Studies of the Dynamics of African "Sound Cultures"

本项目从社会动力学的角度探讨非洲“声音文化”的传统和现代背景。Tsukada探索了加纳Fanti社会中分裂和统一的社会倾向与它们的音乐表现之间的关系，在那里，Kawada通过调查西非一些发声乐器的起源和分布，发展了他关于世界和豪萨情结的先前假说。铃木尝试了阿利让所谓的街头男孩将说唱融入他们的音乐流派而发展现代“声音文化”的动态过程。Tsuruta和Higashi都调查了坦桑尼亚达累斯萨拉姆的“声音文化”，但主题不同：Tsuruta从经济活动的角度比较了公共和私人舞蹈乐队，而Higashi专注于流行音乐流派taarab的历史方面。

The present project deals with both traditional and modern contexts African "sound cultures" from a sociodynamic perspective. Tsukada explored the relationships between the social tendencies toward schisms and unity and their musical representations in the Fanti society of Ghana, where Kawada developed his former hypothesis on the Monde and the Hausa complexes of "sound cultures" by investigating the origins and distributions of some sound-producing instruments in West Africa. Suzuki tried the dynamic processes of development of the modern "sound culture" of so-called Street Boys in Alidjan as a result of their incorporation of raps into their music genres. Tsuruta and Higashi both investigated the "sound culture" of Dar es Salaam, Tanzania, but on the different topics : Tsuruta compared the public and private dance bands in terms of economic activity and Higashi focused on the historical aspects of the popular music genre called taarab.