@article{oai:osaka-shoin.repo.nii.ac.jp:00002848,
 author = {山崎, 晃男 and ヤマザキ, テルオ},
 journal = {大阪樟蔭女子大学人間科学研究紀要},
 month = {Jan},
 note = {P(論文), Yamasaki(2002)は、特別な音楽的訓練を受けていない者(非音楽家と呼ぶことにする)がドラムの即興演奏によって感情を伝達できることを示した。彼らの演奏は、先行研究で見出されたプロ音楽家の演奏と比較的類似しており、彼らの感情的意図は、別の聴取者にチャンスレベルを超えて正しく伝わった。しかしながら、プロ音楽家と非音楽家の比較をより厳密に行うためには、できる限り同一の実験条件の下で得られた結果を比較することが望ましい。そこで、本研究では演奏者をプロの打楽器奏者とする以外はYamasaki(2002)とほぼ同一の実験条件を設定して、演奏実験と聴取実験を行った。その結果、プロ音楽家の演奏とYamasaki(2002)での特別な音楽的訓練を受けていない演奏者の演奏とは、平均音レベルと平均打間時間に関して類似していた。また、プロ音楽家の演奏で意図された感情は、非音楽家の演奏よりも有意に高い割合で正しく伝わった。これらの結果をもとに、プロ音楽家の演奏と非音楽家の演奏の類似点と相違点について論じた。, Yamasaki(2002) revealed that musically untrained people could communicate emotions by playing the drum. Their performances were relatively similar to the performances of professional musicians, and were interpreted correctly by listeners beyond the chance level. In order to attempt a more detailed comparison between professional musicians and musically untrained players, this study conducted a performance experiment under identical circumstances to Yamasaki(2002)'s experiment using professional drummers as players. Two professional drummers were asked to express seven emotions by playing a drum improvisationally (Experiment I). As result of analyzing their performances, the performances of these professional musicians and musically untrained players in Yamasaki(2002) were similar to each other with regard to the mean sound level and mean interval of beats. In Experiment II, students were presented performances gathered in experiment I, and then asked to judge their intended emotions. The rate of correct interpretations were statistically higher than the corresponding rate to musically untrained players. Based on these results, the similarity and difference between the performances of professional musicians and musically untrained players was argued.},
 pages = {111--122},
 title = {プロドラマーによる演奏を通じた感情のコミュニケーション},
 volume = {5},
 year = {2006}
}