紀要論文

紀要論文

text

阪大音楽学報. 2023, 19, p. 123-143

日本語

text

2023-03-15

This paper aims to describe the changes surrounding synchronized performance in popular music digitized by the MIDI standard, which was released in 1982. I based my research on an analysis of the Keyboard Magazine, which was first published in 1979 and was the only Japanese language keyboard magazine of the time. “MIDI” is an acronym for “Musical Instrument Digital Interface” and refers to a standard that made it possible to synchronize two or more musical instruments, respectively equipment from different makers. This paper examines the reasons why the MIDI standard became widespread. For this purpose, I will first focus on the DX7, a digital polyphonic synthesizer compatible with the MIDI standard released by Yamaha in May 1983, and explain why it became a musical instrument/equipment popular enough to foster the dissemination of the MIDI standard. In addition, by briefly discussing the sequencers that supported the MIDI standard, which is the core of synchronized performance, and the rhythm machines that played a similar role, I clarify the circumstances under which synchronized performance systems that supported the MIDI standard were constructed. Furthermore, I will draw attention to TM NETWORK, a professional music group that debuted in April 1984 and practiced using synchronized performance with the MIDI standard. However, before the spread of the MIDI standard, synchronized performances using digital sequencers, including automatic performances, had already been experimented with by artists such as Yellow Magic Orchestra and Isao Tomita. While these earlier artists stressed the application of a new technology in their compositions, thus contributing to the sequencer becoming generally known as a musical instrument/equipment that reproduced mechanical rhythms, TM NETWORK’s practice of synchronized performance was influenced by Howard Jones, who performed “live by himself,” and used the new technology in the context of a more habitual pop music vocabulary. Based on this distinction, I will conclude this paper by arguing how TM NETWORK’s practice gave a new direction to synchronized performance between 1982 and 1985.

10.18910/98494

98494

デジタル化による同期演奏の変化 : MIDI規格とDX7の影響

吉村, 汐七

大阪大学文学部・大学院人文学研究科音楽学研究室

日本語

2023-03-15

阪大音楽学報

19

123

143

https://hdl.handle.net/11094/98494

10.18910/98494

https://doi.org/10.18910/98494