Concert Life and Concert Venues in Japan, 1868-1945

在现代日本，西方古典曲目的音乐会数量以及音乐会场地和专业管弦乐队的数量比世界上大多数其他国家都要多。通过对交响乐演奏场所的社会背景、建筑和声学演奏条件的分析，考察1868年至1945年间日本现代音乐会生活的发展。本研究从西方古典音乐传入前的日本音乐演出场所和演出条件分析入手，对明治初期至第二次世界大战结束前的东京地区交响乐演出场所的形态、规模、容量和声学特性进行了描述。由于大多数相关建筑物在其原始条件下不再存在，因此将根据CAD模型和所有霍尔斯的占用和未占用情况的室内声学模拟计算ISO 3382规定的室内声学参数。对于仍然存在的霍尔斯，将进行测量。根据测量和模拟得出的室内声学参数，这些早期的音乐会场地将与欧洲和美国同期的霍尔斯以及今天日本的现代音乐会场地进行比较。除了乐团规模和演出惯例的信息外，还将突出日本的独特特征和先决条件，例如歌舞伎剧院用于早期西方音乐表演，以及在演出惯例，建筑设计和音乐会场地声学规划方面的参考和西方影响。研究结果将深入了解室内声学的历史，以及日本在当地传统和外国影响之间的文化史。

In modern Japan, the number of concerts of the western classical repertoire as well as the number of concert venues and professional orchestras is higher than in most other countries worldwide. Based on an analysis of the concert venues built for the performance of symphonic music as an indicator for the social background as well as for the architectural and acoustical performance conditions, the development of modern concert life in Japan in a period between 1868 and 1945 will be examined. Starting with an analysis of venues and performance conditions for Japanese music before the introduction of western classical music, the main investigation will describe all performance venues for symphonic music in the Tokyo district from the beginning of the Meiji era in 1868 to the end of the second world war in 1945, with respect to their shape, size, capacity and acoustic properties. Since most of the relevant buildings do not exist anymore in their original condition, room-acoustical parameters according to ISO 3382 will be calculated based on CAD-models and room acoustical simulations of all halls for the occupied and unoccupied case. For the still existing halls, measurements will be conducted. Based on room acoustical parameters derived from measurements and simulation, these early concert venues will be compared to halls of the same time in Europe and the USA as well as to modern venues in Japan today. Together with informations on the orchestra sizes and performance conventions, both the unique characteristics and preconditions in Japan such as the use of kabuki theaters for early performances of western music will be highlighted as well as references and western influences in terms of performance conventions, architectural design and the acoustical planning of concert venues. The results will give insights into the history of room acoustics as well as into the cultural history of Japan between the poles of local traditions and foreign influences.