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題名：The Koto and a Culture of Difference: Musical Instruments and Performance Identity in Japan
書刊名：民俗曲藝
作者：Johnson,Henry
出版日期：2004
卷期：144
頁次：頁225-262
主題關鍵詞：區分；群體；認同；日本；箏；意義；演奏流派；社會；Difference；Group；Identity；Japan；Koto；Meaning；Performance tradition；Society
原始連結：連回原系統網址new window
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箏 (koto) 是日本的傳統樂器。此物作為指示性符號，固定指涉一種被明確認知的傳統文化，在現代的日本具有高度意涵。這項樂器和它的組成零件在製作上通常保留著傳統的象徵，無論在樂器的設計或裝飾上皆是如此。然而，即使大體上保持著原本的結構，在由傳統設計意冒所構成的複雜語言中運作的裝飾也包括在其中，日本箏仍有一些不同的製作方式。這些差異反映出箏在日本的長久歷史中所產生的較廣樂器分群，以及賦予這項樂器美學和金錢價值的錯綜複雜的區分。同時這些區分也經常反映出箏演奏者不同的社會分群 (也就是演奏流派或群體)，這些演奏者是在音樂、演奏實際和樂器之中創造出演奏認同的重要功臣。 日本箏以多種方式承載意義。在本文的討論中，焦點將放在箏作為「區分的文化」──包括物質和社會的──之部分而產生的相關意義。不論是特定的樂器樣式或特定組成部分的設計，箏擁有一些賦予這項樂器特定意義的「能指」 (signifier)。本文將專注於了解樂器設計的區分和演奏流派之中及之間的社會區分兩者的內在關聯，而存在於演奏流派中的意義使箏及其演奏者在較廣的箏樂世界中得到各自的認同。此外，在演奏的脈絡中，也就是箏的演奏群體促進了與樂器相關的社會意義的建構與競爭。為了闡明這些論點，本文分為三個互相關聯的主要部分：文化區分、物質區分和社會區分。本文的論述在於：試圖了解樂器形式之區分的一種方法，就是去了解與樂器有內在連結的社會分群的區分。
The koto箏is a Japanese traditional musical instrument. It is highly meaningful in contemporary Japan as an object that invariably indexes a perceived traditional culture. The instrument and its component parts are usually made so that they retain emblems of tradition, whether in instrument design or decoration. However, while retaining an overall authentic structure, as well as including decoration within a complex language of meaningful traditional design motifs, the koto is made in different ways. These differences reflect not only broader instrument groupings during the koto’s long history in Japan, but also intricate differences that help give the instrument aesthetic and monetary value. Such differences often reflect different social groupings of koto players (i.e., performance traditions or groups) that are largely responsible for creating performance identity in music, performance practice and instruments The koto carries meaning in a number of ways. In this discussion focus is given to meaning that is connected with the koto as part of a cul­ture of difference-material and social. Whether a distinct instrument type or the design of a particular component part’, the koto has a number of signifiers that give the instrument distinctive meaning. In this paper attention is given to understanding the interconnection between difference in instrument design and social difference within and between performance traditions, which are shown to be sites of meaning that give the koto and its players identity within the broader world of koto music. Furthermore, in performance contexts, it is the koto’s performance groups that help construct and contest social meaning connected with the instrument. As a way of illustrating these points, the paper divides into three main interrelated parts: cultural difference, material difference, and social difference. It is argued that one way of attempting to understand difference in instrument form is to understand difference in social groupings that are inher­ently connected with the instrument.
期刊論文
1.Qureshi, R.(2000)。How Does Music Mean? Embodied Memories and the Politics of Affect in the Indian Sarangi。American Ethnologist，27(4)，805-838。  new window
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3.柘植元一(1983)。Raiment of Traditional Japanese Musicians: Its Social and Musical Significance。The World of Music，25(1)，55-67。  new window
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5.O'Neill, P. G.(1984)。Organization and Authority in the Traditional Arts。Modern Asian Studies，18(4)，631-645。  new window
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7.Johnson, H.(1995)。An Ethnomusicology of musical Instruments: Form, Function, and Meaning。Journal of the Anthropological Society of Oxford，26(3)，257-269。  new window
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9.DeVale, Sue Carole、Dibia, I Wayan(1991)。Sekar Anyar: An Exploration of Meaning in Balinese Gamelan。The World of Music，33(1)，5-51。  new window
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12.平野健次(1989)。Concerning the Names of Koto Tunings。東洋音樂研究，54，20-27。  延伸查詢new window
13.Johnson, H.(1996)。Koto Manufacture: The Instrument, Construction Process, and Aesthetic Considerations。The Galpin Society Journal，49，38-64。  new window
14.Johnson, H.(1997)。The Koto: Musical Instrument, Material Culture, and Meaning。Journal of the American Musical Instrument Society，23，56-93。  new window
15.Johnson, H.(1999)。Japanese Collections of Traditional Japanese Musical Instruments: Presentation and Representation。Musicology Australia，22，46-62。  new window
16.Johnson, H.(2003)。Traditions Old and New: Continuity, Change, and Innovation in Japanese Koto-Related Zithers。Journal of the American Musical Instrument Society，29，181-229。  new window
17.岸邊成雄(1971)。Means of Preservation and Diffusion of Traditional Music in Japan。Asian Music，2(1)，8-13。  new window
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20.Weintraub, A. N.(2001)。Instruments of Power: Sundanese 'Multi-Laras' Gamelan in New Order Indonesia。Ethnomusicology，45(2)，197-227。  new window
21.平野健次(1989)。Concerning the Names of Koto Tunings。東洋音楽研究，52，20-27。  延伸查詢new window
22.Johnson, Henry(1996)。Koto Manufacture: The Instrument, Construction Process, and Aesthetic Considerations。The Galpin Society，49，38-64。  new window
23.Johnson, Henry(1997)。The Koto: Musical Instrument, Material Culture, and Meaning。Journal of the American Musical Instrument Society，23，56-93。  new window
24.Johnson, Henry(1999)。Japanese Collections of Traditional Japanese Musical Instruments: Presentation and Representation。Musicology Australia，22，46-62。  new window
25.Johnson, Henry(2003)。Traditions Old and New: Continuity, Change, and Innovation in Japanese Koto-Related Zithers。Journal of the American Musical Instrument Society，29，181-229。  new window
26.別府春海(1980)。A Critique of the Group Model of Japanese。Social Analysis，5/6，29-43。  new window
27.Falconer, Elizabeth(1990)。A New Decade for Hôgaku。Japan Quarterly，37(4)，468-478。  new window
28.岸辺成雄(1971)。Means of Preservation and Diffusion of Traditional Music in Japan。Asian Music，2(1)，8-13。  new window
29.Read, Cathleen B.、Locke, David L.(1983)。An Analysis of the Yamada-ryu Sôkyoku Iemoto System。Hogaku，1(1)，20-52。  new window
30.和田一久(1996)。筑紫箏の座リ方について─〔彈箏式十二条〕の解釈を通じて。東洋音楽研究，62，51-59。  延伸查詢new window
31.Weintraub, Andrew N.(2001)。Instruments of Power: Sundanese ‘Multi-Laras’ Gamelan in New Order Indonesia。Ethnomusicology，45(2)，197-227。  new window
學位論文
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3.Read, C. B.(1975)。A Study of Yamada-Ryu Sokyoku and its Repertoire，沒有紀錄。  new window
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5.Read, Cathleen B.(1975)。A Study of Yamada-Ryû Sôkyoku and its Repertorie。  new window
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圖書論文
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