Research into Japanese Traditional Folk Music and Dance through Tracing Japanese Musical Traditions with a Proposal for teaching Manuals in Schools
| Project/Area Number |
05680195
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| Research Category |
Grant-in-Aid for General Scientific Research (C)
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| Allocation Type | Single-year Grants |
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| Research Field |
教科教育
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| Research Institution | MIYAGI UNIVERSITY OF EDUCATION (1994-1995)
Fukushima University (1993) |
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Principal Investigator |
FURIYA Miyako MIYAGI UNIVERSITY OF EDUCATION,DEPARTMENT FOR MUSIC EDUCATION,PROFESSOR, 教育学部, 教授 (50132535)
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| Co-Investigator(Kenkyū-buntansha) |
HIRATA Kimiko FUKUSHIMA UNIVERSITY,FACULTY OF EDUCATION,PROFESSOR, 教育学部, 教授 (30114002)
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| Project Period (FY) |
1993 – 1995
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| Project Status |
Completed (Fiscal Year 1995)
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| Budget Amount *help |
¥1,900,000 (Direct Cost: ¥1,900,000)
Fiscal Year 1995: ¥400,000 (Direct Cost: ¥400,000)
Fiscal Year 1994: ¥500,000 (Direct Cost: ¥500,000)
Fiscal Year 1993: ¥1,000,000 (Direct Cost: ¥1,000,000)
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| Keywords | Folk Custom / Nembutsu-dance / Teaching Manuals / Music Education / Video Manual / ビデオ教材 / 日本伝統音楽 / いわき / 伝承 / 青年会活動 / 風流 / 民謡 / わらべうた |
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| Research Abstract |
Science nowadays has made rapid and astounding progress, and the extent to which industrial and information technology has developed has changed lives and local communities all over the world. As a result, there is a growing at to survival of folk performance and festivals belonging to communities. Folk performances and festivals not only give pleasure but also have the important function of preserving the community.
I have done three years of fieldwork on the Jangara-nembutsu Dance, which is handed down orally in the Iwaki area of Fukushima prefecture. From this research I comment on the problem of the continued survival of folk customs and festivals.
1.Folk performances and festivals are usually religious, performed at Buddhist temples or Shintoh shrines. But, in fact, their religion is a simple, primitive faith. There used to be galleries at the festivals, not so much for people to be seen on the stages, but so that they could pray for higher yields from the fields or for the health o
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f families and villages. Performers are highly trained, but their spirits are much more purer and very different from those in commercial performances.
2.Nowadays Japanese folk performances are very difficult to hand down from generation to generation. By the baneful of Japanese music education since the Meiji period, young people not only dislike their own traditions but also do not understand the value of Japanese folk performances.
3.It is not good that these Japanese folk performances are written down in European staff notation, because European staff notation is suitable just for European music and European ways of thinking. All national musical traditions differ, as do the manners of handing down, and ways of thinking. Consequently, we need to respect the implications of these differences. In the case of Japanese traditional music, Shohga is a more relevant teaching manner.
4.Nowadays we need to think about the implications of these Japanese teachers carry out the task of handing down our own traditional folk music and performances to children in schools. In order for a teacher to try to teach these folk performances, he or she should firstly go to a village where they are still practiced, in order to learn get something of the real spirit of the performances. With that spirit a teacher should make use of Japanese Shohga. The special European staff notation of the Jangara-nembutsu Dances for teachers which I made is intended for those teachers who have not enough time to visit a village several times, and it is for the purpose of enabling them to more easily understand the whole construction of the Jangara-nembutsu Dance.. Less
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Report
(4 results)
Research Products
(11 results)
