Steve Reich (1936-), in his essay "Music as a Gradual Process" (1968), wrote that "a compositional process and a sounding music […] are one and the same thing." His aesthetic creed of "perceptible processes," indicated in these words, is known as the basic idea of minimal music. Although minimal music has been considered a counterpart of minimal art, this essay first appeared in the exhibition catalogue of "Anti-Illusion: Procedures/Materials" (Whitney Museum of American Art, 1969), an exhibition recognized as a threshold of postminimalism in the plastic arts. In this paper, I would like to clarify a linkage between Reich's music and postminimalist art in view of his involvement in the "Anti-Illusion" show. The theme of the "Anti-Illusion" show was to refocus on the process of making art. By emphasizing the processes and materials of the works, the participating artists tried to deny illusion and expose the reality of art. Among these works, Reich performed his Pendulum Music, in which he made the sounding process visible as microphones' swinging. This piece clearly demonstrates that Reich's claim in "Music as a Gradual Process" was propounded in connection with postminimalist art as an attempt to disclose musical processes and reveal the real.

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Qu'est-ce que l'expression dans la musique d'aujourd'hui? La musique, d'ailleurs exprime-t-elle quelque chose? Ou rien, comme le laisse entendre la these formaliste? En fait il est permis de penser qu'en matiere de musique, la forme ne s'oppose pas toujours au fond. Il faut discuter, des lors non pas du contenu musical mais du sujet expressif. Or, la musique contemporaine a cette particularite que ce sujet expressif renvoie a des notions tres variees ; le role qu'il y rempli n'est plus le meme que dans la musique classique ou romantique. Au fait, le sujet musical est d'autant plus difficile a definir qu'il comporte deux notions distinctes : l'auteur et l'executant. L'evolution du concept meme d'auteur dans la musique contemporaine, comme en temoigne la mise en oeuvre des nouveaux materiels ou de la citation, nous pose aujourd'hui le probleme du systeme complet. Quant a l'executant, c'est en fonction de la question de l'indetermination que nous nous interessons a son role comme sujet de l'expression : dans la musique a l'indetermination, en effet, c'est l'executant qui determine la structure de l'oeuvre, pour ainsi dire. L'expression de la musique contemporaine est determine par la facon dont se definit le sujet expressif. Aussi sa multiplicite tient-elle beaucoup a l'evolution de ce dernier.

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長大で複合的な数値データに対して，様々な統計指標やデータの種別に合わせた解析手法が提案されている．従来，その解析結果の表示方法として，グラフやその様々な発展版が用いられてきた．これに対し，著者らは可聴化，特に楽曲としての表示を目指し，これによりデータの差異の気付きを促すことを目指している．今回は，著者らの心電図解析システムの出力をドラム演奏に変換するソフトウェアを開発したので，報告する．

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本稿では，ユーザが入力したクエリから，Wikipediaを用いて拡張クエリを生成するシステムを提案する．この拡張クエリを用いることで，ユーザの検索補助や知識獲得の補助を目的としている．拡張クエリの選出には，関連単語抽出アルゴリズムに加え，Wikipediaページの内部リンクを重視した．実際に作成したシステムを被験者に使用してもらい，アンケートを取る形で評価を行ったところ，本システムが検索補助と知識獲得に対して有効に働いていることが分かった．

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During the period 1988-1993, Gyorgy Ligeti (1923-2006) composed the Nonsense Madrigals, which included six tunes for six male voices. For the text of the final tune, "A Long, Sad Tale," Ligeti borrowed from Lewis Carroll's Alice in Wonderland (1865) and his word game doublets. This paper discusses the musical structure of "A Long, Sad Tale." In the tune, Ligeti combined pulsative word-patterns of four doublets, the howling voice of the Queen of Hearts, a conversational sentence between Alice and the mouse, and a trial tale of a violent dog against the whining mouse. He highlighted the personalities of the characters, and set the text in multiple voices to create an emotional polyphony. Moreover, he created not only an elastic metrical structure in a manner through which all kinds of time signatures frequently change but also a jigsaw puzzle-like structure that was based on multiples of sixteen.

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After John Cage extended the field of musical sounds to include all audible sound in the ealry 1950s, in the early 1960s La Monte Young adopted the strategy of including all sound into the musical world to innovate the traditional Western music and introduced the "inaudible" sound. This paper deals with the condition of how this "inaudible" but "perceptible" sound can be introduced into the musical world by investigating Young's "word pieces" (1960-62). I argue, first, that Young introduces the "inaudible" sound by declaring the audible judgement on sound unnecessary. Secondly, I consider the condition which secures this declaration, by concentrating on the process how Young reconsiders Cagean One Sound and reconstructs his own conception of sound and listening. By showing how the process of the "act of listening" has acquired the creative ability not only to transform sound but also to generate sound from nothing, in conclusion, it becomes clear that, by giving the creative ability to the "act of listening", Young introduced the "inaudible" sound and extended the field of musical sound to include all "conceivable" sound.

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令和２年度より小学校段階においてプログラミング教育が必修化された．音楽科においても，音楽づくり活動をプログラミングの学習に関連させた実践事例が複数見られる．本研究では，音楽づくり活動のひとつとして，コンピュータへの命令をリアルタイムで操作しながら音楽表現を行う〈ライブ・コーディング〉の活動を設定し，その実施のためのWeb アプリケーションを開発した．本稿では，まず，開発の背景となった問題意識を示し，開発の方針を整理した．次に，開発したアプリケーションの概要を述べた．続いて，筆者自身による授業実践を通して，同アプリケーションが，児童の〈ティンカリング〉を促すための適切な操作性を備えていること，児童から多様な音楽性を引き出すことができたこと，「音楽を特徴付けている要素」の理解を促すことができたことを，それぞれ検証した．

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