紀要論文 音楽演奏における表現追求プロセスについての研究 : 演奏家へのインタビュー・演奏シミュレーション調査から
オンガク エンソウ ニオケル ヒョウゲン ツイキュウ プロセス ニツイテ ノ ケンキュウ : エンソウカ エノ インタビュー エンソウ シミュレーション チョウサ カラ
An Investigation into the Pursuit of Expression for Playing a Musical Piece : Through Interviews with Musicians and Musicians’ Simulations

小山, 英恵

33pp.410 - 425 , 2018-02-15 , 鳴門教育大学 , Naruto University of Education
ISSN:1880-7194
NII書誌ID(NCID):AA12124651
内容記述
This study involved an investigation of the process for pursuing expressions for playing a musical piece. Two musicians were interviewed about how they pursued expressions of a musical piece ; additionally, they simulated this process for the researcher. Accordingly, the findings of the study are revealed. Pursuing the expression for playing a musical piece occurs in two phases. In the first phase, musicians examine the outline of a musical piece and acquire bodily wisdom and insight for playing it. The goal of this phase is to play the piece fluently without notes, although the aim is not only to develop solutions to technical problems. In this phase, musicians comprehend the structure of the piece and develop tastes and fascinations for it by repeatedly playing the piece. These foundations prepare musicians for the next phase. In the second phase, musicians pursue satisfactory expressions of the piece using various sound images and technical skills. Leads for the pursuit are the results of analyzing the piece, taste preferences and fascinations associated with the piece, the message of the composer, performances of others(CDs),reflections on their own recorded performances, and observations from repetitions of the music. These elements are intertwined in a complicated manner and synthesized in the minds of the musicians until they are finally satisfied with their expressions. It is not a logical process ; rather, it is based on musicians’ aesthetic senses or feelings. In addition, a satisfactory expression is not a fixed goal. It changes constantly. The process of pursuing an expression for playing a musical piece differs from the process employed in intellectual thinking based on knowledge of the written word. Musical expression reflects bodily wisdom, judgements based on aesthetic senses or feelings, complexity, synthesis, and variability. The findings of this investigation have led to two suggestions for music education in primary and secondary schools. First, the importance of bodily wisdom should be emphasized ; in other words, playing fluently without notes and having sound images and techniques for achieving them are important skills. It is true that acquiring bodily wisdom takes a long time, and music education in schools does not provide enough time for that. However, underrating the importance of such wisdom may make the pursuit of musical expression difficult, as it is the foundation for this pursuit. Second, the complexity, synthesis, and variability of the process of this pursuit should be acknowledged. The process of finding satisfactory expressions cannot be explained by a single causal relationship. Musicians’ satisfactory expressions come from the synthesis of their many experiences, sound images, senses, and feelings. An idea regarding an expression typically flashes into a musician’s mind in the process of the pursuit. Therefore, students should not be instructed to explain their expressions logically, an approach that differs from what is mostly observed in music education in many primary and secondaryschools.
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http://www.naruto-u.ac.jp/repository/file/3994/20180305112944/KK33035.pdf

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