| 研究課題/領域番号 |
23K00215
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| 研究種目 |
基盤研究(C)
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| 配分区分 | 基金 |
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| 応募区分 | 一般 |
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| 審査区分 |
小区分01070:芸術実践論関連
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| 研究機関 | 九州大学 |
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研究代表者 |
Jamieson Daryl 九州大学, 芸術工学研究院, 助教 (90874470)
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| 研究期間 (年度) |
2023-04-01 – 2026-03-31
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| 研究課題ステータス |
交付 (2023年度)
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| 配分額 *注記 |
4,290千円 (直接経費: 3,300千円、間接経費: 990千円)
2025年度: 1,430千円 (直接経費: 1,100千円、間接経費: 330千円)
2024年度: 1,430千円 (直接経費: 1,100千円、間接経費: 330千円)
2023年度: 1,430千円 (直接経費: 1,100千円、間接経費: 330千円)
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| キーワード | 現代音楽 / 音楽解釈 / 美学 / 京都学派 / 近藤譲 / フィールドレコーディング / ピアノ / contemporary music / aesthetics of music / Konparu Zenchiku / non-human art / Kyoto School |
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| 研究開始時の研究の概要 |
What role can music play as the environment collapses? Encompassing both contemporary heterodox music and pre-capitalist Japanese aesthetics, this project explores a radically experimental approach to creating a place where the dialogue between humans and nonhumans can be radically reimagined.
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| 研究実績の概要 |
I gave a paper at the International Society of East Asian Philosophy in Edinburgh (September). I was asked to co-edit the conference proceedings of the latter. I also contributed two essays to the handbook 'No for contemporary composers', and published an essay on Japanese philosophy in new music, and an interview with Jo Kondo in the Swedish journal 'Nutida Musik'.
In Artistic Practice, I wrote and premiered a 75-minute piece for piano and interactive audio/video called 'Goto: Archipelago'. I also recorded, directed, and edited an audio video installation version of my 2021 piece 'Descants 2: for the trees'. A 6-channel audio installation was installed in Koishikawa Botanical Gardens. A 15-min piano solo written.
3 lecture concerts were held at Kyudai, and 2 in Iceland.
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| 現在までの達成度 (区分) |
現在までの達成度 (区分)
1: 当初の計画以上に進展している
理由
I made more progress on the text-based research than expected. My two international papers were very well-received, by artists and philosophers.
Lecture concerts in Goto, Kyudai, and Iceland were also well-attended and very positive.
Despite some health problems in October-January, I persevered and was able to do a lot of reading in that time, developing my ideas. Artistic output stalled during this period but I was able to write a long piano piece in February and March.
Collaborative work on Zenchiku with University of Glasgow Theatre director Graham Eatough and Dutch artist Miek Zwamborn continued to progress, with both of them coming to Fukuoka in February for meetings and joint lectures.
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| 今後の研究の推進方策 |
I have five papers I plan to deliver at international conferences this year (two online and three in person), with three already accepted.
Several of the artistic works developed last year will go into production. the piano piece will be premiered and 4 or 5 CDs released, as well as the installation works will be shown in London.
Plans are less clear about lecture concerts in Kyudai, but there will be at least two (one per semester).
Based on the research and practice-as-research conducted last year and the abstracts and papers being prepared for conferences this year (AY2024), I will write and submit a book proposal to Bloomsbury (and then Routledge if the former is unsuccessful) within the first half of AY2024.
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