著者

増田 聡 谷口 文和

出版者

鳴門教育大学

雑誌

鳴門教育大学研究紀要. 芸術編 (ISSN:13434403)

巻号頁・発行日

vol.19, pp.25-35, 2004

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Today, recording and reproducing technology is so essential that we cannot ignore its influences on our musical experience. However, it seems that many of us are still obssessed with the idea that recorded music is only subsidery to "live" music. The purpose of this paper is to rethink musical listening with reproduction. Hi-fi maniacs have two ambivalent principles: that reproduced sound should be identical to its "source" , and that they can make sound with their equipments as they feel favorable. Though, the privileged "source" never sounds without reproduction, so they can evaluate the fidelity of sounds only by imagination. On the other hand, when they assume that audio equipments "create" sounds, they cannot feel sure if they really listen to music. Sound systems for club music is designed with the principle same as the latter type of hi-fi manias. But the audience feels the "aura" from reproduced music, because DJs who mediate between records and them make the field where they listen to music authentic. While hi-fi maniacs who pursue imaginative "source" has been reproducing "loss of aura" , DJ cultures restore the aura. Thus, both musical practices of hi-fi maniacs and DJs use the same technology, but bring different musical experiences. And here we can elucidate the multi-layered structure of musical listening, where we differently imagine "what makes music".