Emotional communication through performance by professional drummers.

本研究将音乐意向分为形式意向和情感意向，并探讨了形式意向和情感意向的审美意义。在此基础上，从音乐心理学的角度对这两种意图进行了研究。然后对相关研究进行了回顾。在本研究中，进行了以下几个实验。两名职业鼓手被要求通过即兴打鼓来表达“喜悦”、“愤怒”、“悲伤”、“恐惧”、“温柔”、“庄重”和“无表情”。在这个表演实验之后，非音乐家被要求判断这些表演的情感意图。这些实验的结果与Yamasaki（2002）进行了类似的实验，除了使用非音乐家作为玩家。在另一项实验中，专业鼓手和非音乐家被要求通过即兴打鼓来表达“快乐”、“愤怒”和“悲伤”的三种强烈程度。实验结果表明：(1)专业乐手与非乐手相比，两种乐手都以相似的方式使用声级、节拍间隔等声音特征来表达简单的情感。然而，在表达更细腻的情感时，专业音乐家的演奏比非音乐家表现出更大的声级和节拍间隔波动。(2)非乐手在表达简单情感时采用普通方式，而专业乐手在表达简单情感时采用较少的普通方式。(3)专业音乐家演奏的正确率高于非音乐家演奏的正确率，但专业音乐家的优势并不明显。

This study divided musical intentions into formal intention and emotional intention, and discussed aesthetic meaning of those intentions. After that, it was concluded that both intentions should be investigated form music psychological point of view. Then precedent researches related to this topic were reviewed.In this study, several experiments as follows were conducted. Two pro drummers were asked to express 'joy', 'anger', 'sadness', 'fear', 'tenderness', 'solemnity', and 'no expression' by playing a drum improvisationally. After this performance experiment, non musicians were asked to judge the emotional intentions of these performances. Results of these experiments were compared with Yamasaki (2002) which conducted similar experiments except using non musicians as players. In another experiment, pro drummers and non musicians were asked to express 'joy', 'anger', and 'sadness' in three degrees of intense by playing a drum improvisationally. As results of these experiments, conclusions as follows were obtained. (1) Comparing pro musicians and non musicians, both players used sound characteristics like sound level and interval of beats in similar way in order to express simple emotions. However, in case of expressing more delicate emotions, performances of pro musicians showed larger fluctuations of sound level and interval of beats than non musicians did. (2) While non musicians took common way in order to express simple emotions, pro musicians tended to take less common way. (3) Rate of correct interpretation for performances of pro musicians was higher than that for performances of non musicians, but the superiority of pro musicians was not so much.