著者

矢向 正人

出版者

九州大学大学院芸術工学研究院

雑誌

芸術工学研究 : 九州大学大学院芸術工学研究院紀要 (ISSN:13490915)

巻号頁・発行日

vol.24, pp.21-41, 2016

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The aim of this paper is to examine the origins of hand clapping mainly in Western ancient history. Firstly, whether human hand clapping is instinctive or acquired a posteriori is argued with several examples by infant and primate. Secondly, the relationship between hand clapping and music observed in the archaeological remains of the ancient Near East is surveyed. Thirdly, applause in the documents written in the ancient Greece is examined. In addition to the judgment of the right or wrong for applause by Plato's aesthetics and Epictetus philosophy, the Spartan election with acclamation is surveyed. Fourthly, based on these results, variety and organization of applause in the documents written in the ancient Roman age are discussed. Especially, custom of the applause in the audience with dictator or emperor, applauders in theater or courtroom, Cicero's view on the relationship between eloquence and applause, and the professional applauders with three cheerleading sections organized by Nero are chiefly examined. Finally, the examples of hand clapping described in the Old Testament are surveyed.

著者

古賀 徹 Koga Toru

出版者

九州大学大学院芸術工学研究院

雑誌

芸術工学研究 : 九州大学大学院芸術工学研究院紀要 (ISSN:13490915)

巻号頁・発行日

vol.18, pp.43-49, 2013

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In the field of design, concept plays a significant role in the constitution of a design object. As a concept designates a goal for a design process, it has to be deliberately defined in order to maximize the functionality of the object. In other words, the concept should play a mechanical and an organic role at the same time. In their writings What Is Philosophy? Gilles Deleuze and Félix Guattari define the concept as a mechanical component that consists of sensory elements, each of which is itself a concept. We transplant their thought to the field of design as a tool capable of evaluating the sensory quality of the design object.

著者

森宗 里沙 西田 紘子

出版者

九州大学大学院芸術工学研究院

雑誌

芸術工学研究 : 九州大学大学院芸術工学研究院紀要 (ISSN:13490915)

巻号頁・発行日

vol.23, pp.47-57, 2015

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This study examines the theatre placement of the band or musicians during early opera performances. This research is considered from the interdisciplinary points of view, for example, acoustic knowledge, and cultural customs of the time. Three countries, England, Italy, and France, where early operas were successful, are focused on. The arrangement of the bands or musicians is inferred based on various historical records such as plan views, libretti, scores, and spectator's diaries. As the results show, some similarities and differences exist between the three regions. For example, it was not the custom in early operas in the three regions to place the band or musicians in front of the stage. One can observe differences in the placement of the bands if they were not arranged in front of the stage. However, if they were positioned there, the pit was not set lower than the ground floor. From this research, the relation between acoustic knowledge and those of theatre construction and band placement could not be proved clearly. It is necessary to get more first historical sources to raise the estimated reliability in the future.

著者

西田 紘子

出版者

九州大学大学院芸術工学研究院

雑誌

芸術工学研究 : 九州大学大学院芸術工学研究院紀要 (ISSN:13490915)

巻号頁・発行日

vol.15, pp.1-14, 2011

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This paper discusses the interpretations of Beetoven's "Ninth Symophony" by Richard Wargner, Hermann Kretzschmar, and Heinrich Schenker, eithin the framework of a musical narrative. First, foundamental problems in musical narratology are discussed in order to bridge between recent studies and the narrative acts in Schenker's time. Second, Schenker's work "Beethoven's NInth Symphony" (1912) can be regarded as the starting point of this examination, because it includes a detailed criticism of the interpretations by Wagner and Kretzschmer. Wagner modified Beetoven's own text in oeder to make the main melody clear and provided legitimacy to the voice and language in the finale through his meta-narrative of music history. Moreover, Kretzschmer applied Goethe's "Fausr" to the narrative of the finale. Both attempts were quite unacceptable to Schenker, who did not deviate from the authority of Beethoven's own text and the superiority of absolute music. Schenker's meta-narrative was so powerful thet he characterized the finales as a narrative of the victory pg absolute music and possibly of Beethoven's failure. Such persistance of music's autonomy and the identity of musacal interpretations can also be observed in recent musical narratology.

著者

高野 まり 釜山 大樹 山下 茂樹 Takano Mari Kamayama Daiki Yamashita Shigeki

出版者

九州大学大学院芸術工学研究院

雑誌

芸術工学研究 : 九州大学大学院芸術工学研究院紀要 (ISSN:13490915)

巻号頁・発行日

vol.18, pp.1-8, 2013

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The spectral sensitivity of the posterior median eye of the jumping spider, Hasarius adansoni, was investigated by recording electroretinograms. The spectral sensitivity curve had a maximum peak at about 340-360 nm and an additional small peak at about 480 nm. The effect of UV light on behavior was examined with freely walking spiders. The experimental arena was cylindrical, about 65 mm in diameter and 3 mm in height, and covered with a quartz glass sheet. When one half of the arena was illuminated with a 360 nm light and the other half was illuminated with a 540 nm light, spiders walked longer period preferentially under the 360 nm light than under the 540 nm light. When the posterior median eye was occluded with black paint, some spiders walked longer period under the 540 nm light than under the 360nm light. We conclude that the posterior median eye is a UV receptor.

著者

中村 滋延

出版者

九州大学大学院芸術工学研究院

雑誌

芸術工学研究 : 九州大学大学院芸術工学研究院紀要 (ISSN:13490915)

巻号頁・発行日

vol.16, pp.19-26, 2012

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This paper is a discussion about how the sounds (sound effect or noise) that constitute the sound track characterize the story structure in the movie "Tokyo Story" directed by Yasujiro Ozu. "Tokyo Story" is based on the story structure as "Go and Return". An antinomy for "Here" and "There" exists in this structure. "Here" includes the concept of locality (Onomichi), elderly couple, dream, and death, and "There" includes the concept of central (Tokyo), children, reality, and life as an opposite axis. Each concept is characterized by the sounds. Furthermore, the story structure with "Go and Return" necessarily defines the composition on temporal axis as a cyclic form. Each part that constitutes the cyclic form is also characterized by the sounds.

著者

REMIJN Gerard Bastiaan 上田 和夫 豊岡 哲郎

出版者

九州大学大学院芸術工学研究院紀要『芸術工学研究』編集委員会

雑誌

芸術工学研究 : 九州大学大学院芸術工学研究院紀要 (ISSN:13490915)

巻号頁・発行日

vol.15, pp.65-70, 2011

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標準的な英語において, 名詞の複数形は/s/や/z/といった語音で表現される。これらは通常, 強勢が置かれず, 雑音のような音の性質を持っている。このことにより, (雑音の多い)学習環境においては, 複数形語尾の知覚が困難になる可能性がある。特に, 第二言語として英語を学習する場合, かつ, 学習者の母語では名詞の複数形語尾変化があまり行われない場合には, このことが顕著となる可能性がある。しかし, 英語の複数形を表す語音の知覚については, これまでにあまり研究が行われていない。そこで, 若年成人の日本語母語話者に, 英語複数形の/s/および/z/を聞き取らせ, 書き取らせる研究を実施した。その結果, 書き取られた単語全体のおよそ12%で複数形の/s/または/z/が書き取られていなかった。また, 無性の/s/は, 有声の/z/よりも, 有意に欠落することが多かった。この結果をより確かなものにするためには, 今後, 信号(/s/および/z/)の強調, および/または(背景)雑音レベルの系統的な操作を行う研究が必要である。