| 日本音楽知覚認知学会2007年度春季研究発表会プログラム | ||||||
| 2007年5月26日（土）、27日（日） | ||||||
| 於： 北海道大学 （世話役： 吉野巌 先生、安達真由美先生） | ||||||
| ■ 日本語講演： ２５分 （発表１７分＋質疑応答６分＋入れ替え２分） | ||||||
| ■ 英語講演： ２０分 （発表１４分＋質疑応答４分＋入れ替え２分） | ||||||
| ■ ◎印は研究選奨受賞の有資格者を表す。 | ||||||
| ※理事会 ： 5月26日（土） 11:00 ～ | ||||||
| 5月26日（土） | ||||||
| セッション1 | 12:30 | ～ | 13:45 | 座長： 吉野巌 | ||
| [1] | 12:30 | ～ | 12:55 | 同じ旋律で英語と日本語の歌詞を持つ曲の歌唱のリズムの比較 | 浅井泰子・森下修次（新潟大学・教育人間科学部） | 同じ旋律で日本語と英語の歌詞を持つ曲のリズムを比較した。英語の歌詞の曲では長い音符をより長く，短い音符はより短く歌唱する傾向が見られ，日本語ではその反対の傾向が見られた。これは言語の構造と関係があるためと思われる。 |
| [2] | 12:55 | ～ | 13:20 | 中心音を考慮したわらべうたの旋律生成モデル | 布袋田由理子（東京大学大学院工学系研究科）、竹中毅、上田完次（東京大学人工物工学研究センター） | 旋律の構成音とある音（中心音）との協和度と，隣り合う音の近接性を基にした旋律生成モデルについて述べる．また提案モデルで生成された旋律と，それを用いた聴取実験についても説明する． |
| [3] | 13:20 | ～ | 13:45 | 近代フランス歌曲歌唱様式の差に対する音響的特徴量の探求 | ◎ 中村ゆかり （京都市立芸術大学大学院音楽研究科 ） | 録音記録資料に対する音響分析を通して，20世紀初頭以降のフランス近代歌曲の歌唱様式に見られる変遷を、特に母音の歌唱方法に着目した特徴量を用いて具体化し、音楽史的考察を行う。 |
| 13:45 | ～ | 14:00 | 休憩 | |||
| セッション2 | 14:00 | ～ | 15:15 | 座長： 森下修次 | ||
| [4] | 14:00 | ～ | 14:25 | 音楽的解釈の形容表現に関する構造分析 | ◎本吉達郎，塩瀬隆之，川上浩司，片井修 （京都大学大学院 情報学研究科） | 音 楽的解釈の伝達過程においては様々な形容表現が用いられ，受け手の解釈に対して多様性を許容しながらもある程度の範疇に導く役割を果たしていると考えられ る．本研究では，音楽的解釈の伝達過程を表現する数理的枠組みの構築を目指し，指導現場における事例収集をもとに情報共有のインタフェースとなる形容表現 の構造分析を行った． |
| [5] | 14:25 | ～ | 14:50 | メタ認知能力が楽器練習中の思考過程に及ぼす影響―プロトコルの分析による検討― | ◎佐々木真吾（北海道教育大学大学院札幌・岩見沢校・教育学研究科）、吉野巌（北海道教育大学札幌校） | メタ認知能力は演奏技術の効率的な上達を促す一要因であると考えられる。本研究では、メタ認知 能力が高い人の楽器練習中の思考過程にはどのような特徴があるかということを、プロトコル分析から検討した。その結果、メタ認知能力が高いと練習中のメタ 認知的思考が多くなること、特にモニタリングの活動が活発になることを見出した。 |
| [6] | 14:50 | ～ | 15:15 | 楽曲進行に同期した脳血流パターン計測による ヒトと楽器のインタラクションの研究 | 岩坂正和、石井琢郎、渡辺覚、上原敬生、手塚勇人（千葉大学工学部）、下茂円、揚原祥子、杉田克生（千葉大学教育学部） | 音楽の能動的な聴取（演奏）あるいは受動的な聴取（音楽鑑賞）の際の脳血流変化を時系列的に評価するため、脳血流計測を大脳表面近傍（前頭葉と側頭葉）で遂行し、個々の楽曲の時間軸特性に対応した血流レベル変動パターンを解析した。 |
| 15:15 | ～ | 15:30 | 休憩 | |||
| セッション3 | 15:30 | ～ | 16:45 | 座長： 三浦雅展 | ||
| [7] | 15:30 | ～ | 15:55 | 幼児がメロディーを再生する場面での視覚と聴覚の共鳴現象～色の明度と音高の関係～ | ◎久永聡子（熊本大学大学院文学研究科）、中田隆行（公立はこだて未来大学システム情報科学部） | 幼 児が新しいメロディーを4回歌った条件での2回目と4回目の歌のピッチ再生の精度について検証した。音を全て黒丸で表現した無彩色の視覚刺激を見ながら 歌った条件ではピッチ再生の精度に優位な変化が見られなかったのに対し、無彩色視覚刺激を見ながら歌った後（前半2回）に、有彩色・明度照合視覚刺激を見 ながら歌った（後半2回）条件ではピッチ再生の精度が優位に向上した。 |
| [8] | 15:55 | ～ | 16:20 | フィジカルモデリングによるヴァーチャルグロッケン | ◎日高徹哉（日本大学大学院・芸術学研究科）、三戸勇気、川上央（日本大学・芸術学部） | フィジカルモデリングによるヴァーチャルグロッケンと実際のグロッケンの音高を評価した。この結果から、現実には存在しないような形状の金属を使ったヴァーチャルな楽器の調律法について考察した。 |
| [9] | 16:20 | ～ | 16:45 | マルチメディア心理学実験において提示するサウンド素材の検討 | 長嶋 洋一 (静岡文化芸術大学大学院・デザイン研究科) | 映像酔いとサウンドとの関係についてのマルチメディア心理学実験の報告において指摘された、実験用サウンド素材の種類について、掘り下げて検討した。純音、純音の組合せ、楽器音、電子音、各種ノイズ、自然音、環境音などを使った実験結果について報告する。 |
| 16:45 | ～ | 17:15 | 総会 | |||
| 17:15 | ～ | 18:00 | 片付け＆移動 | |||
| 18:00 | ～ | 20:00 | 懇親会 | |||
| 5月27日（日） | ||||||
| セッション4 | 9:00 | ～ | 10:05 | 座長： 中田隆行 | ||
| [10] | 9:00 | ～ | 9:25 | 音楽聴取における意味空間構造の比較 ： 感情的性格の認知と聴き手自身の感情 | 星野悦子（上野学園大学・音楽・文化学部）、松本じゅん子（長野県看護大学） | 音楽を専門としない学生・社会人 108名が、音楽刺激としての感情的性格を評定する群と音楽によって聴き手自身に引き起こされた感情を評定する群に分けられた。4種の曲を聴取し各曲につ いてそれぞれ同じ30の形容詞対尺度を用いて7段階評定を行い、因子分析を実施した。結果から、各群４つ～５つの因子が抽出された。中村（1983)とは 異なり、第1・第2因子が共通であったほかは独自の因子であった。 |
| [11] | 9:25 | ～ | 9:45 | Subjective Listening Test about Surround Microphone Technique for Orchestra Recording | Toru Kamekawa , Atsushi Marui (Tokyo National University of Fine Arts and Music ), Hideo Irimajiri (Mainichi Broadcasting Corporation) | Microphone technique for surround sound recording for orchestra is discussed. Eight type of well known microphone array recorded in a concert hall are compared by subjective listening test by seven attributes such as spaciousness , powerfulness and localization. |
| [12] | 9:45 | ～ | 10:05 | Model fitting for the response time data in the auditory-visual bimodal synchronous tapping. | Yoshimori Sugano (Kyushu Sangyo University) | Synchronous tapping with visual sequences is more attracted by concurrently presented auditory sequences than the reverse. This might be called auditory capture effect(ACE). This study examined the ACE over wide range of sequence IOI(500ms, 1000ms, 1500ms). Although these experiments were already reported in JSMPC(Sugano, 2004; 2005), the model fitting for the response time(RT) data was investigated this time. The fitted model is Gabor function, which is the product of a sine and a Gaussian. The model were shown to have a good fit with the variety of the RT data transition. The psychological meaning of the model and the model predictability of the fluctuation of taps will be discussed. |
| 10:05 | ～ | 10:20 | 休憩 | |||
| セッション5 | 10:20 | ～ | 11:40 | 座長： 山田真司 | ||
| [13] | 10:20 | ～ | 10:40 | Evaluating the performance proficiency for fluctuated continuous sounds using the Mandolin | ◎Nozomiko YASUI，Masafumi KINOU，Masanobu MIURA (Graduate School of Science and technology, Ryukoku University) | The “Fluctuation Strength (FS)” was suggested as an evaluation index of hearing sensation concerning modulated sounds of low frequency. Though past studies have been investigated FS of modulated pure tones or broad-band noise, few studies have been conducted for investigating fluctuated continuous sounds played by musical instruments and subjective evaluations of it concerning the performance proficiency. Tremolo played by the Mandolin is employed here as a fluctuated continuous sound, introducing FS as an evaluation index of the performance proficiency for tremolo played by the Mandolin. |
| [14] | 10:40 | ～ | 11:00 | Criteria for evaluating performance proficiency in the “Drum-Loop Performance” | ◎Naoki IWAMI, Masanobu MIURA (Graduate School of Science and Technology, Ryukoku University) | Proposed here is a computer system which analyzes performance information obtained from MIDI Drums and assists trainings in the “Drum-Loop Performance (DLP)”. DLP is defined here as playing repeatedly fundamental rhythm patterns consisted of one or two measures, being a style of trainings in drums performance. The system employs real-time visual feedbacks as a method of assisting the training. Using the system, a player can confirm his/her performance visually during playing the drums. Therefore, it is expected that he/she can recognize performance errors easily, being aware of his/her tendencies and weak-points in playing drums easier than only listening performance sounds. |
| [15] | 11:00 | ～ | 11:20 | Realizing real-time estimation of chord name for a set of notes obtained by the MIDI-guitar | ◎Yasushi Konoki(Graduate School of science and Technology, Ryukoku University), Norio Emura(Graduate School of Engineering, Doshisha University), Masanobu Miura(Graduate School of science and Technology, Ryukoku University) | This study aims at developing a system that recognizes immediately a chord name for a set of notes obtained by the MIDI-guitar observing chord progressions. Proposed system regards inputted notes as a chromatic data of the twelve note scale, estimating a chord name by observing a set of notes. Several chord types are hard to identify, because of multiple interpretations such as inclusion relations, abbreviation of chord notes, inversions, enharmonic equivalence, observing tension voicing and so forth. In this study, these problems are dealt with estimating the appropriate chord at the moment by observing the performed chord progression. |
| [16] | 11:20 | ～ | 11:40 | Infants’ sound production to listen to the sound; ontogenetic origin of singing | ◎Yohko Shimada, Shoji Itakura (Department of Psychology, Graduate School of Letters, Kyoto University) | Infants produce sound playfully in solitude as like they are playing with their own sound. We hypothesized that infants produce sound in solitude, and the purpose of the behavior is sound feedback. Five-month old infants participated in the three conditions; 1) the mother responded naturally to the infant. The other two conditions were started when the infant started to produce sound spontaneously and continuously in comfort states: 2) the infant was alone, and 3) the infant was alone and got amplified feedback of their own sound. The result showed that the frequency of production of longer sound were significantly higher in the no-response condition than the respond condition, and in the no-response amplified condition than the no-response condition. |
| 11:40 | ～ | 12:40 | ランチ | |||
| セッション6 | 12:40 | ～ | 14:00 | 座長： 津崎実 | ||
| [17] | 12:40 | ～ | 13:00 | A perceptual study on asynchrony between auditory and visual stimuli: The effect of distance from observers to an object | ◎Kohei Washikita, Takuya Takahashi and Masashi Yamada (Kanazawa Institute of Techinology) | Sugita and Suzuki showed that the optimal delay of a sound for the perception of synchrony with the onset timing of an LED light increased as the distance from observers to the LED increased. In the present study, visual stimuli in which a ball falls down from a person’s hand to the ground and then bounces back to the hand are synthesized on a screen. For these stimuli observers can estimate the distance from themselves to the ball. The results of a perceptual experiment show that the optimal delay does not vary with the distance, for these visual stimuli. |
| [18] | 13:00 | ～ | 13:20 | An attempt to construct a quantitative scale of the cheerfulness of music implementing spectral centroid | ◎Kenta Shoji, Midori Suzuki and Masashi Yamada (Kanazawa Institute of Technology) | Cheerfulness is one of the important factors of musical emotion. In the present study, scales and short melodies were played in pure tones varying register and speed, then listeners rated the cheerfulness of them. The results show that the cheerfulness increases as the spectral centroid, indicated in the ERB-rate (Equivalent Rectangular Bandwidth)-scale, increases proportionally. Moreover, it is shown that doubling the speed corresponds to raising the centroid in 3 ERB-rate approximately, and the difference of the cheerfulness between the major and minor scales corresponds to 5 ERB-rate approximately. |
| [19] | 13:20 | ～ | 13:40 | Generation of Suitable Phrases for Basic Training in Playing a Piano | ◎Masahiro MUKAI(Dept.of Knowkedge Engeneering Doshisha Univ.), Norio EMURA(Dept.of Knowkedge Engeneering Doshisha Univ.), Masanobu MIURA(Dept.of Media Informatics Ryukoku Univ.), Masuzo YANAGIDA(Dept.of Informatics Doshisha Univ.) | Proposed here is a system that supports piano playersin daily training to develop basic skills. The proposed system assists pianoplayers in the same way as piano experts do. The proposed system first extractsusers weak points from their piano playing. Then, it generates appropriate “HANON”‐like phrases for users.Generated phrases are those of fingerings for improving weak points with easyfingerings. The reason why those are combined is that phrases consisting onlyof weak points discourage players. Users can overcome their weak points bypracticing the phrases generated by the proposed system. Players can trainthemselves with the proposed system showing better developments than those not using the system. |
| [20] | 13:40 | ～ | 14:00 | A System Yielding Harmony to Given Melodies based on the Popular Music Theory | ◎Hikaru MORITA(Dept.of Knowkedge Engeneering Doshisha Univ.), Norio EMURA(Dept.of Knowkedge Engeneering Doshisha Univ.), Masanobu MIURA(Dept.of Media Informatics Ryukoku Univ.), Masuzo YANAGIDA(Dept.of Informatics Doshisha Univ.) | There are many systems that yield harmony to given melodies. These systems, however, often yield inappropriate harmony. To resolve this problem, this paper proposes a system that yields harmony suitable for the musical context of given melodies. This system first gives harmony consisting of basic three chords to given melodies, and modifies them richer using chord progression rules of the popular music theory. Results of listening experiments comparing harmonies given by the proposed system, the previous system developed by the authors and an expert prove that the proposed system is superior to the previous system, but inferior to experts. |
| 14:00 | ～ | 14:10 | 休憩 | |||
| 英語コーチングセッション | 14:10 | ～ | 15:10 | 座長： 安達真由美 | 「英語コーチングセッション」では、参加者同士で、口頭発表や質疑応答での英語で の対応、および予稿集のアブストラクトの英語についての意見を交換し合います。 |
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