The Promotion of Regional Traditional Japanese Music Education: A Case Study of the Utilization of Shamisen within Hanawa Bayashi

在过去的一年里，我专注于在日本和世界各地的一些音乐会议上展示我对花林和三味草音乐分析的研究。这包括在葡萄牙、韩国、美国，以及和野市本身，花和林城的诞生地。从这些演讲中，我能够获得我的发现的新前景，并准备这些发现发表。通过关注为三味线音乐实践设计的档案实践和分析方法，我能够在传统和现代背景下强调花川林中三味线音乐线的重要性，同时解释忽视这种乐器作用的历史。这项研究真正揭示了三味线如何通过不同的继承表演风格在音乐、历史和物理上表达“时间”和“地点”的重要性。这种三味生表达“时间”和“地点”的概念随后在更多的现代三味生作品和新创作的三味生流派中得到了检验，在今天的音乐场景中展示了它的现代可能性和音乐价值。最后，这种三味面“时间”和“地点”的概念将作为一种作曲方法，在2023年为日本各地创作新的音乐作品。

This past year I focused on presenting my research on Hanawa-bayashi and shamisne musical analysis at a number of music conferences both within Japan and around the world. This including presenting in Portugal, Korea, America, and in Kazuno city itself, the birthplace of Hanawa-bayashi. From these presentations I was able to gain new prospectives on my findings and being preparing these findings for publication. Through focusing on archival practices and analysis methods designed for shamisen musical practices, I have been able to highlight the important of the shamisen musical line within Hanawa-bayashi, both in a traditional and modern context, while explaining the history of overlooking the role of this instrument. This research really brought to light the important of how shamisen expresses "time" and "place" musically, historically, and physically through different inherited performance styles. This concept of shamisen's expression of "time" and "place" was then examine in more modern shamisen compositions and newly created shamisen genres, showing its modern possibilities and musical value within today's musical scene. Finally, this concept of shamisen's "time" and "place" will be used as a compositional methodology to to create new musical works for various locations around Japan in 2023.