Mukogawa Women’s University Repository / 武庫川女子大学リポジトリ
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Annual Report of Institute for Biosciences Vol.25
Get PDFバイオサイエンス研究所年報 25号の全データ
令和二年度活動概況
所長報告 萩中 淳
研究業務報告
◦個体生命解析学部門
籠田 智美/義澤 克彦
◦細胞生命解析学部門
伊勢川 裕二/高 明/蓬田 健太郎
◦分子生命解析学部門
中瀬 朋夏/森山 賢治
◦生命化学解析学部門
仁木 洋子/土生 敏行/吉田 徹
研究活動の概要
◦研究成果発表会
◦学会発表
◦誌上発表
◦その他
バイオサイエンス研究所規程othe
The Krupp ‘Arbeiter Siedlung’ of the 1870s-1 ―On the details and pioneering attempts of Nordhof and Schederhof
Get PDFクルップ社は1870年代初頭に生産増に伴い従業員も増え，エッセン市で住宅不足が発生した。住宅供給を家賃や住宅の質の面から民間市場に任せられずに，クルップ社は自前で矢継ぎ早に住宅団地建設に乗り出した。そして，工場の北東にノルトホフ（154戸）が約7ヶ月間で，また南にはシェダーホフ（772戸）が建設された。双方とも，木造2階建ての簡易住宅と，煉瓦造の恒久住宅が建設されたが，更に学校や公園，小売り施設等の都市施設が併設されたこと，及び複数建物が道路に直接面するのではなく工場や学校の構内の様に構内通路からアクセスする「一団地的計画」方式，及び，ほぼ同一の建物を規則的に平行に配置する「平行配置」等が，ヴァイマル期の団地に先立ち採用され，またノルトホフは周囲の状況からゲーティッド・コミュニティとなっている。これらの点は技術者としてのA.クルップの実利主義・功利主義的な指示の結果であったと推察された。In the early 1870s, the Krupp company faced a severe housing shortage for its workers. Not satisfied with what the private market could offer in terms of rent and quality, the company set out to build their own housing estates. Nordhof (154 units) was built to the north-east of the factory in about 7 months, and Schederhof (772 units) to the south. Both estates had temporary two-story wooden houses and permanent brick houses. In addition, they included urban facilities such as schools, retail facilities, and parks. As with the factory and school premises, the “Comprehensive design system for estates” provided access to the buildings from passages in the sites rather than directly from the roads. The “Zeillenbau” (parallel layout) in which almost the same buildings are regularly arranged in parallel was adopted before the housing estates of the Weimar era. Nordhof was a gated community because of its surroundings. These features have been considered to reflect the utilitarianism and practicality of the engineer A. Krupp.departmental bulletin pape
Listening Context and Listening Mode: Towards a Unified Approach for Examining the Connection between Music, Emotion, and Mood.
Get PDFA comprehensive investigation into music and emotion/mood research models (Eerola & Vuoskoski, 2013)1 uncovered notable shortfalls in the selection of test instruments (primacy of classical recordings); limitations of testing conditions (clinical, theoretical, or self-reporting); opportunistic choice of test participants (selected out of convenience); and research practice following historical models (scientific or sociological methodologies). This paper sought to address these issues and presented a considered approach to sourcing music stimuli; identified a wider participant cross-section and testing options; and pinpointed the need for the application of a unified, interdisciplinary research method - a model that can integrate music’s disciplines, forms, and types of engagement (ie. systematic musicology)2 with a human’s neural, physiological, behavioural, and expressive elements (ie. psychophysiology):
(Systematic) Musicology today covers all disciplinary approaches to the study of all music in all its manifestations and all its contexts, whether they be physical, acoustic, digital, multimedia, social, sociological, cultural, historical, geographical, ethnological, psychological, physiological, medicinal, pedagogical, therapeutic, or in relation to any other musically relevant discipline or context. (Parncutt, 2007. Ibid.).
Scientific methodologies (biological/neurological) measure physiological responses at the expense of psychoacoustic responses - an assumption that clinical measurement techniques and algorithmic solutions present an efficient model to classify or explain the relationship between music and emotion/mood. Sociological methodologies (psychological/theoretical) suppose that symbolic interactionism or structural functionalism in music drives an emotional response and affects mood - an assumption that music is a semiotic system, and its constructs are either reflections of the cultural genre around which that music grew or inherent personality traits - and are imbued with messages and meaning. Therefore, this paper proposed a mixed method analysis to measure the true effect of music manifestations on emotion/mood.
Outlined in this document are four aspects central to performing a critical investigation into music vs emotion/mood: a) the need for clear principles and criteria in the curation of test instruments and test subjects, b) the importance of the listening context (profile, orientation, and acrophase) of respondents, c) the significance of the listening mode (cause-based, semantic-focus, or ambient-type) of respondents in the research process, and d) the recognition of music-induced emotions and their physiological/psychological triggers on respondents is temporal, as music means different things to different people at different times.
This paper annotated key musical stimuli (music elements/genres), examined listening contexts (situational macro-variables), and explored listening modes (cognition/appreciation factors) that impact upon listening experiences using a 5W+1Hi inquiry method for compilation. Selected historical cases of claimed music-induced emotional responses or behavioural modification, as well as consciously constructed works by composers to elicit emotional responses, were presented side-by-side with theoretical templates used to map emotion/mood.
As music-listening experiences today integrate a substantial visual/interactive component in their consumption, via a proliferation of audio-visual device options (screen music, music video, promotional/commercial contents), a diverse range of samples were also included in the paper’s discussion. The general recommendations and conclusions of this paper were that:
i) in the development-stage of the music/emotion/mood research plan, it is paramount that a curated menu of test instruments, applicable across a representative spectrum of listeners, and measurable in varying listening environments, be created prior to undertaking research.
ii) using test instruments without a qualifying listening context template, and using test procedures without distinguishing listening mode foci, will diminish research results. Participant-profiling will determine listening backgrounds/purposes and fine-tune testing.
iii) via the lens of systematic musicology which encompasses all music disciplines, and an integrated quantitative/qualitative data collection and analysis or mixed method research model (Creswell & Plano Clark, 2011)3, this will address shortcomings of prior research.
1 Eerola, T., and Vuoskoski, J. (2013, February). A Review of Music and Emotion Studies: Approaches, Emotion Models, and Stimuli. In Music Perception. An interdisciplinary Journal. Volume 30. Issue 3. pp. 307-340.
2 Parncutt, R. (2007, Spring). Systematic musicology and the history and future of western musical scholarship. In Journal of Interdisciplinary Music Studies. Volume 1, Issue 1, pp. 1-32.
3 Creswell, J. and Plano Clark, V. (2011). Designing and conducting mixed methods research. Sage.departmental bulletin pape
