『四季』の移り変わるが如く : 日本の「バロック・ブーム」と大衆化する「バロック」音楽

張, 佳能; 三島, 郁

doi:https://doi.org/10.18910/98492

『四季』の移り変わるが如く : 日本の「バロック・ブーム」と大衆化する「バロック」音楽

張, 佳能; 三島, 郁

阪大音楽学報, 2023, 19, 75-95

アクセス数:347件（2026-02-15 21:09 集計）

固定URL: https://doi.org/10.18910/98492

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タイトル	『四季』の移り変わるが如く : 日本の「バロック・ブーム」と大衆化する「バロック」音楽
	The Impacts of the "Baroque fad" on the popularization of "Baroque music" in Japan
	シキ　ノ　ウツリ　カワル　ガ　ゴトク　ニホン　ノ　バロック　ブーム　ト　タイシュウカ　スル　バロック　オンガク
著者	NRID 1000060965044 1000060965044 著者名張, 佳能 ; Zhang, Canon
著者	NRID 1000020571441 1000020571441 著者名三島, 郁 ; Mishima, Kaoru ; ミシマ, カオル
抄録	Baroque music has experienced a revival in the 20th century and is played in the style of the so-called “Historically Informed Performance” today. Although we can also see a similar phenomenon in Japan, it is interesting that there was a “Baroque fad” (usually “Baroque boom” in Japanese) in the 1960s-70s, which made the “Baroque (-like) Music” become familiar to the general public. In this paper, we discuss the four points below; 1) How the “Baroque Music” spread in the early poste-war Japan via radio or LP, and was accepted as a kind of “Mood Music”; 2) Since the popularization of “The Four Seasons” by Vivaldi in Japan is usually ascribed to the Italian chamber orchestra I Musici, we discuss their visit to Japan from 1963 by examining newspapers and music magazines published at that time; 3) Unlike the enthusiastic public, the scholars or critics were critical of this fad. It is, thus, meaningful to consider their thinking surrounding they this phenomenon from a modern viewpoint and; 4) Baroque pop, popular music using a Baroque-like melody or Baroque instruments, did not become popular in Japan but we can find several impressive Japanese popular songs that used the harpsichord in the late 1960s-70s. We focus on how this symbolic baroque instrument has been used in those works to produce an “exotic” mood or other stereotype of the “Baroque”.
出版者	大阪大学文学部・大学院人文学研究科音楽学研究室
出版者	Osaka University (=HANDAI), Musicology Division
収録物名	阪大音楽学報
	HANDAI ONGAKUGAKUHŌ
	Journal of HANDAI Music Studies
巻(号)	19
ページ	75-95
刊行年月	2023-03-15
言語	日本語
ハンドルURL	https://hdl.handle.net/11094/98492
DOI	https://doi.org/10.18910/98492
PISSN	13480456
NCID	AA11849218
アクセス権	open access
出版タイプ	Version of Record
カテゴリ	紀要論文 Departmental Bulletin Paper
カテゴリ	阪大音楽学報第19号

資源タイプ	紀要論文
ローカル資源タイプ	紀要論文
DCMI資源タイプ	text
DCTERMS.bibliographicCitation	阪大音楽学報. 2023, 19, p. 75-95
DC.title	『四季』の移り変わるが如く : 日本の「バロック・ブーム」と大衆化する「バロック」音楽
	The Impacts of the "Baroque fad" on the popularization of "Baroque music" in Japan
	シキ　ノ　ウツリ　カワル　ガ　ゴトク　ニホン　ノ　バロック　ブーム　ト　タイシュウカ　スル　バロック　オンガク
DC.creator	張, 佳能
	Zhang, Canon
	三島, 郁
	Mishima, Kaoru
	ミシマ, カオル
DC.publisher	大阪大学文学部・大学院人文学研究科音楽学研究室
DC.publisher	Osaka University (=HANDAI), Musicology Division
DC.language' scheme='DCTERMS.RFC1766	日本語
DC.type' scheme='DCTERMS.DCMIType	text
DCTERMS.issued' scheme='DCTERMS.W3CDTF	2023-03-15
DCTERMS.abstract	Baroque music has experienced a revival in the 20th century and is played in the style of the so-called “Historically Informed Performance” today. Although we can also see a similar phenomenon in Japan, it is interesting that there was a “Baroque fad” (usually “Baroque boom” in Japanese) in the 1960s-70s, which made the “Baroque (-like) Music” become familiar to the general public. In this paper, we discuss the four points below; 1) How the “Baroque Music” spread in the early poste-war Japan via radio or LP, and was accepted as a kind of “Mood Music”; 2) Since the popularization of “The Four Seasons” by Vivaldi in Japan is usually ascribed to the Italian chamber orchestra I Musici, we discuss their visit to Japan from 1963 by examining newspapers and music magazines published at that time; 3) Unlike the enthusiastic public, the scholars or critics were critical of this fad. It is, thus, meaningful to consider their thinking surrounding they this phenomenon from a modern viewpoint and; 4) Baroque pop, popular music using a Baroque-like melody or Baroque instruments, did not become popular in Japan but we can find several impressive Japanese popular songs that used the harpsichord in the late 1960s-70s. We focus on how this symbolic baroque instrument has been used in those works to produce an “exotic” mood or other stereotype of the “Baroque”.
DC.identifier	10.18910/98492
DC.format	98492
citation_title	『四季』の移り変わるが如く : 日本の「バロック・ブーム」と大衆化する「バロック」音楽
citation_author	張, 佳能
citation_author	三島, 郁
citation_publisher	大阪大学文学部・大学院人文学研究科音楽学研究室
citation_language	日本語
citation_date	2023-03-15
citation_journal_title	阪大音楽学報
citation_volume	19
citation_firstpage	75
citation_lastpage	95
citation_public_url	https://hdl.handle.net/11094/98492
citation_doi_detail	10.18910/98492
citation_doi	https://doi.org/10.18910/98492

『四季』の移り変わるが如く : 日本の「バロック・ブーム」と大衆化する「バロック」音楽

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