KOJIMA HASE Yuriko / 小島有利子
Listening to the Sound: Meanings in Making Music
Edition: Proceedings of the Electroacoustic Music Studies Conference, Paris, 5 p., www.ems-network.org
Type of media: Article
Perception of sound and music has long been the biggest concern for many composers. Psychoacoustical questions such as what is the difference between sound and music and when is the moment for sound to become music have been their deepest interests when making music either instrumental or electroacoustical. Sixty years ago, when musique concrètewas officially introduced to the world, many audience must have had some difficulties listening to real sound as a new kind of music. In Japan, people have a long tradition of finding pleasure listening to the sound in everyday life produced by the traditional sounding devises, such as furin, shishiodoshi, and suikinkutsu. Such unique sound culture may have been originated from the people’s mind toward nature and religious life of Japan. It has influenced on the development of traditional musical culture of the country as well. That is fundamentally different from Western music in every aspect. Regardless of Western music domination, many of Japanese contemporary composers’ works maintain distinctive characteristics different from the rest of the world. This paper will discuss about our approach to sound and how it can contribute to the creation of musical arts, particularly in the field of electroacoustic music.