Studies of the Dynamics of African "Sound Cultures"

本项目从社会动态的角度处理传统和现代背景下的非洲“健全文化”。Tsukada探讨了加纳Fanti社会中分裂和统一的社会倾向与其音乐表现之间的关系，在那里，Kawada通过调查西非一些发声乐器的起源和分布，发展了他之前关于“声音文化”的Monde和Hausa复合体的假设。铃木在Alidjan尝试了所谓的街头男孩的现代“声音文化”的动态发展过程，因为他们将说唱融入了他们的音乐类型中。Tsuruta和Higashi都调查了坦桑尼亚达累斯萨拉姆的“声音文化”，但研究的主题不同：Tsuruta从经济活动的角度比较了公共和私人舞蹈乐队，而Higashi则侧重于流行音乐流派taarab的历史方面。

The present project deals with both traditional and modern contexts African "sound cultures" from a sociodynamic perspective. Tsukada explored the relationships between the social tendencies toward schisms and unity and their musical representations in the Fanti society of Ghana, where Kawada developed his former hypothesis on the Monde and the Hausa complexes of "sound cultures" by investigating the origins and distributions of some sound-producing instruments in West Africa. Suzuki tried the dynamic processes of development of the modern "sound culture" of so-called Street Boys in Alidjan as a result of their incorporation of raps into their music genres. Tsuruta and Higashi both investigated the "sound culture" of Dar es Salaam, Tanzania, but on the different topics : Tsuruta compared the public and private dance bands in terms of economic activity and Higashi focused on the historical aspects of the popular music genre called taarab.