著者

植村 幸生

出版者

洗足学園音楽大学

雑誌

洗足論叢 (ISSN:02877368)

巻号頁・発行日

vol.22, pp.173-184, 1993-12-20

著者

金城 厚 久万田 晋 植村 幸生 内田 順子 島添 貴美子

出版者

東京音楽大学

雑誌

基盤研究(C)

巻号頁・発行日

2017-04-01

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(1)1970年代から80年代にかけて、東京芸術大学が収集した沖縄民謡調査資料(90分カセットテープ1,300巻とそれに付随する調査メモ)をデジタル化し、安定的に保存・試聴できるデータベースとして整理した。(2)沖縄県立芸術大学芸術文化研究所のウェブサイトにメタデータを公開して、多くの研究者が所用の資料を検索できるシステムを構築した。(3)音源データを複数のHDに複製し、協定に基づいて国内の複数の研究機関に配置して、遠隔地の研究者による利用の便宜、また災害への備えを図った。(4)個人研究者でも録音資料をアーカイブ化できる比較的簡易な方法を提唱することができたと考えている。

著者

植村 幸生

出版者

学術雑誌目次速報データベース由来

雑誌

朝鮮史研究会論文集 (ISSN:05908302)

巻号頁・発行日

no.35, pp.117-144, 1997-10

著者

小林 政治郎 山城 貞男 植村 幸生

出版者

公益社団法人 日本材料学会

雑誌

材料 (ISSN:05145163)

巻号頁・発行日

vol.13, no.125, pp.110-116, 1964-02-15 (Released:2009-06-03)

参考文献数

5

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In this paper, the relations between Charpy impact strength (Absorbed energy/area under notch) and shape of V-notched test bar of unplasticized P.V.C. are described. The results obtained are summarized as follows:(1) Charpy impact strengths are not varied by the deviation of the width, the thickness and the notch angle of test bar in the range of experiment.(2) But they are varied by the deviation of the notch depth and the notch radius.(3) The quantitative values of error of impact strength which are introduced by these deviations are shown on Table I.

著者

植村 幸生

出版者

The Society for Research in Asiatic Music (Toyo Ongaku Gakkai, TOG)

雑誌

東洋音楽研究 (ISSN:00393851)

巻号頁・発行日

no.54, pp.47-90,L6, 1989

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1. Introduction<br>This paper examines the current situation of shamanistic ritual and musical practices and their socio-cultural characteristics at <i>Chosen-dera</i> (lit. 'Korean temples'), a temple complex located at the foot of Mt. Ikoma between Osaka and Nara Prefecture, where shamanistic as well as Buddhist rites of Korean tradition are performed.<br>2. Outline of <i>Chosen-dera</i><br>(1) The dense complex of temples called <i>Chosen-dera</i> at Ikoma is closely related to the Korean ethnic community at Ikaino, in the eastern part of Osaka City. This community resulted from a rush of immigration from Cheju Island during the 1920's and 1930's.<br>(2) Priests and shamans in <i>Chosen-dera</i> are generally called <i>sunim</i> ('Buddhist priest') or <i>posal</i> ('Bodhisattva'), terms which apply to both males and females. However, they are divided into three types according to the nature of their religious practices: shamans of traditional <i>mudang</i> style; Buddhist priests of Korean orthodox style; and those who practice a syncretic style of Buddhism and shamanism, this last being the most numerous.<br>(3) There are two major types of rites in <i>Chosen-dera</i>: regular observances called <i>matsuri</i> ('festival') and irregular shamanistic rites called <i>ogam</i>i ('worship'). In the former, worshippers assemble at the temple and worship Buddha and the gods, while in the latter, shamans invite and worship the gods and ancestors' spirits in order to solve various individual problems which worshippers face. The term <i>ogami</i> corresponds to the Korean term <i>kut</i>, but use of the word <i>kut</i> in <i>Chosen-dera</i> is strictly avoided.<br>(4) The temples are mainly supported by first-generation immigrants. Before the 1980's, their activities included not only religious ones, but also entertainment activities such as singing Korean folk songs, dancing and playing games, which were very popular after <i>matsuri</i>. All <i>matsuri</i> dates correspond with Korean holidays (<i>myongj'ol</i>), and such entertainment practices are related to the tradition of <i>nori</i> ('playing') on the occasions of these holidays.<br>3. Ritual processes in <i>Chosen-dara</i><br>(1) All musical instruments used in the rites are of Korean origin and are often called by their Cheju dialect names.<br>(2) The processes of the following three rites are described, with emphasis on their musical aspects. (I) <i>Ch'ilsongjae</i>, one of the syncretic Buddhist-shamanistic <i>matsuri</i> observances of Temple A. (II) The syncretic Buddhist-shamanistic <i>ogami</i> rite of Shrine R. (III) The shamanistic <i>ogami</i> rite at Temple G.<br>4. Discussion 1: musical and choreological aspects Some aspects of music and dance of the above rites are examined, with the following conclusions:<br>(1) Both myths and sutras in a rite have some common features in function and style; both are forms of communication from men to the gods and spirits, and both have rhythmically stable percussion accompaniment.<br>(2) However, because of the high value attached to the literate and literacy by Koreans, the use of written texts during sutra recitation creates a distinction between syncretic rites and purely shamanistic ones, and gives authority to the former.<br>(3) Dancing by worshippers during a rite is not as popular as in Korea. This is probably due to the fact that participation by the worshipper's family has become rare, and also because rites in <i>Chosen-dera</i> have become more secret than those in Korea.<br>(4) While myths and sutras are always recited in Korean, Japanese is sometimes used to address worshippers. However, the use of Japanese, which is only for the sake of making the rite progress smoothly, has little influence on musical style.<br>5. Discussion 2: <i>Chosen-dera</i> in the Korean society in Japan<br>In this chapter the culture of shamanism and its current tren

著者

植村 幸生 薩摩 雅登 小島 直文 尾高 暁子 松村 智郁子 久保 仁志 佐竹 悦子 塚原 康子

出版者

東京藝術大学

雑誌

基盤研究(B)

巻号頁・発行日

2012-04-01

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大学附設の民族音楽アーカイブを拠点とし、地域の邦楽器製作者や販売者らとの協働を前提に、邦楽専門家を擁する拠点大学の地の利を生かして、当該地域の児童生徒や学内学生むけ地域文化プログラムの開発と提案を行った。具体的には、下町の邦楽器製作業者/職人への取材をもとに、楽器製作や技の継承をめぐる今日的課題を明らかにし、これに関する問題意識を次代を担う若い世代に喚起すべく、展示と実演の場を設けた。同時に、邦楽を含む下町の伝統芸能や儀礼について、広義の担い手・上演場所・機会を項目とするデータベースを作成し、邦楽を育んだ土壌を通時的に俯瞰する手だてを、アーカイブから発信する準備を整えた。