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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.
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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.
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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.
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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.
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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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| 6.
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論文
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清水, 稔
概要:
In this paper, how nursery teachers and researchers should regard music education in early childhood education, whichis
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often regarded as a binary opposition between free-childcare and simultaneous-mass-childcare, is considered from aphilosophical perspective. In accordance with the phenomenological perspectives of philosophers, including Jacques Lacanand Maurice Merleau-Ponty, the freedom and institutionalization of infants and pre-school children engaged in creative actsand their possibilities for the future are examined. The results revealed that infants’ freedom of choice, including the notionof deviating from the premise of existing values, should be guaranteed. Furthermore, while discovering motivation, it isimperative to explore the creation of enhancements while supporting learning. The findings suggest that it is vital for childcare workers to have a flexible and improvised attitude.
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| 7.
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論文
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清水, 稔
概要:
本稿は、2019年度に弘前大学教養教育において、歌声合成ソフトの「UTAU」やシーケンスを備えた楽譜作成ソフトの「MUSE SCORE」、動画作成ソフトといったDTM1 に関連するアプリケーションを用いた作曲を哲学と関連させながら行ったク
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リエイティブ・ラーニング2 の実践の記録と分析である。本実践は、ICTの知識と技能を身に付けると同時に、リベラルアーツが本来目指してきた哲学的な視点を育成することにより、人工知能（AI）や情報化社会の発展による「予測不可能な未来」をより善く〈生きる力〉としての創造力・コミュニケーション力を培うことが目的である。その結果として、活動では、DTMとCo-writing という協働による音楽制作によって、互いに創造性を触発し、創作意欲を向上させていく様子が見られた。また、創作の体験が、より善いコミュニケーションの契機となること、哲学的な視点が新たな価値への反省的思考を促す可能性となることが、本実践から示唆された。
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| 8.
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論文
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清水, 稔
概要:
This paper evaluates the future of music education for early childhood by examining the educationalsignificance of reci
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tal in preschool and kindergarten from a phenomenological perspective. Based on a casestudy of a participant observation in ECEC (center for early childhood education and care), I compared therecital as an“ extraordinary occasion” with everyday activities to grasp its uniqueness from the perspective of“freedom” toward others and“ institutionalization” of the subject by others. Through my analysis, I found thatadults who had been taught that the word“ ongaku (music)” was the result of someone's decision to use theword“ ongaku” may have been affected by the prelinguistic perception of the word. From this, it was evidentthat music activities in early childhood education need to be transformed into activities that create new valuesapart from the existing“ ongaku” and that it is necessary to change the perception of adults to achieve this. Atthe same time, the practice of Reggio Emilia can be used as a reference for this purpose, and the things that the direction of future research is to make more free creative music activity was indicated in this paper.
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| 9.
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論文
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清水, 稔
概要:
The purpose of this paper is to reexamine the Japanese term“ Shutai-teki” in music education by referring to the theory
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of Bin Kimura and McTaggard and the U theory of C. Otto Scharmer, based on the history of philosophy. The Japanese term“ Shutai” was created during the Meiji era while translating the word“subject” in philosophy. Bin Kimura states that“ subject” is the principle of life in general on the time axis. McTaggard's conclusion is that time is not real, which leads our recognized time to be“ created time” with invisible-subjectivity-conscious action and self I as its background. There from, it becomes clear that asking students to be“ Syutai-teki”(used as Active learning) in the educational setting inhibits the original“ proactivity” of the children. From this logical consequence, the significance of music education as a space for creative trial-and-error, utilizing the inherent subjective of the students was discovered.
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