@article{oai:nagoya.repo.nii.ac.jp:00029089,
 author = {葛西, 周 and KASAI, Amane},
 journal = {JunCture : 超域的日本文化研究},
 month = {Mar},
 note = {This paper deals with cultural control in Japanese music propaganda during the Sino-Japanese War by researching magazine articles and exhibitions on music. In this period, what music was appropriate to the wartime situation was discussed by the political organizations, such as Taisei-Yokusankai (the Imperial Rule Assistance Association) and the Intelligence department, as well as newspapers and magazines. Objection to “the enemy culture” led both composers and musicologists to break away from Western music and promote non- Western music. The latter came to be called “the (Greater) East Asian Music.” Based on the concept of “the Greater East Asia Co-prosperity Sphere,” new meaning or new context was attached to various kinds of music in what is called “the national music mobilization.” Under these circumstances, many researchers and critics tried to extract the similarities between East Asian music in comparison to Western music and to situate “the (Greater) East Asian Music.” They argued about the superiority of music in Japan in magazine articles, while the values accorded to Pan-Asianism and Localism were also shown in documents on exhibitions featuring Asian music organized by them. Japanese researchers and critics struggled with a dilemma in which multiple types of music had been historically imported from foreign countries and incorporated into Japan, while they had to insist on the prominence of Japanese music. Accordingly, they supported local folk music or performing arts in Japan other than traditional music to emphasize “simplicity” as a strong point., 本稿は、「近代日本の祝祭空間における「音楽」表象」（東京芸術大学大学院音楽研究科博士学位論文、2009）の一部に大幅な加筆修正を施したものである。追跡調査にあたり、2017年度科学研究費補助金基盤研究B「中国建国前夜のプロパガンダ・メディア表象：劇場文化と身体芸術のコラボレーション」（研究代表者：星野幸代）ならびに同若手研究B「戦前・戦中期東アジアにおける音楽ジャンル観の変遷」（研究代表者：葛西周）の援助を得た。},
 pages = {60--72},
 title = {「東亜」と「郷土」のイデオロギー : 戦時下の音楽関連記事および音楽展覧会の考察から},
 volume = {9},
 year = {2018}
}