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みちしげみおか
7 years ago
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16 The Musical Philosophy of Fumio Hayasaka: Formation process of Pan-Asianism TAKEUCHI Nao The Japanese pre-war nationalist composer Fumio Hayasaka was known for proposing the musical philosophy Pan-Asianism in the post-war years. To Hayasaka, Pan-Asianism refers to the composition of works based on Eastern or Japanese cultural attributes. To reveal how this idea was moulded, this study focused on Hayasaka s way of thinking before forming the framework of Pan-Asianism, thereby revealing its formation process. During the pre-war and post-war periods, Hayasaka s musical philosophy was influenced by his awareness of the connection between Western methods and Easternor Japanesespirituality and aesthetics. The analysis revealed that Hayasaka s Pan-Asianism was aimed to re-discover the East not from the dichotomy between the West and the East but the awareness of the life in Western modernity. 12

To reveal how this idea was moulded, this study focused on Hayasaka s way of thinking before forming the framework of Pan-Asianism, thereby revealing its formation process.

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32 LP Leonard Holvik- Yamaguti, Osamued.A history of Japanese koto music and ziuta by Kikkawa Eisi. translated and supplemented by Leonard C. Holvik. Tôkyô; Ôsaka: Mita Press,. Georg Muffat- 28

33 Tokumaru, Yosihiko L aspect mélodique de la musique de syamisen. Paris: Peeters,. intertextuality 29

34 O H Japanese Musicology The Musicological Society of Japan music department ethnomusicology ethnomusicology ethnomusicology ethnomusicology ethnomusicology ethnomusicology musicology musicology ethnomusicology musicology Musikwissenschaft 30

35 musicology historical musicology department of musicology department of ethnomusicology and systematic musicology musicology abuse musicology ethnic music ethnic music ethnicity 31

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69 Исторический манускрипт XIIв. «ДЗИНТИ ЁРОКУ» и музыка для цитры СО: из истории ялонской музыки 800 лет назад XVI Музыкальный фестиваль "ДУША ЯПОНИИ" 65

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80 Bugaku performance in the Kamakura period: Movements of the arms as written down in Kyôkunshô and Zoku-Kyôkunshô TAKWA Satoshi Based on the findings of recent research, it is clear that the present-day bugaku has gone through a remarkable change in its movement style. The dance performances carried out for more than, years have been refined. One of the most important points is the change of the leg movements, as pointed out in my previous study. The bugaku stamping movement was the most important element when I examined the descriptions of Kyôkunshô and Zoku-Kyôkunshô of the Kamakura period. In addition to this stamping which brought on a sensational feeling of a throbbing pulse and lightness, there is also an arm movement element to these performances. There are types of arms movements written down in Kyôkunshô, of which are recorded in Zoku-Kyôkunshô, together with a commentary on the movement. In this paper, I consider the terms fuse-kaina,hiroguru-kaina, sasu-kaina, and noke-kaina which appear frequently among them. These terms are still used now; however the explanation of the movements written down in Kyôkunshô and Zoku-Kyôkunshô are remarkably different from today s movements. The biggest differences in the arm movements of the bugaku from the late Heian period to Kamakura period are how the square sleeves were used effectively. In the bugaku that has been handed down in the local area rather than the central area, we can find examples that match the movement of the arms as written down in Kyôkunshô and Zoku- Kyôkunshô. The word that particularly indicates the physical expression of the upper part of the body of a dance described in Kyôkunshô and Zoku-Kyôkunshô is suppleness ( ). This feature of the dancing figure of bending the upper part of the body flexibly can also be seen in the illustrations of dance of the Heian and Kamakura periods. 76

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98 ISSN Bulletin of the Research Centre for Japanese Traditional Music NIHON DENTOO ONGAKU KENKYUU Research on the Traditional Music of Japan Volume 12 Research Notes Bugaku performance in the Kamakura period: Movements of the arms as written down in Kyôkunshô and Zoku-Kyôkunshô TAKWA Satoshi The Musical Philosophy of Fumio Hayasaka: Formation process of Pan-Asianism TAKEUCHI Nao Materials Interview with Kineya Mitarō: Kabuki Off-stage Music and its Transmision TSUCHIDA Makiko, MAESHIMA Miho, TAKEUCHI Yuuichi The Director interivews Guest Professor TOKUMARU Yosihiko: An International Perspective on Japanese Music and Musicology TOKITA Alison

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確定_中澤先生 B EU (2012.3) 1. 2. 3. 4. 5. 1. 2. 3. 4. 2. 3. 4. 1 2012 59 1957 1 332 1995 3 1 4 1997 2009 10 3 4 5 2 2010 1000 2 3 4 149 4 3 1 2 9 2 4 1 3 2011 2011 58 4 10:00 11:30 11:30 10 3 13:30 15:30 15:30 15:45