日本人による西洋音楽の演奏傾向と言語特性の関係性およびその問題改善への試案～強弱アクセントとアウフタクトの視点から～

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  • ニホンジン ニ ヨル セイヨウ オンガク ノ エンソウ ケイコウ ト ゲンゴ トクセイ ノ カンケイセイ オヨビ ソノ モンダイ カイゼン エ ノ シアン キョウジャク アクセント ト アウフタクト ノ シテン カラ

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For most of the Japanese people who grew up with Japanese language culture which has no stress accent without time and upbeat, it is very difficult to get the sense of western music. At first, resting on the theory by F.Koizumi (1968) , I have pointed the immediate difference between the sense of time which is born by stress accent, and the music theory which has been taught in most of the Japanese schools. Upbeat is attached by the European languages, especially English and German, which has pronoun and article. And slso bar line is developed by the European languages. But in Japanese schools, those knowledges are not taught to the pupils. For this reason, I have pointed a very important fault by Japanese players. Because their music playing are not based on the European languages. So, I have pointed that their plays are reflected poor phrasing. And sometimes their music sound like xylophone tones, as a monotonous meaningless tone series. On the last chapter, I have suggested some exercise ways how to reflect the sense of the European languages. One of it is adding words by the European languages to the notes for instrument, or refer to such a CD on sale (for example by Susan Osborn), and try to sing them.

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