Ethnological Studies on Globalization and Localization of Music in Asia and Oceania
Ethnological Studies on Globalization and Localization of Music in Asia and Oceania
批准号:
13571018
负责人:
YAMADA Yoichi
金额:
$7.87万
依托单位国家:
日本
项目类别:
Grant-in-Aid for Scientific Research (B)
财政年份:
2001
资助国家:
日本
项目状态:
已结题
起止时间:
2001 至 2003
中文摘要
山田在音乐工作室采访了音乐家和制作人,并记录了在法国新喀里多尼亚、瓦努阿图和巴布亚新几内亚的音乐节上的表演。因此,他调查了当地音乐的制作、销售和发行策略,澄清了美拉尼西亚国家之间音乐交流的实际情况和音乐向欧洲和澳大利亚的全球化战略。NAKAGAWA研究了传统音乐舞蹈团的活动,在艺术节上展示音乐文化,以及在印度尼西亚日惹的一种名为chanpuu sari的新流派的音乐变化。因此,他澄清说,最近的政治和社会变化对那里的各种音乐活动产生了迅速而强烈的影响。TERADA通过采访印度金奈的音乐家和制作人,调查了融合音乐的制作、发行和传播过程。融合音乐是印度古典音乐和西方流行音乐的混合体。他展示了融合音乐的制作和发行,目的是将其传播到吉隆坡和新加坡的泰米尔社会。SIMEDA研究了马来西亚沙捞越少数民族的音乐活动。他展示了本土音乐向海外的传播和地方层面对全球化音乐的接受两种对比趋势的并存,也证明了泛马来西亚音乐和海外音乐的融合。UEMURA考察了韩国首尔传统音乐的复兴运动,澄清了传统音乐流派和传统音乐竞赛的关系,揭示了作为故意产生的传统的复兴过程。
英文摘要
YAMADA interviewed with musicians and producers at the music studios and documented the performances at the festivals in French New Caledonia, Vanuatu and Papua New Guinea. Consequently he investigated the making, selling and distributing strategies of local music and clarified the actual conditions of musical exchange among the Melanesian countries and the globalizing strategies of music toward Europe and Australia.NAKAGAWA conducted researches on the activities of traditional music-dance troupes, the presentation of music culture at art festivals, and the musical change in a new genre called "chanpuru sari" in Yogyakarta, Indonesia. As a result, he clarified that the recent political and social changes had a rapid and strong influence upon various musical activities there.TERADA investigated the processes of making, distributing and diffusing of fusion music, a hybrid of Indian classical music and Western popular music, through interviews with musicians and producers in Chennai, India. He demonstrated that the fusion music had been made and distributed with the intention of diffusing it to Tamil societies in Kuala Lumpur and Singapore.SIMEDA researched musical activities of minority groups in Sarawak, Malaysia. He showed that the two contrastive trends coexist there such as the distribution of local music to overseas and the acceptance of globalized music at local level and also demonstrated that the pan-Malaysian music and inflowing music from overseas had been integrated.UEMURA examined the revival movement of traditional music in Seoul, South Korea and clarified the relationship between traditional music schools and traditional music competition and revealed the revival process of "techuita" as an intentionally produced tradition.
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NAKAGAWA, Shin (ed.): "Urban Culture Research, Vol.1"UCRC Yogyakarta Subcenter, Yogyakarta, Indonesia. 128 (2003)
NAKAGAWA, Shin(主编):“城市文化研究,第 1 卷”UCRC 日惹分中心,印度尼西亚日惹。
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寺田吉孝: "ペリヤ・メーラム音楽における伝承形態の変化"江口一久(編)『礼儀と口頭伝承』風響社. 341-348 (2002)
Yoshitaka Terada:“Periya Melam 音乐传统形式的变化”Kazuhisa Eguchi(编)《礼仪与口头传统》,Fukyosha 341-348 (2002)。
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植村幸生: "田邊尚雄と『東洋音楽』の概念"浅倉有子(他編)『歴史表象としての東アジア』清文堂. 225-239 (2002)
Yukio Uemura:“Nao Tanabe 和‘东方音乐’的概念”Yuko Asakura(等人),《东亚作为历史表征》,Seibundo 225-239 (2002)。
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植村幸生: "延辺の三つの声"韓国朝鮮の文化と社会. 1. 244-247 (2002)
植村由纪夫:《延边的三种声音》韩国文化与社会 1. 244-247 (2002)。
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Yoichi Yamada: "Acoustic body : voice resounding through the Waxei people, Papua New Guinea"Oceania Monograph. 52. 103-112 (2001)
山田洋一:“声体:声音响彻巴布亚新几内亚瓦克塞人”大洋洲专着。
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