著者

金光 真理子

出版者

日本音楽学会

雑誌

音楽学 (ISSN:00302597)

巻号頁・発行日

vol.67, no.1, pp.17-33, 2021 (Released:2022-10-15)

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本稿は、イタリアの民俗舞踊「タランテッラ」、とくにルカーニア地方の「パストラーレ」を対象とし、パストラーレ特有のリズム感とそれを演奏する/踊る身体技法の関係を明らかにし、音楽と舞踊に共通する身体性を論じた。パストラーレの演奏にはイタリアのバグパイプであるザンポーニャが不可欠であることから、その楽器構造と音楽構造を整理した上で、ザンポーニャ奏者の身体動作と音楽のリズムの関係を考察した。その結果、ザンポーニャ奏者はチャンター管の指孔を「閉じる→開く」動作によってパストラーレの3分割リズム(♩ ♪)を演奏しているが、1)その身体感覚は指孔を「閉じる」一つの動作にあること、2)「閉じる」動作を強く長くすることで、ドローン音の効果が伴われ、強拍すなわち舞踊のビートを強調できること、3)「閉じる」動作のコントロールによって、3分割リズムと2分割リズムのあいだで自由に演奏できることが分かった。さらに、ステップの考察を通して、踊り手は「右足→左足」のステップで3分割リズムを踏んでいるが、1)その身体感覚は重心のかかった「右足」を踏み込む一つの動作にあること、2)「右足」を強く長く踏み込むことで強拍すなわち舞踊のビートを強調していること、3)「右足」を踏み込む長さと重さのコントロールによってステップを3分割リズムから2分割へ変えられることが分かった。結論として、1)これまでタランテッラの3分割リズムと2分割リズムの関係は「曖昧なリズム」と論じられてきたが、むしろ「交換可能で流動的なリズム」と新たに解釈できることを示し、2)ザンポーニャ奏者と踊り手の身体感覚が一致することによって、タランテッラのリズムが音楽と舞踊に分かち持たれていることを指摘した。

著者

金光 真理子

出版者

横浜国立大学

雑誌

横浜国立大学教育人間科学部紀要. II, 人文科学 (ISSN:1344462X)

巻号頁・発行日

vol.12, pp.13-22, 2010-02

著者

金光 真理子

出版者

横浜国立大学

雑誌

横浜国立大学教育人間科学部紀要. II, 人文科学 (ISSN:1344462X)

巻号頁・発行日

vol.14, pp.21-35, 2012-02

著者

金光 真理子

出版者

横浜国立大学教育学部

雑誌

横浜国立大学教育学部紀要. I, 教育科学 = Journal of the College of Education, Yokohama National University. The educational sciences (ISSN:24339474)

巻号頁・発行日

vol.1, pp.1-22, 2018-02

著者

金光 真理子

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

vol.2004, no.69, pp.19-34,L2, 2004-08-20 (Released:2010-02-25)

参考文献数

6

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Launeddas is a Sardinian triple-clarinet. There are now nine types of Launeddas, each in a different mode. The main repertoire of launeddas is dance music. Its improvisatory performance is based on the compositional principle iskala, a series of pikkiada groups (an individual pikkiada consists of periods of six or nine measure) whose selection and order is aesthetically determined. Each of the nine types of launeddas has its own iskala.The existing studies have failed to differentiate between the theory of iskala and its performance practice. Through the course of fieldwork I hoped to develop a theory that would support iskala performance practice. From my fieldwork I have discovered that that the concept of iskala varies between regions, generationsand players, I decided to concentrate on the repertory of Aurelio Porcu (1915-), one of the oldest of the current generations of performers. Porcu's tradition derives from the Sarrabus, central region of launeddas playing. His repertory was inherited from his masters, some of the greatest launeddas performers. Porcu devoted his life career to a professional launeddas performance. As heir to one of the central launeddas traditions, analysis and understanding of his performance and repertory is vital.Through analyzing the structural characteristics of iskala, this thesis attempts to clarify the aesthetic process underlying iskala performance.Analysis revealed the following three points, as follows. First, the pikkiada groups that form the iskala, is are arranged according to the dance. Although the selection of pikkiada varies according to iskala, two pikkiada groups emerged as common to all iskala performance; furias and pass'appuntau, both of which are related to dance steps. It can consequently be said that the structure of iskala performance mirrors the structure of the dance ‹opening→furias→pass'appuntau→end›.Second, in performance, there appear two characteristic features of the iskala. The first of these is what I refer to as “flexible framework”. This refers to the length of performance. As launeddas players decide on the spur of the moment how to develop pikkiada groups, they can control the length of performance, making it as long or short as necessary.Furthermore, according to Porcu there is an aesthetic principle that no pikkiada group shall be repeated, what I refer to as a “one way principle”. This is a somewhat contradictory principle for launeddas players urged to play long performance. The existence of the “one way principle” demonstrates that launeddas dance music, based on a concept of the iskala, is a well-ordered logical construction.Third, there appears to be an ideal “pikkiada matrix” for each of the pikkiada groups. When Porcu teaches iskala, he demonstrates various sequences of pikkiada in each group (Porcu calls each pikkiada group merely “sa pikkiada”, i. e the pikkiada). These are regarded as examples of typical pikkiada, in which there is no fixed or privileged pikkiada like theme, contrary to the explanation in the former studies. In the performance launeddas players can freely decide and play various versions of pikkiada in each group providing they follows the proper pattern at each stage of the hierarchy (motif, phrase, and whole pikkiada of each group). While this is not a concrete pattern that players are bound to adhere to, it appears that this has been extracted as a successful model of performance by experienced launeddas players. As a result, performing launeddas dance music can be interpreted as cr

著者

金光 真理子

出版者

舞踊学会

雑誌

舞踊學 (ISSN:09114017)

巻号頁・発行日

vol.2008, no.31, pp.10-21, 2008 (Released:2010-04-30)

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In South-Sardinian public round dance, traditionally accompanied by launeddas or indigenous triple-clarinet, the dancers have emphasized an aesthetical value with the expression, “to dance according to the music.” This article argues how the dancers make out or recognize the music and choose their steps, clarifying the dynamic correlation between dance and music in the launeddas dance. As part of my fieldwork, an analysis was done of dance steps of Ierzu village, and revealed that the foregoing aesthetical judgment implies the following three points; metrical synchronization between dance and music, selection of steps appropriate to the pichiada, melody-type based on which various phrases will be improvised, and change of step with the transition of one pichiada to the following. The launeddas dance and the music have been inseparably developed in public dance circles. Their reciprocal structure characterizes the performance; the dancers choose steps following the music while the musician varies his performance seeing the dancers' condition or demands. The interaction between dancers and musician, sometimes conversational sometimes competitive, makes the performance dynamic and entertaining. It is this dynamism that makes the launeddas dance artistic.