浪花節は19世紀末から20世紀半ばに大衆的な人気を誇った日本の音楽的な語りのジャンルである。日本人労働移民によってハワイにもたらされ、後には日本の浪曲師がハワイ巡業を行うようになり、ハワイの日系社会でも人気を確立した。本論はハワイにおける浪花節の盛衰をたどり、移植された音楽ジャンルが日本と日系ディアスポラの文化的架け橋として機能し、いかにハワイ日系人のアイデンティティの支えとなっていたか、また国境を超えた人々と文化の往来を促していたかを明らかにする。また戦争という不可抗力によって、いかに音楽文化の運命が翻弄されうるかを描き出す。

Naniwa-bushi is a genre of Japanese musical storytelling which enjoyed its greatest popularity from the late nineteenth to the mid-twentieth century. Brought to Hawai‘i by Japanese immigrants and later by itinerant Japanese performers, it soon found popularity in the diaspora community. This paper traces the rise and fall of naniwa-bushi in Hawai‘i and demonstrates how a transplanted musical genre functioned as a cultural bridge between Japan and its diaspora, helping immigrants sustain their identity and motivating trans-border flows of performers and culture. It also highlights the powerful impact of war that changed the destiny of a musical culture.

Uzbekistan is a Central Asian country with a population of 27 million. It is bordered by Afghanistan to the south, Turkmenistan to the west, Kazakhstan and Kyrgyzstan to the north, and Tajikistan to the east. There is also a large Uzbek population living in the north of Afghanistan (figure 1).

It is generally thought that Chinese music is homophonic. In instrumental music, the players tend to play in unison, and in vocal music, the instrumental accompaniment closely follows the pattern of the singing. The science of harmony, or the system that governs the combining of the intervals as applied in European music, was not known to China in the past. In fact, very little was said in the long history of Chinese music about the theory of combining the intervals.

However, unison is not to be regarded as the sine qua non in Chinese instrumental and vocal music. In many types of Chinese folk music, one finds that the players or singers do not adhere strictly to unison but vary their parts in juxtaposition and in relay. Frequently, the players resort to embellishing the melody and the more skilful ones will embark on extemporization, giving rise to heterophonic effects. The practice of embellishment and extemporization is intended to avoid monotony in ensemble playing and to show off the skill of the player. But in specific cases, different parts are planned for the singers and players to perform.

In the first part of this paper, three New Zealand Maori scales and a possible fourth were derived from interval associations, using strict criteria of melodic usage. An unexplained fact is the coincidence of these three scales with the plagal forms of the medieval phrygian, ionian, and aeolian modes. Historical connection with ancient Greece seems too unlikely a hypothesis to be entertained, and exposure of the Maoris to the medieval modes through early missionary activity can also be ruled out. An alternative explanation is that the ancient Greeks and the New Zealand Maoris shared common principles in their music which led to the evolution of similar scales, but such principles seem impossible to demonstrate. The conclusion must be that there is, as yet, no acceptable explanation for the parallels observed in this paper between Maori scales and those of medieval Europe and ancient Greece.

Gorakhnāth is a tantric figure revered by a number of Hindu Shaivite sects. These sects exist particularly in Nepal, but are also found elsewhere in, or near, the Himalayas in parts of northern India and Bengal. In addition, others in the Himalayas see Gorakhnāth as particularly influential for their religious lives. For instance, Maskarinec (1995:7) mentions that shamans in Nepal regard Gorakhnāth as the “highest” spiritual authority. The suffix -nāth literally means “lord” or “master,” and thus is used in many contexts. Most broadly this suffix is used in association with the names of specific temples and their principal deities, such as Kedārnāth, Tungnāth, or Bodināth, highlighting the reverence people hold for these places of worship and their deities. In addition many people more generally refer to “Nāths” as those who follow the teachings of Gorakhnāth. They are also referred to as Gorakhpaṅth—meaning the sect(s) (paṅth) of Gorakhnāth.

I would like to begin, if I may be allowed, upon a personal note. It has been my privilege to be a member of the International Folk Music Council since its inception in 1947 – a founder member in fact. In those twenty-two years, fellow members have become dear friends. To meet them, in the various capitals of the world over the years, has added a savour and an extra dimension to life which I would have been very sorry to miss. I would like to say what a delight it is to me personally to welcome you now to my native city of Edinburgh.

Most of the many different ethnic groups living within Uganda have some use for flutes of one kind or another. With very few exceptions, however, the flutes are all endblown instruments either with a straight-cut sharp rim (blown across the rim obliquely) or of the notched variety. Wachsmann (1953) gives informative descriptions of most of these together with the few exceptions; the globular (ocarina type) instruments and a long transverse flute (Vern. Ludaya or Lusweje) played among the upland Gisu in Eastern Uganda. Elsewhere in East Africa transverse flutes — presumably of Arab origin — are played among coastal tribes in Kenya and possibly among the Pogoro of East Central Tanzania. Culwick's illustration of a three-stop flute played by the latter people shows two of the stops at one end and the third at the other – thus suggesting that it is a side blown flute. What he means, however, when he writes that “it is played in the normal manner” is not clear, since apart from the instances cited, indigenous transverse flutes can be found nowhere else in East Africa.