Innovating Musical Tradition in Japan: Negotiating Transmission, Identity, and Creativity in the Sawai Koto School
The main questions guiding this project can be summarized as follows: First, how do the musicians of the Sawai Koto School influence, and how are they influenced by, the longer established iemoto-system schools and their ideology, which still constitute the dominant structure of the koto music scene? Second, how do these musicians continue tradition, and how do they change tradition by modernizing or globalizing it? The iemoto system, its ideology, and classical koten music maintained in this system are regarded as tradition (the dominant structure) in this context. Further, the aim is to explore how these dynamic processes interlink with the constitution of the musicians' identity. I address these questions by looking at three domains of music practice: learning, performing, and creating music, and further in the human relations present in these domains. In investigating the dialectical relation between agency and structure Bourdieu's theory of practice and his notions of objective structures, habitus, doxa, and symbolic capital are applied. Alan Page Fiske's relational models theory is also applied in order to illuminate what kind of relational forms are created in these music practices.
What people are saying - Write a review
We haven't found any reviews in the usual places.
THE SAWAI KOTO SCHOOL AN INTRODUCTION 235
KOTO HISTORY IN TRADITIONAL JAPAN UP TO 1868
KOTO HISTORY IN MODERN JAPAN 18681945
KOTO HISTORY IN THE AGE OF GLOBALIZATION IN JAPAN
SOCIAL ORGANIZATION IN KOTO MUSIC THE IEMOTO SYSTEM
PERFORMING KOTO MUSIC
CREATING KOTO MUSIC
17-string koto art music aspects century Chiba Chinese classical koten music composers compositions context created danmono Edo period ensemble exam Figure folk music gagaku gakuso Galliano gendai hogaku music Giddens globalization Groemer habitus Handwritten by author Hirano human relations ibid ideology iemoto head iemoto system instance Iwahori Keiko Japan Japanese instruments Japanese music Japanese traditional music jiuta joruri Kikkawa koto and shamisen koto music koto music scene koto musicians koto performer koto tradition koto/shamisen kumiuta Kyoto lessons mainly Meiji period Miyagi Miyagi Michio Miyagi School modernity music culture music genres music world musical practices Nagahiro Nakamura Nakanoshima nihon ongaku personal interview perspectives Photo popular postmodernity Prescott regard ryuha ryuha schools sankyoku Sawai Hikaru Sawai Kazue Sawai Koto School Sawai Tadao Seiha shakuhachi shamisen music social solo songs string structure student concerts Taisho period teacher teaching theory Tokyo traditional Japanese music Western music Yatsuhashi Kengyo