紀要論文

紀要論文

text

阪大音楽学報. 2025, 21, p. 93-115

日本語

text

2025-03-15

In this study, I examine how the music category of New Music is represented in sheet music collections published between 1979 and 2024. In addition to exploring the function and target audience of these publications, I also aim to investigate whether the term “New Music” has undergone any semantic change, and whether the represented artists are consistently being held to the standard of performing their own material （“jisaku jien”）. These questions ultimately aim to define a canon of New Music, according to definitions by theories of Franco Fabbri（2004）, Jennifer C. Lena（2011） and others, and successively will contribute to understanding whether New Music was a full-fledged genre or not. As for this study, I come to the conclusion that the depiction of New Music in sheet music collections serves three goals. Firstly, mobilizing youngsters of the 1970s and 1980s to engage in music making and buying musical instruments. Secondly, serving as a tool for approachable music education for learners of diverse age groups and levels. And finally, solidifying a body of domestic evergreens. My study identifies factors such as “jisaku jien” and television tie-ups as crucial for remaining canonized in sheet music collections over a long time span. Moreover, New Music as depicted in sheet music collections is frequently laced with wholesome upper-middle-class imagery and a faintly lingering domesticated U.S.-Americanism.

10.18910/100683

100683

楽譜におけるニューミュージック

ドレックスラー, アニータ

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

93

115

https://hdl.handle.net/11094/100683

10.18910/100683

https://doi.org/10.18910/100683