The Ashgate Research Companion to Japanese Music
Alison Tokita, Dr. David W. Hughes
Ashgate, 2008 - Music - 446 pages
Music is a frequently neglected aspect of Japanese culture. It is in fact a highly problematic area, as the Japanese actively introduced Western music into their modern education system in the Meiji period (1868-1911), creating westernized melodies and instrumental instruction for Japanese children from kindergarten upwards. As a result, most Japanese now have a far greater familiarity with Western (or westernized) music than with traditional Japanese music. Traditional or classical Japanese music has become somewhat ghettoized, often known and practised only by small groups of people in social structures which have survived since the pre-modern era. Such marginalization of Japanese music is one of the less recognized costs of Japan's modernization. On the other hand, music in its westernized and modernized forms has an extremely important place in Japanese culture and society, Beethoven's Ninth Symphony, for example, being so widely known and performed that it is arguably part of contemporary Japanese popular and mass culture. Japan has become a world leader in the mass production of Western musical instruments and in innovative methodologies of music education (Yamaha and Suzuki). More recently, the Japanese craze of karaoke as a musical entertainment and as musical hardware has made an impact on the leisure and popular culture of many countries in Asia, Europe and the Americas. This is the first book to cover in detail all genres including court music, Buddhist chant, theatre music, chamber ensemble music and folk music, as well as contemporary music and the connections between music and society in various periods. The book is a collaborative effort, involving both Japanese and English speaking authors, and was conceived by the editors to form a balanced approach that comprehensively treats the full range of Japanese musical culture.
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Context and change in Japanese music 1
music of gagaku and shomyo
4a First half of Shichi no Bongo as performed in the Tendai
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accompaniment Ainu Ainu music amateur basic biwa blind Buddhist bunraku called century Chapter chikuzen-biwa Chinese classical honkyoku composers compositions context culture developed dramatic Edo period ensemble Example Figure flute formula Fuke fushi gagaku genres gidayu-bushi hauta hayashi heike heike biwa hitoyogiri honkyoku iemoto instruments Japan Japanese music jiuta joruri kabuki kabuki dance kakegoe Kengyo kiyomoto Komoda komuso koto kotoba kotsuzumi kouta kudoki kyogen kyokusetsu Kyoto Kyushu Meiji period melodic patterns melody min'yo modern moso musicians nagauta Nagoya narrative Nihon notation Okinawan ongaku Osaka phrase pieces pitch played players popular music Prefecture recitation recordings region repertoire repertory rhythm ritual Ryukyuan sanju sankyoku Satsuma satsuma-biwa sawari scale scene senritsukei shakuhachi shamisen shamisen kumiuta shamisen music shodan shomyo singers singing sokyoku sokyoku-jiuta solo sound strings structure style sung syllables techniques tegoto-mono tenpuku theatre tokiwazu Tokyo tone traditional tuning utai utazawa vocal Western music