We have performed basic experiments for the purpose of applying onomatopoeia to engineering problems. In these experiments, test subjects were made to perform lifting actions while listening to onomatopoeic utterances. We thereby demonstrated that there is a relationship between onomatopoeic utterances and the lifting forces exerted by the test subjects. Here, we examined how the lifting forces are related to the way to utter onomatopoeia to make test subjects to exert light force. Human can utter the onomatopoeia with various "nuance". For example, we can "bellow", or "whisper". Then, we investigated how the lifting force is affected depending on this "nuance" that is expressed in human onomatopoeic utterance.

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右前頭部初期陰性電位（early right anterior negativity: ERAN）は，西洋の調性音楽において調性的文脈から逸脱した和音が提示されたときに生じる事象関連電位である。ERANは，音楽の統語処理を反映すると考えられている。近年の研究で，ピッチ逸脱が主旋律に生じたときは，他の

に生じたときよりもERANが増大すると報告された。しかし，その研究はソプラノの主旋律のみを検討していたため，この効果が主旋律の逸脱によるものか，高音の逸脱によるものかは明らかでない。本研究ではバス主旋律の刺激を用いて，ソプラノが逸脱する和音とバスが逸脱する和音に対するERAN振幅を比較した。その結果，ERAN振幅は，ソプラノが逸脱するときにバスが逸脱するときよりも大きかった。これは，音楽の統語処理において，高音の効果が主旋律の効果よりも優勢であることを示唆している。

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本稿では、楽譜によって音楽を可視化するための音楽情報処理技術について紹介する。楽譜は音名、強弱記号、拍子など音楽についての多様な内容を表示できる。また楽譜は音楽の専門家にとって馴染み深く、楽譜により音楽を可視化することで音楽情報処理の研究者と音楽の専門家の協力を促進できる可能性がある。このように楽譜を可視化として活用するには、これまで音楽情報処理において広く扱われてきたデータ表現であるピアノロールや音楽音響信号などから、楽譜に表示する内容を計算機によって推定する必要がある。本稿では、それにあたっての技術的課題と、現状の音楽情報処理での解決策を、多重音解析とリズム認識以外に焦点を当てて紹介する。

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　本稿では楽譜情報を読み解く上で重要である多面的視点獲得のための音楽情報可視化について述べる．多面的視点獲得のため，メタ認知言語化を促進させるように分節化と変更可能生の概念を取り入れた可視化手法について解説を行う．音楽情報可視化に関するサーベイと著者らの3つの研究（スコアリーディング支援インタフェースScoreIlluminator, 音楽構造の俯瞰表示Colorscore, ポリフォニー音楽の分離）を紹介し，音楽のような解釈多面性のある現象に対しどのような可視化手法が有効か議論を行う．

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In questo studio ho presentato una interpretazione delle relazioni intercorrenti tra "Sumer is icumen in", la collatio o le cacie sive incalci, descritte in due trattati italiani, le chaces e le cacce, tramite l'esame stilistico di questi generi poetico-musicali. Sembra che tra gli studiosi prevalga l'opinione che la linea direttiva dello sviluppo dei generi analoghi tra loro sia stata dal semplice verso il complicato, in quanto fu adoperata la tecnica di canone ; e in questo studio ho sottolineato che l'accumulazione delle voci partecipanti all'imitazione, quindi il numero elevato delle voci della rota inglese e delle cacie dei trattati, sarebbe stato un risultato spontaneo, per cosi dire "popolare", per le musiche canoniche con struttura armonica semplice e che queste musiche-benche la rota inglese sia un esempio tutto particolare avendo due voci di sostegno (fra l'altro anche questo fenomeno non e inspiegabile)-avrebbero rappresentato una pratica musicale piuttosto arcaica nell'ultimo quarto del Duecento e nel primo quarto del Trecento o probabilmente anche in un periodo di tempo piu ampio. D'altro canto le chaces francesi, molto piu che le cacce italiane, sembrano corrispondere, sia dal punto di vista poetico che musicale, alle descrizioni delle musiche canoniche dei trattati italiani e ritengo che "Talent m'est pris" abbia rappresentato un anello di congiunzione tra la sopraccitata pratica arcaica e le chaces piu sviluppate. L'origine delle cacce arsnovistiche italiane composte di regola di due sole voci d'imitazione e di una sola voce di sostegno, sarebbe stata, insieme alla volonta di descrivere realisticamente un aspetto movimentato della vita umana, una stessa linea estetica che contribuiva a far cristallizzare lo stile arsnovistico dei madrigali, cioe la ricerca di suavitas.

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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.

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 In Bunraku, a Japanese traditional performing arts, a play is performed in cooperation with the three elements, which called “Sangyo”; Tayu (narrator), Shamisen player,and Ningyo-tsukai (puppeteers). When such collaboration is successful, we say “breathe together” in Japanese. The word “breath” used in this way is in general regarded as a kind of metaphor. In the cooperative acts such as ensembles, however, performers have been reported to show synchronous breathing. The previous study (Shibuya et al., 2012) showed that breathing of puppeteers (chief puppeteers) in Bunraku become more aperiodic when they performed a play to Joururi which a Tayu narrated with a Shamisen than when they did without Joururi. This suggests a possibility that puppeteers coordinate their breathing to Joururi. In order to explore this possibility, this study analyzed the synchronous relationship between breathing of puppeteers (chief puppeteers) and some Joururi elements in Bunraku. As a result, the following two things are shown: first, a start point of expiration by a chief puppeteer has a tendency to be synchronized with the beginning of a continuous narration in Joururi where a Tayu starts expiration; second, a start point of inspiration by a chief puppeteer has a possibility of being synchronized with the first Shamisen sound between two successive continuous narrations in Joururi where a Tayu is likely to start inspiration. These tendencies of synchronous breathing with Joururi elements are more apparent in a puppeteer with long career than in a puppeteer with short career, suggesting that such synchronization in breathing becomes acquired along with proficiency.

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一般的な児童が保有している歌唱スキルは,斉唱時に正確な音高で歌唱することは可能であるが,合唱時には不正確な音高での歌唱となる。すなわち彼らの多くは,合唱時に正確な音高で歌唱することが不可能となる。この問題の解決には,児童の「音高認識体制」の成長を体系的に促進することによって,彼らの正確な音高で歌唱できるスキルをよりレベルの高いものにすることが不可欠である。本研究はげ音高認識体制」を成長させるためのエクササイズアプローチによる音楽教育プログラムを全学年の児童に約2か月間実践し,そのことによって,合唱に必要な「2の歌い分け」ができる歌唱スキルが,つまり合唱活動に耐えうる歌唱スキルが獲得できたかどうかを明らかにするために行われた。本研究の結果,実践した音楽教育プログラムには,合唱時に正確な音高で歌唱できるスキルを保有していなかった,あるいはこのスキルが未熟だった児童について,彼らがそのスキルを習得できるように導く効果があるという知見を得た。

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A new pause duration setting method for synthesis by compilation of recorded speech is proposed and its effect is confirmed by subjective evaluation test.

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In J. S. Bachs Violinmusik nehmen die "6 Sonaten und Partiten fur Violine allein" eine besondere Stellung ein. Denn Violinmusik ohne Begleitung stellt den Komponisten und den Interpreten vor besondere Probleme. In diesem Aufsatz verfolge ich 3 Ziele : 1. Untersuchung von Struktur und Textur. Fur die exemplarische Analyse wahlte ich die Fuge aus der Sonate I und das Preludio aus der Partita III, da diese beiden Stucke von Bach selber fur Laute, Orgel und auch Orchester bearbeitet worden sind. Aus diesen Untersuchungen geht hervor, dass Generalbass-Bau und polyphonische Textur selbst fur diese Solostucke die wichtigsten Satz-Konstituenten sind. 2. Erorterung der Grunde fur die internen Moglichkeiten der Bearbeitungen. Dabei kann ich nicht umhin, auch die Frage nach der Bearbeitung weltlicher Musik zu geistlicher Musik bei Bach anzuschneiden. 3. Aus den vorangehenden Analysen und Betrachtungen, soll dann Bachs musikhistorische Stellung beleuchtet werden.

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The manuscripts of the Notre-Dame repertory have blocks of two-part organa, which are considered to have three rhythmic patterns: (specific) organum, which consists of a sustained tenor part and an organal voice in free rhythm; copula, which has a sustained tenor part and an organal voice in modal rhythm; and discantus, whose tenor and organal voice are both in modal rhythm. These definitions were established by Fritz Reckow's 1967 interpretation of Johannes de Garlandia's statements, which had been considered problematic: "there are three species of organum: discantus, copula, and (specific) organum"; "copula is that which is between discantus and organum"; and "copula is that which is produced by proper measure equivalent to a tenor which maintains the same sound." Reckow explained: "copula is between discantus and (specific) organum; therefore when discantus has modusrectus style in both parts and (specific) organum has modus-non-rectus part over sustained-note tenor, copula must have modus-rectus part over sustained-note tenor" and this has been widely accepted. However, it is difficult to determine whether the organal voice is written in free rhythm or modal rhythm, although whether the tenor of the specific portion is written with sustained tones or in modal rhythm can be immediately recognized. In short, it is impossible to distinguish a (specific) organum portion from a copula portion. Observations reveal that the explanation of copula given by treatises coeval with Garlandia holds as its central characteristic "between discantus and organum" rather than "sustained-note tenor and modal-rhythm organal voice." Some other characteristics that the treatises share regarding copula include: "keeping some kind of 'correct sequence'" and "related to closing of a phrase." As a result of comparative examinations of the music mentioned in relation to copula, this paper proposes a revised definition that the copula is a repeated sequence, the function of which is to connect (specific) organum and discantus.

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Karl Gustav Fellerer widersprach gegen Ende der 1920er Jahre der Auffassung Arnold Scherings uber die Rhythmik in der vokalen Polyphonie des 16. Jahrhunderts und die sich daraus ergebende "richtige Taktstrichsetzung", die auf der Vorstellung des "musikalischen Organismus" beruht. Die von Fellerer angenommene "Deklamationsrhythmik" bedeutet zwar ebenso wie bei Schering einen unregelmassigen Wechsel der Gruppierungen von zwei bzw. drei Zahlzeiten, dieser beruht jedoch auf der sprachlichen Akzentuierung und kommt zudem nicht in allen Stimmen gleichzeitig, sondern in jeder Stimme eigenstandig zur Anwendung. Gerade die Unmoglichkeit, ein solches rhythmisches Gewebe beim Horen vollkommen zu erfassen, macht die transzendente Dimension dieser Musik aus, in der uns "das verklarte Wort" begegnet. Fur Schering ging es dagegen weniger um die liturgische Funktion der Musik, als vielmehr um die dem Werk innewohnende rein musikalische Ordnung, die sich im Erlebnis des Horers in ihrer Ganzheit offenbart und somit den eigentlichen asthetischen Wert der Musik begrundet.

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サィラトロン放電管を使用して得られる弛張振動電壓を電源として、數種の蔕域濾波器を用ひて母音を合成した。併し斯くして得られた母音は、所謂フォルマントの點に關しては容易に必要な條件を滿足する樣に出來るから、夫々の母音性は充分感じられるのであるが、肉聲感或は自然さが乏しいために通常聞きなれた母音としての明瞭度がない。そこで明瞭度の高い肉聲感のある母音を合成するためには他の種々なる要素が必要であるが、これらの要素を逐次見出し、これを獨立に或ひは一緒に曩の合成母音に附加して、これらの母音の聞えに及す影響を調べる事に依つて母音の性質特にその肉聲感に關係する要素を研究するのが筆者の目的であるが、茲には起に存在する振幅の成長及び減衰、周波數の變動が聞えに及す影響をしらべた結果起の約0.03秒間に於ける周期の變化が特に著しく母音の肉聲感を増加し、それに對して振幅の成長、減衰は獨立では肉聲感増加に對し殆んど効果を有しない事が判った。

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