著者

大愛 崇晴

出版者

東京大学大学院人文社会系研究科・文学部美学芸術学研究室

雑誌

美学藝術学研究 (ISSN:13426095)

巻号頁・発行日

vol.22, pp.141-161, 2004-03-29

著者

大愛 崇晴

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.53, no.1, pp.57-70, 2002-06-30

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While it has been often emphasized that Monteverdi's seconda pratica opens the way to the essential idea of Baroque music : musical expression of passions of the text, Zarlino has been supposed to be a great defender of the more conservative style, prima pratica. However, Zarlino also develops the idea of "imitation of words" on the basis of the medieval conception of music as quadrivium. Zarlino supports the traditional Pythagorean view defining music as Harmonia, which is based on the simple proportions of the integral numbers and accordingly connotes consonances which sound agreeably to the sense. His view of music is therefore primarily speculative and mathematically analyzable by the reason. On the other hand, in the Renaissance humanistic thought, Zarlino seeks restoration of emotional effects of music in antiquity. He asserts the arousal of passions is caused by the very words to be set, those Harmonia (tune) and rhythm which are suitable to their emotional contents, and moreover, he stresses on the ethical purpose of music. But, Zarlino admits only the polyphony composed of consonances, as device of expression. He considers mathematical harmonic match as the most intrinsic part of music, recognizing the important role of words in music.

著者

大愛 崇晴

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.57, no.4, pp.55-68, 2007

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Johannes Kepler, one of the most famous astronomers during the period of scientific revolution, illustrates a unique view on consonance in Harmonice mundi (1619). First, Kepler rejects the Pythagoreans' symbolism of numbers (discrete quantity) that defines their concept of harmony and consonance. Instead, he defines consonance using geometrical figures that consist of concrete lengths (continuous quantity), treating numbers only as the values of the lengths. For explaining the concept of consonance, Kepler underlines the function of human soul to recognize harmony. He classifies harmony into two types: "sensible" and "pure." Sensible harmony (i.e., consonance) is realized by the human soul while comparing things that are perceived by sense (i.e., sounds). Pure harmony, on the other hand, functions as the archetype of sensible harmonies. It is an abstract mathematical idea, inherent in the human soul, and it certifies sensible harmonies as such. Moreover, this archetypal harmony is associated with God himself. Thus, Kepler hypothesizes on consonance based on his own metaphysics, which differs from the Pythagoreans' reflections on the subject.

著者

大愛 崇晴

出版者

東京大学大学院人文社会系研究科・文学部美学芸術学研究室

雑誌

美学芸術学研究 (ISSN:13426095)

巻号頁・発行日

no.22, pp.141-161, 2003

著者

大愛 崇晴

出版者

東京大学大学院人文社会系研究科・文学部美学芸術学研究室

雑誌

美学芸術学研究 (ISSN:13426095)

巻号頁・発行日

no.31, pp.1-39, 2012

著者

大愛 崇晴

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.68, no.2, pp.162, 2017 (Released:2019-01-02)

著者

大愛 崇晴

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.63, no.1, pp.133-144, 2012-06-30 (Released:2017-05-22)

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Thomas Willis (1621-1675) was an English physician and anatomist who was famous for pioneering the neuroscience. He worked on the intracerebral causes of musical faculty or the "musical ear" in his book Cerebri anatome ("The Anatomy of the brain," 1664). According to Willis, the musical memory is stored in the cerebellum, which takes charge of the involuntary movements that are indispensable for life support, and is released by singing. A melody that has been heard once can be sung correctly without recalling because of this structure of musical memory. Later, Thomas Salmon, a contemporary musical theorist, asserted that the hearing capable of recognizing musical pleasure was different from the ordinary hearing that perceives general sound. Further, he referred to Willis's theory concerning the cause of that special hearing. In the eighteenth century, Salmon's idea was seconded by Francis Hutcheson, who supposed that it was an "internal sense," not an external sense (i.e., ordinary hearing), that perceived the pleasure of musical beauty. The "internal sense," which was identified with "taste," had a lot in common with Willis's "musical ear" in terms of the immediacy of judgment. Therefore, Willis's view on hearing could be understood as a possible explanation of musical "taste."

著者

大愛 崇晴

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.62, no.2, pp.105, 2011-12-31 (Released:2017-05-22)

著者

大愛 崇晴

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.59, no.2, pp.142, 2008-12-31 (Released:2017-05-22)

著者

大愛 崇晴

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.57, no.4, pp.55-68, 2007-03-31 (Released:2017-05-22)

---

Johannes Kepler, one of the most famous astronomers during the period of scientific revolution, illustrates a unique view on consonance in Harmonice mundi (1619). First, Kepler rejects the Pythagoreans' symbolism of numbers (discrete quantity) that defines their concept of harmony and consonance. Instead, he defines consonance using geometrical figures that consist of concrete lengths (continuous quantity), treating numbers only as the values of the lengths. For explaining the concept of consonance, Kepler underlines the function of human soul to recognize harmony. He classifies harmony into two types: "sensible" and "pure." Sensible harmony (i.e., consonance) is realized by the human soul while comparing things that are perceived by sense (i.e., sounds). Pure harmony, on the other hand, functions as the archetype of sensible harmonies. It is an abstract mathematical idea, inherent in the human soul, and it certifies sensible harmonies as such. Moreover, this archetypal harmony is associated with God himself. Thus, Kepler hypothesizes on consonance based on his own metaphysics, which differs from the Pythagoreans' reflections on the subject.

著者

大愛 崇晴 オオアイ タカハル Oai Takaharu

出版者

同志社大学人文学会

雑誌

人文学 (ISSN:04477340)

巻号頁・発行日

no.194, pp.392-364, 2014-11

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本稿は、17世紀イギリスの音楽理論家トマス・サモン(1648-1706)による、純正律で演奏可能なヴィオルの構想について論じたものである。その構想は、科学者団体であるロンドン王立協会主催の演奏会において実現するに至ったが、ピュタゴラス以来の思弁的な数学的音楽理論の伝統にのっとりつつも、演奏実践や聴覚的な快を重視する彼の姿勢には、同時代のイギリスにおける経験主義的な思潮が反映されているものと思われる。p.376, l.2の表記に誤りあり。(誤)「ガスパーロ」→(正)「ガスパロ」

著者

大愛 崇晴

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.63, no.1, pp.133-144, 2012-06-30

---

Thomas Willis (1621-1675) was an English physician and anatomist who was famous for pioneering the neuroscience. He worked on the intracerebral causes of musical faculty or the "musical ear" in his book Cerebri anatome ("The Anatomy of the brain," 1664). According to Willis, the musical memory is stored in the cerebellum, which takes charge of the involuntary movements that are indispensable for life support, and is released by singing. A melody that has been heard once can be sung correctly without recalling because of this structure of musical memory. Later, Thomas Salmon, a contemporary musical theorist, asserted that the hearing capable of recognizing musical pleasure was different from the ordinary hearing that perceives general sound. Further, he referred to Willis's theory concerning the cause of that special hearing. In the eighteenth century, Salmon's idea was seconded by Francis Hutcheson, who supposed that it was an "internal sense," not an external sense (i.e., ordinary hearing), that perceived the pleasure of musical beauty. The "internal sense," which was identified with "taste," had a lot in common with Willis's "musical ear" in terms of the immediacy of judgment. Therefore, Willis's view on hearing could be understood as a possible explanation of musical "taste."

著者

大愛 崇晴

出版者

東京大学大学院人文社会系研究科・文学部美学芸術学研究室

雑誌

美学芸術学研究 (ISSN:13426095)

巻号頁・発行日

no.31, pp.1-39, 2012