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このページ(論文)をリンクする場合は次のURLを使用してください: http://hdl.handle.net/2261/4477

タイトル: 誰がクラシックコンサートに行くのか : 東京・新潟・鹿児島のコンサート会場におけるアンケート調査をもとに
その他のタイトル: Who Attends Classical Music Concerts? : Based on Questionnaire Research Conducted at Concert Halls in Tokyo, Niigata, Kagoshima
著者: 西島, 央
著者(別言語): Nishijima, Hiroshi
発行日: 2004年3月10日
出版者: 東京大学大学院教育学研究科
掲載誌情報: 東京大学大学院教育学研究科紀要. 43巻, 2004.3, pp. 57-76
抄録: In Japan, what sort of people attend classical music concerts? It has been said that the classical music is an orthodox current of culture from the West, which was set up alongside the establishment of the modern educational system in Japan. Recently, however, the number of classes of music and other arts related subjects has been reduced as a result of the new national curriculum. In addition, the development of the Internet has provided a dramatic increase in terms of alternative access points to music. These are resulting in a dramatic change of music culture. Under these conditions, is it probable to think that attitudes towards classical music concerts might be in a process of change? The purpose of this paper is to illustrate the current conditions in relation to classical music concerts attendance from a sociological perspective. Methodologically, the paper draws upon evidence garnered from a questionnaire survey conducted at classical music concerts in Tokyo, Niigata and Kagoshima, between April and August 2002. To date, there have been few studies to investigate the sociological profile and associated behaviour related to classical music concert attendees, except the index of a stratum research. In this research, I will make use of sociological description of attendance, exploring the issue of regional difference. Subsequently I will analyze attendee's first experiences vis-a-vis the concert. Finally I will specify the features of attendance in relation to those classified as "Jouren" i. e. regular goers and those labeled "Ichigen" i. e first-timers. I will analyse the differences between them in light of a number of sociological indicators and their musical experiences during their formal education. As a kind of pilot study, I will propose a research framework that could provide a signpost for future research exploration.
URI: http://hdl.handle.net/2261/4477
ISSN: 13421050


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