著者
伊野 義博 黒田 清子 ペマ ウォンチュク
出版者
新潟大学教育学部
雑誌
新潟大学教育学部研究紀要 人文・社会科学編 = 新潟大学教育学部研究紀要 人文・社会科学編 (ISSN:18833837)
巻号頁・発行日
vol.11, no.1, pp.69-90, 2018-10

This paper is a report of field survey on Bhutanese folk music in 2017. We have reported the details of tsangmo, the playful singing dialogues from the research of Paro, Punakha, Trongsa (Ino 2012, Ino et al. 2014a, 2014b). In Melak village in Trashigang, we found and reported a khapsho similar to tsangmo (Ino et al. 2015a). From these surveys, tsangmo was originally playing when children grazed livestock, but turned out to have disappeared with the spread of school education. On the other hand, We also learned that tsangmo's practice is being done in new forms such as school events and radio programs. So we reported about tsangmo's practice at school and media. At the same time, we held an international symposium on the succession of folk music culture (Ino et al. 2016a, Ino et al. 2017). Based on these surveys, from September 21 to 27, 2017, we conducted field research in Thimphu and Dagana. The research method is an semi-structured interview. As a result, we were able to add some new facts. 1. We interviewed Tsheten Dorji, who was born in Tibet and became a king's musician on his history of music activities. In the past trade was actively done between Tibet and Bhutan. It was an opportunity to know each other's songs. Tibetan songs were brought to Bhutan, and now it became boedra, one of the genres of Bhutanese songs. boedra, which was brought to Bhutan by Tibetan traders and beggars, is said to have spread all over Bhutan in the Third King's era. In addition, Tsheten Dorji thinks that the song he made since he came to Bhutan should be called drukdra instead of boedra. This problem is extremely important when considering Bhutanese music. From his story we learned Tibet had a song lugar similar to tsangmo. The similarity is that the lyrics are six syllable four-line poetry, melody, improvising to make lyrics, dialogue play. Also, we have learned that there is a song called Go Mo playing riddles. This song is a bet, winning or losing, the winner taking items. From this survey, we expanded the possibility of research on the relationship between play, divination, gaming and singing.2. We interviewed about how to play tsangmo in the Tseza village in Dagana. At this time, the villagers sang tsangmo for the first time in 40 years. The villagers disputed long hours about how to play and interpret lyrics. We was able to grasp the situation where the tsangmo tradition is disappearing. As in other areas, it was divided into two groups, put items, singing while pointing to items with a cane, playing fortune telling about the item (owner) hit at the end of the song. In Tseza village, men and women who became 11 years old played in tsangmo and married when they were 14 and 15 years old. Because tsangmo is accurate fortune telling, the villagers are now married, there were families and children, they could not do the same as when they were children. We understood the strength of elements as tsangmo's fortune telling. In Tseza village, we learned about daga ra mey lazhu as Dagana's old song. This song is a sad song of a woman who was taken from the village of Dagana and left in the mountain. This song is currently in a situation where parts are only sung and not all are handed down. 3. We interviewed Sonam Choden who is only one singer of Dagana's old song sham sha doley. This song sang the Zhabs Drung's cane who came to Dagana. This song is singing the process until the cane grows into trees, which is a very long and difficult contents. Londa, an opportunity for sham sha doley to sing, is an archery tournament in the village, praying for village safety once a year. Sonam Choden also forgot about tsangmo until we interviewed. When she was a child tsangmo was a game where several people gambled items. However, she remembers that her grandparents and parents used fortune telling and competition in tsangmo. We grasp the situation that tsangmo disappeared through generations. In addition to boedra and tsangmo, old songs such as daga ra mey lazhu and sham sha doley, the treasure-like culture that has made the way of life and thinking of Bhutan people has disappeared.
著者
黒田 清子 伊野 義博 権藤 敦子
出版者
日本音楽教育学会
雑誌
音楽教育学 (ISSN:02896907)
巻号頁・発行日
vol.47, no.1, pp.25-36, 2017 (Released:2018-08-31)
参考文献数
20

本稿では, ブータンの掛け合い歌に見られる双方向性に注目し, フィールドワークによって得られた記述をフィードバックの観点から分析し, 教科内容としての学校教育における「歌うこと」を音楽文化の視点から再考することを目的とする。とくに, 歌唱領域において育むことのできる資質・能力についての考察を行う。ブータンの学校におけるツァンモ大会では, 臨機応変に, メタファーを活用し, 定型に歌詞を整え, 旋律を選択し, 演劇的なパフォーマンスで表現するなかで, 口頭性, 即興性, 応答性を活かした音楽表現が行われている。音楽文化をより広く捉えることによって, 教科内容としての歌う活動はより多様なものとなる。自らの思いを即興的に掛け合う行動や, すでにレパートリーとしてもっている旋律を借りて伝えたいことを表現する行動は, さまざまな文化に広く見られる。そこには, これまで学校教育で重視してきた表現力とは異なる可能性が存在する。
著者
寺田 己保子 岩本 紗八香 井上 薫 横山 真理 高田 奈津子 澤田 篤子 伊野 義博 松本 絵美子
出版者
日本学校音楽教育実践学会
雑誌
学校音楽教育研究 : 日本学校音楽教育実践学会紀要 (ISSN:13429043)
巻号頁・発行日
vol.16, pp.67-84, 2012-03-31

課題研究1年目は『21世紀音楽カリキュラム』に基づいたこれまでの実践を振り返り、どのような実践が可能になったのか実践者からの感想も含めてその成果と課題を確認し、今後の研究の方向性を見出していくことがねらいである。全体を2部構成とし、第1部は実践発表、第2部を討論とした。第1部の実践発表では、『21世紀音楽カリキュラム』に基づいた日本伝統音楽の実践としてこれまでどのような実践が行われてきたのか、その指導内容に焦点をあて、「伸縮する拍を感じて自分たちのわらべうたをつくって歌おう」岩本紗八香氏(小学校)、「高い音と低い音を感じてわらべうたでふしづくりをしよう」井上薫氏(小学校)、「拍の特徴を感じ取って《ソーラン節》《小諸馬子唄》を味わおう」横山真理氏(中学校)、「カラ三味線で長唄をうたおう」高田奈津子氏(高等学校)の実践発表が行われた。第2部ではこれを受けて、実践についての成果と課題について、伝統音楽の理論的立場から澤田篤子氏、伝統音楽の指導方法等の立場から伊野義博氏、学校現場の実践を見る立場から松本絵美子氏がそれぞれ意見を述べ、その後会場からの意見も含めて全体で討論した。
著者
伊野 義博 松浦 良治 森下 修次 Ino Yoshihiro Matsuura Yoshiharu Morishita Shuji
出版者
新潟大学教育人間科学部附属教育実践総合センター
雑誌
教育実践総合研究
巻号頁・発行日
vol.1, pp.31-46, 2002

学校の音楽授業における地域の音楽の教材化について、新潟市内野地区における祭囃子のうち先太鼓の調査及びそれを元にした教材化について考察および提案を行った。内野の先太鼓は非常に変化に富んだ有意義なものであることが分かった。その先太鼓の音楽を学校現場で取り入れやすいよう、教材化の提案を行った。