| Project/Area Number |
15K02099
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| Research Category |
Grant-in-Aid for Scientific Research (C)
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| Allocation Type | Multi-year Fund |
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| Section | 一般 |
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| Research Field |
Aesthetics and studies on art
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| Research Institution | Ochanomizu University |
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Principal Investigator |
Fukuda Chie お茶の水女子大学, グローバルリーダーシップ研究所, 研究協力員 (10345415)
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| Project Period (FY) |
2015-04-01 – 2019-03-31
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| Project Status |
Completed (Fiscal Year 2018)
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| Budget Amount *help |
¥1,820,000 (Direct Cost: ¥1,400,000、Indirect Cost: ¥420,000)
Fiscal Year 2018: ¥520,000 (Direct Cost: ¥400,000、Indirect Cost: ¥120,000)
Fiscal Year 2017: ¥260,000 (Direct Cost: ¥200,000、Indirect Cost: ¥60,000)
Fiscal Year 2016: ¥520,000 (Direct Cost: ¥400,000、Indirect Cost: ¥120,000)
Fiscal Year 2015: ¥520,000 (Direct Cost: ¥400,000、Indirect Cost: ¥120,000)
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| Keywords | 三曲 / 新日本音楽 / 伝統音楽 / 様式 / 楽器 / 西洋楽器 / 樺太 / 朝鮮 / 日本 / 近代後期 / 箏 / 尺八 / 三味線 |
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| Outline of Final Research Achievements |
This research focuses on the transformation seen in Japanese traditional music from the 1920s to 1930s. It concludes an analysis of concerts that presented new styles and new musical instruments. It also aims to reveal the musical changes and to point out that musical trends were most active around the year 1935.
To begin, I studied the performers, songs, and the usage of instruments, based on about 700 concert programs and information of about 10,000 sankyoku concerts, and compiled this information. In the first half of the study, the actual situation in Korea and Sakhalin on new Japanese music were revealed. In the second half, the usage of instruments in the sankyoku concerts was classified into sankyoku original instruments, improved new instruments, existing instruments of other genres, and Western instruments. Finally, the study establishes that the musicians tried various instruments to adjust to the radical changes seen at that time.
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| Academic Significance and Societal Importance of the Research Achievements |
本研究では、様式の変化、新楽器の使用に着目することによって、これまで特定の音楽家による試みとして語られる傾向にあった、この時代の全体的な流れを明らかにすることを試みた。その結果、新様式の音楽は各地で広く受け入れられ、多くの演奏家によって行われていたこと、楽器については新旧のさまざまな楽器を自由に用い、新しい響きを求めて工夫されていたことが、多くの具体的な事例から明らかになった。本研究によって、近代の邦楽には、新しい時代に沿うための多様な試みがあったことを指摘することができた。
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