日本語 English
| 開講年度/ Academic YearAcademic Year |
20262026 |
| 科目設置学部/ CollegeCollege |
全学共通科目・全学共通カリキュラム（総合系）/University-wide Liberal Arts Courses (Comprehensive Courses)University-wide Liberal Arts Courses (Comprehensive Courses) |
| 科目コード等/ Course CodeCourse Code |
FC507/FC507FC507 |
| テーマ・サブタイトル等/ Theme・SubtitleTheme・Subtitle |
Sounds Japanese -Musical culture on and beyond these islands- |
| 授業形態/ Class FormatClass Format |
対面（全回対面）/Face to face (all classes are face-to-face)Face to face (all classes are face-to-face) |
| 授業形態（補足事項）/ Class Format (Supplementary Items)Class Format (Supplementary Items) |
|
| 授業形式/ Class StyleCampus |
講義/LectureLecture |
| 校地/ CampusCampus |
池袋/IkebukuroIkebukuro |
| 学期/ SemesterSemester |
秋学期/Fall semesterFall semester |
| 曜日時限・教室/ DayPeriod・RoomDayPeriod・Room |
火4/Tue.4 Tue.4 ログインして教室を表示する（Log in to view the classrooms.） |
| 単位/ CreditsCredits |
22 |
| 科目ナンバリング/ Course NumberCourse Number |
CMP2331 |
| 使用言語/ LanguageLanguage |
英語/EnglishEnglish |
| 履修登録方法/ Class Registration MethodClass Registration Method |
抽選他/Exceptional Lottery RegistrationExceptional Lottery Registration |
| 配当年次/ Assigned YearAssigned Year |
配当年次は開講学部のR Guideに掲載している科目表で確認してください。配当年次は開講学部のR Guideに掲載している科目表で確認してください。 |
| 先修規定/ Prerequisite RegulationsPrerequisite Regulations |
|
| 他学部履修可否/ Acceptance of Other CollegesAcceptance of Other Colleges |
|
| 履修中止可否/ Course CancellationCourse Cancellation |
〇（履修中止可/ Eligible for cancellation） |
| オンライン授業60単位制限対象科目/ Online Classes Subject to 60-Credit Upper LimitOnline Classes Subject to 60-Credit Upper Limit |
|
| 学位授与方針との関連/ Relationship with Degree PolicyRelationship with Degree Policy |
各授業科目は、学部・研究科の定める学位授与方針（DP）や教育課程編成の方針（CP）に基づき、カリキュラム上に配置されています。詳細はカリキュラム・マップで確認することができます。 https://www.rikkyo.ac.jp/about/disclosure/educational_policy/qo9edr0000006ur7-att/zengakukyoutu_sougou.pdf |
| 備考/ NotesNotes |
This course has two aims: Firstly, to provide students with both aural listening-based and formal reading-based knowledge of music genres from Japanese history that are still practiced, in most cases both on and beyond the Japanese islands. Secondly, to provide them with intellectual tools and stimulus for thinking about the nature of music they encounter in their daily lives, now and in future, specifically in relation to concepts of national and cultural identity, as well as situatedness in physical and spatial sites of music-making.
The two introductory lectures define core concepts around music and national/cultural identity as well as soundscape and ‘resonances’of site-situated music-making. The methodological, practical and ethical issues involved in carrying out an on-site music documentation project (as the students’ Term Project) are also addressed. Then from session 3 the course proceeds through a series of ‘traditional Japanese music’genre studies (gagaku, noh, shakuhachi, biwa, wadaiko, nagauta), followed by a lecture on musics of the Okinawan and Ainu minorities. For all genres the music will be examined in both internal Japanese and ‘global’ contexts, the latter involving responses to the genre that reflect Western compositional and improvisational practices, both beyond and within the Japanese archipelago. There will be two sessions with performer-researchers as guests.
In-progress and final presentations on the Term Project for this course will be required in sessions 8, 13 and 14, collectively worth 40% of the course mark. The Project itself will be set up in the second session. It is to be carried out in groups of no more than 4 students. (Individuals who wish to work on their own, however, can be granted permission where appropriate.) The work will entail documenting a particular conspicuously‘Japanese’ musical phenomenon or experience such as an individual professional or amateur performer, a group or band, or a community music-centred event such as an autumn/harvest festival. The music must be played ‘live’by human beings (not just on the Internet, television, social media or devices, nor by robots or AI!) in or at sites/settings where the students themselves live or regularly go, such as near the campus, or near Ikebukuro or another major hub station. The music-making (which could involve both rehearsing and performing) must be documented over a period of at least one month, so ideally students will visit visit the music site regularly over at least several weeks.
| 1 | Introduction: concepts and terms for sound (mostly musical ones) and their relations to specific sites, cultures and national identities; チンドン屋chindonya and 祭りmatsuri musics case studies |
| 2 | Finding, following and MAKING ‘Japanese’ musical sounds in Tokyo. Setting up their Term Projects (groups/individuals) |
| 3 | 雅楽 Gagaku as a historical and traditional genre |
| 4 | 雅楽 Gagaku in the world – responses and transformations beyond and within Japan (新曲/Miyata Mayumi/Togi Hideki etc) |
| 5 | 能 noh (including utai as local singing practice in certain regions) |
| 6 | 能 noh in the world – English plays (Allan Marett’s Eliza and Oppenheimer) |
| 7 | 尺八 shakuhachi in and beyond Japan - guest |
| 8 | In-progress reports and peer feedback |
| 9 | 琵琶 biwa in Japan and Ireland |
| 10 | 和太鼓 wadaiko in Japan and Australia |
| 11 | 長唄や歌舞伎の下座音楽 nagauta and kabuki music - guest |
| 12 | 沖縄とアイヌ音楽‘Japanese’ Others’ musics: Okinawan and Ainu |
| 13 | Presentations 1 |
| 14 | Presentations 2 |
板書 /Writing on the Board
スライド（パワーポイント等）の使用 /Slides (PowerPoint, etc.)
上記以外の視聴覚教材の使用 /Audiovisual Materials Other than Those Listed Above
個人発表 /Individual Presentations
グループ発表 /Group Presentations
ディスカッション・ディベート /Discussion/Debate
実技・実習・実験 /Practicum/Experiments/Practical Training
学内の教室外施設の利用 /Use of On-Campus Facilities Outside the Classroom
校外実習・フィールドワーク /Field Work
上記いずれも用いない予定 /None of the above
A pdf of a reading in English and one or more recordings (audio or audio-visual, available either on the Internet or on a restricted access website for the course) will be assigned as compulsory preparatory material for all sessions except numbers 1, 8, 13 and 14.
The Term Project requires that students make arrangements to visit and document a ‘Japanese’ music-making site several times over at least several weeks.
| 種類 (Kind) | 割合 (%) | 基準 (Criteria) |
|---|---|---|
| 平常点 (In-class Points) | 100 |
In-progress and final presentations(40%) Report(30%) Contributions and attitude(30%) |
| 備考 (Notes) | ||
なし/None
| No | 著者名 (Author/Editor) | 書籍名 (Title) | 出版社 (Publisher) | 出版年 (Date) | ISBN/ISSN |
|---|---|---|---|---|---|
| 1 | Bonnie WADE | Music in Japan | Oxford University Press | 2005 | 0195144880 |
| 2 | Hugh DE FERRANTI | Japanese Musical Instruments | Oxford University Press | 2000 | 0195905008 |
Listening closely to music audio and audio-visual recordings. Collecting materials about live music-making activities, then organising and interpreting data in a short report (maximum 2000 English words, minimum 1000).
Sound and video recording (on a 携帯 phone is sufficient).
・F科目中級（外国語による総合系科目）
・他に特別外国人学生が履修
・この授業は英語で実施する
・履修者はTOEIC®L&R 550点相当以上の英語力を有することが望ましい
・多彩な学び科目
本科目は、担当教員の実務経験、または実務に従事するゲスト・スピーカーの招聘講義等を活かした授業である。
本講座には二つの目的がある。第一に、日本の歴史に根ざし、現在も主に日本列島内外で実践されている音楽ジャンルについて、聴覚に基づく聴取知識と形式的な読譜知識の両方を学生に提供すること。次に、学生が現在および将来、日常生活で出会う音楽の本質について考察するための知的ツールと刺激を提供すること。特に、国民的・文化的アイデンティティの概念、ならびに音楽制作が行われる物理的・空間的場における位置づけとの関係性について考察することを目的とする。
This course has two aims: Firstly, to provide students with both aural listening-based and formal reading-based knowledge of music genres from Japanese history that are still practiced, in most cases both on and beyond the Japanese islands. Secondly, to provide them with intellectual tools and stimulus for thinking about the nature of music they encounter in their daily lives, now and in future, specifically in relation to concepts of national and cultural identity, as well as situatedness in physical and spatial sites of music-making.
導入講義では、音楽と国民的／文化的アイデンティティ、サウンドスケープ、そして場所と結びついた音楽制作の「響」に関する中核概念を定義する。また、学生の学期プロジェクトとして実施する現地音楽記録プロジェクトに伴う方法論的・実践的・倫理的問題にも触れる。第3回以降、本講座は「日本の伝統音楽」ジャンル（雅楽、能楽、尺八、琵琶、和太鼓、長唄）を順次展開し、続いて沖縄・アイヌ少数民族の音楽に関する講義を行う。すべてのジャンルにおいて、日本の内的文脈と「グローバル」な文脈の両方から音楽を検討される。後者では、日本列島内外における西洋の作曲・即興実践を反映したジャンルへの反応が扱われる。演奏家兼研究者をゲストに迎えたセッションを2回実施する。
本コースの学期プロジェクトに関する中間発表と最終発表は、第8回、第13回、第14回の授業で実施され、総合評価でコース成績の40%を占める。プロジェクト自体は第2回授業で設定される。4名以下のグループで実施すること（ただし、個人での実施を希望する者は、適切な場合に許可が与えられる場合がある）。課題内容は、特定の顕著に「日本的」な音楽現象や体験（例：プロ／アマチュア演奏家個人、グループ／バンド、秋祭りなどの音楽中心の地域イベント）を記録することである。対象となる音楽は、学生自身が居住または頻繁に訪れる場所（キャンパス周辺、池袋駅やその他の主要駅周辺など）において、人間による「生演奏」（インターネット・テレビ・SNS・デバイス上での再生、ロボットやAIによる演奏は不可）で演奏されるものでなければならない。音楽現象や体験（リハーサルと演奏の両方を含む）は少なくとも1か月間にわたり記録されなければならない。したがって、生徒たちは数週間にわたり定期的にその音楽現場を訪れることになる。
The two introductory lectures define core concepts around music and national/cultural identity as well as soundscape and ‘resonances’of site-situated music-making. The methodological, practical and ethical issues involved in carrying out an on-site music documentation project (as the students’ Term Project) are also addressed. Then from session 3 the course proceeds through a series of ‘traditional Japanese music’genre studies (gagaku, noh, shakuhachi, biwa, wadaiko, nagauta), followed by a lecture on musics of the Okinawan and Ainu minorities. For all genres the music will be examined in both internal Japanese and ‘global’ contexts, the latter involving responses to the genre that reflect Western compositional and improvisational practices, both beyond and within the Japanese archipelago. There will be two sessions with performer-researchers as guests.
In-progress and final presentations on the Term Project for this course will be required in sessions 8, 13 and 14, collectively worth 40% of the course mark. The Project itself will be set up in the second session. It is to be carried out in groups of no more than 4 students. (Individuals who wish to work on their own, however, can be granted permission where appropriate.) The work will entail documenting a particular conspicuously‘Japanese’ musical phenomenon or experience such as an individual professional or amateur performer, a group or band, or a community music-centred event such as an autumn/harvest festival. The music must be played ‘live’by human beings (not just on the Internet, television, social media or devices, nor by robots or AI!) in or at sites/settings where the students themselves live or regularly go, such as near the campus, or near Ikebukuro or another major hub station. The music-making (which could involve both rehearsing and performing) must be documented over a period of at least one month, so ideally students will visit visit the music site regularly over at least several weeks.
| 1 | Introduction: concepts and terms for sound (mostly musical ones) and their relations to specific sites, cultures and national identities; チンドン屋chindonya and 祭りmatsuri musics case studies |
| 2 | Finding, following and MAKING ‘Japanese’ musical sounds in Tokyo. Setting up their Term Projects (groups/individuals) |
| 3 | 雅楽 Gagaku as a historical and traditional genre |
| 4 | 雅楽 Gagaku in the world – responses and transformations beyond and within Japan (新曲/Miyata Mayumi/Togi Hideki etc) |
| 5 | 能 noh (including utai as local singing practice in certain regions) |
| 6 | 能 noh in the world – English plays (Allan Marett’s Eliza and Oppenheimer) |
| 7 | 尺八 shakuhachi in and beyond Japan - guest |
| 8 | In-progress reports and peer feedback |
| 9 | 琵琶 biwa in Japan and Ireland |
| 10 | 和太鼓 wadaiko in Japan and Australia |
| 11 | 長唄や歌舞伎の下座音楽 nagauta and kabuki music - guest |
| 12 | 沖縄とアイヌ音楽‘Japanese’ Others’ musics: Okinawan and Ainu |
| 13 | Presentations 1 |
| 14 | Presentations 2 |
板書 /Writing on the Board
スライド（パワーポイント等）の使用 /Slides (PowerPoint, etc.)
上記以外の視聴覚教材の使用 /Audiovisual Materials Other than Those Listed Above
個人発表 /Individual Presentations
グループ発表 /Group Presentations
ディスカッション・ディベート /Discussion/Debate
実技・実習・実験 /Practicum/Experiments/Practical Training
学内の教室外施設の利用 /Use of On-Campus Facilities Outside the Classroom
校外実習・フィールドワーク /Field Work
上記いずれも用いない予定 /None of the above
A pdf of a reading in English and one or more recordings (audio or audio-visual, available either on the Internet or on a restricted access website for the course) will be assigned as compulsory preparatory material for all sessions except numbers 1, 8, 13 and 14.
The Term Project requires that students make arrangements to visit and document a ‘Japanese’ music-making site several times over at least several weeks.
| 種類 (Kind) | 割合 (%) | 基準 (Criteria) |
|---|---|---|
| 平常点 (In-class Points) | 100 |
In-progress and final presentations(40%) Report(30%) Contributions and attitude(30%) |
| 備考 (Notes) | ||
なし/None
| No | 著者名 (Author/Editor) | 書籍名 (Title) | 出版社 (Publisher) | 出版年 (Date) | ISBN/ISSN |
|---|---|---|---|---|---|
| 1 | Bonnie WADE | Music in Japan | Oxford University Press | 2005 | 0195144880 |
| 2 | Hugh DE FERRANTI | Japanese Musical Instruments | Oxford University Press | 2000 | 0195905008 |
Listening closely to music audio and audio-visual recordings. Collecting materials about live music-making activities, then organising and interpreting data in a short report (maximum 2000 English words, minimum 1000).
Sound and video recording (on a 携帯 phone is sufficient).
・F科目中級（外国語による総合系科目）
・他に特別外国人学生が履修
・この授業は英語で実施する
・履修者はTOEIC®L&R 550点相当以上の英語力を有することが望ましい
・多彩な学び科目
本科目は、担当教員の実務経験、または実務に従事するゲスト・スピーカーの招聘講義等を活かした授業である。