紀要論文

紀要論文

text

阪大音楽学報. 2025, 21, p. 71-92

日本語

text

2025-03-15

This paper aims to analyze the discourses on ‘songsmithing’, ‘self-performance’ and ‘self-expression’ that have developed in Japanese music criticism between the 1970s and 2000s, and to demonstrate how female singer-songwriters have been continuously assigned specific gender roles. Singer-songwriters create and perform their own songs. Their work has been viewed as a form of ‘self-expression’ that reflects their social position and personality. Since the 1970s, many music magazines and books have featured singer-songwriters, constructing a discourse that portrays their songs as the ‘self-expression’ of the musician. Its narrative, from various perspectives, suggested a strong connection between the songs and the singer’s personality, thus presenting singer-songwriters as ‘Independent artists’. However, when examining the discourses surrounding female singer-songwriters and their song-crafting/self-expression, it is not clear that this simply enhances their image as independent artists. Female singer-songwriters, whose gender was often overemphasized, were repeatedly portrayed through the lens of gender role narratives, embodying the roles of ‘woman’ and ‘mother.’ In this paper, I will examine the case of Omori Seiko, a female singer-songwriter, to address and deconstruct such gender roles. Omori has attracted attention for her performances, which seem to express her emotions with intensity. In this sense, she deconstructs the traditional dichotomy of rational/spiritual men and emotional/physical women. I will argue that these historically constructed gender roles remain a pressing issue today.

10.18910/100682

100682

音楽評論における女性シンガーソングライターとジェンダーロール : 「自作自演」と「自己表現」の言説を手がかりに

星川, 彩

大阪大学文学部・大学院人文学研究科音楽学研究室

日本語

2025-03-15

阪大音楽学報

21

71

92

https://hdl.handle.net/11094/100682

10.18910/100682

https://doi.org/10.18910/100682