著者

角倉 一朗

出版者

東京芸術大学

雑誌

東京藝術大学音楽学部紀要 (ISSN:09148787)

巻号頁・発行日

vol.23, pp.37-47, 1997

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This is a summary of the lecture given on the 7th October 1997 for the 10th anniversary of the reconstructed Sogakudo (former concert hall of the Tokyo School of Music). Dr. Raphael von Koeber (1848-1923), philosopher and musician, lived from 1893 to 1923 in Japan and exerted a far-reaching influence on the cultural development of this country. Born as a Russian of German ancestry, he studied piano and composition under Nikolai Rubinstein and Pyotr Tchaikowsky at the Moscow Conservatory of Music. Aware of his inaptitude for public music-making, however, he went over to Germany to study philosophy in Jena and Heidelberg with Kuno Fischer and Eduard Hartmann among others. After completing his doctoral dissertation on the philosophical thought of Schopenhauer, he devoted himself to thinking and writing for nine years in Munich. In 1893 he was invited to Tokyo University to teach Western philosophy, aesthetics, and cultural history for 21 years. He attracted many students with his erudition and, above all, with his personality. Among his students were those who were to become most influential philosophers of Japan: Kitaro Nishida, Jiro Abe, Teturo Watuji, to name only a few. His eurocentric tendency notwithstanding, he was admired and welcomed for his teaching of Greek and German idealistic philosophy at the time when Western culture was being assimilated in Japan. Beside his activity as a teacher and writer of philosophy, Dr. Koeber was highly admired as a pianist. From 1894 to 1909 he gave over 60 public performances and taught piano playing and music history at the Tokyo School of Music (founded in 1887, later to become the Music Department of the Tokyo National University of Fine Art and Music) for eleven years from 1898 to 1909. Among his music students are found composers Rentaro Taki, Kosaku Yamada, a singer Tamaki Shibata (later Miura), among others. Koeber's repertory consisted mainly of German Classic-Romantic composers, centering on Beethoven, Mendelssohn, Schumann, Liszt, and Brahms. Though the name of J.S. Bach rarely appears in his repertory, he could have loved and admired the music of Bach most of all as the root of modern Western music. For, in 1923, shortly before his death, he gave a piece of paper with a musical riddle written down in his own hand to his beloved student Itoe Tachibana, which consists of two crossing staves with four different clefs and a note in their center so that the note, read in four different ways, turns out to be the name BACH. As a music teacher, he consistently emphasized the importance of humanistic culture and intelligence. Dr. Koeber, so records the great writer Soseki Natume, once remarked: "Japanese musicians will come to nothing as long as they play only with fingers without the brain." Dr. Koeber retired from public activity in 1909 to his secluded life for the last 22 years. Meanwhile the Japanese modernization was almost completed and the musical scene of the world saw drastic changes to leave Koeber the musician far behind. But the humanistic culture, as he so enthusiastically required of all the musicians, remains as actual as ever.

著者

角倉 一朗 関根 和江

出版者

東京芸術大学音楽学部

雑誌

東京芸術大学音楽学部紀要 (ISSN:09148787)

巻号頁・発行日

no.23, pp.49-56, 1997

著者

角倉 一朗

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.26, no.3, 1975-12-30

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Zu Beginn seines Musiktraktats stellt Descartes fest : Finis, ut delectet, variosque in nobis moveat affectus. Es ist fur ihn vor allem charakteristisch, dass er die physikalischen bzw. mathematischen Eigenschaften der Musik immer mit der Wahrnehmung in Zusammenhang setzt. Er durfte also als ein Vorlaufer der modernen Musikasthetik, besonders der Affektenlehre, angesehen werden. In der Geschichte der Musiktheorie lehnt er sich einerseits an Zarlino an und andererseits hat er sich auf M. Mersenne, J. Ph. Rameau u. a. ausgewirkt. Als das besonders Neue an seinem Traktat sei hier aber hervorgehoben, dass er im Kapitel "De numero vel tempore in sonis observando" die Lehre der Zahlenproportion, die er im II. Kapitel als Proportion der Strecken aufgestellt hat, auf den musikalischen Zeitablauf anwendet, so dass sich die zeitliche Anordnung der Musik, und zwar die metrische Periodisierung, in der Geschichte zum ersten Mal theoretisch formuliert. Es fuhrt einerseits zu seiner analytischen Geometrie von 1637 und andererseits, im Bereich der Musiktheorie, nimmt es die Takt- und Periodenbaulehre der 2. Halfte des 18. Jahrhunderts weit voraus.

著者

武藤 三千夫 鹿島 享 水野 敬三郎 山川 武 稲次 敏郎 角倉 一朗

出版者

東京芸術大学

雑誌

総合研究(A)

巻号頁・発行日

1987

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おしなべて美や芸術の現象を顧みるとき、その問題へのアプロ-チの切り口はきわめて多様であるが、我々は、《品質》という共通テ-マによってア-チストや公衆をも含めた芸術的な現象関係性に注目して、二年間にわたる各分野での実地調査を踏まえた理論的・歴史的研究を遂行した。そしてその研究成果としてそれぞれ以下のような知見をえた。すなわち、(1) 原理論的研究ー芸術と美的品質ーとして、ー武藤「美的質の開かれ」。(2) 比較文化論的研究として、ー稲次「都市景観における美的品質の評価要因」、松島「古代メソポタミヤの神像とその〈美〉について」、鹿島「文化形成体と美的品質ー楽器を画題とする絵についての一考察」、井村「趣味判断におけるアプリオリとハビトウスー美的構えの制度化をめぐってー」、佐藤「イギリスのチンツとウイリアム・モリス」。(3) 比較芸術学的個別研究ー各ジャンルにおける表現と美的品質ーとして、西洋音楽のばあいの角倉「音楽作品の受容における響きの質的趣味の変遷」(仮題)、西洋美術のばあいの永井「西洋美術における品質問題の諸相」、日本美術のばあいの山川「化政期江戸画壇の成立をめぐっての作品における質的差異」(仮題)、東洋美術のばあいの水野「関西方面諸寺に蔵する木彫仏のX線透過撮影などによる素材と表現」(仮題)。以上のように、各分担者の研究はそれぞれの立場からなされた多彩な研究となったが、それも文化が共通に有する質的なものの現れが歴史的・地理的にきわめて多様な差異として映るからであろう。しかし各立論は、根本において総合研究としての一貫性を十分に維持しえたと確信する。