“Draft:David Hughes (ethnomusicologist)”的意思、由来-开放百科全书

David W. Hughes (born 1945) is a scholar and performer of Japanese music in particular, and has written about and performed music of Java and Thailand among others. Born in the USA, he has been a resident of the UK since 1981.

Career =

Dr. Hughes lectured for 22 years (1987-2008) at the School of Oriental and African Studies (SOAS), University of London. He served a total of eight years as head of Music. In retirement, he is a Research Associate at SOAS of the Department of Music and the Japan Research Centre, and an Honorary Research Fellow of the Department of Music, Durham University. Since retiring, he has served as a Special Visiting Professor at Tokyo University of Foreign Studies and a Visiting Professor at the International Research Center for Japanese Studies, Kyoto.

As of 2018, he has supervised 24 PhD theses at four UK universities, examined 33 PhD/MPhil theses for 17 universities in four countries, and served for several years each as external examiner for degree programmes at five universities.

He has served in various official roles for the British Forum for Ethnomusicology, the International Council for Traditional Music, the Society for Ethnomusicology, and the European Foundation for Chinese Music Research (CHIME).

Many of his articles and book chapters, as well as a full CV, can be accessed via https://soas.academia.edu/DavidHughes, though only parts of his major book on Japanese folk song.^[1] His own chapters in two other books he co-edited are available there.^[2]

Hughes studied linguistics and Japanese language at Yale University (BA 1967, MPhil 1972). Then, while teaching Japanese language and linguistics for a year at University of Michigan (1972-3), he sat in on courses by William Malm (https://en.wikipedia.org/wiki/William_P._Malm), a Japanese music specialist, and Judith Becker (https://en.wikipedia.org/wiki/Judith_Becker), an Indonesian music specialist, thus discovering the field of ethnomusicology. He then decided to leave his linguistics doctoral path and pursue a PhD at Michigan on Japanese folk song (awarded 1983).

His experiences at Yale and Michigan led him not only to Japanese music (especially folk traditions) but also, drawing on his linguistic experience, to cross-cultural studies of musical grammars^[3], as well as of oral mnemonics (‘nonsense syllables’) in the transmission of music^[4].

Awards and honours

2018 Fumio Koizumi Prize for Ethnomusicology (Japan) (https://en.wikipedia.org/wiki/Fumio_Koizumi_Prize_for_Ethnomusicology)

2017 Decoration from Government of Japan: Order of the Rising Sun, Gold Rays with Rosette (https://www.uk.emb-japan.go.jp/itpr_en/180222decoration.html = “Japanese Government Honours Dr David W. Hughes”)

2011 Japan Society Award for outstanding contributions to Anglo-Japanese relations and understanding (UK)

Public outreach

David Hughes has performed Japanese music over 50 times on Japanese television, stage and radio, as well as occasionally serving as a judge (though rather against his will!) at Japanese national folk song contests.

He has made dozens of non-performance radio contributions in several countries, including for the BBC and the Japan Broadcasting Corporation, as lecturer, narrator, specialist guest, etc.

He has given more than 100 invited lectures in 16 countries, including several workshops for music teachers.

In the UK, he founded the SOAS Min’yō Group (which performs Japanese traditional folk song and dance) and the London Okinawa Sanshinkai (which performs music and dance of Okinawa). He founded the SOAS Noh Group. He assisted – variously as master of ceremonies/lecturer/interviewer/co-performer – at events in the UK.

He has performed Japanese folk song (min’yō) on two commercial recordings. He sang and played instruments with his first teacher of min’yō on the LP Min’yō & “min’yo”: Yoshio Tanaka and David Hughes (Nippon Columbia FZ-7128 (1980)). And he was co-producer, performer and annotator for the CD Min'yō: folk song from Japan: Takahashi Yūjirō and friends (Nimbus NI 5618 (1999)).

Personal life

Hughes is married to a leading archaeologist of East Asia, who performs Japanese music with him. Her influence led him to do research on music archaeology.^[5]

Selected publications

(See https://soas.academia.edu/DavidHughes to view many of the publications below, and to see his full list of publications via his CV.)

Books

2008 Traditional folk song in modern Japan: sources, sentiment and society. Folkestone, UK: Global Oriental. (with CD)

2008 (co-editor with Alison McQueen Tokita) The Ashgate research companion to Japanese music. Aldershot, UK: Ashgate. (with CD)

1988 (co-editor with Ellen Hickmann) The archaeology of early music cultures. Bonn: Verlag für systematische Musikwissenschaft.

Articles in journals and books

2018 “Safeguarding the heart’s home town: Japanese folk song as Intangible Cultural Heritage”. In Barley Norton & Naomi Matsumoto (eds) Music as Heritage: Historical and Ethnographic Perspectives, pp. 144-167 (Chapter 7). Ashgate/Routledge.

2015 “Japan”. In Michael Church (ed.) The other classical musics: fifteen Great Traditions, chapter 3 (pp. 74-103, 363-4). Woodbridge, UK: Boydell & Brewer.

2010 “The Picken School and East Asia: China, Japan and Korea”. Ethnomusicology Forum 19.2: 231-9.

2008 (with Alison McQueen Tokita) “Context and change in Japanese music”. In Tokita and Hughes 2008 (see above), chapter 1 (pp. 1-33).

2008 “Folk music: from local to national to global”. In Tokita and Hughes 2008 (see above), chapter 12 (pp. 281-302).

2008 “Oral mnemonics for the Japanese noh flute”. In Martin Clayton (ed.) Music, words and voice: A reader, pp. 45-55. Manchester University Press. [Excerpts from Hughes 2000.]

2004 “‘When can we improvise?’ The place of creativity in academic world music”. In Ted Solis (ed.) Performing ethnomusicology: teaching and representation in world music ensembles, chapter 15 (pp. 261-82). University of California Press.

2001 ca. 29,500 words on Japanese music, notation, East Asia etc (some sections co-authored). In Stanley Sadie & John Tyrrell (ed.) New Grove dictionary of music and musicians, 2nd ed. Macmillan.

2001 “‘Sōran Bushi’: the many lives of a Japanese folk song”. CHIME 14/15 (1999/2000): 31-47.

2000 “No nonsense: the logic and power of acoustic-iconic mnemonic systems”. British Journal of Ethnomusicology 9.2: 93-120.

1997 “The siter on the streets of Java”. Seleh Notes 4.2: 6-7 (part 1), 4.3: 14-5 (part 2).

1993 “East Asia: Japan”. In Helen Myers (ed.) The New Grove handbooks in musicology: Ethnomusicology, vol. 2: Historical and regional studies, pp. 345-63. New York: Norton; London: Macmillan.

1993 “Music”. In Richard Bowring and Peter Kornicki (ed.) The Cambridge encyclopedia of Japan, pp. 216-20. Cambridge Univ. Press.

1993 “Ryukyu music”. In Japan: an illustrated encyclopedia, pp. 1285-8. Tokyo: Kodansha.

1993 “Other musics: The debate about multi-cultural music education in modern society”. In Papers of the Fifth International Conference of Ethnomusicology, pp. 62-73 (with Chinese abstract). Taipei: National Taiwan Normal University.

1992 “‘Esashi Oiwake’ and the beginnings of modern Japanese folk song”. The world of music 34.1: 35-56.

1992 “Thai music in Java, Javanese music in Thailand: two case studies”. British Journal of Ethnomusicology 1: 17-30.

1991 “Japanese ‘new folk songs’, old and new”. Asian Music 22.1: 1-49.

1991 “Grammars of non-Western musics: a selective survey”. Chapter 10 in P. Howell, R. West and I. Cross (eds) Representing musical structure, pp. 327-62. Academic Press.

1991 “Oral mnemonics in Korean music: data, interpretation, and a musicological application”. Bull. School of Oriental and African Studies 54.2: 307-35.

1990 [in Japanese] “‘Esashi oiwake’ to Hokkaidō kaitaku” [The song ‘Esashi oiwake’ and the opening of Hokkaido]. Hokokushū: Kokusai kyōiku shinpojiumu ’89 Sapporo kaigi 'Ibunka rikai to kyōiku’—Hokkaidō kara no kokusai kōryū, pp. 35-6.

1989 “The historical uses of nonsense: vowel-pitch solfège from Scotland to Japan”. In Margot Lieth Philipp (ed.) Ethnomusicology and the historical dimension, pp. 3-18. Ludwigsburg, Germany: Philipp Verlag.

1988 “Deep structure and surface structure in Javanese music: a grammar of gendhing lampah”. Ethnomusicology 32.1: 23-74.

1988 “Music archaeology of Japan: data and interpretation”. In Hickmann and Hughes (eds) 1988 (see above), pp. 55-87.

1988 [in Japanese] Discussion with M. Kadoya: “Ikoku no ongaku ka? Nihon min’yō” [Is it foreign music? Japanese folk song]. Dadasuko (Kitakami, Japan) 5: 2-8.

1987 [in Japanese] “Kodai no koto ni kansuru nisan no shiryō” [Some material relevant to ancient Japanese zithers]. Kōkogaku Jānaru [Archaeology Journal] 284 (1987), pp. 27-30.

1985 The heart’s home town: traditional folk song in modern Japan. (Ph.D. dissertation, Univ. of Michigan.) University Microfilms International.

1984 ca. 20,000 words on musical instruments of Japan. In S. Sadie (ed.) New Grove dictionary of musical instruments. Macmillan.

1984 “Music” (trad. folk and art, Western classical, jazz). In All-Japan: the catalogue of everything Japanese, pp. 118-27. New York: Quill.

1983 “Ryukyu music”. In Kodansha encyclopedia of Japan, vol. 6, pp. 357-8. Tokyo: Kodansha.

1981 “Japanese folk song preservation societies: their history and nature”. In Procdgs. of the 4th Intntl. Symposium on the Conservation and Restoration of Cultural Property, pp. 29-45. Tokyo: National Research Institute of Cultural Properties.

1980 “Okinawan dance and music: at the crossroads of East Asia”. In The Fifth Festival of Asian Arts, pp. 98-103. Hong Kong: The Urban Council.

1980 “Sato-kagura: old Edo lives in modern Tokyo”. In The Fifth Festival of Asian Arts, pp. 92-7. Hong Kong: The Urban Council.

1979 [in Japanese] “Zadankai: gaijin gakusei ōi ni Hōgaku o kataru” [Discussion: foreign students hold forth on Japanese music]. Kikan Hōgaku 20: 55-66.

1977 [in Japanese] “Amerikajin no me de mi, mimi de kiita Nihon ongaku” [Japanese music through the eyes and ears of an American]. Kikan Hōgaku 11: 22-7.

1999 Min'yō: folk song from Japan: Takahashi Yūjirō and friends. CD, Nimbus NI 5618. Co-producer, performer, annotator (24pp.).

1980 Min’yō & “min’yo”: Yoshio Tanaka and David Hughes (LP, Nippon Columbia FZ-7128). Singer/instrumentalist of Japanese folk songs.

1980 Insert notes for phonograms of Japanese music: “1000 years of Japanese classical music” [Nihon koten ongaku taikei], vols. 2 (with P. Ackermann), 4 and 8 (Tokyo: Kodansha).

1980 Insert notes for phonogram of Japanese music: “Music for 20-string koto” (Camerata Tokyo CMT 1015-8).

Major translations

1992 K. Tsuboi and M. Tanaka, The historic city of Nara: the archaeology of Japan’s ancient capital. Tokyo: UNESCO.

1980 Jiro Tanaka, The San, hunter-gatherers of the Kalahari: a study in ecological anthropology. University of Tokyo Press.

References

1. ^David W. Hughes (2008) Traditional folk song in modern Japan: sources, sentiment and society. Folkestone, UK: Global Oriental. (with CD)
2. ^Alison McQueen Tokita & David W. Hughes, eds (2008) The Ashgate research companion to Japanese music. Aldershot, UK: Ashgate. (with CD); Ellen Hickmann & David W. Hughes, eds (1988) The archaeology of early music cultures. Bonn: Verlag für systematische Musikwissenschaft.
3. ^“Grammars of non-Western musics: a selective survey”. In P. Howell, R. West & I. Cross (eds) Representing musical structure, chapter 10 (pp. 327-62). Academic Press, 1991; “Deep structure and surface structure in Javanese music: a grammar of gendhing lampah”. Ethnomusicology 32.1 (1988): 23-74.
4. ^“The historical uses of nonsense: vowel-pitch solfège from Scotland to Japan”. In Margot Lieth Philipp (ed.) Ethnomusicology and the historical dimension, pp. 3-18. Ludwigsburg, Germany: Philipp Verlag, 1989; “Oral mnemonics in Korean music: data, interpretation, and a musicological application”. Bulletin of the School of Oriental and African Studies 54.2 (1991): 307-35; “No nonsense: the logic and power of acoustic-iconic mnemonic systems”. British Journal of Ethnomusicology 9.2 (2000): 93-120.
5. ^“Music archaeology of Japan: data and interpretation”. In Ellen Hickmann & David W. Hughes (eds) The archaeology of early music cultures, pp. 55-87. Bonn: Verlag für systematische Musikwissenschaft, 1988; “Kodai no koto ni kansuru nisan no shiryō” [Some material relevant to ancient Japanese zithers]. Kōkogaku Jānaru [Archaeology Journal] 284 (1987), pp. 27-30.