著者

小川 昌文 尾見 敦子 阿波 祐子 井下 べに 永岡 都 Alison M. Reynolds

出版者

日本音楽教育学会

雑誌

音楽教育学 (ISSN:02896907)

巻号頁・発行日

vol.45, no.2, pp.54-58, 2015 (Released:2017-03-22)

著者

永岡 都 Nagaoka Miyako

雑誌

學苑 = GAKUEN (ISSN:13480103)

巻号頁・発行日

vol.848, pp.78-90, 2011-06-01

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Abstract The development of contemporary music reached its peak and a turning point at Expo 70 in Osaka. However, not enough attention has been paid to the composers then working, and how their works influenced succeeding generations. In this study I focus on Karlheinz Stockhausen, who produced the Auditorium of the German Pavilion, and examine his theories and practice of space music, or Raummusik. My conclusions are as follows:1 Stockhausen's Raummusik is synonymous with the concept of Lokalisationsraum(the idea that listeners recognize space through sound)presented by Herbert Eimert.2 For Stockhausen, the serialization of distance and direction in space implied the completion of the total-serialism.3 The performances in the Auditorium at Expo 70 were the first perfect realization of Raummusik, but the space-design as a closed system was very different from Japanese composers' attempts at acoustic design.

著者

永岡 都 石井 正子

出版者

昭和女子大学

雑誌

學苑 (ISSN:13480103)

巻号頁・発行日

vol.872, pp.67-83, 2013-06-01

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This paper summarizes information which the authors obtained through literature and on-site inspections of early childhood education in the cities of Reggio Emilia and Pistoia in the Italian Republic, with the aim of obtaining ideas for Japan's early childhood education and training programmes for teachers at Japanese kindergarten and nursery schools, which are in urgent need of reform. The system of early childhood education that began after the Second World War in Reggio Emilia, a city located in northern Italy, is now called the Reggio Emilia Model. Ever since Newsweek described it in 1991 as the best, most innovative and most practical model in the early childhood education category, the Reggio Emilia approach has had a tremendous influence on early childhood education, not only in Europe and the US, but also in Japan. We recently visited sites in the cities of Reggio Emilia and Pistoia that apply the Reggio Emilia approach to early childhood care and education, talked directly with teachers and administrators who put it into practice, and discerned that this approach is not an educational method, but rather, a community-wide comprehensive care and education system. The process of reform which has been carried out in the two cities-establishing a care and educational system by identifying the development of the child from age 0 to 6 in a continuous fashion and stressing collaboration with the community, while enhancing teachers' skills through ongoing training programs-is, simply put, the pursuit of the best environment for a child to live in. On the other hand, the outcomes of the dynamic practice of the Reggio Emilia approach show, in a variety of forms, that a child is not just a recipient of assistance and instructions, but that his or her presence has the power to activate the community and support society as a whole.

著者

永岡 都 Nagaoka Miyako

出版者

昭和女子大学近代文化研究所

雑誌

學苑 = GAKUEN (ISSN:13480103)

巻号頁・発行日

vol.848, pp.78-90, 2011-06-01

---

Abstract The development of contemporary music reached its peak and a turning point at Expo 70 in Osaka. However, not enough attention has been paid to the composers then working, and how their works influenced succeeding generations. In this study I focus on Karlheinz Stockhausen, who produced the Auditorium of the German Pavilion, and examine his theories and practice of space music, or Raummusik. My conclusions are as follows:1 Stockhausen's Raummusik is synonymous with the concept of Lokalisationsraum(the idea that listeners recognize space through sound)presented by Herbert Eimert.2 For Stockhausen, the serialization of distance and direction in space implied the completion of the total-serialism.3 The performances in the Auditorium at Expo 70 were the first perfect realization of Raummusik, but the space-design as a closed system was very different from Japanese composers' attempts at acoustic design.

著者

永岡 都 Miyako Nagaoka

出版者

昭和女子大学

雑誌

学苑 (ISSN:13480103)

巻号頁・発行日

no.765, pp.72-85, 2004-06

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In recent years, there has been an increased interest in the relation between music and emotion in the field of music philosophy and psychology. However, different interpretations of emotions in musical experience have generated confusion regarding the issue of musical meaning. Therefore, we must examine various interpretations of musical emotions and the mechanism by which they construct musical meaning and guide us to an understanding of musical works. In this paper, I select two important previous studies by L. B. Meyer and P. Kivy and attempt to examine their theories of how emotions are generated in musical listening and how they effect the construction of musical meaning. L. B. Meyer proposed that there are two types of musical meaning; referential and absolute, and regarded the latter as the more essential, because absolute meaning enables the process of constructing meaning in musical listening. But Meyer could not explicate the difference between absolute meaning and the emotion that is experienced as a kind of expectation in musical listening. P. Kivy considered the musical meaning in pure instrumental music and described aspects of musical emotion not described in previous studies; 'move' and 'expressive property', but there is a question with regard to his interpretation of the concept of 'emotion'.

著者

永岡 都

出版者

一般社団法人日本音響学会

雑誌

日本音響学会誌 (ISSN:03694232)

巻号頁・発行日

vol.62, no.9, pp.676-681, 2006-09-01

被引用文献数

1