著者

増田 聡 谷口 文和

出版者

鳴門教育大学

雑誌

鳴門教育大学研究紀要. 芸術編 (ISSN:13434403)

巻号頁・発行日

vol.19, pp.25-35, 2004

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Today, recording and reproducing technology is so essential that we cannot ignore its influences on our musical experience. However, it seems that many of us are still obssessed with the idea that recorded music is only subsidery to "live" music. The purpose of this paper is to rethink musical listening with reproduction. Hi-fi maniacs have two ambivalent principles: that reproduced sound should be identical to its "source" , and that they can make sound with their equipments as they feel favorable. Though, the privileged "source" never sounds without reproduction, so they can evaluate the fidelity of sounds only by imagination. On the other hand, when they assume that audio equipments "create" sounds, they cannot feel sure if they really listen to music. Sound systems for club music is designed with the principle same as the latter type of hi-fi manias. But the audience feels the "aura" from reproduced music, because DJs who mediate between records and them make the field where they listen to music authentic. While hi-fi maniacs who pursue imaginative "source" has been reproducing "loss of aura" , DJ cultures restore the aura. Thus, both musical practices of hi-fi maniacs and DJs use the same technology, but bring different musical experiences. And here we can elucidate the multi-layered structure of musical listening, where we differently imagine "what makes music".

著者

増田 聡

出版者

鳴門教育大学

雑誌

鳴門教育大学研究紀要. 芸術編 (ISSN:13434403)

巻号頁・発行日

vol.18, pp.13-21, 2003-03-07

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In this paper, it is discussed that Fumio Koizumi's famous studies in Japanese popular music have some problems. His studies have been influential in the Japanese musicological studies in popular music, and the method in that studies is mainly based on a theory of musical scales that used in the succeeding study by Yoshiaki Sato. Sato's study is better for explaining how some scales of Japanese popular music have taken roots, than Koizumi's, But Sato's study has same problem in Koizumi's, which became clear at Sato's appearance in a famous T.V. news show program, "News Station." Studies based on a theory of musical scales often cut the music to abstract entities which are not heard by audience, so the studies will fail to catch a whole of the musical event. This paper suggests that popular music studies should stare on three levels of productiveneutralreceptive in a music event, not accord a privilege to "music itself."

著者

木村 正邦

出版者

鳴門教育大学

雑誌

鳴門教育大学研究紀要. 芸術編 (ISSN:13434403)

巻号頁・発行日

vol.19, pp.37-48, 2004