▲▼ （´д｀） ハァハァ 絶対音感 ▲▼
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0001（´д｀） ハァハァ
NGNGオイラなぜか絶対音感もっている人間なんですけど・・・・
これって世のため人のためにどのように役立つのかがわかりません。
どなたか絶対音感を持っている人や面白い話やいい活用法を
教えてもらいたいです。ハァハァ
0142名無しの笛の踊り
NGNG0143名無しの笛の踊り
NGNG0144名無しの笛の踊り
NGNG0145名無しの笛の踊り
NGNG教える立場から頑張ってみました。いかかですか？
0146名無しの笛の踊り
NGNGこれが普通やとおもってたしね。だからうっとーしいとか思ったことないな。俺にとっては
これが当たり前やから。でも何でこういうふうになったのかは謎。四歳からバイオリン
やってて今もつづけてるけどそれが原因ではないらしい。妹も四歳からやってるけど
妹には絶対音感無いしな。近いものは持ってるみたいやけど何か違う。
誰かしらない？どうやったら絶対音感付くのか
絶対音感持ってて得したこと
1、着メロがどんな曲でも作れる
2、チューナーいらない
3、耳コピなんて言葉聞くのと同じくらい簡単
損したこと
1、音程外れた歌は楽しめない
そんな感じです。
0147名無しの笛の踊り
NGNG1、着メロがどんな曲でも作れる
2、チューナーいらない
3、耳コピなんて言葉聞くのと同じくらい簡単
損したこと
1、音程外れた歌は楽しめない
そんな感じです。
なんだ、こんな程度でいいんだ？
それなら私も絶対音感あるってことかな？
「古畑任三郎」で絶対音感があるがために
それがアダとなって犯行がばれちゃった
指揮者のお話があったんだけど、
あれくらい耳が過敏なのかと思ってた。
0148とほほ
NGNGだいたい絶対音感なんてものがおよそ非音楽的なものだ。
タバコのブレンダーや、水道水の官能試験する人間センサーぐらいの
役割しかないんじゃねーか？
戦争中に飛行機の音を聞き分けようとして、音楽家が、かり集められた
あほな歴史のある日本でだけ盛んな議論だ。くだらねー。
久々に、逝ってよし！
0149とほほ
NGNG古畑、見たよ。あんなアホな絶対音感なんて無いよ。ぶぶぶ
素人が妄想した絶対音感のイメージだな。
まぁ、とにかく絶対音感なんて、ラーメンの味を覚えてる奴と同じ。
記憶だからね。ラーメン通より威張りくさってる分、役に立たないよ。
0150名無しの笛の踊り
NGNGぶぶぶぶ。絶対音感があるからと言って威張ってるヤツなんて
少数だよ。つうかはっきり言ってそんなヤツいねーーよ。ムキ
になって２回も書いてる貴様こそ絶対音感コンプレックスだろ？
図星だろ？ ひひひひひひ。
0151名無しの笛の踊り
NGNGくらいに相当する程度なんじゃないの？
音の高さに対する感覚が鋭敏だっていうのと
作曲や演奏の才能なんて明らかに関係ないよね。
0152名無しの笛の踊り
NGNG無くてよし あれば便利な イカス耳
しまった、「川柳」スレじゃなかった・・・・
0154あこちゃん
NGNG特に反論は無し、と言うか僕の意見を支持しているんじゃないの
0155園田
NGNG失礼ながらあこちゃん様は、プロの演奏家ですか？物言いは
注意なされた方がよいかと思いますよ。私がどうこうするということでは
なくて、一般論としてです。私どもは、学生達の本音が聞けるということで
このような掲示板をたまに利用しており、ときに口をはさみたくなることがあるのですが、
楽しみを奪ってはいけないと、書き込みを控えてきましたが、
今回、演題に近スレッドがあり、しばらくいくつかの書き込みが
気になっていたので、書き込みさせていただきました。
0156名無しの笛の踊り
NGNG0157名無しの笛の踊り
NGNG0158名無しの笛の踊り
NGNG↑の１７によると、コバケンは吉野家というより、天下一品ラーメンで
あるらしい。くどいところが、むしろそうかも。
好きな人には「こんなおいしさ、はじめてだ！」なところも。
0159１５８
NGNGたいへん失礼しました。
0160名無しの笛の踊り
NGNG0161名無しの笛の踊り
NGNG0162みぅみ
NGNGセークスしてるときも、「ミ・・ミ・・ミソ＃〜〜〜〜（い・・い・・いく〜）」
って聞こえるわけでしょ？ﾊｧﾊｧ
01631
NGNG0164名無しの笛の踊り
NGNG0165名無しの恵理
NGNG0166名無しの笛の踊り
NGNGprobably interested in: absolute pitch (AP)＠｀ also known as perfect pitch. It's
been talked about a lot＠｀ and books have even been written on the subject＠｀ but
that stuff is mainly done by people who don't understand music very much.
0167名無しの笛の踊り
NGNGsound is -- musicians don't try to guess each note of a chord that they play＠｀
and it doesn't make any sense to brag about it either. Whenever I hear people
say that the main purpose of AP is to be able to pick out particular sounds or
the notes of chords＠｀ I am suddenly seized with anger; but it's no use to try and
debate such things with nonprofessionals.
0168名無しの笛の踊り
NGNG"sense of sound＠｀" I mean the awareness of the changes in a sound's color or
shade. Think about an artist who paints -- he or she won't feel right just
vaguely mentioning the color "red＠｀" but will tell you about exactly what kind of
red it is -- a dark red＠｀ or a deep red＠｀ or a blazing hot red＠｀ or a purplish red＠｀
or an orange-red.
0169名無しの笛の踊り
NGNGdifferent reds＠｀ I would say he or she was in the wrong profession. The same
thing could be said about the color blue: there are a whole lot of blues＠｀ aren't
there? You have azure＠｀ such as in an azure sky＠｀ as well as dull blue and
turquoise. Painters have to be able to respond to that sort of thing delicately
as they carry out their creative work.
0170名無しの笛の踊り
NGNGdifferences between the different colors＠｀ not just covering a whole surface in
the same one. If you substitute sound for what I have just mentioned about
color＠｀ then that is what the sense of sound means to musicians. For example＠｀ we
talk about how a chord "shines." Let me explain what I mean. When a sound is
played --it doesn't matter whether a cat or a human plays it (there was once a
heated debate about whether a sound played by a cat was different from a sound
performed by a human) -- it is exactly the same sound as long as the number of
vibrations is the same.
0171名無しの笛の踊り
NGNG-- to make it shine -- when the keys are hit and the music performed. Although
the number of vibrations may remain the same＠｀ musicians add gloss by adjusting
the gradations of strength and density＠｀ even in the same harmony or chord. Well＠｀
then＠｀ why do we do that? The performer has to have a sense of -- has to seek --
the color of the sound if that is to be rendered.
0172名無しの笛の踊り
NGNGeyes are said to be capable of only seeing black and white. What they see can be
thought of as resembling a black-and-white photograph. Any differences they
perceive of density are only those of black and white. Dogs thus don't have a
sense of color. Sorry to have to say this＠｀ but I believe that there some
performers who are the same way. These kind of people -- who treat music just as
if they were reading some codes and stringing the sounds together as they play
-- have no understanding whatsoever about the sense of sound. It's a big
problem.
0173名無しの笛の踊り
NGNGidentify what a certain note is. As a matter of fact＠｀ I do have perfect pitch.
However＠｀ what I learned as a child was the pitch of the piano at that time＠｀ or
around 438Hz＠｀ not 440Hz. Now＠｀ however＠｀ they use a higher pitch of 442Hz or
445Hz＠｀ so when I think of "fa＠｀" it's really a little bit low. But that doesn't
mean that I'm no good. There's something called relative pitch＠｀ and all
musicians have the ability to sense that everything is too high or too low＠｀ for
example＠｀ and rectify it. Also＠｀ having a sense of the sound is unrelated to
having perfect pitch＠｀ and most people are not born with it＠｀ but acquire it as
they go on playing music. But that＠｀ too＠｀ is something that nonprofessionals will
not understand -- instead＠｀ only those who are actually in the field of music
will know about it. And when people who don't understand something talk about
what they don't know＠｀ they end up sounding even more clueless.
0174名無しの笛の踊り
NGNGthe argument that "equal temperament" is not the same as "just intonation." In
fact＠｀ it isn't just intonation. Equal temperament involves a bit of fudging to
make sure that all the keys can be played on the same keyboard. That requires
some fudging of the intervals between the notes＠｀ letting all the keys be
modulated. So it's not something that's pure. Still＠｀ we have major and minor
keys.
0175名無しの笛の踊り
NGNGyou think that red＠｀ yellow＠｀ blue＠｀ and black are all the same? Of course they
aren't. Pieces in C major key＠｀ for example＠｀ give us a certain image: of the sun
rising＠｀ of broad expanses＠｀ of extreme festivity＠｀ or full harmony. Also＠｀
listening to pieces written by Beethoven or Mozart＠｀ you will soon understand
that D minor (while it's not that way in Beethoven's 9th gives a feeling of
foreboding -- like a sound arising from the depths of the earth＠｀ or the
appearance of a premonition. In other words＠｀ it gives a feeling of unease or an
ill omen. All musicians are able to sense that from the tonality (i.e.＠｀ the
key)＠｀ based on which they write pieces and perform them.
0176名無しの笛の踊り
NGNGNonetheless＠｀ in Japan＠｀ those people's arguments tend to get substituted and
treated as important. Well＠｀ who cares＠｀ it doesn't really matter. I just had to
get that off my chest (laughter). For us musicians＠｀ it's important to strive our
utmost to polish the sense of the sound. E flat major＠｀ for example＠｀ is seen as
heroic -- at least it was that way with Beethoven -- and that means that its
relative key＠｀ C minor＠｀ is tragic. Well＠｀ anyway＠｀ there have been many pieces
written in those keys＠｀ and statistics show that most of them are suffused with
those particular feelings. If you can't get a sense of that when you play＠｀ then
it doesn't matter what minor or major key you are using. I would really like to
stress that point.
0177名無しの笛の踊り
NGNGis not an understanding of AP＠｀ but rather a sense of tonality (i.e.＠｀ the key).
So when Japanese students go abroad to study＠｀ they have no clue what it means
when they are told＠｀ for example＠｀ to "play something in G major." They don't what
sound it is. People who are truly advanced＠｀ however＠｀ can do that. They can also
tell if a key is C major or not. Music that is just played flat -- on the level
-- is not music. You have to put a sense of drama into it. If you do that＠｀
you'll feel peace of mind when you hear a dominant triad followed by a dominant＠｀
then resolved into a tonic triad. The tension is found in sevenths and ninths.
Beethoven used that technique when he charges the music up＠｀ making you wait for
the release＠｀ and then lets it fall as if it were a natural phenomenon＠｀ such as a
bolt of lightning. Performances of Beethoven directed by Furtwaengler are like
that＠｀ as are those by Karajan.
0178名無しの笛の踊り
NGNGsituation. To get a proper sense of the sound＠｀ you can't just learn music as if
it were a string of letters. Unless your eyes＠｀ ears＠｀ and heart are directed
toward the essence of the music that lays beyond＠｀ it will never be music＠｀ I
think.
0179名無しの笛の踊り
NGNG（￣□￣;）ｱｰｳｰ
0180名無しの笛の踊り
NGNG0181名無しの笛の踊り
NGNG0182名無しの笛の踊り
NGNG0183名無しの笛の踊り
NGNGこれ、JAZZをやっている人なら誰でも出来るのでは？
0184名無しの笛の踊り
NGNGthe argument that "equal temperament" is not the same as "just intonation." In
fact＠｀ it isn't just intonation. Equal temperament involves a bit of fudging to
make sure that all the keys can be played on the same keyboard. That requires
some fudging of the intervals between the notes＠｀ letting all the keys be
modulated. So it's not something that's pure. Still＠｀ we have major and minor
keys
0185名無しの笛の踊り
NGNG平均律の音を覚えているとうだけか。サルでも出来ることかな？
0186さる
NGNG0187名無しの笛の踊り
NGNG0188さる
NGNG園田先生の講演にけちつけるとはいい度胸だな。
ドキュソよ。
0189さる
NGNG0190名無しの笛の踊り
NGNG0191名無しの笛の踊り
NGNGめくら蛇に怖じず
こいつらは園田先生に限らず、匿名を良いことに何でも書く
相手にしない方が無難だよ
自分が汚れちゃう
0192名無しの笛の踊り
NGNG単なる糞虫さ
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