著者

長崎 励朗

出版者

京都大学大学院教育学研究科

雑誌

京都大学大学院教育学研究科紀要 (ISSN:13452142)

巻号頁・発行日

vol.57, pp.587-600, 2011-04-25

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Producers have important roles to create various cultural contents. They need not to be specialists; their need is to be the media that bonds two or more specialties together. Despite the importance of their roles, they have been paid little attention from researchers. In other words, they are invisible section of the “creative class” for Japanese scholars. So, this study makes them visible by the historical method. Its object is one of the most talented producers in postwar Japan, Asano Tsubasa(1929-1999). At first, he belonged to music associations whose activities were to plan original concerts and present them to members. .During his membership, he created remarkable works by mediating specialists whose ideology was both conservative and liberal and whose style both popular and classical. His next work was produced at a pavilion in World Exposition ’70. This exposition was expected to popularize the new aesthetic sense, and his role in it was a bridge to connect the avangarde artist with the ordinary people attending. Naturally, it is found that both Tsubasa's works, those while affiliated with the association and with Expo’70, had an educational aspect. So I conclude that the producer is the medium, and the medium is educational.