イベント

日　　時：2023年6月30日（金）17：00～18：30
会　　場：大阪大学豊中キャンパス　全学教育推進機構　実験棟1F　サイエンス・コモンズ　DAICEL Studio（ハイブリッド開催）
開催言語：講演は英語。討論は日英両語。

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【登壇者】
籾井　徹（ハーバード大学助教授)

【ディスカッサント】
輪島　裕介（大阪大学大学院人文学研究科教授）
鈴木　聖子（大阪大学大学院人文学研究科助教）

【趣旨】
This talk proposes a framework for understanding, analyzing, and listening to musical interculturality—the processes through which musicians negotiate multiple musical and cultural identities through performance—in twenty-first-century music. This analytical orientation, which I call intercultural analysis, challenges multiculturalist assumptions of cultural purity, homogeneity, and authenticity that often undergird music theoretical analyses of non-Western music. My analysis of interculturality focuses on musicians whose work risks being excluded from nation-state-based conceptions of cultural authenticity that have dominated music theoretical work on non-Western music. Through two case studies of active Japanese musicians, I explore how a collaborative project between shamisen player Honjoh Hidejirō 本條秀慈郎 and composer Fujikura Dai 藤倉大, and performances by shō player Miyata Mayumi 宮田まゆみ, challenge strict dichotomies between Japanese and non-Japanese cultural, national, and musical affiliations. In each case study, I argue that an analysis of interculturality necessitates a flexible, interdisciplinary, and transnational methodology that is tailored to the precise historical and sociopolitical circumstances in which the music is being created, performed, and interpreted. By understanding characterizations of “Japanese” and “Western” as contingent categorizations that do not exist a priori but materialize through musical performance, I draw attention to the distinctive ways in which Honjoh and Miyata engage in intercultural music-making.