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論文 |
論文
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清水, 稔
概要:
We use the phrase“ trial and error” to describe music-making. However, this usage indicates our misunderstanding of the
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concept. Music-making through“ trial and error” does not involve thinking with language or images. In music-making,“ trial and error” is an activity that denotes the process of creative music-making itself but not that of thinking, with the true meaning of the phrase being that sound is born of sound and music is created by music. One does not require logical thinking with language to enjoy music-making; the real pleasure lies in the fact that creative music-making produces a new experience that does not arise from the causal relationship of the self but rather is synchronically derive. This paper proposes a philosophy of music education to clarify the structure of signification as it impacts recognition. In Japan, there is a philosophy that linguistically conveys conceptualizations of recognition and existence through the categories Koto and Mono （things and matters）, the relationship between the properties of which serves to clarify the nature of the phenomenon of the time axis.On the basis of my analysis of this conceptual distinction, the author propose an essential meaning and an effective approach toward“ trial and error” in the creation of music
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| 2.
論文 |
論文
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清水, 稔
概要:
People continue to engage in creative endeavors because they are aware of the possibility that there is“ something” supe
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rior to the current state of things. It has, as yet, exceeded conscious representation in externalized creative works. This“ something”is what exists beyond immediate, tangible conscious perception; hence, there is neither“ being” nor“ nothing” but rather a generative tension producing the impetus to create. Thus, we only encounter its tangible reality when the intangible perception is reified. Doing so involves a creative process of trial and error. The paper aims to define such an encounter with internal, undefined phenomenological objects whose existence within consciousness triggers a creative action and/or process. To this end, we adopt the phenomenological point of view outlined in Kitaro Nishida and Bin Kimura 's thesis.
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| 3.
論文 |
論文
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清水, 稔
概要:
Aristotle said,“ All things are done in the pursuit of happiness” in Nicomachean Ethics. Accordingly, human beings deriv
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e purpose in life from the pursuit of happiness. When an act is chosen in the pursuit of happiness, music education is equired to understand the definition of happiness. However, it is not easy to define happiness, because an individual's choices and thinking are ambiguous and unique based on his/her past. Thus, happiness cannot be regarded as a generalized phenomenon. This paper adopts a phenomenological viewpoint of the relationship between recognition and existence on the time axis. The purpose of this paper is to clarify the nature of appiness in music activity.
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| 4.
論文 |
論文
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清水, 稔
概要:
On the time axis of the“ absolute difference” that constantly becomes the past, human beings are required to create sou
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nds and music that satisfy endless desires in a world external to the subject. In short, musical improvisation taking place in unique places and times is suitable or a musical activity. But why, in that relationship, is the desire to leave music that is produced as a piece of work? This paper is a philosophical consideration of why there is an act of composition. It can be said that works are simply the techniques of music making in musical activity and should be viewed as new opportunities for creation. In other words, the“ mono” (things and objects of consciousness), established as complete, are again converted into unfinished music and defined as an expression of“ Yo-ha-ku” (margin or blank area).
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| 5.
論文 |
論文
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清水, 稔
概要:
This paper uses philosophy to consider the significance of evaluation in creative acts. In ontology, the subject continues to exist as the self on the time axis due to the interaction between recognition and action, making
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evaluation a routine part of future choices. The persistence of existence through its evaluation and future choice is the purposeful act of trial and error toward happiness. In trial and error, the subject as I and the world are always created. Therefore, evaluation is not absolute or universal, and people must have the ability to create evaluation toward new values. However, in the environment of traditional education, grading students with numbers may negatively impact their progress and their chances for success according to their own evaluation. To avoid such a situation, a revision of evaluation protocol for school activities is necessary.
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