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川八桥和三味音乐分析的研究。这包括在葡萄牙、韩国、美国以及花川八里的出生地和野市演出。从这些陈述中，我能够获得关于我的发现的新的展望，并正在准备将这些发现发表。通过专注于档案实践和为三味线音乐实践而设计的分析方法，我已经能够强调花川八里的三味线在传统和现代背景下的重要性，同时解释了忽视这一乐器作用的历史。这项研究真正揭示了三味线如何通过不同的继承的演奏风格在音乐上、历史上和身体上表达“时间”和“地点”的重要性。三味线对“时间”和“地点”的这种表达的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，在今天的音乐界中展示了它的现代可能性和音乐价值。最后，三味线的这个“时间”和“地点”的概念将被作为一种作曲方法论，在2023年为日本各地的不同地点创作新的音乐作品。

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.