Authenticity and Transition of Music Festivals in Japan

• MIYAMOTO Naomi

  Ritsumeikan University

Bibliographic Information

Other Title

• 日本における音楽祭の変遷とオーセンティシティ
• ニホン ニ オケル オンガクサイ ノ ヘンセン ト オーセンティシティ

Abstract

This paper examines a new possibility and usefulness of the concept of authenticity through analyzing the transitioning characteristics of music festivals in Japan. Among discussion of authenticity in tourism studies, classical music festivals have not been mentioned so far.<br>At music festivals, music that was created in the past in European countries is reproduced. The concept of authenticity is effective when considering the significance of classical music festivals in Japan, which were originally irrelevant and inauthentic with regard to European traditional music.<br>Now, many local volunteers and amateur musicians participate in Japanese festivals, and many unique events are planned. Japanese music festivals continue by “assimilating” foreign music into their own cultural bases. In that sense, the music of Japanese festivals does not become a borrowed culture. At the same time, most Japanese music festivals have been asking for high quality performances by leading musicians. In fact, this means authentic performances. In conclusion, the request for a “universal” value of performance quality is a new aspect in the concept of authenticity.

Journal

• Japanese Sociological Review

  Japanese Sociological Review 62 (3), 375-391, 2011

  The Japan Sociological Society

Keywords

• authenticity
• tourism
• music

Details

• CRID: 1390282679270254208
• NII Article ID: 110008730909
• NII Book ID: AN00109823
• DOI: 10.4057/jsr.62.375
• ISSN: 18842755
• ISSN: 00215414
• NDL BIB ID: 023457188
• Web Site: https://ndlsearch.ndl.go.jp/books/R000000004-I023457188
• Text Lang: ja
• Data Source:
  • JaLC
  • NDL
  • Crossref
  • CiNii Articles
  • KAKEN
• Abstract License Flag: Disallowed