The reevaluation of traditional music in modern Japan: focusing on transcriptions of gagaku into western notation

现代日本传统音乐的重新评价：关注雅乐向西方记谱的转录

• 批准号: 12610055
• 负责人: TERAUCHI Naoko
• 金额: $ 1.98万
• 依托单位: Faculty of cross-cultural studies, KOBE UNIVERSITY
• 依托单位国家: 日本
• 项目类别: Grant-in-Aid for Scientific Research (C)
• 财政年份: 2000
• 资助国家: 日本
• 起止时间: 2000 至 2002
• 项目状态: 已结题
• 来源: https://kaken.nii.ac.jp/grant/KAKENHI-PROJECT-12610055/
• 关键词: Gagaku; Tokyo Ongaku Gakko; Hogaku Chosa Gakari; modern period; transcription; western notation; Konoe (Konoye) Naomaro; universalization

This study aims at clarifying the recognition of traditional Japanese music in relation with newly introduced western music in the late 19^<th> to early 20^<th> centuries Japan, focusing on endeavor to transcribe gagaku in western notation. In concrete terms, first, I analyzed KONOE Naomaro's (1900-1932) transcriptions of gagaku pieces in comparison with what he wrote about the issues of transcription and the preservation of tradition. The analysis has revealed that his transcriptions were a place for him to realize a revival of gagaku in its ideal form, which he deduced from his historical and analytical research. Secondly, an investigation of the transcriptions of gagaku by Tokyo Ongaku Gakko, Hogaku Chosa Gagari (HCG) (1916-1927) was carried out, which has clarified that the transcriptions were polished several times until the completion and that transcribers edited the notes on the transcription, "Gagaku kifuho hikae" to guide readers to a comprehensive understanding of gagaku. Thirdly, a comparison of the gagaku transcriptions by HCG with a recorded material made in 1903 has showed that the tempo of gagaku in the early 20^<th> century was faster than it is today and phrases were not cut into smaller pieces as they are today.According to the various discourses on transcription in western notation found in newspapers and journals of the time, transcriptions meant to them 'universalization', documentation, preservation or creation of Japanese traditional music.

本研究的目的在于澄清19世纪末至20世纪初日本对传统日本音乐与新引进的西方音乐的关系的认识<th><th>，重点关注用西方记谱法转录雅乐的奋进。具体而言，首先，我分析了小野直麻吕（1900-1932）对雅乐作品的转录，并与他关于转录和传统保存问题的著作进行了比较。分析表明，他通过历史和分析研究，将“静修”作为实现“雅乐”理想形态复兴的场所。第二，对东京音乐学研究所（HCG）（1916-1927年）的《雅乐抄》进行了调查，发现《雅乐抄》在完成前经过了多次润色，并在《雅乐抄》上作了注释，以引导读者对《雅乐抄》有一个全面的了解。第三，将HCG的雅乐乐谱与1903年的录音材料进行比较，可以看出20世纪早期的雅乐克里思<th>比现在快，乐句也不像现在这样被切割成小片段。根据当时报纸和期刊上关于西方记谱法乐谱的各种论述，乐谱对他们来说意味着“普及”、记录、保存或创造日本传统音乐。

项目成果

寺内 直子: "20世紀における雅楽のテンポとフレージングの変容〜ガイスバーグ録音と邦楽調査掛の五線譜〜"国際文化学研究. 17. 85-111 (2001)

Naoko Terauchi：“20 世纪雅乐节奏和措辞的变化 - 盖斯伯格录音和日本音乐研究人员的乐谱 -”《国际文化研究》17. 85-111 (2001)。

寺内 直子: "邦楽調査掛における雅楽採譜作業の経緯"日本文化論年報. 4. 18-40 (2001)

寺内直子：“日本音乐研究部分雅乐转录工作的历史”日本文化年度报告4. 18-40 (2001)。

寺内直子: "東京音楽学校邦楽調査掛「雅楽記譜法扣」"日本文化論年報(神戸大学国際文化学部日本文化論講座). 3. 1-19 (2000)

寺内直子：“东京音乐学院日本音乐调查“雅乐记谱技术””日本文化年度报告（神户大学国际关系学院日本文化系）3. 1-19（2000）。

寺内 直子: "東京音楽学校邦楽調査掛「雅楽記譜法扣」"日本文化論年報. 3. 1-19 (2000)

寺内直子：“东京音乐学院日本音乐研究部‘雅乐记谱法’”日本文化年度报告。 3. 1-19 (2000)

寺内 直子: "20世紀における雅楽のテンポとフレージングの変容 〜ガイスバーグ録音と邦楽調査掛の五線譜〜"国際文化学研究. 17. 85-111 (2002)

Naoko Terauchi：“20 世纪雅乐节奏和措辞的变化 - 盖斯伯格录音和日本音乐研究人员的乐谱 -”《国际文化研究》17. 85-111 (2002)。