9. 続・政治閑話

2023年に改めてUploadしました。左の映像版と違って音楽家用「総譜プレイバック・ビデオ」版です。「大画面動画」でご覧になられたい場合は、キーボードの「f」押しで画面が切り替わり、再度「f」押しで戻ります。ビュー内左下の見る▶YouTube をクリックすると別ウィンドウでサイトにジャンプします。　

「ステレオヘッドフォン」による、ご視聴を推奨します。★★★

Tachi-Wootushi : for strings Orchestra

「Tachi-Wootushi　渡りぞう・瀧落菅撹（わたりぞう・たちうとぅしすががち）」弦楽オーケストラのための楽曲です。

この曲は以前に作曲しておりましたが、まだ実演に至っていません。

原曲は沖縄で最も有名な「古典音楽」の一つですが「対位法と和声法」の技法を用いて作曲しました。

沖縄の音楽は、ほとんどが「歌詞」を伴う楽曲が多い中、この楽曲は「歌詞」がありません。すなわち声楽を伴わない「器楽曲」として演奏される楽曲です。

原曲名は「渡りぞう・瀧落菅撹」と言いますが、一般的には「瀧落し（たちうとぅし）」として親しまれています。Scoreは下記のURLを、ワンクリックするだけで「楽譜DL.ページ」にジャンプします。

https://shun-ichi-nagamine.jimdofree.com/music-score-dl/strings-orchestra-etc/

原曲はYouTubeで検索されると、数多くの演奏スタイルの楽曲が Up load されていますので、試されてみて下さい。

お問い合わせ・contaCt　

お問い合わせは下記のアドレスへどうぞ。しかし、返信には少々の時間をください。あなたのアドレスをお忘れなきよう、お願いします。

please contact me the address below :

n.shun.ichi@gmail.com

However, please give me a little time in order to reply. Don't forget your address. 

収穫の「たんかん」です、美味しかった～・・・・！（^^）v　　(^o^)　（^_-）-☆

This is "Taan-kan" which I harvested. It was delicious ~ · · ·! (^ ^) V   (^ o ^)   (^ _ -) - ☆

Jimdo株式会社

東京都港区神道123

email: company@mycompany.com

沖縄のクラシック音楽作曲家のHP

Essential tools for modern composers, is PC！

   In other words, “staves” is a complete accumulation of digital symbols. Computers that are digitally catalyzed are usually programmed in the "c language", which is said to be a computer language. The “musical note” element of the staff notation is digital, so it is very compatible with computers.Since digital means that you can do “four arithmetic operations” with mathematical formulas, you can calculate the performance time from the score, and conversely, you can calculate the number of measures in the score from the performance time.However, if you only fill in "non-digital elements" other than notes, such as "Music clef" such as "ritardando or accelerando" or "tempo rubato", there will be no problem when creating a score. But, if the score is loading into the computer itself and “played” (playback), outrageous things will be able to happen.In the first place, human languages, such as “slow” and “fast”, have many “fuzzy” elements whose meanings are ambiguous and so it is totally incomprehensible to digital computers, that is, “incomputable”.Because even if you say "slowly", saying "how much the numerical value is adjusted, asymptotic playback?" Is not "numerized", so there is no basis for computation and the computer is not like a human . Since there is no fuzzy element, the performance expression (calculation, reproduction) is completely impossible.The recent evolution of AI technology may be further improved by introducing it into the computer's "score writing software", but then it may be necessary to introduce a compiler-type language, so software programming It will become enormous. As mentioned above for ritardando and accelerando playback, tempo rubato is probably the worst for computers. If you play back the score with “tempo rubato” displayed by computer playback, it will be a “strange” performance and you will often with get a hearty laugh.Therefore, in order to obtain a satisfactory playback sound source, there is often a case of “spoofing” a computer well, and there is a scene of developing a “Wisdom comparison” battle with a computer.That's why I wanted to tell you that the theme of this time was that "the score with the tempo value" written on the score can calculate the performance time. The calculation format is as follows.

 ① Performance time = total number of beats / speed numbers

 ② Number of measures = (speed number x performance time) / number of beats in one measure

 ③ Speed number = total number of beats / performance time

 As a specific example, for example, the performance time of a song with “three-four time 20 bars, ♩ = 120” is as follows.

Applying the formula in (1), three quarters of 20 bars → 3 (beats) x 20 (bars) = 60 (beats), and ♩ = 120 means "speed to count 120 per minute" 60 ÷ 120 = 0.5 minutes = 30 seconds The performance time is 30 seconds.On the other hand, the performance time of ♩piece is 0.5 seconds, so you can calculate 0.5 (seconds) x 60 (pieces) = 30 seconds.    © Shunichi Nagamine: Reprint is not allowed

 The ultimate work of composer is to "write the music". I would like to categorize these works that are born from this performance into the following four categories.

(1) Commissioned work： Each works that was requested and composed.

(2) Submitted works：Each works that was composed to apply for a competition.

(3) Independent works：Each works composed for a presentation.

(4) Free works：Each works composed freely from spontaneous creations and beliefs.

In most cases, when the After the composition from (1) to (3) was completed, the performance announcement will be realized. The other, in the case of “Free works” in (4), for example, for large-scale such as Orchestral works, it must be said that the performance announcement is extremely difficult. In this sense, composers usually have a great deal of discretion and hesitation in writing Orchestral works as “Free works” for the following two reasons.

First of all, there are harsh reality that the prospects for the Performances will be made after composition with a great deal of time. The music score are just codes or sign, and the score itself is not "music". If not played, it does not become “music” in a general sense, so it will be to said that it is a very serious problem for the composers.

Secondly, for example, when performing a concert for a new orchestral works, it takes a lot of time, space, money and human energy, but above all, it is will have to be understood and supported by the audience. The biggest concern (in other words, a big risk) is that it will always come.

Most of the orchestral works released on this website have not yet been demonstrated even after the completion of Partitura and part scores. For example, in the case of the Symphonic poem “Uruma Islands”, it has been more than 30 years since the completion of my own handwritten Score. It is not actually played yet. In other words, looking back on the Background so far, all the completed orchestral works were unplayed and were equivalent to “ pie in the sky ''. If i will be to say way of eccentric, As the general public doesn’t even know by looking at music score, it may still be easier to understand the pie in the sky. However, at this 21st century, it was finally time for the composers to “a good age that evolved like a dream”. Thanks to the advancement of science and technology described below, we have reached a certain level that can be heard as an orchestra like this play back music. As you know, computer hardware and software, which are representative of advanced technology, have made remarkable progress in recent years. Also in the area of “music”, it is now possible to create an orchestra score (Partitura & part scores) on a computer based on the composer's image of a large-scale work such as an “orchestral piece”  And the part scores of each musical instrument recorded in this score is analyzed with a high-performance computer, and through the playback system, the performance as the real "Orchestral works" closer to the demonstration is brought about. As mentioned above, many modern composers use their instruments and computers to create their own music, from scoring, draft, layout, managing each parts scores, printing, and creating playback sound sources. Composer is a case where everything is taken care of and while we feel a heavy burden on each of them, We are striving to “write the piece of music” that is the main part. Even so, the creation of the sound source is nevertheless, because we are convinced that you will be able to appreciate your criticism and judgment only after the works you will be able to view recognized as “music” That is result of the desire, to concisely and clearly provide “My works are such music!” In this way, the evolution of technology is a great merit for the composers but the work in each step is never simple or easy. This is exactly a major drawback that takes time to writes works. Furthermore, I will say clearly stated here that there is no misunderstanding, but in the artistic music field that humans play, no matter how much science and technology evolves, I think that, the computer cannot exceed the human live performance or recording engineer realm. In that sense, I would like you to understand that these playback versions are “sound sources” created by emergency evacuation means from the standpoint of composers.

Thank you very much.  I will paste the sound source in the "column" below, please listen. ©S.Nagamine: Reprint is not allowed

  Symphony by the Okinawa mode                            　　　　　　　　　　　　　　　　　　 from CD description text.

 　Is it really possible to compose a symphony in Okinawa mode? Furthermore, what do we mean exactly by a “symphony,” and how can that be adapted to Okinawa mode?

A symphony generally refers to a musical work for orchestra consisting of four movements using the sonata form.

Sonata form is comprised of four parts: the subject exposition, development, recapitulation, and conclusion. The first part, the subject exposition, can be broken down further into a first theme in fundamental key and a second theme in dominant key.

 Composers who utilize this structure expand on these themes in the development stage, often in the style of a fugue.

The recapitulation stage then restates the first theme, after which the second theme is reprised in the fundamental key, leading to the conclusion and the end of one movement of the sonata form.

In this way, the sonata form progresses logically using an introduction, development, denouement, and conclusion; it is one style of music that is constructed using a logical progression.

Music written in this style for piano is called a piano sonata, while music written for piano and violin is abbreviated to be called a violin sonata.

Finally, when a composer writes a sonata for a full orchestra, rather than calling it an “orchestra sonata,” it is called a symphony.

 A mode is a progression of notes similar to a scale that avoids the original root of the scale and instead uses a different note as the root, resulting in a unique sound that becomes associated with a certain kind of music.

Okinawa mode uses major scales without a submediant, or the sixth note from the beginning of the scale.

The result is that the II, IV, and VI chords do not exist in Okinawa mode, and there are not major and minor keys, conditions that are unfathomable in European classical music.

Every musical culture has a variety of modes, and Okinawa is no exception.

 However, if a single mode has to be chosen than I think the one I have selected is the most immediately recognizable and best represents not only Okinawa but also much of Southeast Asia.

When comparing Okinawa mode to Western classical music in terms of musical grammar and forms, harmonic theory, counterpoint, tonality, orchestration, and other aspects of music theory, it is a fact that Okinawa mode is relatively limited and is at a distinct disadvantage.

I have to admit it was extremely difficult to logically compose a large-scale symphony with delicate nuances in this mode, but because of my identity as an Okinawan I have dared to take on the challenge.

As a matter of course I have composed “Symphony No. 1 by the Okinawa mode” in circular form, expressed the main subject through each movement in typical Symphony form.

I will not offer commentary on what I attempted to accomplish in each specific movement, but will rather state simply what I wanted to accomplish with the symphony as a whole.

My goal was to show, as a composer born and raised in Okinawa, that in spite of the inherent weaknesses in terms of musical theory, it is still possible to write a full-scale symphony in Okinawa mode.

　　　　　　　　　　　　   ©S.Nagamine: Reprint is not allowed

THREE ELEMENTS OF MUSIC

This time, I will briefly describe the three elements of Western music.

Western music is said to be composed of three major elements: 1, rhythm 2, melody 3, and harmony.

I Will described about the elements.

The rhythm element is beat, rhythm, syllable (mora), and the combination of the strength of these beats.

The melody elements are scale, pitch, tone, tuning method and the combination of the dynamics of those sounds.

Harmony element are triad, tetrad, quint chord, nonharmonic tone, tone clusters, their various combinations. 

Of course, these three elements may or may not match ethnic music partially or not at all. This time, first of all, let's describe the beat in the rhythm elements.

I classify the time signature.

1. Simple musical time: A music of duple time, triple or quadruple time, that starts and ends with a very simple time signature as write.

2. Compound musical time: Music with a time beats of multiples of triplets, ending at 6time beats, 9time beats, 12time beats and so on. (Complex system of triplets)

3. Odd musical time: Music with a time signature that starts and ends in 5beats, 7beats, 8beats, 9beats, 10beats, 11beats, etc.

4. Variable musical time: A music that does not play at a fixed time signature but “changes every measure or even within same measure” I think that will be classified as etc.

About the music in the above categories 1 to 3 we will have many music like as many music as there are many stars, so I will not explain them. "Variable musical time" are extremely rare, so let me give two examples of typical music of this category.

One, which premiered in 1913 in Stravinsky's Valley Suite "Spring Festival", was a major sensational work at the premiere. The music "Sacrifice Dance" in it. Not only is the time signature different from what I beyond description but the denominator of the time signature is also different everywhere! So please watch and check the following site. The second is Shostakovich's "Piano Concerto No.2" 3 Movement. The music was written and dedicated to his son, Maxim. Maxim plaid Premiered this music at the time Maxim learning in Moscow Conservatory, in 1957.That's great event whom father composing and dedicate for his son. In these three movements, the practice song of the familiar piano practice song "Hanon" is borrowed, and passages reminiscent of all the music are seen. Finally, the third, the fourth in "Concert etude collection (8 music in total)" by Nikolai Kapustin, a Russian jazz(classical) music player and composer who died last year in 2020. It's a music  called "Remembrance". This music is composed of "3/4 time signature and 4/4  time signature" alternately every other bar and after. All music of this works are composed by jazz piano transcendental performance techniques.

Since the performance is being performed while the   "Score" is displayed on YouTube, Please open the URL and watch it.  https://www.youtube.com/watch?v=RrpjWM8JT7k&t=616s

ショスタコーヴィッチ :「ピアノ協奏曲第２番」

より「第３楽章」

Shostakovich's  "Piano Concerto No.2"  3 Movement. 

 ジャンプしない場合のURLです。 /  URL to not jump.

https://www.youtube.com/watch?v=9JkOaTYvd5w&ab_channel=theoshow2

Continuation of the three elements of music

Now I'll briefly describe the melody element. First of all, I define about my own music genre as "classical music composers". Classical music often refers to "Historical music heritage", so it seems that many people feel like past music, but this expression may not be appropriate. To be precise, "The composer by composition method in the style of classical music" may be correct. The element of classical music is defined as music that contains the "three elements of music" described above, but in fact, such categories is not appropriate. Professionally, here and that can be described in detail, it will become the more than hundreds of books. For example, In modern times there are a lot of music without "melody" and music without "tonality" even when it comes to classical style music.

These genres are technically categorized as "Avant-garde music" or "Contemporary music" also ｍore to say "Atonal music". but when I was a student over 60 years ago, there were many avant-garde music composers and there are even in modern times many composers. I will not specifically list up many composers names here, but let me introduce only one composer. He is Polish famous composer Krzysztof Penderecki, who was died on March 29,2020. A music called "Lamentation for the sacrifice of Hiroshima" composed 60 years ago.  At that time it was "Avant-garde music" and I was deeply shocked, but it still doesn't change now. I do not know when it will be deleted due to rights issues, but I will also attach music.

Krzysztof Penderecki : Lamentation for the sacrifice of Hiroshima

(Animated Score)

ジャンプしない場合のURLです。 /  URL to not jump.

https://www.youtube.com/watch?v=HilGthRhwP8

The last item of the three elements of music

About Harmony

Until now, I have illustrated some maniac works on the rhythms and melodies of Western music's “Three elements of music”.

 For the last “Harmony”, I have written theory books of Music colleges (German-French systems), styles There are a variety of things to describe below and cannot be easily discussed.

Normally, the basis of the harmony of Western music is “Stacking notes three degrees above the root note to create a chord”, but there are many exceptions such as “additional two chords, additional four chords, additional six chords ...” There are many chords that do not follow the principle of notes three degrees stacking.

In addition, when the three degrees are repeated, the fifth degree is 7 degrees, the seventh degree is 9 degrees, the 9th degree is 11 degrees, the 11th degree is 13 degrees and the 13th degree is returned to the original “root note” (for example, if you repeat from “C” three degrees adding a note, C E G B D F A → at the end will return to “C”).　

These chords are called 7th (sevens), 9th, 11th, 13th in modern harmony (jazz etc.).

 Furthermore,in modern music,chords such as "augmented triad"(chords with each sound interval widening),"diminished triad"(chords with each sound interval narrowing),"diminished seventh chord"(chords with each sound interval further narrowing),etc.Is also frequently used.

And one of the theoretical, comprehension and expression methods of the harmony of Western music is the concept of “Functional harmony”. Other than functional harmony, “harmony” (such as tweleve-tone music and avant-garde music), discussing ethnic music from each country, traditional Japanese music that is not functionally harmonious, “Gagaku and other traditional Japanese music, Kagura, Kume song, etc.” into a category also makes it a huge amount and it is not very easy so, It is not discussed in.

To briefly describe functional chords, there are “normal connections” and “otherwise connections (reverse progression)” among the rules in the chord concatenation.

By the way, in order to enter the music composition department of the College of Music, there is a subject of “Harmony” that requires a study period of at least three years just to acquire it.

Compared to “Early education” for those who aim to be a Player from about around 3 or 4 years old, it is much more “Slow sowing”, but the period of learning musical skills is almost the same as the player musician.

Harmony is a “theory book” so it is complicated and very logical (naturally, “learning”), so it takes a certain amount of patience and effort to learn.

So-called harmony has “Nothing to do this!”, That is, “Prohibition clause” and “Restriction clause” saying “It is better not to do this as much as possible!”

And there are many “Recommended clauses” To say “this is better to do it !”

That's why most learners and beginners are stubbornly “tied” to rules and axioms, and many stop learning because they hate repulsion and complexity.

In addition, after studying “Harmony”, you must also learn “Counterpoint”. Counterpoint must learn a more stringent axiom than harmony. It's like a law student learning a law book.

To summarize, in fact, at the stage of writing a work, it is certain that you can do anything such as “unconventional” and “violation of prohibition”, but if you overdo it too much, the works will be “messy” and “weird” I think it will be.

 However, when I try to “compose” based on the results of studying the above-mentioned theories, I sometimes keep in mind. Complete the work when you are convinced that the act of dare to do it, after understanding the “prohibition” enough, has a certain necessity, and after thoroughly verifying that it will not “collapse” I have to say that there are times.

About Composer's "Genre"

I have self-proclaimed on this my homepage as a title name of "Okinawa Classical Music Composer".

If I translate this, I will be a Ryukyu traditional classical musicians such as Okinawan classical music "songs" and "sanshin or other instruments". And I will have belong to a traditional Ryukyu classical musicians, such as Okinawan classical music "songs" and "sanshin and other instruments."

So, I am still wondering, how to express my category.　　　

As puts it plainly, I am a composer of the "Western classical music style using Okinawa mode".

So, even in the first place, even in the definition of "composer", what kind of works will be "composed"? As a result, I sometimes have a hard time answering.

Generally, how is naturally "The composer is a music creator", but there are also some wide varieties of music to make "The music" itself. It is difficult to explain about composer.

That's why I decided to create my own homepage!  And thus, I am starting to make it.

For example, in Europe and the United States, Composer and Singer-songwriter or Sound designer are clearly classified, but in Japan, it seems that all "who are making music " are called "composers".

In fact, in the genre of composers, there is no separation of pure music, movie music, commercial music, entertainment music, game music, etc. And it is impossible that it can be easily classified and separated.

In Europe and the United States, even in the above genres, it seems that the composers themselves often " living separate" in the above genres, but in reality there are times when they are not.

However, there are many "composers" who use both or several genres works dexterously, so it may not be possible to express and classify them at all.

By the way, if you are reading this and find out how many "music genres" are there ... it should be a huge number.

That is why it is very difficult to define a "composer" as "what kind of work does it take?" Because each person has a different way of understanding.

So, I would like to say clearly that my definition of "composer" is "Pure music composer".

  Also, as there are various ways of thinking about the definition of "pure music", but I still feel that it is not easy to define.

About In this regard, a composer who is currently performing great compositions both nationally and worldwide, has written a lot of humor, some masochistic content on "Working as a Composer" in an "Interview Style" in this blog. If you have the time, please search.

From since I was a teenager, I had always wanted to be a composer, and has always been interested in classical music, so in the end I wanted to aim for a "classical style".

From the age of 20 to the age of 50, I made a living in "personal music school management", so I didn't call myself a "composer". So, I said of myself, "Composition ... "I"...", But reaching this my age, I'm able to call myself a "classical music composer."

Still, although I am still a JASRAC member, I have other businesses and livelihood depends on it, but the status of a composer is that the income earned from the composition itself is not so important I think that.

Although the preamble has become very long, my "definition of composers" is based on the definition that, at least in my own work, I have my own work in the following genres.

① Must have written instrumental music in sonata form.

②Writing orchestral works and instrumental music.

③ Writing a symphony or an opera, etc.

If I could write all the works in the above categories, I had long decided to express myself as the "classical music composer".

Needless to say, completely I have never thought about applying that definition to other composers.

Current situation of classical music in Japan

When I explained the previous column "About the genre of composers", I was wondering what to write next because my free website has a limited number of pages, but recently I am scared of the pandemic news just about "New corona".

If I will be described "Carefree things" in such a situation, or I might be criticized for my ignorance, but at this time, I am confident about my field of expertise on my website.

 I decided to hit the PC keyboard to write. By the way, most of the current classical music performance situation in Japan is currently suspended due to the above events and the emergence of an emergency situation.

 So, I will ask you, who are reading this, directly "What percentage of the total population do you think are the lovers of classical music in Japan recent years?"

 The answer is that there is no accurate data, but it is said that it is "1% or less"   of the total population. There are different types of classical music lovers, ranging from those who perform music to those who only appreciate it.

 As for performer, there are also cases in which the level of playing skill is not so different between the level of a professional performer and the amateur proficient performers.

 In the case of a person who only listens to music ① A live music fan who actively goes to concerts. ② A maniac audio fan who listens intensively with a maniac audio device. ③ Listener to it as BGM at home. ④ The more they buy a medium such as a CD. ⑤ Those persons who are watching it by the online. etc.

In reality, the difference between big cities and rural areas will be large, and the regional differences between them will also be large.

 The percentage of classical music lovers in Japan is said to be about 1%, but in reality, it is said that "classical music fans" continuing to take a step toward a further decrease. In addition, it seems that the age group is also extremely  “aged” It seems to be a global trend, not just a problem for Japan. Certainly, even if you look around your immediate surroundings, you can see that teens are not listening to classical music, and they are not saying or commenting about that their hobby is not "listening to classical music".

 Perhaps the reason is that the present age is progressing too fast in science and technology, people are busy with their daily lives, and natural phenomena changed drastically, these change rapidly in every aspect, there are pandemics and information overrun.

 The environment play to music on the stage and at homes listen to music will becoming narrower! Isn't that true?

 For example, 10 or 15 years ago, it was said that "Be patient I can listen to music for up to 3 minutes!", But nowadays "I can't wait until 3 minutes! It will about still

2 minutes at most! "

 If so, authentic classical music is about 20 minutes with 3 movements of Sonata, at least 30 minutes to 40 minutes for Symphonies and Concertos, 1 hour or more for long, 2 hours or more for Opera.

 There is no way to "Be patient" with such long music. Therefore, It will have to say that their preference for classical music is completely unsuitable for modern times. This trend is expected to become even more pronounced in the 5G era, as the gap between the "music supply side and the music reception side" will become even greater.

 When from a more detailed analysis, from the "musician" side that provides music, it seems that the opposite of what is happening from the audience side is happening. In other words, it's seems that the musical skill and expressiveness in terms of performance skill have improved far more than they were twenty years ago, and a wide variety of performance styles have sprung up, and that they have made a wonderful evolution. What's more, the "Younger ages" of musicians is accelerating.

 As a proof of this, on many international competition winners are produced every year in many international music competitions by Japanese young performers.   They are often performed, on YouTube and various media, but I am impressed with "fresh surprise" every time I touch them. It seems that the performance area and the "master" area have already been reached.

 And, above all, the "Information revolution" is one of the key factors supporting these aspects in the present age? I think that is great times now, to be able to listen to past famous performances, new performances, happiness to interact with works, happiness to interact with interesting and fun information, etc. through the net with almost no cost. On the other hand, there is no doubt that the opposite of that, the medium of information disclosure, also brings about the harmful effects of the "dark part and the crime part" by the "information revolution" It's not this tools that are bad, "The people who abuse them are bad." These points will not be discussed here. In any case, in the classical music world, it seems certain that the market is in a difficult situation of this times, but on the supply side, it will be improved in every events. I am glad that they continue to evolve.

 Therefore, from now on, in the sense of the performer's side.

 I think that it will develop while being further subdivided into specialized fields such as transcendental performance, cutting-edge performance, and new interpretation.

 Last but not least, the rise of Avant-garde music seems to be less powerful than it was twenty years ago, in the sense of making composable works. Am I the only one who feels that way?

AI performance vs. human performance

  In the future, it will coming that the world music industry, especially the "classical music world", will enter an era of great change. No, it may have already reached that phase.

 I don't think AI composition in the classical music category is a serious situation because of its originality problems, but I'm afraid that AI performance will take away the work of stage or studio professional musicians.

In fact, there are many masterpieces movie works that use "AI performance music" for all the theme songs such as movie music and scene BGM. Rather, I think there are already more AI-performed music now.

Not only are "AI performances and stage performance" conflicting with each other, but passionate collaborative performances are being actively conducted experimentally on stages and studios around the world while harmonizing with each other.

 This method is the mainstream for most of the demonstration videos of commercial promotional video BGM, where exactly will be created by "AI composition and performance software".

For example, in the sound source creation method of all genres other than classical music, first type in the "percussions", and based on that, "overdubbing with various musical instruments, increasing of the more channels that is, the number of instruments. This method of "complete a sound source" is now a common basic technology for making sound sources.

A long time ago, about 20 to 30 years ago, in the classical music world, the following “Strange joke anecdote” spread from mouth to mouth among fellow musicians. I don't know who started to say it, but a famous Japanese conductor who had already passed away wrote in his book before life.    

He said this, If I can sing a song well, I won't play with the instrument, if I can play the instrument well, I won't conduct the orchestra and If I will be able to well conduct the orchestra, I will not compose the music. Finally, those who can't do anything with music "criticize".　Well, this story is thought to be part of the counterattack of "retribution" because musicians are always harshly evaluated and bullied by "critics", but for musicians, especially performers. Certainly it is a "comfortable story".

Now, let's describe a little about the relationship between AI technology and music. As mentioned above, AI performance technology has evolved so much that it is difficult, to know the difference from stage performance. As a specific example, for example, regarding the performance of stringed instruments, not only the ”Pitch cart playing method” but also this ”Bowing (Violin bow playing method)” will be able to distinguish the difference between the "up and down" of the bow,  and in addition even "col legno battuto (Tap the string lightly with the tree part of the bow)" able to be expressed.

As a matter of course, AI performances have come to be able to express nuances that are no different from demonstrations in all of the playing styles of most of the instruments other than stringed instruments. Is it only the "breathing sound" that is the "breathing" of the performer that cannot be done? But maybe it's possible if you try to "insert" between the phrases in the music.

If the AI performance can represent the top and bottom of the bow and mimic all playing styles, I don't want to think about it, but maybe the "ordinary instrumentalist" is no longer needed. Perhaps the time has come when regular performers other than the soloist "transcendental technician performer (virtuoso)" are no longer needed not. After all, in stage performances, issues such as "appearance" may become more important. If it becomes a reality that AI performances will replace stage performances, many existing professional orchestra music groups may become economically inoperable. If that happens, what will happen to the music industry in the future?　

As a supporter of stage performances, I feel that we are entering an era of real concern.

However, with regard to AI performance, at present, only the very "song" of "If I can sing a song well ～" cannot be expressed by AI performance. Of course, there are many simple software for "songs", which are the music of words, but all of them are many "not good soft wares" that are far from the "Human performances". the song music is the best played with just human.

There is a scientific "voiceprint" in "voice". It is "almost impossible" with current technology to "create" that voiceprint on a computer.

Therefore, even with AI technology, it is still unattainable.

Even if the voice pseudo-synthesis can be managed it not can be "pronounced" only with all "Human voice" itself.

In other words, " tone, sound pitch, portamento, syllable, mora, intonation, scraping sound, plosive sound, nasal muddy sounds, palatal sounds.... etc.".

I think there are a lot of Impossible sounds and most of them aren't resolved right away.

In the case of a real voice, we can easily recognize that "that voice is that person's voice!", But when it is "technically converted", it is difficult to recognize it.

For example, the voice of a digital "mobile phone" is an AI synthetic voice that is mechanically "generated", but we can easily identify the "difference from the real voice" of the person and the voice of the person. We can clearly know that the difference.

We also know physiologically that it is not easy to "speak" another person's voice in exactly the same way.

For that reason, although it is an AI performance that is evolving in this way, it seems that the AI performance of "Human vocal performance" has a long way to go.  On the other hand, there are the latest high-tech "AI deep learning technology" and "AI deep fake technology" in every field, and if they are abused, they have evolved to be able to do anything. The present age has entered a truly terrifying era.  I hope it evolves for the better in the future, but the definition of "good" is infinitely vague about how to define it.

"AI composer VS. human composer"

I wrote in the column above, "AI composition has a problem with originality, so I don't think it's a serious situation that would rob a classical composer of his job." Therefore, I would like to deepen the argument about the sentence.

First of all, about originality

Originality is defined as "creativity", but it is not easy to judge the content of originality in the first place. For example, modern classical musicians or enthusiasts listened to just a few of the works of historical composers Bach, Beethoven, Mozart, Brahms, Chopin ...etc.

For those who listen to these music, even if it is the first song they listen to, they can immediately say, "It's that person's musical piece!"

To give a concrete example, for example, there is no musician who listens to Chopin's music and says, "This is Bach's works!", and when if he listens to Beethoven's works, "This is Chopin's work!" There is no doubt that there is no such musician.

For those who don't play or listen to classical music, that is, those who don't listen to much music, the differences between these composers are barely understandable.

Therefore, even after listening to the work, I do not understand the difference between the above "creativity", that is, "originality". I don't think you can immediately guess "whose music is it?"

Also, if we let AI "deep learn" many of the past masterpieces and write a work, you can imagine that it will probably be a "non-original, ordinary works". In fact, I feel that AI music works are such works. In other words, the reason is that "originality" is weak in the classical music category.

If I dare to say it, I feel that such a work is nothing more than a "mixed works" with no individuality.

However, the AI composer may be good at composing the opposite of the above, if that is, a "new works" that is "designated" like the great composer's "someone's works styles".

But if so, what is the values of the current composition of Bach-style works, Beethoven-style works, and anyone-style works at in this modern times? (In fact, such an attempt has already begun.)

I may have argued violently, but "originality" is "individuality" itself, and even if you make a certain famous great composer-like works, if you are a past person, it is "meaningless".

Second, classical style music have a fixed format.

For classical style music, "style and form" is well defined. In terms of style, for example, "Symphony" is a piece of roughly four movements with a sonata form for orchestra. A concerto is a three-movement piece with one solo instrument and a sonata form for orchestra. Piano sonatas are 3-4 movements with sonata forms for the piano. Violin sonatas are usually 3-4 movement sonata form songs for violin and piano. So it is strictly decided.

And there is a stricter standard for "form". For example, in the case of other movements, for example, the Rondo form is determined to be a song consisting of "ABACABA & coda", and the part of one movement in the sonata form is determined to be a music consisting of "four parts (Dramatic structure)". Therefore, if a song of about 3 minutes is called a "symphony" or a concerto, it does not meet the conditions in terms of "style, form", so it will does not conform to the name.

Third, consideration of supply and demand from the economic effect of the current new classical music works.

Every product and works always comes with an economic "supply and demand". Considering this current supply and demand situation, the "demand" for new classic-style works is infinitely small in modern times.

It's a very "self-deprecating and dogmatic" as a consideration, but despite the fact that the price for the effort is completely inconsistent, the current situation is far more oversupplied by "human composers", it is saying myself am one of them also. But It's also spending a considerable amount of money on it, "programming" the introduction of AI's "deep learning" system, starting it up, and operating it's "classical music production". I think that even if it is produced, it will probably not be profitable in terms of cost effectiveness.

Fourth, about the composition ability of AI composition at the present stage.

This is also one of the important factors, but at present, AI composition works can only compose music with a capacity of less than 3 minutes. As mentioned earlier, it would be impossible to compose music that would complete the above "structural classical style" music in less than three minutes.

Fifth, about "musical works" composed by AI and played by AI.

I have serious doubts about whether AI performance is enthusiastically favored by modern classical musicians or music lovers. This is probably because the people mentioned above have a high level of musical judgment, so I don't think they support or like it as a "classical style performance" at this stage.

However, to tell the truth, AI composition and AI performance are completely accepted by "general people" who, do not have high level of performance judgment ability.

In conclusion from this, from the above-mentioned comprehensive point of view, AI-based "classic-style new works" are still a long way from "establishing a solid position" at this point, but in general" AI composition and AI performance music as "commercial music" are rather widely supported, and it is expected that their range of use will be further expanded.

In conclusion from this, from the above-mentioned comprehensive point of view, AI-based "classic-style new works" are still a long way from "establishing a solid position" at this point, but in general, " AI composition and AI performance music as "commercial music" are rather widely supported, and it is expected that their range of use will be further expanded.

Finally, one concern came up. In the future, AI works such as "fake music works" may be announced. There may will be fake announcements, on the any some famous composers, saying that they are "newly discovered works" or "fragments of lost parts". Normally, I don't think there are any persons who do this kind of leisure times.

However, in recent years, a "ghost composer" incident has occurred in Japan. At the time of the incident, I had already told my friends that it was a "counterfeit music works" even before the noise. In the future, there will surely be a lot of fake music such as "self-made" after being composed by AI composition software. We are in an era when we really don't know what will happen.

"Minor composer and female composer"

 I have started using computers in earnest around 1997 when I got an "IBM Aptiva 720" personal computer. Therefore, I have been using personal computers since then, but it took about 5 to 10 minutes for the personal computer starting up while the CRT monitor of the interface made various mechanical sounds after the power was turned on.

Actually, I have never measured how long it took to start up, but it is certain that the performance was unthinkably low compared to the current PC anyway.

Speaks of storage media, there was only a "floppy disk drive", and there was no DVD, CD, or USB, and the HDD capacity was 540MB, MEGA bit! definitely It's not GIGA bit!

The Internet also used the "metal wiring" of the telephone line called ADSL, and the usage time was "time system" instead of "unlimited use".

The Internet was certainly one of the tools for collecting information, but I feel that information distribution was still delayed at that time. E-mail was also exchanged through the Outlook Express system of MS.

Anyway, compared to those days, I think that the technological progress of today has improved thousands of times and tens of thousands of times more than those days.

I think YouTube on the Internet has been distributed since around 2005, but as a musician, I think I'm one of the people who are fully benefiting from YouTube.

Well, but I'm not really a YouTuber so I don't have much "real profit", but fortunately I've been able to listen a huge number of classical music composers in the world since YouTube was released.

The reason is related to the following, the composer's name will be known bat whether or not the work can be widely and generally "demonstrated" or contribute to "sales of goods such as records and CDs" until the Internet becomes popular at this time, in this before the development of the Internet, there wasn't much information about minor composers, so I think it wasn't until the information age that they became known. 

The number of "library by composer name" in my online YouTube folder has exceeded 400 people these days. Especially, there are so many minor composers who were active in the first half of the 20th century! That number is so many!

During the blank period before the frequent distribution of music on the Internet, especially YouTube, there was very little chance of contacting the composer's work for half a century from 1900 to 1950 for the reasons mentioned above especially. Internet YouTube video distribution has been able to actively distribute the works of many minor composers, so many of those minor composers, previously known only to a very limited number of people, have become generally known. It's nothing more than a shocking surprise for me. For example, "classical music composer" ― my definition has already been mentioned in the above column ― especially "female composer" among minor composers is about 15 people in my library.

 For example, "classical music composer" ― my definition has already been mentioned in the above column ― especially "female composer" among minor composers is about 30 people in my library. There are many female composers who are little-known composers and they have left many great works such as wonderful "symphonies, concertos, instrumental sonatas...." 

And again, those works are really great. If YouTube, an Internet posting site, did not develop in this way and information was not disclosed, it may not have been publicly announced to the public.

I will not dare to list the names of specific female composers on this homepage, but if you are interested, I think that you can get appropriate information by collecting information.

 On the other hand, it has recently begun to have known that there were great composers in our Japan who have left wonderful works such as "symphonies and concertos".

 The reason why they haven't been able to gain fame until now is probably because of the reasons mentioned above, I personally think the composer's dying prematurely, or the fact that they haven't been "demonstrated" for a long time.

"On the modern pure music classical works"

I briefly described the basic "Style and form" of the classical music in the "Text section" until now.

I have also mentioned the "Artificial Intelligence" of modern computer technology and the current "state-of-the-art technology" such as AI performance and AI composition of classical music in the era of AI development.

The theme this time, I'm going to talk about that is the modern composers continue to produce works in the style of classical pure music.

There are that genres include, opera, symphonies, concertos, various suites, sonatas for each instrument, and religious liturgical music, oratorio, mass, requiem, chorus, brass band, song and there are so many composers who create works of all styles.

It is not only on a global scale, but also in Japan, a large number of composers are currently active.

 You can find sites that feature contemporary classical music of all genres by simply searching the internet for different sites.

I dare to maintain "Fairness" and "Not biased" especially for domestic composers list specific composer's individual names, not present those sites, etc., and paste not links. I will not attach it those but please take "Net surfing " on the music site and collect information by yourself.

Among the domestic composers I know, there are those who compose new symphonies and those who make the composition of the religious song "Requiem" their lifework.

I've met them in person and talked to them, but their passion isn't "ordinary."

It's really precious and wonderful, and while some composers also compose a lot of operas, it's really great too.

Among classical music, I will describe the new works that are composed in the most understandable and concrete manner, but for example, the music works of the genre that is the most composed in Japan do not collect statistics. However, it is probably a "chorus" works.

The reason is that there are many performance opportunities and performers. This is because there are many groups in each region, including schools all over the country, and there are performers who need a huge number of "scores" when their headquarters and branches are combined.

This is because there is a demand for "musical scores", and even if a concert is held, the number of mobilization is large and the economic profitability is extremely high.

These days concerts are rarely held now that they are all "regulated" in Corona, but if we overcome Corona, and explosive new musical pieces will be released.

It that probably extends beyond the "Chorus works" mentioned above to works of each genre.

Originally, "New classic works" cannot be evaluated and judged immediately like performers' performances, so the judgment of their true value is left to posterity, and it takes a long time to take roots.

It's an old phrase, but I think it's something that While "propagating from person to person" and gradually remains. In that sense, those who aim to become composers are somewhat self-deprecating expressions, but I do not expect from the beginning that they are not expect a sufficient positive evaluation during "While the composer himself is alive in."　

Most classical composers are always ahead of the curve because they are pioneers at the forefront of the times, so we are ready to take on events that are generally unacceptable.

About "Okinawa Mode Music Works in the Future"

My basic stance on this HP is to describe the works of "Okinawa Mode Music by Classical Music Style", and if possible, I tried to open the HP with the hope that I would like you to know about my own work as well. Since the amount of content to be written has run out in HP, I will recognize that it is in the final stage and add the above title, which is the basic stance.

I don't know, if you can sympathize with this "Okinawa Mode Classical Music" works that I am aiming for, or if there are people who support and love it.

Also, I don't know if there will be any composer who will create a new Okinawa mode works with a classical music stance after me.

At the very least, I think that my desire for "classical music" in the spirit of Okinawan culture could have been suggested from my few works.

I'm sorry, but I would like to reconfirm my stance here.

I understand that, when composer using the melody of existing folk songs and Ryukyu classical music of the Okinawa region as the material as it is, I think that it is difficult for those who listen to those works to judge "Arrangement or original?"

Existing Okinawan music that is folk songs and Ryukyu classical music, has a very strong " originality", and folk songs are naturally accompanied by "lyric poetry". For audience, they don't know if the work is an arrangement or original works.

Not only is it difficult for composers to use it as a pure musical motif like a symphony, but it is also a weak melody as a material for grammatical "Development, deployment, reversal, enlargement, reduction".

It also seems to be very vulnerable to versatility.

Also, in Ryukyu classical music, "lyrics" dominate the entire song in almost all songs, so it contains the same elements as folk songs.

Therefore, if we want to build pure music with the Okinawa mode, you have to use new materials, and from that point, I think the direction has already been decided. And fortunately, Okinawan music has "Functional harmony and tonal feeling" in a broad sense.

The reason is that the people of Okinawa have sailed widely since the Ryukyu era, and have traveled to distant Middle Eastern countries, China, and Southeast Asia.

Therefore, "jazz & pops" music using Okinawan folk songs is still actively performed in Okinawa.

And, at the "Acer" festival that has been held for a long time, not only traditional songs but also "New Acer songs" are shown, and the dynamic action and music attract the interest of young people all over the world.

I think that these Okinawan music offers great versatility and flexibility, from Okinawan classical to jazz, rock and the "Okinawa mode classical music" that I advocate.

As an aside, in Portuguese, Ryukyu or Ryukyu people are called LEQUEIOS. It is known that Ryukyu has been trading with the Middle East since before the 15th century, and it seems that people in Portugal and Spain are still more familiar with Okinawa than OKINAWA.

In that respect, Okinawan music may be slightly more advantageous than Japanese traditional music elements in "creation in Western classical music style" in the case of materials to which "Functional harmony" cannot be applied, such as Japanese traditional music.

Unlike Ryukyu, a former maritime trading nation, Japan has been culturally "Galapagosization" for nearly 300 years by its "isolationist" policy, and "functional harmony and counterpoint" may not be applicable.

However, Japanese traditional music may have "superiority" in the sense of culture.

  As well as being Japanese, I also inherit the DNA of the Ryukyu people. In that sense, I would like to conclude my statement by expressing my pride in these two different cultures and my respect for my ancestors.

Blog page

 Did I keep you waiting? It's been a long time. My homepage has fewer and fewer "columns" so I couldn't update it freely.

Many of my friends who don't play music often say that This HP is said that "Too professional, it's like Greek, I don't understand the meaning".

When I think about it, it's true that there are so many people who say, "I can't find a way to understand" when it comes to understanding professional content. Therefore, I fully agree with that opinion.

But even without musical expertise, they are very interested in the information I "link" and are pleased that the information on AI computers provides modern "advanced information".

Also, one of my friends who is a music expert said that my website is written from the perspective of a composer, so it is difficult for performers as the same musician to know genres outside their area of expertise.

But on the contrary, it was a "eye-opener" from my music companion! Some people say that, so it was good to be able to confirm that HP was not wasted.

Specifically, even if they are a performer, for example, to give an example of a score, the score of the clef symbol, which is not "familiar" with each of the viola　clef , tenor　clef , baritone clef, etc. in the notation of the score, It's usually very surprising.

I can't play the viola, but the viola clef is smooth read. Fortunately, I was in charge of "Trombone" in the orchestra, so I think it's because of that fortunate.

The brass band trombone is usually a bass clef, but the orchestral trombone uses the "all clefs" mentioned above. Especially in Tchaikovsky's Symphony trombone part, the second trombone, the "clef" often changes many times during the song.

For example, at the beginning, the score of a song that started with the F clef suddenly changed to alto in a few bars, after a while it changed to tenor, suddenly go to the G clef, and then return to the F clef, ・・・etc. It very often changes.

At first I was "very surprised!" Performance of the the Tchaikovsky's works, and I got used to the C clef because I had such a "good experience".

The most obvious explanation for the C clef is that the C clef "does not move the symbol itself, but the staff itself moves".

( I have explaining firmly on the HP clef page.)

 If you recognize it properly, there is no problem, but if you can not change the idea or you are not accustomed to it, it is not so easy.

That～! That～! I'm sorry I was too specialized again. On this page, I didn't mean to say these things but wanted to report that "I started writing sentences that have nothing to do with music on this website."

In other words, I set up a "blog page" and started writing blogs by "category".

This blog page is probably easy to understand even for those who say that the MOME page here on this HP is "too specialized to understand!".

The blog page is not only written with my amateur's "Thoughts", but also of course the content is not specialized and pearly verified. Also, since it is a blog, I will not add English text.

As for the descriptive text, I may be wrong and perhaps Inaccurate information written.

The content is about free text, so if you have any doubts, please verify it yourself and deepen your knowledge.

In that sense, it may not be wasteful to read the blog page as a material for raising general issues.

 Anyway, in this column, I'm telling you that I've started a blog.

 Regarding “DAW Systems and Vocal Music”

 Around 2021, in the column titled “AI Performance vs. Demonstration Performance,”  I confidently wrote “While AI performance has evolved in this manner, achieving AI performance for vocal music still seems distant.”

 But 2024 real now, three years later, DAW systems (which are also a form of AI performances) have reached a level where they can flawlessly perform human voice-based performances such as vocal music and choruses, indistinguishable from live performances.

 A DAW system is capable of all the phonetic pronunciation sounds that only the human voice could produce, such as intonation, nasal consonants, affricates, palatal consonants, falsetto, curled tongue pronunciation, vibrato, and all kinds of special pronunciation types. Engineers are already able to freely create portamento and glissando.

A “Voice type” that I have yet to actually watch edited using a DAW system is “Special vocal music” such as “Homii” and “Homey,” which originated in Mongolia and are a type of special vocal music. But now perhaps it might be possible to generate this also.

I have to say that the speed of AI evolution is nothing short of astonishing.

   As usual, “Music cannot be explained in sentences or words,” so I will paste the URL and explain the cutting-edge software “Hollywood Fantasy Orchestrator,” which I highly rate, so please watch it. In this way, it is evolving wonderfully.

Pay particular attention to the clarity and realism of the orchestral sound sources in this DAW software. Even live performances in commercial music may no longer match the capabilities of DAW systems. I had ages steadily, Now I no longer have the time or capacity to fully immerse myself in DAW systems. However, personally, I am satisfied with the fact that I was able to “Digitize” most of my work data using “finale software.”

 But maybe one day my work will catch someone's eyes (or ears) and be played beautifully by an actual performer. Or maybe a talented sound designer will use a DAW system to “Re-edit” my data into a great sound source.Quietly and patiently waiting for such happiness is also a pleasant thought these days. Now, regarding the capacity of my website, I’ve repeatedly mentioned that it’s the “Free version,” which has limitations on the number of pages. In reality, this of my HP might become the final column. Therefore, there are only two options: either delete existing columns or transition to a paid version. For now, I’ll maintain and continue it as is, unable to add more columns or pages. If you continue to follow, please feel free to explore the “Blog Categories,” and your access would be greatly appreciated. However, this blog does not have English text.