抄録
The purpose of this paper is to clarify the process of musical generation in musical performance activities in order to improve instructions given at teacher training courses. The data was gathered through videotaping a group activity in which the learners worked on a keyboard ensemble performance at a teacher-training course at a college in Osaka. The procedure involved the analyses of the recorded performances and conversation between the group members in terms of (A) the chronological changes in the musical performance of the group, (B) the chronological changes in musical elements being perceived and images being evoked, and (C) the relationship of these changes. The results are as follows. (A) There is three aspects in the changes in performance: (1) performers' trying to express their individual parts, (2) performers' trying to express the texture by combining each part, and (3) performers' trying to express the entire piece as a whole by altering the texture. (B) Changes in the perceived musical elements evoke different images, which change from vague to concrete to dynamic ones. (C) There is an interaction between the above two changes. The performance gives the opportunity for the perception of different musical elements that evokes a new image, which in tern gives the foundation for the changes to be made in the performance.
