{"created":"2023-06-20T15:59:02.942916+00:00","id":4032,"links":{},"metadata":{"_buckets":{"deposit":"9ff4ae2c-5246-459d-8ee6-8dc3629c6879"},"_deposit":{"created_by":17,"id":"4032","owners":[17],"pid":{"revision_id":0,"type":"depid","value":"4032"},"status":"published"},"_oai":{"id":"oai:minpaku.repo.nii.ac.jp:00004032","sets":["345:393"]},"author_link":["91"],"item_9_biblio_info_7":{"attribute_name":"書誌情報","attribute_value_mlt":[{"bibliographicIssueDates":{"bibliographicIssueDate":"2003-10-31","bibliographicIssueDateType":"Issued"},"bibliographicIssueNumber":"2","bibliographicPageEnd":"295","bibliographicPageStart":"257","bibliographicVolumeNumber":"28","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":"小泉文夫（1927–1983）は，日本における民族音楽学研究のパイオニアとし\nて知られている。彼の最初の代表的研究成果『日本伝統音楽の研究』（1958）\nは，日本の民謡を研究対象としてその音階構造を明らかにした。この論文は，\n小泉の日本伝統音楽研究を支えた基本的な考え方を検討し，彼の民族音楽学研\n究の出発点と特徴を明らかにすることを目的としている。\n　小泉が音楽研究を志した敗戦直後の日本社会において，多くの知識人が邦楽\nを封建的，非合理的，低俗なものとしていた。それを最もよく象徴したのが，\n1949 年，東京音楽学校が東京美術学校と統合され東京芸術大学として発足す\nるときに邦楽科を廃止しようとした案だった。当時の東京音楽学校校長の小宮\n豊隆は，邦楽は新しい日本音楽創造の基礎とはなりえないとした。それに対し\nて，日本音楽研究者である吉川英史は，邦楽にも洋楽に劣らない独自の価値が\nあると論じ，邦楽科設置を訴えた。結局，東京芸術大学には邦楽科が設置され\nることになったが，復興をめざす日本社会における邦楽の存在価値をめぐる議\n論は，吉川を通じて小泉に大きな影響を与えた。\n　小泉は，洋楽を愛好していたが，東京大学で吉川の講義を受け，日本伝統\n音楽の研究に取り組み始めた。しかし，小泉が対象として取り上げたのは，吉\n川があまり関心を払わなかったわらべ歌をはじめとする民俗音楽だった。小泉\nは，民俗音楽は日本音楽の基層文化，すなわち個別性の強い邦楽の諸ジャンル\nの共通の基礎にある日本人の基本的音感を体現するものと捉えた。その研究方\n法として小泉がとったのは比較音楽学の方法である。彼は，音楽の研究を歌詞\nの文学的内容で置き換える従来の内容主義を退けて，主としてヨーロッパの音\n楽理論の立場において，音組織の「客観的な」認識を目指した。それは日本の\n伝統音楽を「音楽」として統一的に把握したいという態度の表れでもあった。\n小泉は，さらに，洋楽と邦楽の2 項対立をこえるために，第3 の視点として世\n界のさまざまな音楽との比較によりそれぞれを相対化して捉えることを目指し\nていった。\n　その後，欧米の比較音楽学は民族音楽学へと展開し，それぞれの文化の中で\n音楽をとらえる方向へと研究の重点が移行していったのに対して，小泉は，世\n界のさまざまな音楽を調査し，比較しながら研究するという態度を基本的に維\n持した。そこには，日本の伝統音楽は日本人の民族性を反映している考えなが\nらも，音楽という共通の枠組みの中で，相互に理解可能なものとしてとらえよ\nうとした小泉の基本的な態度が反映しているのだろう。","subitem_description_type":"Abstract"},{"subitem_description":"Fumio Koizumi (1927–1983) is known for pioneering ethnomusicology\nin Japan. His first book Nihon Dento Ongaku no Kenkyu (A Study on Japanese\nTraditional Music, 1958) is one of his most important research outcomes\nwhich throw light on the basic scale structure of Japanese traditional music.\nThis paper aims to examine his approach to Japanese traditional music and\nargues that it characterizes his ethnomusicological research afterwards.\nWhen Koizumi decided to pursue a career as a musicologist just after\nthe end of the Second World War, many Japanese intellectuals evaluated Japanese\ntraditional music as “feudal”, “irrational”, or “vulgar”. Demonstrating\nthis was a plan to eliminate the department of Japanese traditional music from\nthe Tokyo National University of Fine Arts and Music when it was founded\nby uniting the Tokyo Academy of Music and Tokyo Academy of Arts in\n1949. Toyotaka Komiya, then the director of Tokyo Academy of Music said\nJapanese traditional music could not be a basis for the creation of New Japanese\nmusic. Eishi Kikkawa, a researcher of Japanese music, argued that Japanese\ntraditional music had a peculiar value not inferior to Western music and\ninsisted on the establishment of the department. At last, they established the\ndepartment based on a resolution of the Diet. The discussion about the significance\nof Japanese traditional music in the process of postwar rehabilitation\ninfluenced Koizumi.\nKoizumi, who had a liking for Western music from his childhood, began\nto take an interest in Japanese traditional music after attending lectures given\nby Kikkawa at Tokyo University. Koizumi chose Japanese folk music including\nchildren’s songs as his object of research, to which Kikkawa did not pay much\nattention. Koizumi thought folk music embodied a fundamental layer of Japanese\nmusic, or the basic musicality of the Japanese which underlay many different\ngenres of traditional music. He studied it with a method of comparative\nmusicology. He denied the then common approach which replaced the study\nof music with that of its literary content and aimed for “objective” recognition\nof its tone system. This reflected his desire to grasp many different genres as\nbelonging to the same category of “music”. Furthermore, in order to overcome\nthe dichotomy between Western and Japanese music, he intended to take a third\nperspective by comparing them with other music from around the world.\nWhile the name of comparative musicology was replaced by ethnomusicology\nin Western Europe and North America during the 1950’s and researchers\ncame to emphasize the study of music in culture, Koizumi kept his basic\nmethod of studying music by comparing various kinds of music of the world.\nOn the one hand he assumed Japanese traditional music reflects national characteristics\nof the Japanese, on the other hand he believed we could understand\ndifferent kinds of music of the world on a common ground of “music”. This\nattitude had continued to characterize his ethnomusicological research.","subitem_description_type":"Abstract"}]},"item_9_identifier_registration":{"attribute_name":"ID登録","attribute_value_mlt":[{"subitem_identifier_reg_text":"10.15021/00004024","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":"福岡, 正太"},{"creatorName":"フクオカ, ショウタ","creatorNameLang":"ja-Kana"},{"creatorName":"Fukuoka, Shota","creatorNameLang":"en"}],"nameIdentifiers":[{},{},{},{}]}]},"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_028_2_003.pdf","filesize":[{"value":"847.8 kB"}],"format":"application/pdf","licensetype":"license_note","mimetype":"application/pdf","url":{"label":"KH_028_2_003.pdf","url":"https://minpaku.repo.nii.ac.jp/record/4032/files/KH_028_2_003.pdf"},"version_id":"0cacc300-b4ef-41c6-89f5-85d23092c207"}]},"item_keyword":{"attribute_name":"キーワード","attribute_value_mlt":[{"subitem_subject":"小泉文夫｜比較音楽学｜民俗音楽｜民族音楽学","subitem_subject_scheme":"Other"},{"subitem_subject":"Fumio Koizumi｜comparative musicology｜folk music｜ethnomusicology","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":"小泉文夫の日本伝統音楽研究 : 民族音楽学研究の出発点として","item_titles":{"attribute_name":"タイトル","attribute_value_mlt":[{"subitem_title":"小泉文夫の日本伝統音楽研究 : 民族音楽学研究の出発点として"},{"subitem_title":"Fumio Koizumi's Study of Japanese Traditional Music as the Starting Point of His Ethnomusicological Research","subitem_title_language":"en"}]},"item_type_id":"9","owner":"17","path":["393"],"pubdate":{"attribute_name":"公開日","attribute_value":"2010-02-16"},"publish_date":"2010-02-16","publish_status":"0","recid":"4032","relation_version_is_last":true,"title":["小泉文夫の日本伝統音楽研究 : 民族音楽学研究の出発点として"],"weko_creator_id":"17","weko_shared_id":-1},"updated":"2023-06-20T17:20:30.833228+00:00"}