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战斗力 鹅
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本帖最后由 xwr 于 2019-1-7 12:00 编辑
看价格在150美元左右，跟我上学时的教科书差不多贵，这其实是大学教育学术研究用教材吧，比如ethnography方面？
日本の学校におけるブラスバンドと文化的アイデンティティ
Wind Bands and Cultural Identity in Japanese Schools (Landscapes : the Arts, Aesthetics, and Education) 〈Vol. 9〉
Hebert, D. G.
基本説明
日本独自の吹奏楽文化と音楽教育の歴史をひもとく。
This well researched volume tells the story of music education in Japan and of the wind band contest organized by the All-Japan Band Association. Identified here for the first time as the world's largest musical competition, it attracts 14,000 bands and well over 500,000 competitors. The book is an illuminating window on the world of Japanese wind bands, a unique hybrid tradition that comingles contemporary western idioms with traditional Japanese influences.
Full Description
This well researched volume tells the story of music education in Japan and of the wind band contest organized by the All-Japan Band Association. Identified here for the first time as the world's largest musical competition, it attracts 14,000 bands and well over 500,000 competitors. The book's insightful contribution to our understanding of both music and education chronicles music learning in Japanese schools and communities. It examines the contest from a range of perspectives, including those of policy makers, adjudicators, conductors and young musicians. The book is an illuminating window on the world of Japanese wind bands, a unique hybrid tradition that comingles contemporary western idioms with traditional Japanese influences. In addition to its social history of Japanese school music programs, it shows how participation in Japanese school bands contributes to students' sense of identity, and sheds new light on the process of learning to play European orchestral instruments.
Table of Contents
Part I A Social History of Wind Bands in
Japanese Schools
1 The World's Finest School Bands and 3 (8)
Largest Music Competition
1.1 Overview 5 (1)
1.1 Writing Style and Research Background 6 (5)
Notes 8 (1)
References 9 (2)
2 Where are These Bands From? - An 11 (74)
Historical Overview
2.2 Methodological Approach 12 (1)
2.2 Chapter Overview 13 (2)
2.2 Mythical Origins 15 (2)
2.3.1 Wind Instruments in Japanese 15 (1)
Tradition
2.3.2 Psalmanazar and Other Early 15 (2)
European Accounts
2.2 From Zipangu through Dejima 17 (8)
2.4.1 Jesuit Music Instruction in 17 (2)
Sixteenth Century Japan
2.4.2 Dejima and Rangaku 19 (2)
2.4.3 Music Transmission via the 21 (1)
Nagasaki Kaigun Denshujo
2.4.4 Metallurgy, Early Trumpet 22 (1)
Instruction, and Guttig's Dream
2.4.5 Yamagunitai: Japan's Oldest 23 (2)
Westernized Band
2.2 Music Westernization in the Meiji 25 (9)
Restoration
2.5.1 Fenton's Legacy 26 (2)
2.5.2 Origins of Kimigayo 28 (1)
2.5.3 Iwakura Mission and Rokumeikan 29 (1)
2.5.4 Early Schooling, and the 30 (4)
Mason-Isawa Saga
2.2 Emergence of Community Bands and 34 (5)
School Bands
2.6.1 Jinta: Informal Marching Band 34 (1)
2.6.2 Shonen Ongakutai: Community Youth 35 (1)
Band
2.6.3 Early School Bands 36 (2)
2.6.4 AJBA National Competition 38 (1)
2.2 Japanese Bands in the Mid-Twentieth 39 (2)
Century
2.7.1 Bands After the War 39 (1)
2.7.2 The Blossoming 1960s 40 (1)
2.2 Recent Developments 41 (7)
2.8.1 Through the Twentieth Century 41 (1)
2.8.2 The Rise of China 42 (1)
2.8.3 Recording Industry and Curricular 43 (1)
Reform
2.8.4 Contemporary Perspectives 44 (4)
2.2 Historiographic Issues and 48 (37)
Revisionist Interpretations
2.9.1 Imada's Historiography 48 (4)
2.9.2 Musical Contributions of Fenton, 52 (2)
Eckert, Mason and Isawa
2.9.3 Explaining the Popularity of 54 (3)
Bands in Japan
2.9.4 Fenton's Final Years: New Data 57 (2)
2.9.5 Concluding Remarks 59 (1)
Notes 60 (13)
References 73 (12)
Part II An Ethnography of Wind Bands in
Japanese Schools
3 An Invitation to the Tokyo Middle School 85 (12)
3.3 A Place for Learning 86 (11)
3.1.1 The Urban Setting 86 (1)
3.1.2 The Trek to School 87 (1)
3.1.3 The School Neighborhood 87 (1)
3.1.4 At the Campus 88 (1)
3.1.5 The Main Office 89 (1)
3.1.6 The Band Room 90 (1)
3.1.7 Academic Music Classes 91 (1)
Notes 92 (2)
References 94 (3)
4 The Band Rehearsal Ritual and Its 97 (12)
Participants
4.4 The Rehearsal Ritual 97 (5)
4.1.1 Chuuningu 98 (1)
4.1.2 Kiritsu 99 (1)
4.1.3 Hajime 99 (1)
4.1.4 Gassou 100(1)
4.1.5 Paatore 101(1)
4.1.6 Owari 102(1)
4.4 Band Participants 102(7)
4.2.1 Ranks and Roles 102(3)
4.2.2 Jougekankei System 105(1)
Notes 106(1)
References 106(3)
5 Instruction in the Japanese School Band 109(16)
5.5 Band Director as Coach 110(1)
5.5 Band Director as Hogaku Sensei 111(2)
5.5 Instructional Process 113(3)
5.5 Zettai Damel: Negative Feedback 116(2)
5.5 Use of Models 118(2)
5.5 Uniquely Japanese Techniques 120(5)
Notes 121(1)
References 122(3)
6 Scenes from the 50th AJBA National Band 125(8)
Competition
6.6 Fumon Hall 125(3)
6.6 AJBA Rules 128(2)
6.6 Local Understandings of the AJBA 130(3)
Competition
Notes 131(1)
References 131(2)
7 Winning in Band: Views from Beneath and 133(10)
Within
7.7 Going for Gold 133(1)
7.7 Silver Equals Failure 134(2)
7.7 A Pastiche of Remembrance 136(1)
7.7 The Rival Drummers 136(2)
7.7 Saxes Against the Rest 138(1)
7.7 A Lingering Humiliation 138(1)
7.7 Learning Through Competition 139(4)
Notes 141(1)
References 141(2)
8 Winning in Band: Views from Above and 143(12)
Beyond
8.8 A View from Above: Interview with the 143(12)
AJBA Director
8.1.1 Research on Competition in Music 146(5)
Notes 151(2)
References 153(2)
9 Japanese Composers and Wind Band 155(16)
Repertoire
9.9 Repertoire Selection 155(1)
9.9 AJBA Required Pieces 156(2)
9.9 AJBA Free Pieces 158(4)
9.9 Japanese Band Composers 162(2)
9.9 Transculturation and Hybridity in 164(3)
Japanese Band Music
9.9 Themes from Kyo-En Series of Japanese 167(4)
Wind Compositions
Notes 168(1)
References 169(2)
10 Leadership and Duty in the Ensemble 171(10)
10.10 Parental Involvement 172(1)
10.10 Responsibilities of a School Music 172(3)
Teacher
10.10 Inkai Management and Instrument 175(1)
Choice
10.10 Moral Education 176(1)
10.10 Isshoukenmei: Giving One's All 177(4)
Notes 178(1)
References 179(2)
11 Cooperative Learning and Mentorship in 181(12)
Band
11.11 Tutoring One's Kohai 182(1)
11.11 Transmission Through Transcription 183(1)
11.11 Learning the Lingo 184(1)
11.11 Instilling Perseverance 185(1)
11.11 Cooperative Mentorship and Autonomy 186(7)
Notes 189(1)
References 190(3)
12 Organizational Training of the Japanese 193(10)
Band Director
12.12 Kato Sensei's Occupational Training 194(2)
12.12 The Teacher Transfer System 196(1)
12.12 Relevant Institutions and 197(6)
Organizations
Notes 200(1)
References 201(2)
13 Corporate Giants: Yamaha and the Tokyo 203(14)
Kosei Wind Orchestra
13.13 Music Industry in Japan 203(1)
13.13 Contributions of the Yamaha 203(5)
Corporation
13.13 Other Japanese Music Companies 208(2)
13.13 Professional Wind Bands in Japan 210(3)
13.13 Concluding Remarks 213(4)
Notes 213(2)
References 215(2)
14 Metaphors of a Japanese Band Community 217(10)
14.14 Communities of Learning 217(2)
14.14 Metaphors of Community 219(1)
14.14 Symbolism in the Band World 220(1)
14.14 Embodiment Metaphors in Band Argot 221(6)
Notes 224(1)
References 225(2)
15 Musical Identity in the Band: Social 227(12)
Class and Gender
15.15 Socioeconomic Status 228(2)
15.15 Gender Issues 230(3)
15.15 Manga, Gaming, and Gender in School 233(2)
Bands
15.15 Concluding Thoughts 235(4)
Notes 235(2)
References 237(2)
16 National Identity in the Japanese School 239(12)
Band
16.16 The Kimigayo Incident 239(1)
16.16 National Identity and Music 240(2)
16.16 Interpretation of the Kimigayo 242(3)
Incident
16.16 Kimigayo Outside of School 245(1)
16.16 Interpretation of National Identity 246(5)
Notes 247(2)
References 249(2)
17 Ensemble Ethos: Theorizing Cultures of 251(8)
Musical Achievement
Notes 255(1)
References 256(3)
18 Conclusions 259(14)
18.18 Overview of Conclusions 259(5)
18.18 The World's Finest School Bands 264(1)
18.18 Practical Implications for Music 265(3)
Teachers
18.18 Toward a Musical Community 268(5)
Notes 269(1)
References 270(3)
Afterword 273(4)
Glossary 277(4)
Name Index 281
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发表于 2018-12-28 15:22
