| Project/Area Number |
16401004
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| Research Category |
Grant-in-Aid for Scientific Research (B)
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| Allocation Type | Single-year Grants |
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| Section | 海外学術 |
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| Research Field |
Aesthetics/Art history
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| Research Institution | OKYAMA UNIVERSITY |
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Principal Investigator |
YAMAMOTO Hiroko Okayama University, Faculty of Education, Professor, 教育学部, 教授 (70362944)
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| Co-Investigator(Kenkyū-buntansha) |
TOKUMARU Yoshihiko The University of the Air, Department of Liberal Studies, Professor, 教養学部, 教授 (00017138)
SUZUKI Masataka Keio University, Faculty of Letters, Professor, 文学部, 教授 (10126279)
KAKIUCHI Yukio Kyoto University of Education, Music Education, Professor, 教育学部, 教授 (50117420)
HOSOI Naoko Rikkyo University, College of Sociology, Associate Professor, 社会学部, 助教授 (40219184)
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| Project Period (FY) |
2004 – 2006
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| Project Status |
Completed (Fiscal Year 2006)
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| Budget Amount *help |
¥11,500,000 (Direct Cost: ¥11,500,000)
Fiscal Year 2006: ¥3,500,000 (Direct Cost: ¥3,500,000)
Fiscal Year 2005: ¥3,900,000 (Direct Cost: ¥3,900,000)
Fiscal Year 2004: ¥4,100,000 (Direct Cost: ¥4,100,000)
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| Keywords | International Exchange between Researchers / Drum / India ＆ China / Marine Road / Kuchi-shoga / Kuchi-daiko / System of Transmission / Music / 中国・インドネシア / 中国:シンガポール:ベトナム |
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| Research Abstract |
The purpose of this research is threefold. First, by collecting rhythm patterns found among culture of drums in Japan and its surrounding Asian regions and constructing a databank based on documentation of onomatopoeia which is used as a traditional method of transmission of rhythm patterns in each region, this research seeks to elucidate the interrelationship among drum performances in Asia. Second, by conducting comparative analysis of the systems of onomatopoeia of various regions, it seeks to highlight the musicality of the Japanese people. In addition, this research also seeks to contribute materials concerning the preservation and development of traditional drum performances in Asia and to propose relevant theoretical and methodological issues.
Fieldwork was conducted in China, Vietnam, Indonesia, India and Japan to collect data.
1.We observed festivals, rituals and performing arts as they were performed in actual context by participating in them and were able to make documentation
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by taking photographs and video films whenever permission could be obtained.
2.We requested that performances be held and documented dance drama, puppet theater and dances in order to obtain materials to be used for analysis of the performing style, or the actual text itself, of performing arts.
3.We learned how to play the drums from people who transmit the technique and collected data about onomatopoeia and the method of transmission by interviewing these people.
From these fieldwork it became clear that there are two cultural styles in onomatopoeia of drums: Indian style, single note onomatopoeia type and Chinese style multi note onomatopoeia type. It also became clear that there are also two levels of cultural area: one which simply imitates the sound of drums, which may be called "simple onomatopoeia of drums," and one that systematizes this simple pattern, or which may be called "systematized onomatopoeia of drums." Both factors are not necessarily related to one another, and overlap in a very complex way. Moreover, it has become clear by comparing these factors show that not only the context of drums but also various contexts associated with drums have an influential role in developing and systematizing onomatopoeia which "listens and imitates" so that it can become a system of transmission. Less
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