| Project/Area Number |
19320023
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| Research Category |
Grant-in-Aid for Scientific Research (B)
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| Allocation Type | Single-year Grants |
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| Section | 一般 |
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| Research Field |
Aesthetics/Art history
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| Research Institution | The University of Tokyo |
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Principal Investigator |
GOTTSCHEWSKI Hermann The University of Tokyo, 大学院・総合文化研究科, 准教授 (00376576)
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| Co-Investigator(Kenkyū-buntansha) |
CHOKI Seiji 京都大学, 大学院・総合文化研究科, 教授 (50292842)
WATANABE Hiroshi 京都大学, 大学院・人文社会系研究科, 教授 (80167163)
OKADA Akeo 京都大学, 人文科学研究所, 准教授 (70243136)
YASUDA Hiroshi 奈良教育大学, 教育学部, 教授 (10182338)
TAKAHASHI Yuzo 昭和大学, 富士吉田教育部, 非常勤講師 (60055225)
MIWA Masahiro 情報科学芸術大学院大学, メディア表現専攻科, 教授 (20336647)
SAKONDA Nobuyasu 名古屋学芸大学, メディア造形学部, 准教授 (20410897)
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| Research Collaborator |
RICHES Martin Berlin, Germany
HEESOOK Oh Seoul National University, South Korea
SEBASTIAN Klotz Universitat Leipzig, Germany
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| Project Period (FY) |
2007 – 2009
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| Project Status |
Completed (Fiscal Year 2009)
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| Budget Amount *help |
¥20,020,000 (Direct Cost: ¥15,400,000、Indirect Cost: ¥4,620,000)
Fiscal Year 2009: ¥4,030,000 (Direct Cost: ¥3,100,000、Indirect Cost: ¥930,000)
Fiscal Year 2008: ¥3,900,000 (Direct Cost: ¥3,000,000、Indirect Cost: ¥900,000)
Fiscal Year 2007: ¥12,090,000 (Direct Cost: ¥9,300,000、Indirect Cost: ¥2,790,000)
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| Keywords | 音楽美学 / 機械芸術 / メディア論 / 機械音楽 / アルゴリズム / ピアノ教育 / 近代化 / 始原楽器 / 機会芸術 |
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| Research Abstract |
Machines, i.e.mechanical devices that are created to perform a certain action repeatedly, were used since antiquity as a model for natural processes such as the movements of the sky and thus had a highly symbolic value. Music also was often interpreted as a symbol for the harmony of the universe. Thus the rules and regulations that control a musical process could be easily identified with mechanical processes in a machine, and in fact this connection was frequently drawn in historical sources from antiquity to modernity. Early music machines-or more generally "sounding machines"-are often designed with a clear reference to the harmony of the universe. And, in reverse, medieval clocks, designed as machines to model the natural process of day and night, often contain musical devices such as automats playing tunes on a carillon at certain times. On the other hand music also was often regarded as a "human" or "living" behaviour that cannot be simulated by "dead" materials such as machines.
… More
Also "mechanical" or "machine-like" human playing as a result of mechanical exercise was criticized as "unmusical" and in contrast to the true essence of musical art. This kind of criticism was increasingly virulent since the 18th or 19th century, when mechanical devices played a more and more important role in daily life. In the 20th century, however, there were also movements proclaiming the rhythm of factory machines as the true sound of modern age. In the last two or three decades, however, digital music production has fundamentally changed the meaning of machine-made sound. In this research project, the historically changing meaning of automats for musical thought from antiquity to the present has been investigated. As an additional focus of this research, a number of computer simulations of historical music machines were created, and a collaboration between a machine artist and a composer was initiated that led to the creation of new art works. The research results and art works were presented in two exhibitions and several concerts and symposia. Less
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