@article{oai:icu.repo.nii.ac.jp:00000007,
 author = {Aycock, Brian Johnson},
 issue = {43},
 journal = {人文科学研究 : キリスト教と文化},
 month = {Sep},
 note = {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.},
 pages = {109--128},
 title = {Theorizing the Okinawan body —Fieldwork on physical gestures in the performance of Okinawan classical music},
 year = {2012}
}