著者

有賀 誠門

出版者

東京芸術大学

雑誌

東京芸術大学音楽学部年誌 (ISSN:02872048)

巻号頁・発行日

vol.7, pp.75-101, 1981

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Through the many years of my work with the orchestra, I noticed that there is a difference between the musical rhythm and sound of the Japanese performers and those of Western performers. It seems to me that this derives from the difference in the climate, the life styls and the way of thinking between both peoples. It is true that there are not a few performers who are aware of this difference, but a performer in the true sense of the word has not only to be conscious of the difference as mere knowledge, but to pursue it profoundly and have a keen interest or insight into the sense that a performer should always have about rhythm and sound. In this essay I shall discuss this subject from the point of view of a percussion player……from the "conception for striking," which I have always felt and practised. Thinking about the "everyday moments" which music has, I compared them with the mechanism of those of ordinary life, for instance, especially with the mechanism of walking based upon the movement 1:2. From this emerges the conceptional idea of "above" and "below". We often become aware of various phenomena which "are" or "happen" in the world. A common point drawn from these phenomena is a "point of contact." I keep my eye and mind on this point. The conceptional idea of "above" and "below" arises from this boundary, the point of contact. This idea can be applied to everything. In this essay I shall focus on the internal movement, or the movement of consciousness, while I show in graphic form the external movement of striking.