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236 55 2 2007 2003 2004 Camurri et al. 1999 2002 2005 CG 1987 1 2. 2 2.1 2 46 A 22 B A 36 51 4 14 16
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238 55 2 2007 1.
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241 3. v i [mm/sec] (3.2) v i = d i 60 2 2 3 4 A B mean
242 55 2 2007 4. 3.2 2001 3 3 θ knee 5 Rosenfeld and Johnston 1973 cos θ knee cosθ knee 3 6 7
243 5. 3. cos θ knee
244 55 2 2007 6. cosθ knee 1 y y 4 8 3.3 F = ma F m a 2000 1 v i+1 v i i a i a i[mm/sec 2 ] (3.3) a i = v i+1 v i 3.3 5 9 2 4 6 9
245 7. cosθ knee 2 9 2 4. 7 cos θ knee cosθ knee 14 6 1 3 1 0.436 2 0.276 3 0.080 3 0.792 6 1 2 3
246 55 2 2007 4. 1 2 x y 8 3 xy 10 11 1 2 10 8 5 3 5 1 2
247 8. 10 11 8
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249 9. 2001
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252 55 2 2007 21 COE 18 A 1 2 Camurri, A., Hashimoto, S., Suzuki, K. and Trocca, R. 1999 KANSEI analysis of dance performance, IEEE International Conference on System, Man and Cybernetics IV, 327 332. Camurri, A., Coletta, P., Mazzarino, B., Trocca, R. and Volpe, G. 2002 Improving the man-machine interface through the analysis of expressiveness in human movement, Proceedings of 2002 IEEE ROMAN Conference, 417 421. 1959. 1975. 1987. 2005 10 1 31 40. 2000
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254 Proceedings of the Institute of Statistical Mathematics Vol. 55, No. 2, 235 254 (2007) Analysis of Motions for Multiple Roles in Nihon Buyo Quantitative Analysis of Leg Movement in Hokushu Mamiko Sakata 1, Mieko Marumo 2,WoongChoi 3 and Kozaburo Hachimura 3 1 Faculty of Culture and Information Science, Doshisha University 2 College of Art, Nihon University 3 College of Information Science and Engineering, Ritsumeikan University This study is designed to clarify, quantitatively how the eight character roles (Yukyaku, Tayu, Houkan, Bushi, Mago, Shonin, Yujo, Enja) are differentiated in terms of dancing techniques in the nihon buyo entitled Hokushu. The movements of two dancers trained in nihon buyo were measured by means of motion capture to compare and analyze the basic movement common to the eight character roles, i. e., walking (movements of the lower half of the body). In order to analyze the physical movements, we calculated the speed of the hips and the tips of the right and left feet (time quality), the angle of the knees and the height of the hips (spatial quality), and the acceleration of the hips (dynamic quality). The principal component analysis of the feature quantities of the movements revealed that the dancers were clearly differentiating gender, social class and scene in their depiction of the character roles. It was also revealed that the dancers were loyally observing the traditionally preserved basic technical patterns, but at the same time expressing their individual interpretations, expressivities and proficiency within the allowable limits. Key words: Nihon Buyo, leg movement, motion capture, motion analysis.