| Project/Area Number |
15520087
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| Research Category |
Grant-in-Aid for Scientific Research (C)
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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 | Osaka University |
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Principal Investigator |
KAMIKURA Tsuneyuki Osaka University, Graduate School of Letters, Professor, 大学院・文学研究科, 教授 (90115824)
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| Co-Investigator(Kenkyū-buntansha) |
TANOGASHIRA Kazutomo Osaka University of Arts, Faculty of Arts, Lecturer, 芸術学部, 講師 (40278560)
WATANABE Koji Osaka University, Graduate School of Letters, Assistant Professor, 大学院・文学研究科, 助手 (50263182)
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| Project Period (FY) |
2003 – 2004
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| Project Status |
Completed (Fiscal Year 2004)
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| Budget Amount *help |
¥3,000,000 (Direct Cost: ¥3,000,000)
Fiscal Year 2004: ¥1,000,000 (Direct Cost: ¥1,000,000)
Fiscal Year 2003: ¥2,000,000 (Direct Cost: ¥2,000,000)
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| Keywords | music / drama / audience / reaction / sound effect / receptive / effective music / image / 映画音楽 / ギリシア劇 / ワグナー / 武満徹 / 観客反応 / 演出 / 音楽理論 / 映画 |
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| Research Abstract |
This study tries to make an aesthetic and musicological elucidation of the feeling for music in the dramatic space such as in the theater and in the movie theater.
The primary motivation of this study was that music and effective music as the subjects of this study had never been treated as such and had never studied sufficiently in aesthetics as well as in musicology. If this remark is to be explained more fully and seriously, it means much question or discontent about the dominant tendencies of aesthetics and the sense of effective music as well as of views of music and drama : remarkable contempt for effective music, regarding the effective music as the artistic effect subordinate to or dependent on drama and images and so forth. But it must be firmly emphasized above all because of utter unawareness of it that the music and effective music have their own effect on the audience independently of drama and images.
In the beginning this study intended in probe into various problems in connection with its subjects, but it laid particular stress on these ones : 1.the possibility of effective music independent of drama and images, 2.how the audience feel about the effective music apart from the drama and images, 3.how the audience understand drama and images without effective music, and how the audience understand drama and images which are accompanied with effective music. Attaching the most importance to 2 and 3 of these points, it has made clear the control of the effective music over understanding the drama and images of the audience, and so has come into greater prominence the difference between the traditional concept of effective music and the new idea of effective music as such.
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