|Budget Amount *help
¥3,200,000 (Direct Cost: ¥3,200,000)
Fiscal Year 2005: ¥500,000 (Direct Cost: ¥500,000)
Fiscal Year 2004: ¥500,000 (Direct Cost: ¥500,000)
Fiscal Year 2003: ¥2,200,000 (Direct Cost: ¥2,200,000)
In many cases, Japanese traditional music has been formed, being connected with other expression media.
On this premise, the aim oft this research is to analyze the representational arts that use a traditional sound material and the theme of Japan, to try the creation by use of a traditional expression, and to consider relations between a characteristic of those works and a traditional aspect. The subjects for this research are Buddhist ritual and Noh in traditional aspect and works by Toshiro Saruya in contemporary aspect.
First, the words pronounced in Buddhist ritual has a characteristic to generate melody and movement, which gives tendency of performance to ritual.
Second, music of Noh, hayashi and utai, and performances correlates with the structure of space of Noh-theatre.
First, we describe the process of performing music for the Ritual Saisho-e, one of his works, and analyze features of the ritual expressed by sound, shape, movement, light and incense, overviewing modem representational arts.
Saruya has composed or reproduced eight works for Japanese traditional sounds and theme from 2003 to 2005, that is, "Tamanoh", "Kuon no gaku", one of pieces for the Ritual Saisho-e, "Kotoza no ao", music for the audio drama "Ayashino", music for the dance "Sakura Genso ", music for the movie "Warabino-ko", "Where is HE, Yume Majirai" and "Mu no Bansho".
Second, we clarify the Japanese traditional quality subsisting in his work of "Mu no Bansho", focusing his usage of pronunciation of Japanese and collaboration with Gidayu-bushi.
Thirdly, Saruya had an interview with Dr. Donald Keene to discuss Japanese traditional arts and the potentiality of contemporary arts innovating Japanese tradition.