Music, Modernity and Locality in Prewar Japan: Osaka and Beyond
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academy
B01=Alison Tokita
B01=Hugh de Ferranti
Biwa Music
Category1=Non-Fiction
Category=AV
Category=NL-AV
Chopin
Classical Japanese Dance
Classical Okinawan Music
COP=United Kingdom
eq_art-fashion-photography
eq_bestseller
eq_isMigrated=2
eq_music
eq_nobargain
eq_non-fiction
ethnic minority music Japan
Fern Palms
Format=BB
Hanshin Region
Hanshin region research
HMM=234
hybrid musical genres Kansai
Imperial Theatre
IMPN=Ashgate Publishing Limited
interwar cultural studies
ISBN13=9781409411116
japanese
Japanese music history
kansai
Kansai Region
Korean Court
Korean Court Music
Korean Enclaves
Korean Music
Korean Performance Traditions
Korean Traditional Music
Language_English
mainichi
Mainichi Shinbun
meiji
musicians
Naniwa Bushi
Okinawan Immigrants
Okinawan Music
PA=Available
PD=20130823
Price=€100 to €200
PS=Active
PUB=Taylor & Francis Ltd
region
Shanghai Settlement
shinbun
Subject=Music
Takarazuka Girls
Takarazuka Revue
tokyo
Tokyo Academy
Tokyo's Asakusa
Tokyo’s Asakusa
traditional music modernisation
western
Westernisation of performance
WG=748
WMM=156
Yomiuri Shinbun
Young Man
Product details
- ISBN 9781409411116
- Weight: 748g
- Dimensions: 156 x 234mm
- Publication Date: 23 Aug 2013
- Publisher: Taylor & Francis Ltd
- Publication City/Country: GB
- Product Form: Hardback
- Language: English
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This anthology addresses the modern musical culture of interwar Osaka and its surrounding Hanshin region. Modernity as experienced in this locale, with its particular historical, geographic and demographic character, and its established traditions of music and performance, gave rise to configurations of the new, the traditional and the hybrid that were distinct from their Tokyo counterparts. The Taisho and early Showa periods, from 1912 to the early 1940s, saw profound changes in Japanese musical life. Consumption of both traditional Japanese and Western music was transformed as public concert performances, music journalism, and music marketing permeated daily life. The new bourgeoisie saw Western music, particularly the piano and its repertoire, as the symbol of a desirable and increasingly affordable modernity. Orchestras and opera troupes were established, which in turn created a need for professional conductors, and both jazz and a range of hybrid popular music styles became viable bases for musical livelihood. Recording technology proliferated; by the early 1930s, record players and SP discs were no longer luxury commodities, radio broadcasts reached all levels of society, and ’talkies’ with music soundtracks were avidly consumed. With the perceived need for music that suited 'modern life', the seeds for the pre-eminent position of Euro-American music in post-Second-World war Japan were sown. At the same time many indigenous musical genres continued to thrive, but were hardly immune to the effects of modernization; in exploring new musical media and techniques drawn from Western music, performer-composers initiated profound changes in composition and performance practice within traditional genres. This volume is the first to draw together research on the interwar musical culture of the Osaka region and addresses comprehensively both Western and non-Western musical practices and genres, questions the common perception of their being wholly separate domains
Hugh de Ferranti’s published research is on historical and contemporary forms of biwa music, the practice of Japanese music beyond Japanese shores, and music-making among minorities in colonial era Japan. He is the author of Japanese Musical Instruments (OUP 2000) and The Last Biwa Singer (Cornell University East Asia Series 2009). He is Associate Professor in Music at the University of New England. Alison Tokita is Professor and Director of the Research Centre for Japanese Traditional Music at the Kyoto City University of Arts, and adjunct Associate Professor in Japanese Studies at Monash University. She has published widely on Japanese narrative music, and is currently working on naniwa-bushi. In recent years she has researched the role of the piano in East Asian musical modernity. She is co-editor of The Ashgate Research Companion to Japanese Music (Ashgate 2008), Complicated Currents: Media Flows, Soft Power and East Asia, and Outside Asia: Japanese and Australian Identities and Encounters in Flux.
