Formation and transformation of the traditions in African sound cultures: Researches on their social factors

从“传统”的动态角度研究非洲声音文化，可以分为宏观和微观两个层面。第一种是在文化史比较研究的大视野下，考察各种因素之间可能的因果关系，以及这些因素的扩散。第二个层次是根据有关社会和政治事件的详细日期所确定的实际历史事实，研究某些较短时间范围内的良好文化现象的形成和转变。在这一研究层面上，对声音文化的政治行动和有意行动，特别是在新非洲国家独立后的国家层面上。川田佳彦关于声音文化与历史认知和再现的形成和转变之间关系的研究，可以被认为是 关于我们 第一个层次的例子。川田专注于用家谱“赞美”一个人的声乐表演艺术，在某些西非社会中得到了阐述和广泛的实践;它不仅在当事人中，而且在观众中唤起了历史意识。该项目的另一个成员进行的研究属于第二层次。K.冢田先生结合加纳独立后政府的文化政策，特别是恩库鲁马总统领导下的文化政策，详细研究了方蒂（加纳）宫廷音乐的形成和转变。H.铃木对几内亚流行音乐的动态方面进行了研究，并将其作为唤起这个新兴国家民族情感的重要手段。K.池谷的研究集中在对指弹钢琴伴奏的歌曲、演奏技巧和歌词内容的详细考察上，是这方面的第一次也是最珍贵的分析。少

To study African sound cultures from the dynamic point of view on the "tradition", we can recognize two levels: the macroscopic and the microscopic levels. The first implies the research in the wide perspective of comparative study of culture history, investigating the possible cause and result relations between several elements, as well as the diffusion of these elements. The second level consists of the study on the formation and the transformation of certain sound culture phenomena of relatively short time range, based on the actual historical facts that can be determined by detailed dates of relevant social and political events. On this level of research, political and thus intentional actions on sound cultures, in particular on national levels after the independence of new African nations.The research carried out by J. Kawada, on the relationship between the sound culture and the formation and the transformation of the historical cognition and representation, can be considered as … More an example of the first level. Kawada focussed on the vocal performing arts of "praising" a person with his genealogy, elaborated and largely practiced in certain West African societies; it contributed much to evoke the historical consciousness not only in the person in question, but also in the audience. The researches carried out by another members of the project are on the second level. K. Tsukada made a detailed study on the formation and the transformation of the Fanti (Ghana) court music, in relation to the cultural policy of Ghanean government just after the independence, in particular under the leadership of President N'Kurumah. H. Suzuki studied the dynamic aspects of popular music in Guinea, which was much used as an important means to evoke the national sentiment in this new nation. K. Ikeya's research focused on the detailed investigations on the songs accompanied by the finger piano, their performing techniques and the verbal contents, the first and precious analysis of this sort. Less