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五木村での「佐々木高明の見た焼畑」展 : フォーラム型展示の可能性を探る＜基幹研究 : データベース「焼畑の世界 : 佐々木高明のまなざし」の国際化と学際研究の展開＞
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SES no.106; Introduction : Cultural Diversity among Asian Hunter-gatherers from Prehistory to the Present
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The Taiwan International Ethnographic Film Festival and the Rise of Indigenous People Documentaries in Taiwan
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Food Security, Food Sovereignty, and Bowhead Whale Hunts among the Iñupiat in Utqiaġvik, Alaska, USA
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Mobility and the Continuity of the Relaionship between Hunter-gatherers and Farmers in Thailand
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Creating the Database of “A Collection of Osamu Yamaguti (Yamaguchi)’s Photographs of Asia-Pacific Musicology” as a Practice of Applicative /Applied Musicology : A Brief History of Ethnomusicology and Photographs of Okinawa and Amami Musical Instruments of the 1970s<Special Theme : Future of Academic Activities Opened with Digital Image Databases>
Get PDF「山口修写真コレクション」は，山口修（1939–）が 1960 年代半ばから 1990
年代にアジア・太平洋各地で収集した 5,000 点以上の写真資料からなる。これ
らの理解を深めるために，民族音楽学の歴史を遡ることで山口の学問的関心を
突き詰める。すなわち，20 世紀前後の欧州における近代科学に基づいた比較
音楽学，戦前日本における東洋音楽の歴史と理論を扱った東洋音楽研究，1950
年代から米国で文化相対主義の影響によって開花した行動学的民族音楽学であ
る。これらを基盤に，山口は民族音楽学の理論と実践を国内外に発信し，「応
用音楽学」として集大成した。その中で楽器学の骨子は，（1）エティック／
イーミックスなアプローチ，（2）楽器づくりのわざ，（3）楽器の素材，とされ
る。次に，これらの観点から 1970 年代沖縄・奄美における楽器の写真につい
て，当該文化の担い手による解釈を交えて論じる。対話の積み重ねによる持続
的なデータベースづくりは，まさに山口が目指した未来志向性の応用音楽学的
実践だといえる。“A Collection of Osamu Yamaguti’s Photographs” comprises more than
5,000 photographs taken by Osamu Yamaguti (Yamaguchi) (1939–) during
the mid-1960s to the 1990s at various Asian and Pacific locations. For a
deeper understanding of the photographs, a history of ethnomusicology
connected to Yamaguti’s research interests is explored. Yamaguti studied
comparative musicology, which was developed throughout the early 20th
century in Europe, the historical research and theory of Asiatic music in
Japan and ethnomusicology specifically examined human behavior that has
evolved in the United States along with increasing cultural relativism since
the 1950s. Based on them, Yamaguti diffused the theory and practice in
ethnomusicology domestically and overseas, and then compiled “applicative/
applied musicology”. The fundamentally important approaches and subjects
of organology in the applied musicology are (1) “etics” or “emics”, (2) skills
of making musical instruments, and (3) materials of the musical instruments.
From these perspectives, photographs of the musical instruments of Okinawa
and Amami taken in the 1970s are interpreted by dialogues between an
observer and a craftsperson working with the musical instrument. The
sustainable activities of creating the database with layered dialogues between
“etics” and “emics” approaches to the cultural objects are the destination of
Yamaguti’s applied musicology.departmental bulletin pape