{"created":"2023-06-20T15:58:56.916392+00:00","id":3887,"links":{},"metadata":{"_buckets":{"deposit":"3e780434-7e3d-47e7-b092-07d8f457d1b7"},"_deposit":{"created_by":17,"id":"3887","owners":[17],"pid":{"revision_id":0,"type":"depid","value":"3887"},"status":"published"},"_oai":{"id":"oai:minpaku.repo.nii.ac.jp:00003887","sets":["345:363"]},"author_link":["7111"],"item_9_biblio_info_7":{"attribute_name":"書誌情報","attribute_value_mlt":[{"bibliographicIssueDates":{"bibliographicIssueDate":"2011-03-31","bibliographicIssueDateType":"Issued"},"bibliographicIssueNumber":"4","bibliographicPageEnd":"615","bibliographicPageStart":"583","bibliographicVolumeNumber":"35","bibliographic_titles":[{"bibliographic_title":"国立民族学博物館研究報告"},{"bibliographic_title":"Bulletin of the National Museum of Ethnology","bibliographic_titleLang":"en"}]}]},"item_9_description_4":{"attribute_name":"抄録","attribute_value_mlt":[{"subitem_description":"本稿は，今日の北インド古典音楽（ヒンドゥスターニー音楽）に特徴的な音\n楽流派であり社会組織であるガラーナーと，その概念形成に影響を及ぼしてい\nると考えられる英領インド帝国下での“カースト統計”（国勢調査）と“ナウ\nチ関連問題”（踊り子とその伴奏者に対する蔑視）に注目し，今日の音楽家た\nちの社会音楽的アイデンティティ形成について探求しようとする人類学的・社\n会歴史的な研究である。\n　ヒンドゥスターニー音楽の最終目標はラーガの表現にあると言っても過言で\nはない。そして，ヒンドゥスターニー音楽におけるラーガの即興演奏で最終的\nに問われるのは，音楽家個人の理解力・創造力・表現力，そして演奏技術であ\nることは間違いないだろう。しかし音楽家自身が様々な形式の談話において強\n調するのは個人の演奏技術や熟練度よりも，むしろガラーナーの伝統と権威で\nある。\n　ガラーナーは，声楽・器楽・舞踊ごとに複数の存在が知られているが，音楽\n家たちがガラーナーという概念を用いて自分たちを語るようになったのは，20\n世紀に入ってからのことであると考えられる。今日，大都市に住むサロードや\nシタールなどの弦楽器の主奏者に，自分たちのガラーナーをたずねると，その\n「名乗り」として，セーニー・ガラーナーが主張される傾向にある一方，他の\nガラーナーに対する「名付け」としてミーラースィーというカテゴリーが用い\nられることもある。セーニーとはムガル帝国第3 代皇帝アクバル（在位1556–\n1605）の九宝の1 つに数えられた伝説的宮廷楽師ミヤーン・ターンセーンの名\nにちなむもので，セーニー・ガラーナーとは彼の子孫であるセーニヤーとその\n弟子筋のことをさす。一方，ガラーナー以前の楽師のカテゴリーとして，カ\nラーワント，カッワーリー，ダーディー，ミーラースィーの4 つがあったとさ\nれるが，ムガル帝国期の宮廷音楽に関する資料にはミーラースィーというカテ\nゴリーは見当たらない。本稿では，英領インド帝国下のカースト統計において\n「結晶化」されたと考えられるミーラースィーというカテゴリーと，彼らが「踊\nり子」の伴奏者として売春と結び付けられるに至ったプロセスに焦点を当て\nる。\n　本稿においては，最初に，今日を生きる音楽家の“われわれ”と“彼ら”に\nついてのガラーナーの語りに現われる社会音楽的カテゴリーを抽出する。次\nに，それらの語りやカテゴリーがインドの文化社会史とどのように接合されて\nいるのかを検証する。そして英領インド帝国期における“カースト統計”と\n“ナウチ関連問題”の余波が今日の音楽家の再帰的なアイデンティティ形成，\nすなわちセーニヤーとの結びつきを主張する一方でミーラースィーというカー\nストとの関係を排除しようとするガラーナーの社会音楽的アイデンティティの\n構築に，いかなる影響を及ぼしているのかを探求する。","subitem_description_type":"Abstract"},{"subitem_description":"This paper is an attempt at an anthropological and socio-historical study\nthat examines how musicians in modern India have been building their sociomusical\nidentity on the concept of gharānā, which is a characteristic school\nand social organization in the world of north Indian classical music (Hindustani\nmusic). It focuses on how the caste-based census and nautch-related issues,\ni.e. looking down on musicians who accompanied nautch/dancing girls, in\nBritish-ruled India have impacted the identification of musicians today.\nIt is not an exaggeration to say that the ultimate aim of Indian classical\nmusic is its delineation of rāga. In the performance of rāga in Hindustani\nmusic, the personal understanding, imagination, expression and technique of\nthe performer are of course important, but a musician never fails to stress the\nimportance of the authority and authenticity of his gharānā.\nThere have been multiple gharānās in each genre, i.e. vocal, instrumental\nand dance, of Hindustani music. The particular point is the connection between\nthe oral narratives of musicians about “themselves” and “others” and the relevant\nhistory. It was from the 20th century that Hindustani musicians in the\nlarger cities started talking about “themselves” by utilizing the concept of\ngharānā with Seniyā, and about “others” as Mīrāsī in some cases. Seniyās\nwere the descendants of Miyan Tansen, who was one of the nine jewels and\nthe legendary most accomplished musician in the court of Akbar (reign.1556–\n1605), the third Mughal Emperor. In this paper, the term Seniyā refers to the\ndirect descendants of Tansen, and Seni-gharānā is used for the groups, including\ndisciples, who do not have a blood relationship with Seniyās. It is thought\nthat there were four socio-musical categories of musicians, Kalāwant,\nQawwāl, Ḍhāḍhi and Mīrāsī, before the concept of gharānā became common.\nThe head musician of the Kalāwant at the Mughal court was Miyan Tansen.\nOn the other hand, it is hard to find any mention of the category of Mīrāsī as\ncourt musician in the materials of the Mughal period. This paper focuses on\nthe Mīrāsī that were considered to be crystallized in the caste-based census of\nBritish-ruled India and the process by which they came to be generally\nregarded as accompanists and assistants of nautch/dancing girls, i.e. prostitutes.\nThis paper first extracts the socio-musical categories from the oral narratives\nof contemporary musicians about their own gharānās and the others.\nAnd next it examines how those narratives and categories connect with\nthe socio-cultural history of India. Finally, it makes clear how the caste-based\ncensus and the aftermath of nautch-related issues have impacted the reflexive\nidentification of musicians today, and how gharānā as a socio-musical identity\nin Hindustani music became involved with Seniyā and why the Hindustani\nmusicians are trying to eliminate the connection with Mīrāsī as a caste.","subitem_description_type":"Abstract"}]},"item_9_identifier_registration":{"attribute_name":"ID登録","attribute_value_mlt":[{"subitem_identifier_reg_text":"10.15021/00003879","subitem_identifier_reg_type":"JaLC"}]},"item_9_publisher_33":{"attribute_name":"出版者","attribute_value_mlt":[{"subitem_publisher":"国立民族学博物館"}]},"item_9_publisher_34":{"attribute_name":"出版者（英）","attribute_value_mlt":[{"subitem_publisher":"National Museum of Ethnology"}]},"item_9_source_id_10":{"attribute_name":"書誌レコードID","attribute_value_mlt":[{"subitem_source_identifier":"AN00091943","subitem_source_identifier_type":"NCID"}]},"item_9_source_id_8":{"attribute_name":"ISSN","attribute_value_mlt":[{"subitem_source_identifier":"0385-180X","subitem_source_identifier_type":"ISSN"}]},"item_9_version_type_16":{"attribute_name":"著者版フラグ","attribute_value_mlt":[{"subitem_version_resource":"http://purl.org/coar/version/c_970fb48d4fbd8a85","subitem_version_type":"VoR"}]},"item_creator":{"attribute_name":"著者","attribute_type":"creator","attribute_value_mlt":[{"creatorNames":[{"creatorName":"田森, 雅一"},{"creatorName":"タモリ, マサカズ","creatorNameLang":"ja-Kana"},{"creatorName":"Tamori, Masakazu","creatorNameLang":"en"}],"nameIdentifiers":[{"nameIdentifier":"7111","nameIdentifierScheme":"WEKO"}]}]},"item_files":{"attribute_name":"ファイル情報","attribute_type":"file","attribute_value_mlt":[{"accessrole":"open_date","date":[{"dateType":"Available","dateValue":"2015-11-19"}],"displaytype":"detail","filename":"KH_035_4_002.pdf","filesize":[{"value":"838.1 kB"}],"format":"application/pdf","licensetype":"license_note","mimetype":"application/pdf","url":{"label":"KH_035_4_002.pdf","url":"https://minpaku.repo.nii.ac.jp/record/3887/files/KH_035_4_002.pdf"},"version_id":"e22adea8-18fb-4b98-9c5f-c20b5179e8e6"}]},"item_keyword":{"attribute_name":"キーワード","attribute_value_mlt":[{"subitem_subject":"インド音楽","subitem_subject_scheme":"Other"},{"subitem_subject":"ガラーナー","subitem_subject_scheme":"Other"},{"subitem_subject":"カースト統計","subitem_subject_scheme":"Other"},{"subitem_subject":"踊り子","subitem_subject_scheme":"Other"},{"subitem_subject":"社会音楽的アイデン ティティ","subitem_subject_scheme":"Other"},{"subitem_subject":"Indian music","subitem_subject_language":"en","subitem_subject_scheme":"Other"},{"subitem_subject":"gharānā","subitem_subject_language":"en","subitem_subject_scheme":"Other"},{"subitem_subject":"caste-based census","subitem_subject_language":"en","subitem_subject_scheme":"Other"},{"subitem_subject":"nautch/dancing girl","subitem_subject_language":"en","subitem_subject_scheme":"Other"},{"subitem_subject":"socio-musical identity","subitem_subject_language":"en","subitem_subject_scheme":"Other"}]},"item_language":{"attribute_name":"言語","attribute_value_mlt":[{"subitem_language":"jpn"}]},"item_resource_type":{"attribute_name":"資源タイプ","attribute_value_mlt":[{"resourcetype":"departmental bulletin paper","resourceuri":"http://purl.org/coar/resource_type/c_6501"}]},"item_title":"近代北インド古典音楽における社会音楽的アイデンティティの構築 : 英領インド帝国期の“カースト統計”と“ナウチ関連問題”を中心に","item_titles":{"attribute_name":"タイトル","attribute_value_mlt":[{"subitem_title":"近代北インド古典音楽における社会音楽的アイデンティティの構築 : 英領インド帝国期の“カースト統計”と“ナウチ関連問題”を中心に"},{"subitem_title":"Building of Socio musical Iadentity in Modern Hindustani Music : Focusing on Connection with Caste based Census and Nautch related Issues in British India","subitem_title_language":"en"}]},"item_type_id":"9","owner":"17","path":["363"],"pubdate":{"attribute_name":"公開日","attribute_value":"2012-04-10"},"publish_date":"2012-04-10","publish_status":"0","recid":"3887","relation_version_is_last":true,"title":["近代北インド古典音楽における社会音楽的アイデンティティの構築 : 英領インド帝国期の“カースト統計”と“ナウチ関連問題”を中心に"],"weko_creator_id":"17","weko_shared_id":-1},"updated":"2023-06-20T19:32:01.752832+00:00"}