Kyushu University Academic Staff Educational and Research Activities Database
List of Books
Mia Nakamura Last modified date:2021.06.01

Associate Professor / Sound Culture, Arts Management / Department of Communication Design Science / Faculty of Design

1. Mia Nakamura, "Music Sociology Meets Neuroscience," in Handbook on Music and the Body, edited by Sander Gilman and Youn Kim, Oxford University Press, 10.1093/oxfordhb/9780190636234.013.6, 127-142, 2019.10, [URL], “The power of music” has been a controversial term in recent discussions regarding music and social issues. Instead of avoiding use of the term, this chapter attempts to explain the mechanism of musical effects through interdisciplinary considerations of sociology and neuroscience. The first three sections of the chapter provide an overview of intersections between sociology and cognitive science, addressing their shared interest in mediation-based and human-centered approaches. The last two sections reanalyze ethnographic findings from neuroscientific perspectives, showing why the sensitive use of music may become an effective tool for empowerment. It also suggests that musical retelling allows us to believe that we are connected to others both in the present and the past..
2. Mia Nakamura, Hazuki Kosaka, "Facilitation-based Distributed Creativity: The Inari Chorus Performance at the Itoshima International Art Festival," in Creativity in Music Education, edited by, by Yukiko Tsubonou, Ai-Girl Tan, and Mayumi Oie, Singapore: Springer,, 137-150, 2019.01, [URL], Facilitation-based distributed creativity refers to a responsible leader who facilitates a group in its creative activities and integrates members’ ideas and capacities into a final output. This article examines facilitation-based distributed creativity, focusing on the Inari Chorus performance at the 2014 Itoshima International Art Festival. The Inari Chorus, an amateur group of nine adults and three children, cocreated an original work, Song of Inari, which includes singing, ritualistic gestures, hand-clapping games, recitations, dance performances, and improvisation. The authors discuss its creativity in the representational and performing contexts, introducing two kinds of distributed creativity: challenge-based and voluntary-based. Although this article does not deal directly with educational issues, it offers a new perspective on musical education through sociological and musicological investigations of unique creative practices..