Research on the new composing method with Okinawan traditional music-instruments and its applicable method in Contemporary music

冲绳传统乐器的新作曲方法及其在现代音乐中的应用方法研究

• 批准号: 17600019
• 负责人: NAKAMURA Toru
• 金额: $ 2.37万
• 依托单位: University of the Ryukyus
• 依托单位国家: 日本
• 项目类别: Grant-in-Aid for Scientific Research (C)
• 财政年份: 2005
• 资助国家: 日本
• 起止时间: 2005 至 2007
• 项目状态: 已结题
• 来源: https://kaken.nii.ac.jp/grant/KAKENHI-PROJECT-17600019/
• 关键词: Okinawan Traditional Musical Instruments; Chinese Traditional Musical Instruments; Musical creation; Method for Composing; Performing Skills; 三線奏法の開発; 沖縄箏曲の奏法; 洋楽器と伝統楽器; 間テクスト性; 沖縄胡弓の独奏; 古箏の伝統奏法と現代奏法; 国際情報交換; 中国; Okinawan Traditional Musical Instruments; Chinese Traditional Musical Instruments; Musical creation; Method for Composing; Performing Skills; 三線奏法の開発; 沖縄箏曲の奏法; 洋楽器と伝統楽器; 間テクスト性; 沖縄胡弓の独奏; 古箏の伝統奏法と現代奏法; 国際情報交換; 中国

If one would try to compose a new music with Okinawan (Ryukyuan) traditional musical instruments, there might be several problems that are far different phases from the western musical styles. In general almost the Okinawan traditional music are centered in the songs, and Okinawan musical instruments, Sanshin (three strings lute), Koto (thirteen strings zither), Fue (bamboo flute), Kucho (four strings with bow) and Narimono (percussions), merely play the roll as accompaniment. Especially Sanshin, Fue and Kucho almost performed flowing along the song-part. They are essentially not independent as solo musical instruments. Nevertheless that situation, we listen to attractive sounds from their traditional performance.Okinawan traditional musicians used to study through oral imitating manner from their teacher directly, and usually take a kind of tablature, Kunkunshi, as their musical notation system. These learning systems have been one of the cause unable them to create new music with their instruments. Recently several young traditional music performer who attempt to compose the new music with their instruments have been increased.This research is purposed on how to create the musical composition with Okinawan traditional instruments, and purposed on to develop the new musical idioms in the contemporary music transposing from Okinawan traditions. I have been able to elucidate several problems in the relation between traditional performing manner and musical substance. And I have tried to compose new musical works within Okinawa traditional musical idioms.

如果一个人试图与冲绳（Ryukyuan）传统乐器创作新音乐，那么可能有几个问题与西方音乐风格截然不同。一般而言，几乎是冲绳传统音乐以歌曲为中心，冲绳乐器，Sanshin（三弦叶子），Koto（13弦），Fue（Bamboo Flute），Kucho（四个带有弓箭）和Narimono（打击）（打击乐），仅伴随着滚动。特别是Sanshin，Fue和Kucho几乎表演了歌曲的流动。它们本质上不是独立的独奏乐器。尽管如此，我们还是倾听了他们传统表演的吸引人的声音。科基纳瓦传统音乐家过去常常直接从老师那里学习口头模仿的方式，通常以音乐符号系统为例。这些学习系统一直是他们无法用自己的乐器创建新音乐的原因之一。最近，几位年轻的传统音乐表演者试图用乐器创作新音乐。这项研究的目的是如何使用冲绳传统乐器创建音乐作品，并目的是在当代音乐中从冲绳传统传播的当代音乐中开发新的音乐习语。我已经能够在传统表演方式和音乐物质之间阐明几个问题。我试图在冲绳传统音乐习惯中创作新的音乐作品。