{"created":"2024-03-18T06:26:49.111384+00:00","id":2000350,"links":{},"metadata":{"_buckets":{"deposit":"e4bb5245-804a-4d29-b56d-cad2a29093e4"},"_deposit":{"created_by":17,"id":"2000350","owners":[17],"pid":{"revision_id":0,"type":"depid","value":"2000350"},"status":"published"},"_oai":{"id":"oai:ynu.repo.nii.ac.jp:02000350","sets":["553:557:558:1710741598913"]},"author_link":[],"item_6_biblio_info_8":{"attribute_name":"書誌情報","attribute_value_mlt":[{"bibliographicIssueDates":{"bibliographicIssueDate":"2024-03-25","bibliographicIssueDateType":"Issued"},"bibliographicIssueNumber":"1","bibliographicNumberOfPages":"16","bibliographicPageEnd":"160","bibliographicPageStart":"145","bibliographicVolumeNumber":"10","bibliographic_titles":[{"bibliographic_title":"常盤台人間文化論叢","bibliographic_titleLang":"ja"}]}]},"item_6_description_5":{"attribute_name":"抄録","attribute_value_mlt":[{"subitem_description":"(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.)\nThis 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.’\nThis 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.","subitem_description_language":"en","subitem_description_type":"Abstract"}]},"item_6_identifier_registration":{"attribute_name":"ID登録","attribute_value_mlt":[{"subitem_identifier_reg_text":"10.18880/0002000350","subitem_identifier_reg_type":"JaLC"}]},"item_6_publisher_35":{"attribute_name":"出版者","attribute_value_mlt":[{"subitem_publisher":"横浜国立大学都市イノベーション研究院","subitem_publisher_language":"ja"}]},"item_6_source_id_11":{"attribute_name":"書誌レコードID","attribute_value_mlt":[{"subitem_source_identifier":"AA12712864","subitem_source_identifier_type":"NCID"}]},"item_6_source_id_9":{"attribute_name":"ISSN","attribute_value_mlt":[{"subitem_source_identifier":"21893160","subitem_source_identifier_type":"PISSN"}]},"item_6_version_type_18":{"attribute_name":"著者版フラグ","attribute_value_mlt":[{"subitem_version_resource":"http://purl.org/coar/version/c_970fb48d4fbd8a85","subitem_version_type":"VoR"}]},"item_access_right":{"attribute_name":"アクセス権","attribute_value_mlt":[{"subitem_access_right":"open access","subitem_access_right_uri":"http://purl.org/coar/access_right/c_abf2"}]},"item_creator":{"attribute_name":"著者","attribute_type":"creator","attribute_value_mlt":[{"creatorAffiliations":[{"affiliationNames":[{"affiliationName":"都市イノベーション研究院","affiliationNameLang":"ja"}]}],"creatorNames":[{"creatorName":"中川, 克志","creatorNameLang":"ja"},{"creatorName":"Katsushi, Nakagawa","creatorNameLang":"en"}]}]},"item_files":{"attribute_name":"ファイル情報","attribute_type":"file","attribute_value_mlt":[{"accessrole":"open_date","date":[{"dateType":"Available","dateValue":"2024-03-18"}],"displaytype":"detail","fileDate":[{"fileDateType":"Issued","fileDateValue":"2024-03-25"}],"filename":"10-6.pdf","format":"application/pdf","licensetype":"license_note","mimetype":"application/pdf","url":{"label":"10-6.pdf","objectType":"fulltext","url":"https://ynu.repo.nii.ac.jp/record/2000350/files/10-6.pdf"},"version_id":"4176b3af-0813-43ff-8249-3c001d02bdf0"}]},"item_language":{"attribute_name":"言語","attribute_value_mlt":[{"subitem_language":"jpn"}]},"item_resource_type":{"attribute_name":"資源タイプ","attribute_value_mlt":[{"resourcetype":"departmental bulletin paper","resourceuri":"http://purl.org/coar/resource_type/c_6501"}]},"item_title":"＜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］","item_titles":{"attribute_name":"タイトル","attribute_value_mlt":[{"subitem_title":"＜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］","subitem_title_language":"ja"},{"subitem_title":"An Introduction to Music Epistemology: Exploring the Boundaries of Sound and Music since John Cage","subitem_title_language":"en"}]},"item_type_id":"6","owner":"17","path":["1710741598913"],"pubdate":{"attribute_name":"PubDate","attribute_value":"2024-03-18"},"publish_date":"2024-03-18","publish_status":"0","recid":"2000350","relation_version_is_last":true,"title":["＜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］"],"weko_creator_id":"17","weko_shared_id":-1},"updated":"2024-06-21T05:31:01.104952+00:00"}