文献一覧: 黒田清子 (著者)

4 0 0 0 OA ブータン文化におけるあそび歌「ツァンモtsangmo」の位置づけ : ジグミ・ドゥッパ氏へのインタビューをてがかりに

著者: 黒田清子 Kiyoko Kuroda
出版者: 金城学院大学
雑誌: 金城学院大学論集. 人文科学編 = Treatises and Studies by the Facalty of Kinjo Gakuin University. Studies in Humanities (ISSN:18800351)
巻号頁・発行日: vol.12, no.2, pp.112-120, 2016-03-31

2021-12-30 16:39:35
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http://id.nii.ac.jp/1096/00000771/

2 0 0 0 IR ブータンの民俗音楽覚書 : 王様の音楽家ツェッテン・ドルジ,ダガナ県の遊び歌ツァンモ,古い歌ダガ・ラ・ミ・ラジュとシャム・シャ・ドレィ

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.

2021-09-01 01:45:08
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https://ci.nii.ac.jp/naid/120006763637

2 0 0 0 OA 音楽文化の視点から教科内容としての「歌うこと」を捉え直す ―ブータンの掛け合い歌に見られる双方向性をてがかりに―

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。