@article{oai:swu.repo.nii.ac.jp:00005285,
 author = {永岡, 都 and Miyako, Nagaoka},
 journal = {學苑, GAKUEN},
 month = {Jun},
 note = {Abstract The development of contemporary music reached its peak and a turning point at Expo 70 in Osaka. However, not enough attention has been paid to the composers then working, and how their works influenced succeeding generations. In this study I focus on Karlheinz Stockhausen, who produced the Auditorium of the German Pavilion, and examine his theories and practice of space music, or Raummusik. My conclusions are as follows:1 Stockhausen's Raummusik is synonymous with the concept of Lokalisationsraum(the idea that listeners recognize space through sound)presented by Herbert Eimert.2 For Stockhausen, the serialization of distance and direction in space implied the completion of the total-serialism.3 The performances in the Auditorium at Expo 70 were the first perfect realization of Raummusik, but the space-design as a closed system was very different from Japanese composers' attempts at acoustic design., 11, KJ00007252039},
 pages = {78--90},
 title = {シュトックハウゼン「ラウム・ムジーク(空間音楽)」の理論と実践 -EXPO'70における「オーディトリウム」の音響空間-},
 volume = {848},
 year = {2011},
 yomi = {ナガオカ, ミヤコ}
}