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| Licence to Laugh：Humour in the Practice of Biwa Recitation in Rural Kyushu | ||
| 作者 | De Ferranti, Hugh |
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| 出處題名 | Musicology Australia |
| 卷期 | v.19 |
| 出版日期 | 1996 |
| 頁次 | 3 - 15 |
| 資料類型 | 期刊論文=Journal Article |
| 使用語言 | 英文=English |
| 附註項 | 420 |
| 關鍵詞 | Humor Japan Kumamoto Region;Biwa Recitation;Kyushu;Japan Kyushu Kumamoto region; Japanese Traditional Music; Biwa;Recitation;Humor; Instruments;String Biwa Playing;Buddhist Religion;Religious Music; Biwa Recitation;Improvisation;Ethnomusicology;De Ferranti, Hugh; |
| 摘要 | In Kyushu，the biwa has been played by blind males both in ritual contexts and as entertainment. The latter secular narrative tradition continued beyond the early 20th c. only in the central region of Kumamoto，the former domain of Higo. Whereas elsewhere the biwa has been played for blessing rites by blind Buddhist priests (moso)，in rural central Kyushu musicians called biwa hiki have performed both sacred and secular recitations. Among the principal styles of biwa narrative，only in music of the biwa hiki does the use of humor suggest that the musicians' task has been less to edify listeners than to entertain them，less to present standardized，orthodox versions of repertoire than to tailor the content of a performance to the needs of listeners and the occasion. Three types of usage can be identified：humor during a warm-up talk before a recitation proper is begun; independent short comic pieces; and the strategic insertion of humorous passages in tales that may take several hours to perform in full. It appears that biwa recitation in rural Kyushu never became a standardized practice，nor even a diverse collection of standardized practices grouped around individual figures of authority，and that the lack of an artistic orthodoxy enabled players to deploy humor as a highly individualized performative resource. |
| 點閱次數 | 289 |
| 建檔日期 | 2001.05.16 |
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