Corso di Laurea Magistrale in Lingue e civiltà dell'Asia e dell'Africa Mediterranea ordinamento D.M. 270/04 Tesi di Laurea Musica Underground sul Web Internet e Usi Alternativi Relatore Ch. Prof. Toshio Miyake Correlatore Dott. Andrea Giolai Laureando Thomas Bronzi Matricola 841040 Anno Accademico 2017 / 2018 1 要旨 1980 年代後半以降日本の「アンダーグラウンド」音楽がヨーロッパとアメリカの聴者 の好評を博して享受されている(Toth 2010; Novak 2013)。 Milioto Matsue (2008)は「アンダ ーグラウンド音楽」を「自主制作の地域的音楽」と定義するが、時空的に文化的に離れて いるヨーロッパとアメリカの聴者はインターネットの使用によってこの距離を克服しよう としている。本研究では、この聴者のインターネットの使用による音楽の入手方法や享受 方法を見ながら、距離を克服する手段を探ってく。 まず第一章では、インターネットの世界への普及の程度を紹介し、グローバル化でイン ターネット上の芸術は文脈が奪われたと言う Enrico Pitzianti (2013)の指摘を交えて考察して いく。 第二章ではインターネットの普及によって日本の音楽がヨーロッパとアメリカに広がっ たことからインターネットに関する基礎的な情報を集めるため、これまでの「バーチャル コミュニティー」の概念を中心とするインターネット研究を取り上げた。又、これによっ て本研究の方針を定める。 第三章では、聴者に頻繁に使用される「アンダーグラウンド」の曖昧さについて考察す る。その曖昧さのため、Cope (2008)にある、音楽を絶え間なく要求して探る行動を表した 「発掘」という概念を使用し、アンダーグラウンド音楽の聴者を定義する。但し、アンダ ーグラウンド音楽には数多くの音楽シーンがあるため、本研究では四つの音楽ジャンル、 「ノイズ」「サイケデリック」「地下アイドル」「ヴェイパーウェイヴ」を扱う。 第四章では、Christgau (2004)にある「ゲートキーパー」という、音楽の情報を大衆へ濾 過する人物の概念を使用し、ブログを執筆する人物の役割を考察する。インターネットに 不満を表明し現場を探求しながら地図化させる作業でインターネットの情報を改善しよう とする活動について考察していく。 第五章では、多対多通信が基盤になっている趣味共有のコミュニティーを中心とし、そ れらに聴者の「参加」の意味とその目標を加え、考察した。ファイル共有と音楽の購入に 対する聴者の立場を見ていく。 最後に、第六章ではヴェイパーウエイヴの音楽における、一定の簡約化された作曲方法 により、音楽創作の民主化ができており、聴者のバーチャルシーンへの作曲的な参加が可 能になったことについて考察していく。 2 ヴェイパーウエイヴは、日本のバブル経済文化と日本語のイメージを、最初はテクノオ リエンタリズム的に使用し資本主義と消費主義の文化の風刺の例の一つとした。しかしそ の後、経済的に文化的に発達しているが、時空的に文化的に遠くて到達できない過去をヴ ェイパーウエイヴが空想していることが分かった。すなわち「日本」は空想的ノスタルジ アの消費の対象になっていると考えた。 又、インターネットによるグローバル化のため、聴者の趣味の異種化が起こっているこ とが分かった。それにつれて音楽の入手方法と享受方法も、グローバル化傾向にあること を明らかにした。これに対し、ヴェイパーウエイヴのプロデューサーが寄付系の体制を基 準にする立場を取り、「音楽を売る」というスタンスより「受聴者に援助してもらう」と いう方法を提案している。又、/mu/と Rate Your Music のコミュニティーで行われる集団 的な音楽アーカイブの製作が音楽の蓄積と消費の可能性を広げている例であるとして取り 上げた。ストリーミングが普及している環境の中で、格納ができるファイルが徐々に物質 的な本質に変化しているのではないかと考えた。加えて「ゲートキーパー」は、発掘する 聴者に不可欠な存在であることを明らかにした。その影響が評論家にまで至っており、こ れから益々日本の様々な音楽を受け入れる条件ができるのではないかと考えられる。 以上を踏まえて、これからも聴者の「発掘」の活動で音楽シーンと音楽市場の立て直し は刺激されるのではないかと考えられる。それに対し、音楽アーカイブの蓄積と、それの 享受を容易にするゲートキーパーもアーカイブに記録され、アーカイブもゲートキーパー も更新を繰り返す消費主義体制になっているのではないであろうかということを、本研究 の結論とした。 3 Indice. Capitolo 1. Introduzione: l’Era Digitale. ···························································································· p. 7 1.1. Culture connesse. ······························································································ p. 7 1.2. Internet nel mondo. ·························································································· p. 8 1.3. Musica e Internet. ····························································································· p. 9 1.4. Oltre la “j-pop coolness”. ···················································································· p. 11 1.5. I sotterranei di Internet e subculture musicali: quesiti di ricerca. ·························· p. 12 Capitolo 2. Internet studies e stato dell’arte. ······················································································ p. 15 2.1. Internet studies e communities. ······································································· p. 15 2.2. Il binomio problematico online/offline. ········································································· p. 17 2.3. Il concetto di spazio digitale ovvero il cyberspazio. ·············································· p. 20 2.4. Comunità e comunità di interesse. ····································································· p. 22 2.5. Il concetto di comunità distribuita. ···································································· p. 24 2.6. Teorie di supporto. ·························································································· p. 25 Capitolo 3. Verso le “scene”. ············································································································· p. 27 3.1. Il mercato musicale in Giappone. ······································································ p. 27 3.2. La musica fluida. ····························································································· p. 28 3.3. Musica giapponese ed esportazione. ·································································· p. 31 3.4. L’underground viaggia verso l’America. ···························································· p. 32 3.5. “Pop”. ············································································································· p. 35 3.6. “Il j-pop è occidentale!” “No, è giapponese!”. ······················································· p. 38 3.7. Subcultura e Underground. ·············································································· p. 40 3.8. “Scavare” come metafora dell’underground. ······················································ p. 41 3.9. Individuando la scena. ····································································································· p. 43 3.10. 4 case studies. ················································································································ p. 46 3.11. Noise. ·········································································································· p. 46 3.12. Psichedelia. ····················································································································· p. 49 3.13. Underground idol. ········································································································· p. 53 3.14. Vaporwave, future funk e city pop. ································································ p. 54 3.15. Dalla musica alle scene virtuali. ··················································································· p. 60 3.16. Standard Etici. ······························································································ p. 61 Capitolo 4. Gatekeepers. ·················································································································· p. 62 4.1. La barriera linguistica e il gatekeeping. ········································································ p. 62 4.2. Noise.as e Alan Cummings. ······························································································ p. 63 4 4.3. /jp/ e la barriera linguistica. ·························································································· p. 65 4.4. Riviste generiche e clickbaiting. ········································································ p. 67 4.5. Le webzine musicali. ········································································································ p. 68 4.6. Siti dedicati, blogosfera e aficionados. ·········································································· p. 74 4.7. Il blog collettivo di Kaala. ································································································ p. 75 4.8. La blogosfera come ricerca individuale: l’esempio di Ian Martin. ·························· p. 78 4.9. Idol e il caso BiS. ··············································································································· p. 83 4.10. Gatekeepers e pubblico: obiettivi e pratiche diverse. ················································· p. 88 4.11. Il futuro dei blog musicali. ····························································································· p. 90 Capitolo 5. Comunità di interesse e interest-driven genres of participation. ········································· p. 93 5.1. Partecipazione. ················································································································· p. 93 5.2. File-sharing e condivisione di beni: verso una materializzazione del file. ················· p. 94 5.3. Tecniche di condivisione e archivismo: gli “share thread”. ········································· p. 97 5.4. Consapevolezza e responsabilità: il modello della fanbase alt-idol. ·························· p. 101 5.5. Bandcamp e donazioni: potere ai fan. ································································ p. 105 5.6. Audiocassette e future funk: nostalgia per i media morti. ·········································· p. 106 5.7. Liste per il consumo: /mu/ e gli “essentials”. ································································ p. 108 5.8. List(er)s & Listeners: RateYourMusic e l’apologia dell’accumulo. ······························ p. 111 5.9. Varietà di gusti, eclettismo, e l’esempio dei Boris. ························································ p. 112 Capitolo 6. Piattaforme multimediali. ······························································································· p. 117 6.1. YouTube, playlist e multimedialità. ··············································································· p. 117 6.2. Vaporwave e radio virtuali. ···························································································· p. 118 6.3. YouTube e musica. ············································································································ p. 120 6.4. Future funk: appropriazione o gatekeeping? ······························································· p. 121 6.5. Vaporwave e partecipazione attiva. ·············································································· p. 124 6.6. Vaporwave e orientalismo nostalgico. ·········································································· p. 126 6.7. Il punk dell’era digitale. ···································································································