1996 Fiscal Year Final Research Report Summary
A Comparative study on sound expression, sound perception and aesthetic consciousness among the peoples in Central Borneo
| Project/Area Number |
07610048
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| Research Category |
Grant-in-Aid for Scientific Research (C)
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| Allocation Type | Single-year Grants |
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| Section | 一般 |
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| Research Field |
美学(含芸術諸学)
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| Research Institution | Shimane University |
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Principal Investigator |
SIMEDA Takasi Shimane University, Faculty of Education, associate professor, 教育学部, 助教授 (40202113)
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| Project Period (FY) |
1995 – 1996
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| Keywords | Borneo / Kalimantan / Sarawak / Penan / Kenyah / music |
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| Research Abstract |
In order to achieve the objectives shown in the proposal, computer-aided data processing has undertaken. The data dealt here could be divided into three categories. The first is verbal information obtained by myself directly through field researches conducted from 1983 to 1996 (tape-recorded and/or written down). The second category consists of sound recordings, still photos, videotaped materials, and, though very few, some written or printed materials obtained from the field. Thirdly, there are many articles and books concerning the area, mostly by the Europeans as early as late 1880s. By virtue of the recent high performance of personal computers, most of the data concerned were digitalized. Analysis and intepretation based on these data resulted the following :
(1) The Penan Gang (or Aput) and Punan Benalui are the same group.
(2) These Penan (Punan) people stopped contacting each other since as late as the middle of the 19th century.
(3) These Penan (Punan) people have had close contact with the Kenyah Badeng and the Kenyah Umaq Pawa for a long time.
(4) Sound expression, sound perception and aesthetic consciousness among these Penan groups are strikingly the same.
(5) There are considerable differences on all points of above (4.) between the Kenyah concerned and the Penan groups, though there are some general similarities on the aspects of performing practice and musical form.
(6) The Penan musical tradition has been, presumably, maintained through the consistent sense of sound and aesthetic consciousness based on their kinaesthetic (motor) sense.
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