古民家SHIKIORI日記/Homenaje Project

アジア・アフリカ・ヨーロッパ、古民家SHIKIORIを舞台につながる音楽。
コントラバス奏者、松永誠剛のブログ。

Homenaje Project 2017-2019

2017-03-08 09:25:22 | Weblog
The Homenaje Project is an educational program for learning from nature, sounds, and people.

Education| Participants and performers will learn together about the sounds of nature, the memory of the forest, and forest transition.

Nature| Imagine the transitional forest a hundred years in the future, a thousand years in the future, and learn forest cultivation.
Music| Rather than a concert, the goal is to recreate the experience of humans when they first encountered music.

Memory| The memory of people. The memory of the forest. Learn how to gaze at nature from the works of Yoshihiko Ueda, a photographer who expresses the great origin of life.

Tourism| Viewing the sources of installations and places where musicians, photographers, and artists go for repose as tourist destinations.

~ Restoration of humanity through a second encounter with nature ~

In the forest are the sounds of beginning. It’s where people first encountered music. They didn’t stage concerts for the satisfaction of fellow humans, but rather they learned music from the forest and they returned that music back to nature. Adults, children, and the musicians themselves.

If you enter the forest, you will begin to hear music. The sounds of water, trees, and wind are the sounds of ancient music. People born in Africa a hundred thousand years ago learned music from nature, and their lives were filled with prayer and music to cure sickness, ease the solitude of journey, and mourn their companions. In today’s society, there exists this neglected sort of “music” and there exists what I think of as “music,” and the two have become separate things. There are people who, after a concert, look out over the hall and—their heartstrings touched by sound—they shed tears. And beside them is someone engrossed in the one-handed motions of entering a message on a cell phone. In this world where SNS continues to proliferate, the value of a concert is no longer how much one is “moved” by the experience of live music, but how many “likes” one gets out of it. It retains only its social value.

“The death of music.”
The era of records and CDs is over, in today’s world where we can listen to music for free over the internet, music is of no economic value.Music, which was supposed to be a lifeline like water, worth so much more than its financial merits, is—like water and like the natural environment—meeting with destruction at the hands of humans.

With the development of artificial intelligence, the automation of hotels and airport check-in counters, and so forth, as the places where living humans work are shrinking, so are the opportunities for living communication between humans. We are approaching the era when we must face the existence of humanity itself and what that existence means.

I once met a deer in Yakushima. For some time “she” graced us with her presence as she listened to the sounds of a contrabass. Even today, I remember it clearly. Is music meant only for sake of humans? The sum experiences of all the concerts I’ve ever attended is not enough to answer this question.

“Death” is also the beginning of restoration. When I first encountered the instrument called a contrabass, I heard the sound of the forest. I was 19. Like the deer, I have sought after that sound ever since.

Through a second encounter with nature, the restoration of humanity begins now.
Seigo Matsunaga
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