3 0 0 0 OA 中央・西アジア音楽文化の比較研究2-ウイグルとトルコ・イランの伝統を中心に
本研究は新疆ウイグル自治区のウイグル人作曲家、ウメル・マーマットを主たるインフォーマントとして、比較文化・文明の観点から中央・西アジア音楽研究に携わってきた研究代表者(龍村)が、トルコ(小柴はるみ)、イラン(谷正人)、アラブ(屋山久美子)の音楽研究者と共に、トルコ語系民族のウイグルと他の中央・西アジア地域の音楽との比較を行ったものである。今日の伝承におけるウイグルの「ムカーム」は、他の地域の伝統よりも固定性が強く、各ムカームが固有の旋法のみならず、固有のリズムと舞踊の様式を持っている。ムカームに基づく一人の奏者の即興演奏も見られるが、音楽・舞踊の一体化した全体が一つのムカームの表現なのである。
1 0 0 0 アドルノ音楽哲学とアジアの近代化
3年間に渡って次の研究活動を行った。1)当該期間中に出版された著書・論文:アドルノの『マーラー』の単独訳出版(法政大学出版局)、アドルノの『音楽社会学』(平凡社)の解説執筆、「音楽と時間-世界化の時代の音楽時間論」(『民族芸術』)、ドイツで独語単行本に執筆"Wie die Zeit vergeht. Musikalische Zeit in West und Ost angesichts der Globalisierung."Musik in der Zeit. Zeit in der Musik(Velbruck Verl.)、「ワーグナー論における一つの流れ」(京都市立芸術大学音楽学部研究紀要)、「アドルノ理論と民族音楽学」『民族音楽学の課題と方法』(世界思想社)、「音楽社会学の課題と展望-近代化とグロバリゼーションをめぐって」『音楽(音文化)研究の課題と方法』(中部高等学術研究所)2)平成14年度に出版される予定の著書・論文:「グローバル化時代のアドルノ理論-音楽と自然の問題を中心に」『アドルノ論集』(仮題、平凡社)「パン・アフリカン・ミュージックと現代の音楽文化」民族音楽学を学ぶ人のために』(世界思想社)「ベートーヴェンの後期様式をめぐるアドルノの思索とその源湶」『角倉一朗先生退官記念論文集』(仮題、音楽之友社)3)研究発表 平成11年度:音楽学会大会シンポジウムでダールハウスのベートーヴェン論について発表。民俗音楽学会大会のシンポジウムでヨサコイ・ソーラン祭りについて発表。平成12年度:音楽学会大会でのシンポジウム「ドイツと日本1930 45」の企画・司会。東京ゲーティンステイテュート主催のシンポジウムでドィツと日本の音楽批評について発表。中部高等学術研究所で<近代化>と<グロバリゼーション>について音楽社会学的観点から発表。4)アジアの音楽文化の現状に関する予備調査を中国の西安市・寧夏回族自治区(11年)、インドのムンバイ・アグラ・ジャイプール・デリー(11年)において行った。5)研究資料収集をドイツ・イタリア・フランス・トリニダードトバゴで行った。
- 著者
- 龍村 あや子
- 出版者
- 北海道東海大学
- 雑誌
- 北海道東海大学紀要. 人文社会科学系 (ISSN:09162089)
- 巻号頁・発行日
- vol.2, pp.121-134, 1989
This paper reexamines the often noted parallelism in ideal, logical structure and time consciousness between Hegel's philosophy and Beethoven's music. Theodor W. Adorno's Theory provides some key concepts for this study. Born in 1770,Beethoven and Hegel built up the basis of their thoughts during the time of the great revolution in Western Europe, the period characterized by the rising spirit of the bourgeoisie and the belief in social progress. Both Hegel's philosophy and Beethoven's music in his middle period embody the two common spirits of this age : idealism and humanism. Their thoughts show not only the tendency toward a system and totality but also the dialectical way of thinking. Their time consciousness is subjective and progressive, the point which has an essential meaning for construction of their logical thoughts. According to Adorno, the structure of the symphonic sonata form of the middle Beethoven bears the same nature of the 'affirmative dialectic' as in Hegel's philosophy; on one side this structure is an expression of the strong historical subject, which insists on its humanistic ideal without giving up its hope for a better world; but on the other side this logic cannot act for the change of the real society, because the affirmative dialectic remains a mere ideology. Although Adorno himself didn't give an analytical proof of the logical parallelism between Hegel's philosophy and the music of the middle Beethoven, his thematic can be concretized as a matter of the structure of music. Therefore I demonstrate it through the actual analysis of the first movement of the third symphony "Eroica". The result of my analysis is a clarification of Beethoven's sonata form as a 'dialectical process'. Beethoven made this structure possible through : his new idea of treatment of the thematic complexes and his 'elemental-analytic' treatment of materials.
1 0 0 0 OA <異文化理解>と音楽(第一部)
- 著者
- 龍村 あや子
- 出版者
- 北海道東海大学
- 雑誌
- 北海道東海大学紀要. 人文社会科学系 (ISSN:09162089)
- 巻号頁・発行日
- vol.1, pp.75-85, 1988
This article treats the concept 'understanding a different culture', which is very often discussed today in Japan, in terms of music. The author gives at first the following definition : Culture is 1) the whole of the intersubjective meanings and their forms of expression which has been historically constructed in a society; therefore 2) it is always in some degree changeable. This definition is followed by the next one : 'a different culture' is the counterconcept to 'one's own culture' that constitutes one's identity at present. To recognize whether the perceived object belongs to his own culture or to a different one, depends entirely on the 'experiences' of each individual, which build up the basis of his cognitive domain. 'A different culture' means therefore an element of culture or a culture as a whole, which requires a new development of one's experiences in this sense. To meet with a different culture is a real 'encounter'; from that experience a new cognitive field of the indivudual could be constructed. Because music has no material existence and could only be perceived within each individual existence, its 'meaning' in a real sense cannot be fixed. The meaning of music is to be regarded as a 'metaphore vive' in the sense of Paul Ricoeur : It is always a newly created metaphor as a result of the interaction between the music and the listener. When a music talks to us as a foreign culture, it gives us a 'subject' of a sentence, the 'predicate' of which we should create ourselves. Because music could be objectified as a recording, it is possible that it detaches itself from the culture in which it was born and flies from culture to culture like a bird. Therefore there are two cases of the encounter between music and individuals : 1) to get aquainted with music in the culture where it was born, and to understand it as part of the culture as a whole; or 2) to meet with music as a sound system out of the culture where it was born. In this part of the article (Part I) the second case is discussed. To understand music as a different culture is a process of new recognition, in which our memory and fantasy are combined and revivified.