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

该项目追溯了“日本音景”概念的历史，因为它出现在当地媒体生态中，推动了便携式录音技术的日益商品化，倾听日常生活的新做法，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为环境的声音体验的变化。我概述了一个想象中的社区的声音可能性是如何围绕个人消费、国内和国际旅行以及快速变化带来的环境观念的变化而发展起来的。对现代声音和技术变革的跨国理解，是通过对声音和空间之间关系的当地理解以及消费主义增加和大众传播媒介增长所形成的录音技术市场的国内发展来过滤的。正因为如此，到1997年，日本环境局可以创建“日本100个音景”项目。该项目以CD的形式提供，并附有一幅列有当地和地区声音的群岛地图。该项目依靠业余和专业人士来记录他们认为具有该地区象征意义的声音，并希望为未来保留下来。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“意义或意义”的声音，并从700多个提交的声音中选择了100个声音，旨在创建一个“自然声音”的仓库，这些声音由于“现代化和城市化”而丢失，这些声音成为了标题中的“日本”音景。全球对录音和绘制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60年代末的声音漫步的产物。在日本，对音景的关注从鸟前惠子（Keiko Torigoe）的作品中浮现出来，她曾是舍费尔的学生，在20世纪80年代翻译了他的书《音景：我们的声音环境和世界的调谐》，并创建了神田音景研究所，这是20世纪90年代成立的日本音景协会的前身。我的研究挑战了既定的叙述，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。早在20世纪50年代末，对记录自然或日常生活声音的最新录音技术和技术的兴趣，以及对“真实声音”的性质和意义的讨论，已经变得普遍。室内和室外的录音在20世纪70年代蓬勃发展，该项目将研究大量的杂志，旅游指南，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介消遣，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。学者们最近注意到，在声音研究中，有必要超越对西方谱系、表现形式和关键（规范）术语的理论的依赖。在消费主义的兴起和大众媒体的发展中，该项目将日本音景的概念历史化，通过质疑与音景有关的共享、跨国经验，填补了文献中的空白。它还展望了声音和技术在扩大我们对1945年至20世纪90年代日本社会和文化转型的理解方面的作用，并提出了以下问题：战后日本的录音产品是如何销售的，向谁销售的？录音作为一种流行的消遣方式的发展，以及它对日本年轻人的吸引力，是如何促进了这个国家的声音地图？历史学家如何利用声音作为一种来源来更好地理解日本战后的历史？

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?