Research into Japanese Traditional Folk Music and Dance through Tracing Japanese Musical Traditions with a Proposal for teaching Manuals in Schools

通过追踪日本音乐传统来研究日本传统民间音乐和舞蹈以及学校教学手册的建议

• 批准号: 05680195
• 负责人: FURIYA Miyako
• 金额: $ 1.22万
• 依托单位: MIYAGI UNIVERSITY OF EDUCATION (1994-1995)Fukushima University (1993)
• 依托单位国家: 日本
• 项目类别: Grant-in-Aid for General Scientific Research (C)
• 财政年份: 1993
• 资助国家: 日本
• 起止时间: 1993 至 1995
• 项目状态: 已结题
• 来源: https://kaken.nii.ac.jp/en/grant/KAKENHI-PROJECT-05680195/
• 关键词: Folk Custom; Nembutsu-dance; Teaching Manuals; Music Education; Video Manual; ビデオ教材; 日本伝統音楽; いわき; 伝承; 青年会活動; 風流; 民謡; わらべうた

Science nowadays has made rapid and astounding progress, and the extent to which industrial and information technology has developed has changed lives and local communities all over the world. As a result, there is a growing at to survival of folk performance and festivals belonging to communities. Folk performances and festivals not only give pleasure but also have the important function of preserving the community.I have done three years of fieldwork on the Jangara-nembutsu Dance, which is handed down orally in the Iwaki area of Fukushima prefecture. From this research I comment on the problem of the continued survival of folk customs and festivals.1.Folk performances and festivals are usually religious, performed at Buddhist temples or Shintoh shrines. But, in fact, their religion is a simple, primitive faith. There used to be galleries at the festivals, not so much for people to be seen on the stages, but so that they could pray for higher yields from the fields or for the health o … More f families and villages. Performers are highly trained, but their spirits are much more purer and very different from those in commercial performances.2.Nowadays Japanese folk performances are very difficult to hand down from generation to generation. By the baneful of Japanese music education since the Meiji period, young people not only dislike their own traditions but also do not understand the value of Japanese folk performances.3.It is not good that these Japanese folk performances are written down in European staff notation, because European staff notation is suitable just for European music and European ways of thinking. All national musical traditions differ, as do the manners of handing down, and ways of thinking. Consequently, we need to respect the implications of these differences. In the case of Japanese traditional music, Shohga is a more relevant teaching manner.4.Nowadays we need to think about the implications of these Japanese teachers carry out the task of handing down our own traditional folk music and performances to children in schools. In order for a teacher to try to teach these folk performances, he or she should firstly go to a village where they are still practiced, in order to learn get something of the real spirit of the performances. With that spirit a teacher should make use of Japanese Shohga. The special European staff notation of the Jangara-nembutsu Dances for teachers which I made is intended for those teachers who have not enough time to visit a village several times, and it is for the purpose of enabling them to more easily understand the whole construction of the Jangara-nembutsu Dance.. Less

如今，科学取得了突飞猛进的进步，工业和信息技术的发展程度改变了世界各地的生活和当地社区，因此，民间表演和属于社区的节日的生存越来越受到关注。民间表演和节日不仅给人带来欢乐，而且具有保护社区的重要功能。我对福岛县磐城地区口头流传的Jangara-nembutsu舞蹈进行了三年的实地考察。本研究我对民俗和节日的延续问题进行评论。 1.民俗表演和节日通常是宗教性的，在佛教寺庙或神道神社进行，但实际上，他们的宗教是一种简单的、原始的信仰。过去是节日期间的画廊，并不是为了让人们在舞台上看到，而是为了祈祷田地里有更高的产量或家庭和村庄的健康。表演者训练有素，但是。他们的精神更加纯净2、现在的日本民谣表演很难代代相传。受明治时期以来日本音乐教育的毒害，年轻人不仅不喜欢自己的传统，而且不喜欢自己的传统。了解日本民间表演的价值。3.这些日本民间表演用欧洲五线谱写下来是不好的，因为欧洲五线谱只适合欧洲音乐和欧洲思维方式，所有民族音乐传统也是如此。传承的礼仪，回顾一下，我们需要尊重这些差异的含义，就日本传统音乐而言，Shohga是一种更相关的教学方式。4.现在我们需要思考这些日本教师进行的含义。将我们自己的传统民间音乐和表演传授给学校的孩子们的任务 为了让老师尝试教授这些民间表演，他或她应该首先去仍在练习这些民间表演的村庄，以便学习得到一些东西。体现了表演的真实精神。我为教师制作的Jangara-nembutsu舞蹈的特殊欧洲五线谱是为那些没有足够时间多次访问村庄的教师而设计的，目的是使教师能够使用日本的Shohga。让他们更容易理解Jangara-nembutsu舞蹈的整个结构.. Less

项目成果

平田公子・降矢美彌子・石高久仁夫・柳沼紀子・湯田克也: "いわき「じゃんがら念仏踊り」教材化の試み" 福島大学教育実践研究紀要. 28. 89-98 (1995)

Kimiko Hirata、Miyako Furuya、Kunio Ishidaka、Noriko Yaginuma、Katsuya Yuda：“尝试将岩城“Jangara Nenbutsu Odori”转变为教材”福岛大学教育实践研究公报 28. 89-98 (1995)。

平田公子・降矢美彌子: "いわきの「じゃんがら念仏踊り」伝承の実態について-アンケート調査の分析から-" 福島大学教育実践研究紀要. 26. 123-132 (1994)

Kimiko Hirata 和 Miyako Furuya：“关于磐城‘Jangara Nenbutsu Dance’传统的实际状况 - 来自问卷调查的分析 - 福岛大学教育实践研究公报。26. 123-132 (1994)

平田公子・降矢美彌子: "いわきの「じゃんがら念仏踊り」伝承の実態について" 福島大学教育実践研究紀要. 第26号. 123-132 (1994)

Kimiko Hirata 和 Miyako Furuya：“关于磐城“Jangara Nenbutsu Dance”传统的实际状况”福岛大学教育实践研究公报第 26 期。123-132 (1994)。

平田公子・降矢美彌子: "いわきの「じゃんがら念仏踊り」伝承の実態について-アンケート調査の分析から-" 福島大学教育学部「教育実践研究紀要」. 第26号. 123-132 (1994)

平田公子和古谷宫子：“关于磐城‘Jangara Nenbutsu Dance’传统的实际状况——来自问卷调查的分析，福岛大学教育学部，‘教育实践研究公报’。第26号。123 -132 (1994)

降矢美彌子: "民俗芸能の伝統と継承-「じゃんがら念仏踊り」のフィールドワークから" 宮城教育大学紀要. 30. 97-120 (1996)

Miyako Furuya：“民间表演艺术的传统和继承 - 来自“Jangara Nenbutsu舞蹈”的实地考察”宫城教育大学公告30. 97-120（1996）。