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许多音乐会议上展示我对花和林和三味音乐分析的研究。这包括在葡萄牙，韩国，美国，和和野市本身，花和林的出生地。从这些演讲中，我能够获得关于我的发现的新前景，并准备发表这些发现。通过专注于为三味弦音乐实践设计的档案实践和分析方法，我已经能够突出花川木林中三味弦音乐线的重要性，无论是在传统还是现代背景下，同时解释忽略这种乐器的作用的历史。本研究确实揭示了三味线如何借由不同的传承演奏风格，以音乐、历史及肢体的方式来表达“时间”与“地点”的重要性。三味线对“时间”和“地点”的表达概念随后在更现代的三味线作品和新创作的三味线流派中得到检验，显示出其在当今音乐舞台上的现代可能性和音乐价值。最后，三味线的“时间”和“地点”的概念将被用作作曲方法，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.