{"created":"2024-03-05T05:59:44.569820+00:00","id":2012833,"links":{},"metadata":{"_buckets":{"deposit":"507293c0-4713-4774-a5c2-0fac3368e698"},"_deposit":{"created_by":9,"id":"2012833","owner":"7","owners":[9],"pid":{"revision_id":0,"type":"depid","value":"2012833"},"status":"published"},"_oai":{"id":"oai:our.repo.nii.ac.jp:02012833","sets":["1616224532673:1707964466277:1708408463231:1708409635168","1707979148924:1707983961004"]},"author_link":[],"item_30002_access_rights4":{"attribute_name":"アクセス権","attribute_value_mlt":[{"subitem_access_right":"open access","subitem_access_right_uri":"http://purl.org/coar/access_right/c_abf2"}]},"item_30002_creator2":{"attribute_name":"Creator","attribute_type":"creator","attribute_value_mlt":[{"creatorNames":[{"creatorName":"清水, 慶彦","creatorNameLang":"ja"},{"creatorName":"シミズ, ヨシヒコ","creatorNameLang":"ja-Kana"},{"creatorName":"Shimizu, Yoshihiko","creatorNameLang":"en"}]}]},"item_30002_date11":{"attribute_name":"Date","attribute_value_mlt":[{"subitem_date_issued_datetime":"2023-09-01","subitem_date_issued_type":"Issued"}]},"item_30002_description9":{"attribute_name":"Description","attribute_value_mlt":[{"subitem_description":"本稿は,環境音のフィールド・レコーディングにもとづく創作であるサウンドスケープ・コンポジションについて,バリー・トゥルアックスの論考をもとに,その理念の枠組みを明らかにしようとするものである。彼のいうサウンドスケープ・コンポジションでは,使用素材と原音の関係の認識可能性が重視され,「聴き手と環境とを再統合する」という目的が志向される。その点についてフランシスコ・ロペスは批判的にとらえるが,両者の立場の違いを比較することで,作品に使用する音の認識性/抽象性の問題への両者の態度の相違が浮き彫りになる。それを通じ,トゥルアックスのサウンドスケープ・コンポジションが,少なくとも彼にとって,音楽の従来的なパラダイムを変革していく可能性を持つ野心的な理念だったことがわかる。","subitem_description_language":"ja"},{"subitem_description":"This paper draws on the writings of Barry Truax to describe the principles of soundscape composition, a form of music created from field recordings of environmental sounds. ruax emphasizes the recognizability of the source material in the finished piece, with the goal being the reintegration of the listener with the environment. Francisco López is critical of this approach. Contrasting Truax's stance with that of López highlights the differences in their attitudes toward the problem of recognizability versus abstraction in the sounds used to make music. This comparison reveals the ambitious nature of Truax's soundscape composition, which at least from his perspective, has the potential to revolutionize traditional paradigms of music.","subitem_description_language":"en"}]},"item_30002_file35":{"attribute_name":"File","attribute_type":"file","attribute_value_mlt":[{"accessrole":"open_access","date":[{"dateType":"Available","dateValue":"2023-09-25"}],"filename":"kyouiku_kiyou45-1_1.pdf","format":"application/pdf","mimetype":"application/pdf","url":{"url":"https://our.repo.nii.ac.jp/record/2012833/files/kyouiku_kiyou45-1_1.pdf"},"version_id":"f2fc83d1-d627-4eab-a4b9-11c723a40634"}]},"item_30002_identifier16":{"attribute_name":"Identifier","attribute_value_mlt":[{"subitem_identifier_type":"HDL","subitem_identifier_uri":"http://hdl.handle.net/10559/17244"},{"subitem_identifier_type":"DOI","subitem_identifier_uri":"https://doi.org/10.51073/17244"}]},"item_30002_identifier_registration17":{"attribute_name":"identifier_registration","attribute_value_mlt":[{"subitem_identifier_reg_text":"10.51073/17244","subitem_identifier_reg_type":"JaLC"}]},"item_30002_issue_number25":{"attribute_name":"号","attribute_value_mlt":[{"subitem_issue":"1"}]},"item_30002_language12":{"attribute_name":"Language","attribute_value_mlt":[{"subitem_language":"jpn"}]},"item_30002_page_end28":{"attribute_name":"終了ページ","attribute_value_mlt":[{"subitem_end_page":"12"}]},"item_30002_page_start27":{"attribute_name":"開始ページ","attribute_value_mlt":[{"subitem_start_page":"1"}]},"item_30002_publisher10":{"attribute_name":"Publisher","attribute_value_mlt":[{"subitem_publisher":"大分大学教育学部","subitem_publisher_language":"ja"}]},"item_30002_relation18":{"attribute_name":"Relation","attribute_value_mlt":[{"subitem_relation_type_id":{"subitem_relation_type_id_text":"AA12760506","subitem_relation_type_select":"NCID"}}]},"item_30002_resource_type13":{"attribute_name":"item_30002_resource_type13","attribute_value_mlt":[{"resourcetype":"departmental bulletin paper","resourceuri":"http://purl.org/coar/resource_type/c_6501"}]},"item_30002_source_identifier22":{"attribute_name":"Source Identifier","attribute_value_mlt":[{"subitem_source_identifier":"24240680","subitem_source_identifier_type":"PISSN"}]},"item_30002_source_title23":{"attribute_name":"Source Title","attribute_value_mlt":[{"subitem_source_title":"大分大学教育学部研究紀要","subitem_source_title_language":"ja"}]},"item_30002_subject8":{"attribute_name":"Subject","attribute_value_mlt":[{"subitem_subject":"サウンドスケープ・コンポジション","subitem_subject_language":"ja"},{"subitem_subject":"フィールド・レコーディング","subitem_subject_language":"ja"},{"subitem_subject":"サウンドスケープ","subitem_subject_language":"ja"},{"subitem_subject":"ミュジック・コンクレート","subitem_subject_language":"ja"},{"subitem_subject":"Soundscape composition","subitem_subject_language":"en"},{"subitem_subject":"Field recording","subitem_subject_language":"en"},{"subitem_subject":"Soundscape","subitem_subject_language":"en"},{"subitem_subject":"musique concrète","subitem_subject_language":"en"}]},"item_30002_title0":{"attribute_name":"Title","attribute_value_mlt":[{"subitem_title":"サウンドスケープ・コンポジションの理念 : バリー・トゥルアックスの論考をもとに","subitem_title_language":"ja"},{"subitem_title":"The Principles of Soundscape Composition : in the Writings of Barry Truax","subitem_title_language":"en"}]},"item_30002_volume_number24":{"attribute_name":"巻","attribute_value_mlt":[{"subitem_volume":"45"}]},"item_title":"サウンドスケープ・コンポジションの理念 : バリー・トゥルアックスの論考をもとに","item_type_id":"30002","owner":"9","path":["1707983961004","1708409635168"],"pubdate":{"attribute_name":"PubDate","attribute_value":"2023-09-25"},"publish_date":"2023-09-25","publish_status":"0","recid":"2012833","relation_version_is_last":true,"title":["サウンドスケープ・コンポジションの理念 : バリー・トゥルアックスの論考をもとに"],"weko_creator_id":"9","weko_shared_id":-1},"updated":"2024-09-27T05:00:41.466399+00:00"}