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Historical Study on How Modern Musical Sensibility of Japanese People had been formed and cultivated in the Late-Edo and Meiji Period.

江户末期和明治时期日本人现代音乐感受力的形成和培养的历史研究

基本信息

批准号：
15520412
负责人：
SASAKI Ryuji
金额：
$ 1.09万
依托单位：
Nihon University
依托单位国家：
日本
项目类别：
Grant-in-Aid for Scientific Research (C)
财政年份：
2003
资助国家：
日本
起止时间：
2003 至 2004
项目状态：
已结题

项目摘要

The Archive of Local History of Nagasaki-ken offers us good historical materials which enable us to trace the musical activities of professionals and masses in the Late-Edo and the Meiji Era. The first purpose of our project was to make an intensive research over all the music books with Chinese notation (工尺譜) published in that era, and to change the way of notation of the popular songs in those period from Chinese way to European one, which will make researchers more convenient to access to these music materials as historical resources.We changed 20 pieces of folk songs of the Late-Edo period to European note. and we changed 19 pieces of the Meiji period. As we had intended formerly, we had tried to change 100 pieces to European note and once we had achieved it. However, about 60 pieces are left useless, which would explain why we published only 39 pieces in this final report.In the Late-Edo period, easy, short and intimate folk songs in China were passionately loved and so many parodies had come out among masses. In the Meiji period, a famous player of Chinese music, Baien, NAGAHARA strove so hard as to publish a music book in 1888, entitled Imayo Tebikigusa(今様手引草). This music book shows us tnat the dramatic change had taken place in the musical sensibility among Japanese masses. In this book, Nagahara was obliged to include European songs such as the Auld lang syne (originally the folk song of Scotland), as wall as Japanese popular love songs. This music book plays a key roll to show how Japanese masses had changed their musical sensibility : from a traditional and conservative sensibility to modern and progressive one. It seems that this dramatic change had begun in the Late-Edo period and was accelerated through the Meiji period.

The Archive of Local History of Nagasaki-ken offers us good historical materials which enable us to trace the musical activities of professionals and masses in the Late-Edo and the Meiji Era. The first purpose of our project was to make an intensive research over all the music books with Chinese notation (gongsakupu) published in that era, and to change the way of notation of the popular songs in those periods from Chinese way to European one, which will make researchers more convenient to access these music materials as historical resources. We changed 20 pieces of folk songs of the Late-Edo period to European note. and we changed 19 pieces of the Meiji period. As we had intended formerly, we had tried to change 100 pieces to European note and once we had achieved it. However, about 60 pieces are left useless, which would explain why we published only 39 pieces in this final report.In the Late-Edo period, easy, short and intimate folk songs in China were passionately loved and so many parodies had come out among the masses. In the Meiji period, a famous player of Chinese music, Baien, NAGAHARA strove so hard as to publish a music book in 1888, entitled Imayo Tebikigusa(金様目襷草). This music book shows us tnat the dramatic change had taken place in the musical sensibility among Japanese masses. In this book, Nagahara was obliged to include European songs such as the Auld lang syne (originally the folk song of Scotland), as wall as Japanese popular love songs. This music book plays a key roll to show how Japanese masses had changed their musical sensibility : from a traditional and conservative sensibility to modern and progressive one. It seems that this dramatic change had begun in the Late-Edo period and was accelerated through the Meiji period.