著者

橋本 久美子

出版者

東京藝術大学音楽学部

雑誌

東京藝術大学音楽学部紀要 (ISSN:09148787)

巻号頁・発行日

vol.44, pp.105-121, 2018

著者

瀧井 敬子

出版者

東京藝術大学音楽学部

雑誌

東京藝術大学音楽学部紀要 (ISSN:09148787)

巻号頁・発行日

vol.34, pp.77-94, 2008

著者

新林 一雄

出版者

東京藝術大学音楽学部

雑誌

東京藝術大学音楽学部紀要 = Bulletin, Faculty of Music, Tokyo Geijutsu Daigaku (Tokyo University of the Arts) (ISSN:09148787)

巻号頁・発行日

vol.45, pp.59-72, 2019

著者

塚原 康子

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.29, pp.79-95, 2003

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This thesis examines the musical activities of the Gagaku Department, Bureau of Ceremonies in 1878, the year previous to the establishment of the Music Investigation Committee (Ongaku Torishirabe-gakari). The founding of a new tradition of modern gagaku was a result of the substantial revisions to the tradition following the establishment of the Gagaku Bureau (Gagaku-kyoku) in 1870. In addition, as the musicians of the Gagaku Department started to study Western music in 1874, the musical activities of the Gagaku Department diversified more and more. From 1877 to 1878, the Gagaku Department dealt with the following new projects: (1) composition of hoiku shoka (literally 'nursery song', from which various song types later developed); (2) participation in the Paris Exposition through the exhibition of music, a reference book and paintings of gagaku; (3) the first public concert of gagaku in the Gagaku Rehearsal Hall (Gagaku Keiko-jo). These projects amounted to important experiments, enabling the musicians of the Gagaku Department to realize their new state. The various musical activities of the Gagaku Department in 1878, which were undertaken prior to the establishement of the Music Investigation Committee, should be remembered as a significant step in the development of modern Japanese music.

著者

髙濵 絵里子

出版者

東京藝術大学音楽学部

雑誌

東京藝術大学音楽学部紀要 = Bulletin, Faculty of Music, Tokyo Geijutsu Daigaku (Tokyo University of the Arts) (ISSN:09148787)

巻号頁・発行日

vol.45, pp.29-44, 2019

著者

近藤 静乃

出版者

東京藝術大学音楽学部

雑誌

東京藝術大学音楽学部紀要 (ISSN:09148787)

巻号頁・発行日

vol.34, pp.59-76, 2008

著者

青山 恵子

出版者

東京芸術大学

雑誌

東京芸術大学音楽学部紀要 (ISSN:09148787)

巻号頁・発行日

no.13, pp.p1-38, 1987

被引用文献数

5

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Japanese art song, defined as composed vocal mucic dating to the Meiji era that has Japanese lyrics and is based on Western musical principles and singing style, is often criticized because the words are difficult to understand in performance. This difficulty can be traced to such factors as intonation, rhythm, and reverberation, factors that stem from the classical Western singing style. The author conducted experiments, based on her own experience as a singer, in order to ascertain if this difficulty could be ameliorated by incorporating traditional Japanese vocal techniques into the singing style of the Japanese art song. This dissertation presents the results of research conducted so far, including a generalized description of the problems involved, a description of concrete vocal techniques to solve those problems, scientific analyses, and directions for future study. Two principal themes form the basis of the paper: 1) Pracitical research on voice production techniques used in Japanese art songs that are heavily influenced by traditional Japanese folk genres; and 2) comparative acoustical analyses of movement between notes in the melodic lines of Japanese art song and traditional genres. For the first theme, the author compared a purely Western singing style with one modified by the inclusion of traditional folk vocal techniques. Since the author has training in both forms, her own voice served as the test medium. Emphasis was placed on the resonance function, with comparative acoustical and phonetic analyses. This research brought to light the following characteristics of folk-influenced singing technique as compared with purely Western style singing: 1. A melodic line without vibrato is maintained that incorporates such traditional ornaments as "yuri" and "kobushi." 2. Singing formants are closer to the phonemes of spoken Japanese. 3. Singing formants are more clearly distinguishable. 4. The mouth opening is kept relatively small, and the corners of the mouth are often drawn back and up. 5. The tongue and larynx tend to be kept in a high position. This results in a smaller resonance cavity. 6. The soft palate tends to be more relaxed. 7. The false chords are not used during voice production. From these results it can be seen that the resonance function of the folk-influenced singing style differs to some degree from the purely Western style. It is also true, however, that an analysis of singing formants and false chords reveals certain elements the two styles have in common. This seems to indicate that folk vocal techniques can be used successfully to improve the comprehensibility of the sung words without destroying the basic singing style of Japanese art song. The second principal theme involved a comparative analysis of the movement between notes in the melodic lines of Western and traditional singing styles. Ten volunteers from both genres were tested, and the author's own voice was analyzed in both styles using a sound spectrograph. The results showed that in Western music the notes were held precisely the length indicated by the written notation, that vowels received vibrato, and that consonants were uttered as short punctuation between the vowels. In comparison, traditional singing techniques were based on a melodic line free of vibrato but ornamented by minute changes in dynamic level and timbre, particularly during held vowels and when movement was made between notes. The length of the notes was treated relatively freely; as a result, syllables were easily elided and the movement between syllables often did not correspond exactly to the movement between notes, producing an effect of rhythmic variety. The treatment of consonants was also quite diverse and rich. Among the subtle melodic ornaments found in the traditional singing style, a strong/weak accentuation is rare, reflecting the equal syllabic stress of spoken Japanese and contributing to more effective expression. The traditional vocal techniques of Japanese folk genres have an applicability that exceeds the bounds of their origins and can be used effectively to improve the comprehensibility of the sung word in Japanese art song.

著者

越懸澤 麻衣

出版者

東京藝術大学音楽学部

雑誌

東京藝術大学音楽学部紀要 (ISSN:09148787)

巻号頁・発行日

vol.41, pp.29-43, 2015

著者

高橋 智子

出版者

東京藝術大学音楽学部

雑誌

東京藝術大学音楽学部紀要 (ISSN:09148787)

巻号頁・発行日

vol.38, pp.49-66, 2012

著者

テシュネ ローラン

出版者

東京藝術大学音楽学部

雑誌

東京藝術大学音楽学部紀要 (ISSN:09148787)

巻号頁・発行日

vol.30, pp.41-60, 2004

著者

大角 欣矢 片山 杜秀 塚原 康子 信時 裕子 花岡 千春

出版者

東京藝術大学音楽学部

雑誌

東京藝術大学音楽学部紀要 (ISSN:09148787)

巻号頁・発行日

vol.42, pp.1-26, 2016

著者

上田 泰史

出版者

東京藝術大学音楽学部

雑誌

東京藝術大学音楽学部紀要 = Bulletin, Faculty of Music, Tokyo Geijutsu Daigaku (Tokyo University of the Arts) (ISSN:09148787)

巻号頁・発行日

vol.43, pp.1-16, 2017

著者

片山 千佳子 関本 菜穂子 安川 智子

出版者

東京藝術大学音楽学部

雑誌

東京藝術大学音楽学部紀要 (ISSN:09148787)

巻号頁・発行日

vol.34, pp.17-38, 2008

著者

片山 千佳子

出版者

東京藝術大学音楽学部

雑誌

東京藝術大学音楽学部紀要 (ISSN:09148787)

巻号頁・発行日

vol.31, pp.19-36, 2005

著者

斉田 正子

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.18, pp.73-98, 1992

被引用文献数

1

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Nowadays many Italian operas, including the so-called bel canto operas, are performed in our country. It is said that bel canto operas are not only very important but also very difficult for opera singers. That is because there are many factors involved which make it difficult for singers to perform them in the best possible way, singing the notes simply faithful to the score, and because it is thought that Italian operas should be performed by bel canto singing method, the basis of the singing method of the Italian opera. The purpose of this thesis is to consider what is the best performance of bel canto operas expected in modern times. The theme of the research is "The Singing Method of the Italian Bel Canto Opera in the 19th Century." The thesis consists of three chapters. Chapter 1 is "A Consideration of the History and the Social Background." The author makes it clear that the castorats, who originally played the role of sopranos in church music, developed the bel canto method in opera mainly because they possessed a wide range of voice. The author also makes it clear that the singing method of the castratos was succeeded by prima donnas because of social reasons and the rise of female singers, and that the method became inportant for "the mad scene", the highlight of operas by Bellini, Donizetti, et al. Capter 2 is a study of performance. Taking into consideration the actual singing of the mad scene, I examine the history of the performance of "I Puritani" by V. Gellini and "Lucia di Lammermoor" by G. Donizetti, and what may be the best possible performance in modern times of "the mad scene" in each opera. Both operas were originally composed for prima donnas who could sing them more dramatically than castorats of that era, and they were sung by soprano leggero, who laid emphasis on a display of technique by taking full advantage of coloratura. However, recently the dramatic factor is considered to be as important as the coloratura, and the singer is expected to sing with both the coloratura for the sake of technique and with dramatic expression. Chapter 3 is a study using experimental devices. It is very difficult to study artistic singing because many elements are involved in the singing and many conditions influence the singing. In the study of artistic singing, many analyses and combinations are necessary. The present study consists of three analyses: aerodynamic, breathing, and acoustic studies. In the aerodynamic study, the relationship between "the vocal register" and the air flow rate was examined. The air flow rate, the sound intensity level and the fundamental frequency were observed using SH-01 (RION) for the speaking and singing voices produced by the author. As a result, it was shown that the air flow rate increased markedly at the change between "the Chest register" and "the Mid register". The breathing stuny was performed using a computed spirometer to compare the abdominal breathing and the chest breathing. In the quantity of air ventilation the abdominal breathing was found to be advantageous; and in the voicing of the long in the bel canto opera, the abdominal breathing seemd more advantageous. In the acoustic study, using the soundspectrography, the analysed sounds were obtaind from the song in the mad scene, in "Lucia di Lammermoor" et al sung by 10 famous sopranos and the author. There were many variations in the acoustic characteristics. The vibrato was always observed in different degrees. The correlation between pitch and amplitude can be classified into three types. The first is a positive correlation found in Edita Gruberova et al. The second is a negative correlation found in Anna Moffo. The third is a non-correlation found in Maria Callas and Masako Saida et al. It was often found that the singing materials had high frequency "Singing Formant" as in Maria Callas et al. This acoustic characteristic fits very well with the singing voice accompanied by an orchestra. Because the frequency of an orchestra is low, the voice can be heard very well. In another experiment, similation tests were performed; that is, the author sang in different styles: with vibrato, with strong vibrato, without vibrato in covered voicing and in non-covered voicing. In the acoustic study, the vibrato and the strong-high frequency spectrum are considered to be important in artistic singing.

著者

山岸 佳愛

出版者

東京藝術大学音楽学部

雑誌

東京藝術大学音楽学部紀要 = Bulletin, Faculty of Music, Tokyo Geijutsu Daigaku (Tokyo University of the Arts) (ISSN:09148787)

巻号頁・発行日

vol.43, pp.101-116, 2018-03-15

著者

ウメトバエワ カリマン

出版者

東京藝術大学音楽学部

雑誌

東京藝術大学音楽学部紀要 (ISSN:09148787)

巻号頁・発行日

vol.41, pp.1-17, 2015

著者

西尾 千尋

出版者

東京藝術大学音楽学部

雑誌

東京藝術大学音楽学部紀要 (ISSN:09148787)

巻号頁・発行日

vol.37, pp.95-109, 2011

著者

岡田 恵美

出版者

東京藝術大学音楽学部

雑誌

東京藝術大学音楽学部紀要 (ISSN:09148787)

巻号頁・発行日

vol.36, pp.21-36, 2010

著者

木村 敦夫

出版者

東京藝術大学音楽学部

雑誌

東京藝術大学音楽学部紀要 = Bulletin, Faculty of Music, Tokyo Geijutsu Daigaku (Tokyo University of the Arts) (ISSN:09148787)

巻号頁・発行日

vol.39, pp.39-58, 2013