Sound Recording, consumerism and national identity 1952-1997: towards a contemporary Japanese Soundscape.

录音、消费主义和民族认同 1952-1997：迈向当代日本音景。

• 批准号: AH/X002942/1
• 负责人: Martyn Smith
• 金额: $ 21.6万
• 依托单位: University of Sheffield
• 依托单位国家: 英国
• 项目类别: Fellowship
• 财政年份: 2023
• 资助国家: 英国
• 起止时间: 2023 至 无数据
• 项目状态: 未结题
• 来源: https://gtr.ukri.org/projects?ref=AH%2FX002942%2F1
• 关键词: Sound; Recording; consumerism; national; identity

This project traces the history of the concept of the 'Japanese soundscape' as it emerged within a local media ecology that pressed the increasing commodification of portable sound recording technology, new practices of listening to the everyday, increasing individual mobility, and the changing sonic experience of the natural and man-made environments made possible by postwar consumerism and rapid economic growth. I outline how the sonic possibilities for an imagined community developed around greater opportunities for personal consumption, domestic and international travel, and changing notions of the environment brought about by rapid change. Transnational understandings of modern sound and technological transformation, were filtered through local understandings of the relationship between sound and space and the domestic development of a market for sound recording technology shaped by increasing consumerism and the growth of the mass media. Because of this, by 1997, the Japanese Environment Agency could create the '100 soundscapes of Japan' project. Available as a CD and accompanied by a map of the archipelago with the local and regional sounds listed, the project relied on people, both amateur and professional, to record sounds they felt were symbolic of their region and wanted to preserve for the future. But, beyond the aim to preserve the sonic environment in the face of rapid change, the project also sought sounds that had 'meaning or significance' and, in selecting 100 sounds from the over 700 submitted, aimed to create a repository of 'natural sounds' that were being lost thanks to 'modernisation and urbanisation'-sounds which became the 'Japanese' soundscapes of the title.Global interest in recording and mapping the soundscape has most often been seen as an outgrowth of the World Soundscape Project developed by R Murray Schafer in the 1970s and/or Michael Southworth's sound walks in the late 1960s. In Japan, concern for the soundscape is seen as emerging form the work of Keiko Torigoe, a former student of Schafer's, who, in the 1980s, translated his book Soundscape: our sonic environment and the tuning of the world, and created the Institute for Kanda Soundscape Studies-the precursor to the Soundscape Association of Japan which formed in the 1990s. My research challenges the established narrative that the origins of and concern with the notion of a 'soundscape' in postwar Japan lie within western academic institutions and trends. Already by the late 1950s, interest in the latest sound recording technology and techniques for recording the sounds of nature or of everyday life, as well as discussion of the nature and meaning of 'real sound', was becoming widespread. Sound recording, both indoors and out, boomed by the 1970s and this project will examine the numerous magazines, guidebooks, newspaper articles, manufacturers publications and recording competitions to show how sound recording became a mediatised pastime that created new ways of incorporating technological change, and understanding of sound, into everyday life. Scholars have recently noted the need to move beyond the reliance on western genealogies, manifestations, and theorisations of key (canonical) terms in Sound Studies. Historicising the notion of a Japanese soundscape within the rise of consumerism and the growth of the mass media, the project fills a gap in the literature by questioning the shared, transnational experience of concern with the soundscape. It also foregrounds the role of sound and technology in expanding our understanding of the social and cultural transformations of Japan between 1945 and the 1990s asking:How and to whom were sound recording products marketed in Postwar Japan?How did the growth of sound recording as a popular pastime, and its appeal to young Japanese, promote the sonic mapping of the nation? How can historians use sound as a source to better understand Japan's postwar history?

该项目追溯了“日本音景”概念的历史，它在当地媒体生态中出现，推动了便携式录音技术的日益商品化、日常聆听的新实践、个人流动性的增加，以及战后消费主义和快速经济增长所带来的自然和人造环境的声音体验的变化。我概述了一个想象的社区的声音可能性如何围绕个人消费、国内和国际旅行的更多机会以及快速变化带来的环境观念的变化而发展。对现代声音和技术变革的跨国理解，通过当地对声音与空间之间关系的理解以及由消费主义的增长和大众媒体的发展所形成的国内录音技术市场的发展而得到过滤。正因为如此，到1997年，日本环境厅可以创建“日本100个音景”项目。该项目以 CD 形式提供，并附有列有当地和区域声音的群岛地图，依靠业余和专业人士来记录他们认为是其所在地区的象征并希望为未来保存的声音。但是，除了在面对快速变化时保护声音环境的目标之外，该项目还寻求具有“意义或重要性”的声音，并从提交的 700 多个声音中选择了 100 个声音，旨在创建一个因“现代化和城市化”而消失的“自然声音”存储库——这些声音成为标题中的“日本”音景。 全球对记录和映射音景的兴趣通常被视为 R Murray Schafer 在 20 世纪 70 年代开发的世界音景项目和/或 Michael Southworth 在 1960 年代末的声音漫步的产物。在日本，对音景的关注被视为从谢弗以前的学生鸟越惠子 (Keiko Torige) 的作品中兴起，她在 20 世纪 80 年代翻译了他的著作《音景：我们的声音环境和世界的调音》，并创建了神田音景研究所——这是 1990 年代成立的日本音景协会的前身。我的研究挑战了既定的说法，即战后日本“音景”概念的起源和关注在于西方学术机构和趋势。到了 20 世纪 50 年代末，人们对最新的录音技术和记录自然或日常生活声音的技术以及对“真实声音”的本质和含义的讨论变得普遍。室内外录音在 20 世纪 70 年代蓬勃发展，该项目将审查众多杂志、指南、报纸文章、制造商出版物和录音比赛，以展示录音如何成为一种媒体化的消遣，创造了将技术变革和对声音的理解融入日常生活的新方式。学者们最近指出，声音研究中需要超越对西方谱系、表现形式和关键（规范）术语的理论的依赖。该项目在消费主义的兴起和大众媒体的发展中历史化了日本音景的概念，通过质疑对音景的共同跨国体验，填补了文献中的空白。它还突出了声音和技术在扩大我们对 1945 年至 1990 年代日本社会和文化转型的理解方面的作用，并提出问题：战后日本录音产品如何以及向谁销售？录音作为一种流行消遣的发展及其对日本年轻人的吸引力如何促进了国家的声音映射？历史学家如何利用声音作为来源来更好地了解日本战后历史？