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日本人による西洋音楽の演奏傾向と言語特性の関係性およびその問題改善への試案～強弱アクセントとアウフタクトの視点から～
https://doi.org/10.18878/00001900
https://doi.org/10.18878/00001900709be875-673f-4825-ae01-414edb04bd2a
| 名前 / ファイル | ライセンス | アクション |
|---|---|---|
KJ00007086206 (1.4 MB)
|
神戸女学院大学研究所
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| Item type | 紀要論文(ELS) / Departmental Bulletin Paper(1) | |||||
|---|---|---|---|---|---|---|
| 公開日 | 2010-01-01 | |||||
| タイトル | ||||||
| タイトル | 日本人による西洋音楽の演奏傾向と言語特性の関係性およびその問題改善への試案～強弱アクセントとアウフタクトの視点から～ | |||||
| タイトル | ||||||
| タイトル | The Relationship Between the Western Music Performed by Japanese Musicians with the Properties of the Japanese Language, and a Proposal for Making the Problem Better --A Viewpoint from Stress Accent and Upbeat-- | |||||
| 言語 | en | |||||
| 言語 | ||||||
| 言語 | jpn | |||||
| キーワード | ||||||
| 主題Scheme | Other | |||||
| 主題 | 日本語 | |||||
| キーワード | ||||||
| 主題Scheme | Other | |||||
| 主題 | 言語文化 | |||||
| キーワード | ||||||
| 主題Scheme | Other | |||||
| 主題 | 拍子 | |||||
| キーワード | ||||||
| 主題Scheme | Other | |||||
| 主題 | 音感 | |||||
| キーワード | ||||||
| 主題Scheme | Other | |||||
| 主題 | 音楽教育 | |||||
| キーワード | ||||||
| 言語 | en | |||||
| 主題Scheme | Other | |||||
| 主題 | Japanese language | |||||
| キーワード | ||||||
| 言語 | en | |||||
| 主題Scheme | Other | |||||
| 主題 | linguistic culture | |||||
| キーワード | ||||||
| 言語 | en | |||||
| 主題Scheme | Other | |||||
| 主題 | time | |||||
| キーワード | ||||||
| 言語 | en | |||||
| 主題Scheme | Other | |||||
| 主題 | music sense | |||||
| キーワード | ||||||
| 言語 | en | |||||
| 主題Scheme | Other | |||||
| 主題 | music education | |||||
| 資源タイプ | ||||||
| 資源タイプ識別子 | http://purl.org/coar/resource_type/c_6501 | |||||
| 資源タイプ | departmental bulletin paper | |||||
| ID登録 | ||||||
| ID登録 | 10.18878/00001900 | |||||
| ID登録タイプ | JaLC | |||||
| ページ属性 | ||||||
| 内容記述タイプ | Other | |||||
| 内容記述 | P(論文) | |||||
| 著者名(日） |
田島, 孝一
× 田島, 孝一 |
|||||
| 著者名(英) |
TAJIMA, Kouichi
× TAJIMA, Kouichi |
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| 著者所属（日） | ||||||
| 値 | 神戸女学院大学人間科学部心理・行動科学科 | |||||
| 要旨(日） | ||||||
| 内容記述タイプ | Other | |||||
| 内容記述 | For most of the Japanese people who grew up with Japanese language culture which has no stress accent without time and upbeat, it is very difficult to get the sense of western music. At first, resting on the theory by F.Koizumi (1968) , I have pointed the immediate difference between the sense of time which is born by stress accent, and the music theory which has been taught in most of the Japanese schools. Upbeat is attached by the European languages, especially English and German, which has pronoun and article. And slso bar line is developed by the European languages. But in Japanese schools, those knowledges are not taught to the pupils. For this reason, I have pointed a very important fault by Japanese players. Because their music playing are not based on the European languages. So, I have pointed that their plays are reflected poor phrasing. And sometimes their music sound like xylophone tones, as a monotonous meaningless tone series. On the last chapter, I have suggested some exercise ways how to reflect the sense of the European languages. One of it is adding words by the European languages to the notes for instrument, or refer to such a CD on sale (for example by Susan Osborn), and try to sing them. | |||||
| 雑誌書誌ID | ||||||
| 収録物識別子タイプ | NCID | |||||
| 収録物識別子 | AN00085725 | |||||
| 書誌情報 |
神戸女学院大学論集 en : KOBE COLLEGE STUDIES 巻 56, 号 2, p. 67-85, 発行日 2010-01-20 |
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