| Project/Area Number |
16K02303
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| Research Category |
Grant-in-Aid for Scientific Research (C)
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| Allocation Type | Multi-year Fund |
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| Section | 一般 |
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| Research Field |
Art at large
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| Research Institution | Tokyo National University of Fine Arts and Music |
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Principal Investigator |
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| Project Period (FY) |
2016-04-01 – 2019-03-31
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| Project Status |
Completed (Fiscal Year 2018)
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| Budget Amount *help |
¥4,550,000 (Direct Cost: ¥3,500,000、Indirect Cost: ¥1,050,000)
Fiscal Year 2018: ¥780,000 (Direct Cost: ¥600,000、Indirect Cost: ¥180,000)
Fiscal Year 2017: ¥780,000 (Direct Cost: ¥600,000、Indirect Cost: ¥180,000)
Fiscal Year 2016: ¥2,990,000 (Direct Cost: ¥2,300,000、Indirect Cost: ¥690,000)
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| Keywords | 作曲方法論 |
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| Outline of Final Research Achievements |
In this project, some kind of expansion of the framework of the theories on pitch structure from twelve-tone to microtonal pitch space, and its diversion to the framework of the methodology of composition were attempted. And the major purpose of this project was to compose and to perform actual pieces created according to the progress of these attempts.
During this project period, those methods were developed and expanded from referring to pitch structures containing the positioning of each note to application of techniques of sound analysis etc., and some pieces were composed with systematically controlled pitch structures according to the process of the examination of the methodology. The efficiency of these frameworks was to some extent confirmed by pieces created and performances.
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| Academic Significance and Societal Importance of the Research Achievements |
極めて複雑な音響構造が頻出する現代の藝術音楽作品創作の領域において、聴覚による身体的な把握のみならず、数値化されたデータとして原理的に音響を精査することは、個々の音響の実態をより詳細に把握する有効な手段の選択肢の一つとなる。それは分析のみならず創作へと転用が可能で、特定の複雑な音響が要求される状況設定等、方法論的な「モデル化」の余地も残されており、一定の有効性を持つ。このような原理性に基づく創作態度は、将来性という意味で否定的な文脈で語られがちなこの領域における創作の今後の発展にも一定程度資するものと考える。
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