WEKO3
アイテム
＜研究論文＞音楽認識論序説 ジョン・ケージ以降の音と音楽の境界線をめぐって［1/2］
https://doi.org/10.18880/0002000350
https://doi.org/10.18880/00020003500caf566e-95ee-4d66-b0c3-8086254af178
| 名前 / ファイル | ライセンス | アクション |
|---|---|---|
10-6.pdf
|
|
| アイテムタイプ | 紀要論文 / Departmental Bulletin Paper(1) | |||||||||
|---|---|---|---|---|---|---|---|---|---|---|
| 公開日 | 2024-03-18 | |||||||||
| タイトル | ||||||||||
| タイトル | ＜研究論文＞音楽認識論序説 ジョン・ケージ以降の音と音楽の境界線をめぐって［1/2］ | |||||||||
| 言語 | ja | |||||||||
| タイトル | ||||||||||
| タイトル | An Introduction to Music Epistemology: Exploring the Boundaries of Sound and Music since John Cage | |||||||||
| 言語 | en | |||||||||
| 言語 | ||||||||||
| 言語 | jpn | |||||||||
| 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 | 10.18880/0002000350 | |||||||||
| ID登録タイプ | JaLC | |||||||||
| アクセス権 | ||||||||||
| アクセス権 | open access | |||||||||
| アクセス権URI | http://purl.org/coar/access_right/c_abf2 | |||||||||
| 著者 |
中川, 克志
× 中川, 克志
|
|||||||||
| 抄録 | ||||||||||
| 内容記述タイプ | Abstract | |||||||||
| 内容記述 | (Due to lack of space, only the first half of this paper will be published here. The latter half will be published in the next volume. However, the abstract below is an abstract of the entire paper.) This article delves into the history and mechanics of establishing the boundaries between sound and music following the ‘revolution’ initiated by John Cage in the 1950s, when John Cage introduced the notion of omnipotence in dealing with all kinds of sounds within musical activities. To scrutinize these boundaries, this article assesses John Cage’s contributions and emphasizes that the axis Cage set as ‘all sounds can be music’ has been commonly interpreted as ‘all sound is music.’ As a case in point, this article provides an overview of three movements in the 1970s that incorporated environmental sounds into the realm of music. The influence of Cage not only garnered supporters but also opponents. The opponents can be divided into two factions. One sought to safeguard the traditional domain of music and exclude Cagean experimental music activities from it (Chris Cutler), while the other aimed to establish art of sound (or sound art) as a distinct field and exclude Cagean activities from sound art (Dan Lander). The underlying concept in operation here can be termed the ‘Musicalization of sound.’ This article scrutinizes the cognitive framework governing the relationship between the acoustic continuum and Cagean experimental music. It aspires to position this discourse within a historical context and convey the message that it is time to finish discussions concerning the boundary between sound and music. Instead, we should foster fresh practices and dialogues that transcend these boundaries. |
|||||||||
| 言語 | en | |||||||||
| 書誌情報 |
常盤台人間文化論叢 巻 10, 号 1, p. 145-160, ページ数 16, 発行日 2024-03-25 |
|||||||||
| ISSN | ||||||||||
| 収録物識別子タイプ | PISSN | |||||||||
| 収録物識別子 | 21893160 | |||||||||
| 書誌レコードID | ||||||||||
| 収録物識別子タイプ | NCID | |||||||||
| 収録物識別子 | AA12712864 | |||||||||
| 著者版フラグ | ||||||||||
| 出版タイプ | VoR | |||||||||
| 出版タイプResource | http://purl.org/coar/version/c_970fb48d4fbd8a85 | |||||||||
| 出版者 | ||||||||||
| 出版者 | 横浜国立大学都市イノベーション研究院 | |||||||||
