著者

金子 晋一 Shinichi KANEKO 尚美学園大学芸術情報学部音楽表現学科

雑誌

尚美学園大学芸術情報学部紀要 = Bulletin of the Faculty of Informatics for Arts, Shobi University (ISSN:13471023)

巻号頁・発行日

vol.1, pp.39-67, 2002-03-31

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In this article an attempt is made to examine the features and essence of the following three types of music : Tonal music, Blues music, and Shamisen music. Basically, Eastern music and Western music are very different from each other. Western tonal music primarily has a harmonic pitch and the fundamental chords are always fixed, and evenly tempered. For example, the tonic chord I (A-Major key) is always determined by Concert pitch A 440 : the number of vibrations in the sound. 0n the other hand, the tone at the center of Eastern Shamisen music is free-floating, with freer uses of pitches. The first issue I focus on in this paper is the tonal music, especially of the late stage. I will discuss the fundamental chord and harmonic pitch of Wagner's Tristan und Isolde and Schoenberg's Verklaerte Nacht. I will also examine the Mode music of Olivier Messiuen and his floating pitches, as well as the Bluesy tonal music of George Gershwin, specifically Rhapsody in Blue and An American in Paris and their harmonic pitches. The second issue focused on is Blues Music : blue tonality (Bluesy harmonic pitch) exemplified in Dizzy Gillespie's Blue 'N' Boogie or the chord changes in Charlie Parker's works. Finally, I will discuss the uniqueness of Shamisen music and its tonal center such as Hon-Choshi, Ni-Agari and San-Sagari. My discussion and examination are meant to search for ideas aimed at creating new fresh music for the 21st century. I believe that an equal treatment of Western and Eastern music, and their distinctive notions of tone techniques, will play a key role in the creation of a new type of music.