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Theorizing the Okinawan body —Fieldwork on physical gestures in the performance of Okinawan classical music
https://doi.org/10.34577/00000006
https://doi.org/10.34577/0000000617e4fe32-c377-4b19-bb5d-3f1c23145c77
| 名前 / ファイル | ライセンス | アクション |
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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) | |||||
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| 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
× Aycock, Brian Johnson |
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| 抄録 | ||||||
| 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. |
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| 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 |
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| 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 | |||||
