著者

津上 英輔

雑誌

成城美学美術史

巻号頁・発行日

no.16, pp.1-15, 2010-03

著者

西村 清和 尼ヶ崎 彬 長野 順子 相澤 照明 山田 忠彰 中川 真 渡辺 裕 津上 英輔 青木 孝夫 外山 紀久子 大石 昌史 小田部 胤久 安西 信一 椎原 伸博 上村 博 木村 建哉 上石 学 喜屋武 盛也 東口 豊 太田 峰夫

出版者

東京大学

雑誌

基盤研究(A)

巻号頁・発行日

2007

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本研究は従来自然美論、風景論、環境美学、都市美学という評語のもとで考えられてきたさまざまな具体的、個別的諸問題領域を、日常生活の場において企てられたさまざまな美的実践としてとらえなおし、あらたな理論化を目指すものである。具体的には風景、都市景観、森林、公園、庭園、人工地盤、観光、映画ロケ地、遊芸、雨(天候)、清掃アートなど多様な現象をとりあげて分析し、その成果を『日常性の環境美学』(勁草書房、2012)として刊行した。

著者

津上 英輔

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.45, no.1, pp.31-41, 1994-06-30

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Along with theoretical explications in music and the very concept music', both inherited from ancient Greece, another channel of classical tradition is found in the realm of Western music : namely notated fragments from the ancient Greek world. They were first introduced to the West Europeans by Vincenzo Galilei in his Dialogo (1581). Yet curiously enough, he did not pay due attention which, in our eyes, such a direct evidence of ancient music should deserve. For he attempts here to elucidate and almost consecrate antiquity as a model of contemporary music. This inconsistency reveals the peculiar character of his attitude to ancient music : he was not so much interested in the real configuration of the Greek musical practice itself as in the image of ancient music gathered from literary, that is, secondary sources. The classical tradition in Western music is thus characterized by its indirectness. Accordingly the reconstructed image was largely influenced by the view of the classics current in other genres of art. In this way music could share aesthetic ideals with the plastic arts and literature.

著者

津上 英輔

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.54, no.3, pp.85, 2003-12-31 (Released:2017-05-22)

著者

津上 英輔

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.34, no.3, pp.32-41, 1983-12-31

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Klaudios Ptolemaios's (2nd. century A. D., Alexandria) musical psychology (Harmonika, III/5-7) deserves some attention. In chapter 7 a clear comparison is made between τουοι and psychic conditions (ηηθ), but here are found three peculiarities. 1. A kind of inconsistency-tonos in Harmonika means two separate (though interrelated) things : A) pitch-key and B) mode. Here the text seems to refer to the tonos A, whereas in the Book II it is the tonos B that was postulated. 2. Shift in argumentation-at the beginning of this chapter the correspondence made is between modulation of tonoi and transformation of mind, but later it shifts to the one between tonoi themselves and various states of mind-the idea of variation is absent. 3. The whole description is abstract. Now Ptolemaios's musical psychology and musical cosmology (III/8-16) are symmetrically constructed, in which the analogue to chapter 7 is chapter 12. This chapter, where the seven tonoi are likened to the seven parallels of latitude, contains two peculiarities completely similar to those present in chapter 7 (1 and 2 as above indicated). They were required from the context in which this chapter 12 is situated. Thus in the light of its relationship to chapter 12, the structure of chapter 7 can be fully explained, together with the inconsistency of its tonos idea. The basic character which penetrates the entire Harmonika, that is Ptolemaios's strong inclination for system, will account for the abstract nature of the chapter.

著者

津上 英輔

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.38, no.2, pp.24-36, 1987-09-30

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Die Impulse, die Mei fur die Entstehung des musikalischen Barockstils gab, gingen originar von seinem Musiktraktat, De modis musicis in vier Buchern aus. Es handelt sich dabei um eine rein philologische Untersuchung, in der die antiken Tonoslehren und ihre Anwendung im allgemeinen Musikleben erortert werden. Mei machte darin zwei musikgeschichtlich folgenschwere Fehler. Einmal nahm er das ptolemaische Tonossystem nicht als Problem der Oktavgattung ohne bestimmte Tonhohe an, sondern als eine Mischung der Oktavgattung und Tonhohe (2. Buch). Diese Missinterpretation fuhrte direkt zu seiner Auffassung von der antiken Ethoslehre (3. und 4. Buch), daher zur Kritik der zeitgenossischen Polyphoniepraxis (3. Buch), und zur Idee der Monodie (3. Buch). Zum andern glaubte Mei, die griechische Tragodie wurde immer gesungen (3. Buch), was die Geburt der modernen Oper zur Folge hat. Hier kann man zwar mit Recht von kreativen Missverstandnissen sprechen, aber warum konnten sie dann kreativ sein? Zu erwahnen sind : der philologische Trend der Aristoteles-Kommentare, die eine Ubersicht uber das antike Musikwesen benotigten, die geistige Atmosphare der italienischen Akademien, in der die Musik der klassischen Philologie begegnete, der Ubergang von Modalitat nach Tonalitat, wodurch eine neue Systematisierung zu erwarten war, und schliesslich die Schwierigkeit des Zugangs zum antiken Musikschrifttum. Mit Rucksicht auf diese geschichtlichen Situationen scheint nun die Kreativitat dieser Missverstandnisse nicht immer zufallig gewesen zu sein, sondern mindestens einigermassen notwendig. Mit anderen Worten erfullte Mei mehr oder weniger unbewusst eine geschichtliche Notwendigkeit.

著者

津上 英輔

出版者

成城大学

雑誌

成城美学美術史 (ISSN:13405861)

巻号頁・発行日

no.16, pp.1-15, 2010-03

著者

津上 英輔

出版者

成城大学

雑誌

成城美学美術史 (ISSN:13405861)

巻号頁・発行日

no.17, pp.1-15, 2012-03

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R. G. Collingwood in The Principles of Art (1938) discusses Plato's theory of poetry in Republic 10, coming to the general conclusion that not poetry as a whole but only the representative part of it was banished from his ideal state. The three footnotes (pages 46 and 48) given in this connection on grammatical interpretation of specific passages in the original Greek text catch the reader's eye with their disproportionate minuteness. This paper attempts to make clear his motive for this by examining his reading of the original passages as well as the framework in which the subject is dealt with in The Principles of Art, by comparing it with his earlier essay "Plato's Philosophy of Art", to which he expressly refers in one of the three notes, and by matching his theory of art and representation with that of Plato's. These investigations show that Collingwood, while mostly keeping sound in philological terms, wanted to interpret Plato's criticism of representation to conform to his own conception of it. According to Collingwood, Plato failed to distinguish between magical representation and amusement representation, with the result that Plato attacked representation at large, instead, as he should, of amusement representation only. It was under such a scheme that the modern philosopher gave the seemingly superfluous philological notes.R. G. Collingwood in The Principles of Art (1938) discusses Plato's theory of poetry in Republic 10, coming to the general conclusion that not poetry as a whole but only the representative part of it was banished from his ideal state. The three footnotes (pages 46 and 48) given in this connection on grammatical interpretation of specific passages in the original Greek text catch the reader's eye with their disproportionate minuteness. This paper attempts to make clear his motive for this by examining his reading of the original passages as well as the framework in which the subject is dealt with in The Principles of Art, by comparing it with his earlier essay "Plato's Philosophy of Art", to which he expressly refers in one of the three notes, and by matching his theory of art and representation with that of Plato's. These investigations show that Collingwood, while mostly keeping sound in philological terms, wanted to interpret Plato's criticism of representation to conform to his own conception of it. According to Collingwood, Plato failed to distinguish between magical representation and amusement representation, with the result that Plato attacked representation at large, instead, as he should, of amusement representation only. It was under such a scheme that the modern philosopher gave the seemingly superfluous philological notes.

著者

津上 英輔

出版者

成城大学

雑誌

美學美術史論集 (ISSN:09132465)

巻号頁・発行日

vol.10, pp.153-170, 1995-09

著者

津上 英輔

出版者

日本音楽学会

雑誌

音楽学 (ISSN:00302597)

巻号頁・発行日

vol.29, no.1, pp.p63-75, 1983

著者

津上 英輔 藤田 一美

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.15, pp.202-188, 1997-03-24 (Released:2007-05-31)

著者

津上 英輔

雑誌

美學美術史論集

巻号頁・発行日

vol.10, pp.153-170, 1995-09

著者

津上 英輔

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.34, no.1, pp.74-73, 1983

著者

津上 英輔

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.56, no.2, pp.1-13, 2005-09-30

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Dear old things have a warm and bittersweet taste that is distinct from other tastes related to oldness like cold antiquity or sweet-and-sour recollections. This hitherto unnamed taste ought to be called nostalgia, because nostalgia today means an affectionate feeling for the past felt about a thing at hand, as its definitions in recent English dictionaries show. Nostalgia as defined above is an agreeable feeling conveyed through the senses. Since it is equivalent to what aesthetics has called the aesthetic or an aesthetic category, nostalgia deserves a due place in the discussion of aesthetics. Recognition of nostalgia as a theme of aesthetics is expected to contribute much to this discipline. Its primary contribution lies in aesthetic's enlarged scope, because our knowledge of feeling and perception (aisthesis) advances through it. Its secondary benefits include encouraged specialized investigations into the expression of nostalgia in works of art and avoided political exploitation of nostalgia by revealing the fictitious character of the "past."

著者

津上 英輔

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.41, no.3, pp.69-74, 1990-12-31 (Released:2017-05-22)

著者

津上 英輔

出版者

成城大学

雑誌

美学美術史論集 (ISSN:09132465)

巻号頁・発行日

no.12, pp.162-145, 1999-03

著者

津上 英輔

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.69, no.2, pp.83, 2018 (Released:2020-03-23)

著者

津上 英輔

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.69, no.1, pp.13, 2018 (Released:2019-06-01)

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In his letter to Pier Vettori written in 1560, Girolamo Mei gives a classification of the arts in a pedigree-like diagram. It is a coherent system that contains, mutatis mutandis, painting, sculpture, poetry, music and dance, resembling, or surpassing, that of Charles Batteux. While this prima facie appears to be a mere graphic representation of Aristotle’s discussion of the three means of poetry and their combinations in the Poetics, Mei supplements it with modern theories and practices of art such as chiaroscuro and casting. He is not merely elucidating Aristotle’s thought in a purely scholarly manner, but presenting his reader(s) with a clear, complete picture of what the ancient theory is about, in a form easy to understand and ready to use. Such an orientation is also found in his description of ancient tragedy as an entirely musical drama, sung from beginning to end, and in his interpretation of the ancient theory of the modes, based on which he criticized his contemporaneous practice of polyphonic music. Yet, ancient theories are for him not so much raw material (pace Palisca) for a new product, as an old garment to be remade for a new use, utilizing as much part untouched as possible.

著者

津上 英輔

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.67, no.1, pp.109, 2016 (Released:2017-07-18)

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Ptolemy’s system of tonoi as Girolamo Mei in his chief treatise De modis (1567-73) interprets it is an amalgamation of both octave-species and pitch-keys. While they affect the listener in either terms, it is by different pitches that Mei most often talks of as the way they work. The correspondence of the pitch at which a melody lies with the emotion it excites was, according to him, arranged by “nature” itself, but has been developed by human usage. This speculative hypothesis is supported by Aristides Quintilianus’ and Plato’s evidence which Mei cites for ancient practice. The result is a grand theory, however sketchy it may be, of ancient music’s strong emotive power. Aristotle’s Poetics functioned as catalysis for this theory. For Mei assumed a crucial role of music in the overwhelming passions (pity, fear and catharsis) of ancient tragedy, which he interpreted from the Poetics as sung from beginning to end. Viewed from a historical perspective, Mei joined the two formerly unrelated traditions, of the mathematical theory of harmonics and of literary criticism prompted by the Aristotelian Poetics, for the first time in the history of Western music and philosophy. With him, music theory became aesthetics of music.

著者

津上 英輔

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.65, no.2, pp.122, 2014-12-31 (Released:2017-05-22)