Music, modernity and locality in prewar Japan : Osaka and beyond
著者
書誌事項
Music, modernity and locality in prewar Japan : Osaka and beyond
Ashgate, c2013
- : hardcover
- タイトル別名
-
SOAS musicology series
大学図書館所蔵 全29件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
  ノルウェー
  アメリカ
注記
"SOAS musicology series"--CIP and jacket
Includes bibliographical references and index
内容説明・目次
内容説明
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
目次
- I: Osakan Modernity: The Context
- 1: Locating the Musics of Modern Osaka
- 2: Aural Osaka: Listening to the Modern City
- II: Creation of a Modern Musical Culture
- 3: Marketing the Performing Arts in Osaka before the Twentieth Century
- 4: The Growth of Western Art Music Appreciation in Osaka during the 1920s
- 5: The Piano as a Symbol of Modernity in Prewar Kansai
- III: Making and Remaking Music Traditions
- 6: Naniwa-bushi and Social Debate in Two Postwar Periods: The Russo-Japanese War and the First World War
- 7: Tateyama Noboru: Osaka, Modernity and Bourgeois Musical Realism for the Koto
- 8: Modern Forms of Biwa Music in Osaka and the Kansai Region
- 9: An Alternative Gagaku Tradition: The Gary?kai and Modern Osaka
- IV: Hybridity in Kansai Musical Culture
- 10: Takarazuka and Japanese Modernity
- 11: Sh?chiku Girls' Opera and 1920s D?tonbori Jazz
- V: Osaka and Beyond: Ethnic Minorities and Metropolitan East Asia
- 12: Music-Making among Koreans in Colonial-Era Osaka
- 13: Music and Performing Arts of Okinawans in Interwar Osaka
- 14: The Creation of Exotic Space in the Miyako-odori: 'Ry?ky?' and 'Ch?sen' 1
- 15: Osaka and Shanghai: Revisiting the Reception of Western Music in Metropolitan Japan
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