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  1. 大学紀要
  2. キリスト教と文化研究所
  3. 人文科学研究
  4. 第43号(2012.3)

Theorizing the Okinawan body —Fieldwork on physical gestures in the performance of Okinawan classical music

https://doi.org/10.34577/00000006
https://doi.org/10.34577/00000006
17e4fe32-c377-4b19-bb5d-3f1c23145c77
名前 / ファイル ライセンス アクション
05-Matt Theorizing the Okinawan body —Fieldwork on physical gestures in the performance of Okinawan classical music (1.2 MB)
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Item type 紀要論文 / Departmental Bulletin Paper(1)
公開日 2013-09-01
タイトル
タイトル Theorizing the Okinawan body —Fieldwork on physical gestures in the performance of Okinawan classical music
言語 ja
資源タイプ
資源タイプ識別子 http://purl.org/coar/resource_type/c_6501
資源タイプ departmental bulletin paper
ID登録
ID登録 10.34577/00000006
ID登録タイプ JaLC
アクセス権
アクセス権 open access
アクセス権URI http://purl.org/coar/access_right/c_abf2
著者 Aycock, Brian Johnson

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内容記述タイプ Abstract
内容記述 Musicians in traditions around the world use their bodies in a variety
of ways in the process of performing and teaching music. The most
obvious example is the movement required to physically produce sound
from an instrument. Movements are also widely used to transmit
particular emotions during performance, to signal to other musicians or
members of the audience, or to communicate between teacher and student
in the transmission process. This paper presents the results of an ongoing
fieldwork project to investigate the use of physical gestures in Okinawan
classical music, a tradition that uses a number of stylized gestures,
particularly those of the hands and head. These physical gestures are quite
often discussed in the course of lessons and performances, and have also
been theorized to some extent by Okinawan musicians and scholars.
 In this paper I focus particularly on movements of the head and upper
body in the Okinawan tradition. I consider the ways that these movements
were theorized and formalized in the early 20th century by Okinawan
music scholars, as well as through their incorporation into a notation
system. I also analyze two field recordings made during the course of the
project. The first of these illustrates the use of upper body movements in
performance as a way of embodying melodic movement, while the second
illustrates how body movements are actively used as a part of the teaching
process.
言語 en
書誌情報 ja : 人文科学研究 : キリスト教と文化

号 43, p. 109-128, 発行日 2012-09-01
出版者
出版者 国際基督教大学
言語 ja
ISSN
収録物識別子タイプ ISSN
収録物識別子 24346861
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