著者

金子 晋一

出版者

尚美学園大学

雑誌

尚美学園大学芸術情報学部紀要 (ISSN:13471023)

巻号頁・発行日

vol.4, pp.15-31, 2004-09-30

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本稿は、ビョーク・グズムンスドッティル(Bjork Gudmundsdottir)のアルバム「ヴェスパタイン」(Vespertine)で聞く非楽器音、たとえば氷の割れる音、雪上を踏む音等の、小さな音量の非楽器音を、ビョークがアルバムで使用する事を発見する動機と、プログラマーの助力について、の2点を中心にビョークの音楽創作姿勢の1つを提示している。さらに、ジョン・ケージ(John Cage)の非楽器音に対する姿勢にも触れている。現在、ヒーリング・ミュージックなどで非楽器音使用は常識となっているが、今後、ラップトップ等の活用と共に、ポピュラー音楽や現代音楽で、非楽器音をどのように扱うか--、音楽創作素材の1つとして、まだまだ無視出来ない分野である。

著者

金子 晋一 Shinichi KANEKO 尚美学園大学芸術情報学部音楽表現学科

雑誌

尚美学園大学芸術情報学部紀要 = Bulletin of the Faculty of Informatics for Arts, Shobi University (ISSN:13471023)

巻号頁・発行日

vol.1, pp.39-67, 2002-03-31

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In this article an attempt is made to examine the features and essence of the following three types of music : Tonal music, Blues music, and Shamisen music. Basically, Eastern music and Western music are very different from each other. Western tonal music primarily has a harmonic pitch and the fundamental chords are always fixed, and evenly tempered. For example, the tonic chord I (A-Major key) is always determined by Concert pitch A 440 : the number of vibrations in the sound. 0n the other hand, the tone at the center of Eastern Shamisen music is free-floating, with freer uses of pitches. The first issue I focus on in this paper is the tonal music, especially of the late stage. I will discuss the fundamental chord and harmonic pitch of Wagner's Tristan und Isolde and Schoenberg's Verklaerte Nacht. I will also examine the Mode music of Olivier Messiuen and his floating pitches, as well as the Bluesy tonal music of George Gershwin, specifically Rhapsody in Blue and An American in Paris and their harmonic pitches. The second issue focused on is Blues Music : blue tonality (Bluesy harmonic pitch) exemplified in Dizzy Gillespie's Blue 'N' Boogie or the chord changes in Charlie Parker's works. Finally, I will discuss the uniqueness of Shamisen music and its tonal center such as Hon-Choshi, Ni-Agari and San-Sagari. My discussion and examination are meant to search for ideas aimed at creating new fresh music for the 21st century. I believe that an equal treatment of Western and Eastern music, and their distinctive notions of tone techniques, will play a key role in the creation of a new type of music.