| Project/Area Number |
17H06583
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| Research Category |
Grant-in-Aid for Research Activity Start-up
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| Allocation Type | Single-year Grants |
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| Research Field |
Aesthetics and studies on art
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| Research Institution | The University of Tokyo |
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Principal Investigator |
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| Project Period (FY) |
2017-08-25 – 2019-03-31
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| Project Status |
Completed (Fiscal Year 2018)
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| Budget Amount *help |
¥2,990,000 (Direct Cost: ¥2,300,000、Indirect Cost: ¥690,000)
Fiscal Year 2018: ¥1,430,000 (Direct Cost: ¥1,100,000、Indirect Cost: ¥330,000)
Fiscal Year 2017: ¥1,560,000 (Direct Cost: ¥1,200,000、Indirect Cost: ¥360,000)
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| Keywords | サリドゥマイ / フィリピン音楽 / 掛け歌 / 五音音階 / 民謡 / アメリカ植民地支配 / フィリピン・コルディレラ地方 / 先住民と近代化 / アメリカ植民地 / 先住民 / 近代化 / フィリピン / アジアの近代化 / ポストコロニアル / カリンガ / ポストコロニアル批判 / エージェンシー / 植民地近代性 |
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| Outline of Final Research Achievements |
About 60 examples of salidummay and related folk songs recorded in the northern Philippine highlands in the 1960s-1980s were examined at the University Center for Ethnomusicology, University of the Philippines (so-called "Maceda Collection"). These were categorized in two groups for analysis: a) tunes that are considered lost today; and b) tunes that have been transmitted until today.
The former includes a tune for call-and-response singing. Four-degree gaps are prominent in this group. Each tune uses five pitches but their composition and the ending notes vary. On the other hand, in the latter group, tunes use the c-d-e-g-a, or pitches of c-major pentatonic. They are characterized by regulated beats and pitches such as a four-beat time, diatonic mode. It is reasonable to suggest that this phenomenon us understood as modernization of salidummay; a symptom that folk songs of indigenous peoples have been dragged to the sensual norms of rationality of modernity.
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| Academic Significance and Societal Importance of the Research Achievements |
1. 民族音楽学において、デジタルアーカイブを本格的に用い、参与観察で得られた知見と比較したこと。
2. 民謡の変化を、ポリティクスと絡めて、二項対立的な枠組み（西洋化、植民地支配の影響など）からとらえるのではなく、近代性の合理性、という、人類史・文明史の枠組みからとらえる試みをしたこと。
3. 五音が用いられている旋律を、安易に、「五音音階」の曲、とするのではなく、それぞれの音の使われ方を丁寧に分析し、例えば、三音の使われ方に注目して、テトラコルダの組み合わせによる旋律を、五音音階の旋律とは、性質が異なるものであることを提言したこと。
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