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oai:u-ryukyu.repo.nii.ac.jp:02010114 2025-03-11T10:03:40Z 1642837622505:1642837643850:1642837647160 1642838403551:1642838412624

ブラジルにおける琉球古典音楽の継承　－沖縄からもたらされたそれぞれの「国際化」－ Succession of Ryukyu Classical Music in Brazil : “Internationalization” brought from Okinawa 遠藤, 美奈 Endo, Mina open access ブラジル 移民 琉球古典音楽 山内盛彬 国際化 Okinawan immigrant society in Brasil Ryukyu Classical Music(Ryukyu Koten Ongaku) Seihin Yamauchi(Yamanouchi) Internationalization Since the age of Ryukyu Kingdom‘Ryukyu Classical Music' has been practiced with a central focus on Sanshin(Okinawa Shamisen), initially in order to entertain the Chinese emissary of that age. Although it had been initially practiced inside the imperial court it gradually expanded among the people after the kingdom collapsed. Recently, there are two major schools of Ryukyu Classical Music named Afuso and Nomura. Although the classical music of Okinawa has been generally considered to be transmitted inside Okinawa, it also has a historical fact of the migration of people from this land. From that consideration there seems to be a transmission and succession of the above musical traditionoutside Okinawa too. So it can not be said that only by the people residing in Okinawa had the above art transmitted. This dissertation emphasize on the succession of Ryukyu Classical Music in Brazil, a land geographically located in a complete different location. Two key persons named Seihin Yamauchi(Yamanouchi) and Kikuko Kanai is considered to be very significant throughout this study. In 1952, Seihin Yamauchi went through his performance, research and initiated a new approach to Ryukyu Classical Music in Brazil. Particularly, the new approach was the formation of western notation of kunkunshi by what anyone became able to sing Ryukyu Classical Music and so on. As representative of Japan, Kikuko Kanai from Miyako Island participated in the 7th international summit on folk music in 1954 where she discussed about the uniqueness of Okinawan music in the conference. Moreover, she made a pioneering initiative to establish a branch of Nomuraryu Ongaku Kyoukai there. Above facts brought the significance of theoretical practice of Ryukyu Classical Music in Brazil. In fact, the teaching process became more theoretical to be practiced widely. As a result, studies on Ryukyu Classical Music developed some thoughts of‘internationalization' of the above music among Okinawan practitioners. This paper introduces the teaching process with metronome as one of those thoughts. Generally, performing arts are to be transmitted to the neighboring lands as practitioners can commute there easily. The investigation of this study clarified that in case of Brazil, as it is geographically aloof from Okinawa, the transmission and development was executed by the local Okinawan in Brazil. 紀要論文 琉球大学国際沖縄研究所移民研究部門 International Institute for Okinawan Studies, University of the Ryukyus. 2012-09 jpn departmental bulletin paper VoR http://hdl.handle.net/20.500.12000/26575 https://doi.org/10.24564/0002010114 http://hdl.handle.net/20.500.12000/26575 https://u-ryukyu.repo.nii.ac.jp/records/2010114 10.24564/0002010114 1881-0829 AA12030729 移民研究 Immigration Studies 8 23 42 https://u-ryukyu.repo.nii.ac.jp/record/2010114/files/No8p023.pdf