ニューミュージックとは何だったのか?――J-POPの淵源を探る


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会場:友愛館Y-005教室・14:40〜15:20

平川裕司(フリーランス)


かつてニューミュージックという言葉が、日本のポピュラー音楽をさす言葉として大きく取り上げられた時代があった。日本のポピュラー音楽シーンにおいて大きな転機を迎えたのは、60年代後半から70年代初頭で、プロの音楽家やプロの歌手が作り出す、いわゆる流行歌が主流だった時代から、自作自演のシンガーソングライターが登場してくる頃である。シンガーソングライターは、自分の言葉やメロディー、アーチスト性を遺憾なく発揮し、革新的な楽曲を世に送り出してきた。この変化はシンガーソングライターというアーチストだけの問題ではなく (さらに…)

ブルデューの界理論に基づく現代日本のポピュラー音楽の界の構築


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会場:友愛館Y-002教室・15:20〜16:00

平石貴士(立命館大学大学院社会学研究科後期博士課程)


本報告は、フランスの社会学者ピエール・ブルデューの界理論を使いながら、日本の商業音楽の界をマッピングすることを試みる。はじめに、ブルデューの界理論の要約を提示し、次にオリコン株式会社のCD売上げデータを元にサンプリングしたアーティストの位置空間についてのマッピングを行う。

界という概念は、ブルデューにおいて、ハビトゥス、資本、実践などの著名な概念と並ぶ中心的な概念である(『ディスタンクシオン』(1979=1991)『芸術の規則』(1992=1996))。 (さらに…)

1955年の音響メディア史


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会場:友愛館Y-004教室・10:00〜13:00

中川克志(問題提起者):横浜国立大学都市イノベーション研究院
大和田俊之:慶応義塾大学法学部
髙橋聡太:東京芸術大学大学院


1. 音響メディア史の観点からポピュラー音楽を眺める視点を整備したい。つまり、楽曲中心ではなく、社会的・政治的背景との関連からでもない、ポピュラー音楽史の可能性を提示したい。これが当初の企画の意図であった。この企図を実現するために共同討論者と打ち合わせを行うなかで、本ワークショップでは、1955年のポピュラー音楽における音響メディア史に注目することにした。1955年といえば「ロックンロール」が生まれた年だが、この年を音響メディア史の観点から眺めると、どのような風景が浮かびあがってくるだろうか。より具体的に内容を指示するために、当初の企画名「ポピュラー音楽史における「電子音/電気音」の位置づけをめぐって(仮)」から変更させていただく所以である。

(さらに…)