）あるいは「ポーランド以西」（フランス）との結びつきを見い出せる作品を書いていることから、年代、地域、そして学術領域（音楽と文学）を跨ぐ重要な点を指摘できた。以上の研究は日本音楽学会東日本支部第66回定例研究会にて口頭発表し、論文としては『スラヴ学論集』第24号に掲載が決定している（2021年5月発刊予定）。
    続いて②ポーランド以西であるフランスとの関わりに注目し、ショパンの書簡の文体研究を続行した。これまでは、ショパンが20歳でワルシャワを出るまでの青年期に書いた手紙を扱い、したがってポーランド語文体の分析を特に音響的側面に注目して行ってきたが、現在はショパンがパリに移住してからのフランス語書簡の検証を始めている。次の課題としてショパンの1830年代末～1840年代の活動と、フランス文人や芸術家との交わりについての調査を想定しているため、2020年度に行ったこのフランス語文体分析は今後研究を遂行する上で重要な基盤固めとなった。

  • ミツキェヴィチとショパン—ポーランドの詩と音楽による比較研究

    東大比較文學會  若手奨励研究費

    Project Year :

    2016
    　
    　
     

    松尾 梨沙

  • International Chopin Conference

    Project Year :

    2016
    　
    　
     

    Risa Matsuo

  • フレデリック・ショパンの作曲技法とその演奏効果

    日本学術振興会  科学研究費助成事業

    Project Year :

    2010
    -
    2012
     

    松尾 梨沙

    　View Summary

    本研究の目的「ショパンの作曲技法について、和声、音型、リズムが各パラメータを超えて連動するという分析を行った上で、このはたらきがショパン全作品に通じる可能性を示唆すること」を踏まえ、平成24年度は、再度ポーランドへ渡航し、ワルシャワ大学音楽学研究所を拠点として長期フィールドワークを行った。今回は上記のような作曲技法と、それに基づいた演奏法の媒体として、「ポーランド詩学」が極めて有効なのではないかという点に気づき、詩学が絡むショパン関連の文献収集にとくに努めた。一次資料としてポーランドの国立図書館でしか閲覧できない貴重な文献に触れることができ、ショパンの文体ならびに作曲技法的特徴を検証する上での比較対象として、これらは非常に有効な資料であった。これらの資料に基づく比較研究により、ショパンの文章構造をより理論的に解釈できるようになれば、その結果を彼の作曲技法的特徴と照合し、結果的には全作品に共通する特徴を見出し、より説得力のある演奏法を考案できると思われる。この発想は、音楽学界においてもこれまでになかった新たなものであり、また実演と理論の共存・共有が未だ難しい状況にある中、実演に応用できる理論が生まれれば、学界、演奏業界両方の発展にも貢献できると考えている。
    加えて現地では、ワルシャワ大学ポーランド文学専攻で教鞭を執るdr. Lukasz Wrobel氏やdr. Anna Teczynska氏に、とくに詩学の面で指導を受ける機会を頂いた。Teczyhska氏は「芸術分野の相互連関」をテーマとし、文学者の立場から文学における音楽作品の表象に取り組んでいる研究者で、音楽学の視点から文学を取り入れる本研究者とは極めて近い関心ながらちょうど対極の立場をとっており、貴重な出会いであった。もし可能ならば、今後何らかの形で共同研究をさせて頂きたいと考えている。

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Misc

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