Journal articles: 'Popular music competitions Japan'

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Ogawa, Masafumi. "Music Education for “Musically Talented Children” in Japan: A Career Path Toward Professionals and Three Music Education Organizations." International Journal of Social Sciences and Artistic Innovations 1, no. 1 (September 30, 2021): 7–17. http://dx.doi.org/10.35745/ijssai2021v01.01.0003.

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Japan has been one of the leading countries in Asia, where many world-class music professionals are continually produced. As an insider, the author has witnessed and experienced how “musically talented children” are raised in Japan for more than three decades. The purpose of this paper is, therefore, to articulate the career path for becoming professional classical musicians from infants through college period. The findings are four folds: (1) piano is the most popular instrument, to begin with from early age, (2) most young children participate in music competitions, (3) there are three critical periods when young children have to decide whether they continue to study music or quit, (4) Two music universities, the Tōhō Gakuen Music School and the Tokyo National University of the Arts are the top schools in producing professional musicians, particularly in the piano, the violin, and the composition fields. In addition, the systems of three notable music education organizations, the Suzuki Methods, the Tōhō Music School for Children, and the PTNA, are explained.

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Mitsui, Toru. "Popular music studies in Japan." Popular Music 7, no. 1 (January 1988): 103. http://dx.doi.org/10.1017/s0261143000002592.

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Kawamoto, Akitsugu. "Popular Music Studies in Japan: Reviewing the Journal Popular Music Studies." IASPM Journal 9, no. 2 (December 2019): 86–91. http://dx.doi.org/10.5429/2079-3871(2019)v9i2.8en.

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Jones, Peter Blundell. "Reflections on the competition for National Centre for Popular Music, Sheffield." Architectural Research Quarterly 1, no. 4 (1996): 16–27. http://dx.doi.org/10.1017/s1359135500003043.

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For many years, architects in the United Kingdom have looked enviously at the competition system in the German speaking countries and Scandinavia. Now, with the introduction of a major public buildings programme partially funded by the new National Lottery, competitions are becoming more common in Britain. This paper opens with some reflections on the advantages and disadvantages of competitions. It then describes the conduct and outcome of a single Lottery-funded competition for the design of a building for which there were no precedents and in which issues of content and image were major preoccupations for both designers and assessors.

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Tokay, Dilbağ. "Impact of Online Music Competitions on the Young Musicians’ Professional Skills and Their Musical Development During the Covid-19 Pandemic." European Journal of Social Science Education and Research 7, no. 3 (December 12, 2020): 80. http://dx.doi.org/10.26417/466ven59n.

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Classical music competitions present a medium for the development and motivation of young musicians. In this context, they prepare young musicians to professional life and play an important role in their career. Online competitions became more popular due to the Covid-19 pandemic with an increasing number of high professional quality applicants. This research aims to focus on the impact of online music competitions on the young musicians’ professional skills and their musical development. The research will set forth the differences between online competitions and real life competitions from various aspects such as application process, video presentations, and efficiency of the young musicians in using available technology, jury formation, evaluation of the applicants' performances by the jury as well as the applicants' evaluation of their own performance among other applicants.

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GILMAN, LISA, and JOHN FENN. "Dance, gender, and popular music in Malawi: the case of rap and ragga." Popular Music 25, no. 3 (September 11, 2006): 369–81. http://dx.doi.org/10.1017/s026114300600095x.

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Rap and ragga musics have found a place on the musical landscape of Malawi over the last decade, exemplified in a nation-wide scene characterised by competitions. Recordings and associated materials of rap and ragga that inform Malawian youth interpretations tend to emphasise male participation and masculine symbols. Competitions are male-dominated in their organisational structure and participatory roles. Though the articulated focus of these events is the musical component, movement practices are at the core of the scene, comprising part of contestants' performances and the more informal activities of spectators. Female involvement as dancers is much greater than as music-makers, making attention to dance crucial for understanding gender dynamics. Our exploration of intersections between dance, music, gender and class provides insight into the reasons for and implications of male dominance in this popular music/dance scene.

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Untung, Rachel Mediana. "Investigating the Indonesia Folk Song Arrangement in Six Choir Competition, 2019." Resital: Jurnal Seni Pertunjukan 21, no. 2 (June 1, 2021): 85–98. http://dx.doi.org/10.24821/resital.v21i2.4357.

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This study is aimed at investigating the trend of folk song arrangement in six Choir Competitions Folklore Category, 2019. It is specifically focused on investigating three things: the trend of arrangers’ names, title of, origin of folk songs performed in the competitions, the characteristic of the arrangement and relationship between the arrangers and the national choir competitions committee. The reason of choosing the topic is because such a folk song arrangement is seen to be one of the key factors in conducting a choir competition, folklore category. As for the research method, it is more on music behaviour in a relational teritory. Therefore, it used a document study and qualitative research design. In this case, the researcher observed in six choir competitions and interviewed the arrangers, choir leaders, and musicians taking apart in the competitions. The findings revealed that the most frequently used arrangement was Ken Steven’s “Cikala Le Pong Pong”, the most popular arranger was Budi Susanto Yohanes, and Java and Madura were the two origins from which most of the folk songs were performed in choir competitions. The characteristic of the most popular one due to its unique arrangement in the form of vibrant music rhythm and body percussion. It revealed that an arranger is the first key agent in a systemic social-organization mechanism like in a choir competition.

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Atsuko, Kimura. "Japanese corporations and popular music." Popular Music 10, no. 3 (October 1991): 317–26. http://dx.doi.org/10.1017/s0261143000004670.

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It has been a long time since Japan was first considered an economic power. Japanese automobile, electronic and computer companies have entered the world market and are now competing fiercely with each other. Their financial power and technologies are focused both domestically and overseas, and their launch into culture through advertising strategies is another facet of that power which has emerged since the 1980s (Un'no 1990).

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De Ferranti, Hugh. "‘Japanese music’ can be popular." Popular Music 21, no. 2 (May 2002): 195–208. http://dx.doi.org/10.1017/s026114300200212x.

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Traditional genres, modern popular music, ‘classical’ concert music and other styles of music-making in Japan can be viewed as diverse elements framed within a musical culture. Bourdieu's concept of habitus, and Williams' of dominant, residual and emergent traditions, are helpful in formulating an inclusive approach, in contrast to the prevailing demarcation between traditional and popular music research. Koizumi Fumio first challenged the disciplinary separation of research on historical ‘Japanese music’ and modern hybrid music around 1980, and the influence of his work is reflected in a small number of subsequent writings. In Japanese popular music, evidence for musical habitus and residual traits of past practice can be sought not only in characteristics typical of musicological analysis; modal, harmonic and rhythmic structures; but also in aspects of the music's organisation, presentation, conceptualisation and reception. Among these are vocal tone and production techniques, technical and evaluative discourse, and contextual features such as staging, performer-audience interaction, the agency of individual musicians, the structure of corporate music-production, and the use of songs as vehicles for subjectivity. Such an inclusive approach to new and old musical practices in Japan enables demonstration of ways in which popular music is both part of Japanese musical culture and an authentic vehicle for contemporary Japanese identity.

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Junko, Kitagawa. "Some aspects of Japanese popular music." Popular Music 10, no. 3 (October 1991): 305–15. http://dx.doi.org/10.1017/s0261143000004669.

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In 1959, the Conlon report, a presentation of United States government policies in relation to Asian cultures, stated the following about Japanese culture (in a section titled ‘Social change’):Developments within and among the various Japanese social classes suggest the dynamic, changing quality of modern Japan … No area of Japan, moreover, is beyond the range of the national publications, radio, and even TV. New ideas can be quickly and thoroughly disseminated; it is in this sense that Japanese culture can become more standardised even as it is changing. Many of the changes look in the direction of the United States; in such diverse fields as gadgets, popular music, and fashions. American influence is widespread. And this is but one evidence of the general desire to move away from the spartan, austere past toward a more comfortable, convenient future.

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Koizumi, Kyoko. "Popular music, gender and high school pupils in Japan: personal music in school and leisure sites." Popular Music 21, no. 1 (January 2002): 107–25. http://dx.doi.org/10.1017/s0261143002002064.

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There are few studies offering a comprehensive understanding of the relationship between popular music and youth cutting across both school and leisure sites. This article bridges missing links between girls and boys as performers and listeners of popular music in school and leisure sites. The aim is to investigate how high school pupils' discourses on popular music take place in different settings (i) with relation to gender, and (ii) with relation to the nature of musical practices. Through my ethnographic study conducted in Japan, pupils' techniques for employing popular music in various sites are clarified; firstly, in the formal site (classroom); secondly, in the semi-formal site (brass band club in school / high school band event); thirdly, in the informal site (boys as performers / visual band costume play gatherings). Three categorisations of popular music are theorised: ‘personal’, ‘common’ and ‘standard’. Boys' strategies for negotiation and differentiation, and girls' tactics for utilising common music in order to conceal their own personal music are found in each site.

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Furmanovsky, Michael. "American Country Music in Japan: Lost Piece in the Popular Music History Puzzle." Popular Music and Society 31, no. 3 (July 2008): 357–72. http://dx.doi.org/10.1080/03007760701682383.

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Mitsui, Toru. "Two further publications in English on popular music in Japan." Popular Music 12, no. 2 (May 1993): 192–94. http://dx.doi.org/10.1017/s0261143000005572.

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McGoldrick, Gerry. "Tōru Mitsui (ed.), Made in Japan: Studies in Popular Music." Volume !, no. 13 : 1 (November 25, 2016): 190–91. http://dx.doi.org/10.4000/volume.5114.

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Matsue, Jennifer Milioto. "Made in Japan: Studies in Popular Music ed. by Tōru Mitsui." Asian Music 49, no. 2 (2018): 171–75. http://dx.doi.org/10.1353/amu.2018.0023.

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Chan, Clare Suet Ching. "Editorial." Malaysian Journal Of Music 9 (December 28, 2020): i—vi. http://dx.doi.org/10.37134/mjm.vol9.11.2020.

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The Malaysian Journal of Music, Volume 9, presents ten articles on issues in ethnomusicology, musicology, composition, music education, popular music and music technology. These issues derive from countries including Japan, Korea, The Philippines, Thailand, Indonesia, the United States and Malaysia.

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Mitsui, Tôru. "Musicology, ethnomusicology and popular music studies: two conferences in Japan in 2002." Popular Music 22, no. 3 (October 2003): 375–77. http://dx.doi.org/10.1017/s0261143003003246.

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The Musicological Society of Japan celebrated its fiftieth anniversary by holding an international congress on 2–4 November 2002 in Shizuoka, a city which is not far from Tokyo, whose skyline is backed by the imposing Mount Fuji. 470 people were registered as participants, out of whom about 100 were from abroad. The conference coincided with the International Convention of Street Performance in the same city.

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박진수. "East Asia's Popular Music and “Korean Wave” of 1930th in Modern Japan." 아시아문화연구 29, no. ll (March 2013): 165–88. http://dx.doi.org/10.34252/acsri.2013.29..007.

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Koyama, S. "History of bird-keeping and the teaching of tricks using Cyanistes varius (varied tit) in Japan." Archives of Natural History 42, no. 2 (October 2015): 211–25. http://dx.doi.org/10.3366/anh.2015.0306.

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The keeping of pet birds in Japan is reviewed with emphasis on Cyanistes varius (varied tit). Traditionally, bird-keeping in Japan was mainly for the enjoyment of their songs. Songbird competitions were popular and training of birds to sing was common, especially in the Edo Era from the seventeenth to the nineteenth centuries, which meant that it was known that birds learn to sing and have dialects in their songs. There were districts famous for producing birds with beautiful voices. Within the bird-keeping culture of Japan, the varied tit had a specific image, which was different from other birds. They were trained to perform tricks and were used in street performances from the Edo Era until the middle of the twentieth century, when the tradition disappeared. The decline of the bird-keeping culture and the training of tricks may benefit the conservation of wild birds, but it also marks the loss of an ancient cultural tradition in Japan.

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Reehl, Duncan. "Musicalizing the Heart Sutra: Buddhism, Sound, and Media in Contemporary Japan." Religions 12, no. 9 (September 13, 2021): 759. http://dx.doi.org/10.3390/rel12090759.

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In Japan, explicitly religious content is not commonly found in popular music. Against this mainstream tendency, since approximately 2008, ecclesiastic and non-ecclesiastic actors alike have made musical arrangements of the Heart Sutra. What do these musical arrangements help us to understand about the formation of Buddhist religiosity in contemporary Japan? In order to answer these questions, I analyze the circulation of these musical arrangements on online media platforms. I pursue the claim that they exhibit significant resonances with traditional Japanese Buddhist practices and concepts, while also developing novel sensibilities, behaviors, and understandings of Buddhist religiosity that are articulated by global trends in secularism, popular music, and ‘spirituality’. I suggest that they show institutionally marginal but publicly significant transformations in affective relationships with Buddhist religious content in Japan through the mediation of musical sound, which I interpret as indicative of an emerging “structure of feeling”. Overall, this essay demonstrates how articulating the rite of sutra recitation with modern music technologies, including samplers, electric guitars, and Vocaloid software, can generate novel, sonorous ways to experience and propagate Buddhism.

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Howard, Karen. "Traditional Japanese Music in Contemporary Times." General Music Today 33, no. 3 (February 11, 2020): 52–57. http://dx.doi.org/10.1177/1048371320902753.

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Music in Japan is richly varied and includes documented genres dating back more than 1000 years. From classical court music known as gagaku, to the dramatic music plays in kabuki, to contemporary J-pop (subgenre of popular music), educators can find a sound to suit every instructional need. The focus here will be on considerations of three traditional instruments used in Japan: the koto (zither), shakuhachi (bamboo flute), and shamisen (three-stringed instrument), and a unique educational experience for those interested in studying these traditions. The learning program is offered through a koto school in Tokyo that is more than a century old, and they now offer a course in English every other summer. Also offered are suggestions for incorporating traditional Japanese music into elementary and secondary general music settings.

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Roberts, Martin. "‘A new stereophonic sound spectacular’: Shibuya-kei as transnational soundscape." Popular Music 32, no. 1 (January 2013): 111–23. http://dx.doi.org/10.1017/s026114301200058x.

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AbstractThis paper focuses on Shibuya-kei, a style of independent popular music that emerged in Japan in the late 1980s and which has been influential in the popularisation of J-pop worldwide. Although usually treated as a uniquely Japanese musical genre, Shibuya-kei was from its inception defined by an ostentatious internationalism, fusing jazz, easy listening and bossa nova with British, American and French retro-pop styles. Tracing the international itineraries of Shibuya-kei musicians and the role of Western musicians and labels in promoting it outside Japan, this paper characterises Shibuya-kei not as just another J-pop genre but as a transnational soundscape, a collaborative project produced by a network of musicians circulating between Japan and the UK, the US, France, Germany, Spain and Brazil. As such, the paper suggests, it requires us to rethink the place of the national in relation to popular music.

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Gronow, Pekka, and Jānis Daugavietis. "Pie laika … Now is the time. The singing revolution on Latvian radio and television." Popular Music 39, no. 2 (May 2020): 270–93. http://dx.doi.org/10.1017/s0261143020000380.

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AbstractIn the Soviet Union, song competitions had an important role in presenting new artists and songs. The Mikrofona aptauja contest of Latvian radio (1968–1994) was the main forum for new Latvian pop music. It had a reputation for expressing nationalist feelings within the limits of Soviet censorship. In 1988, with the rise of new political movements in the Soviet Union, the competition became a venue for the Latvian independence movement. The winning song of 1988 was a demand for ‘freedom to the fatherland’. The competition also played a part in the rehabilitation of pre-war popular music which had been forbidden in Soviet Latvia. The paper discusses the role of journalists, politicians and songwriters in this process. After the privatisation of the economy, the song competition was taken over by private entrepreneurs, as public interest in political songs waned.

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Karantonis, Pamela. "Takarazuka is burning: music theatre and the performance of sexual and gender identities in modern Japan." Studies in Musical Theatre 1, no. 2 (August 31, 2007): 153–65. http://dx.doi.org/10.1386/smt.1.2.153_1.

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The Takarazuka Revue, an all-female music theatre troupe founded in 1913 as the flagship of an elite performance academy, with its ultimate interest in Broadway musicals and western music, theatre and dance influences, is an unlikely foil for its male antecedent,kabuki. Like the ongoing revival ofkabuki, there had been an ideological as well as entrepreneurial impetus behind the Revue's creation, which reflected changes in the nature of popular entertainment in Japan. Kobayashi Ichiz, the founder of the Takarazuka Revue, claimed that Japan needed a new form of national theatre that was based in popular culture orkokumingeki, an entertainment for the masses in the style ofkabukiin that it was to feature dance and music. What Kobayashi could not foresee was that the Takarazuka Revue would grow into quite the opposite a cult-status entertainment for its enduring fandom of housewives and fanatical teenage girls.

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Huang, Qixuan. "Trends in the Communication of Chinese and Japanese Pop Music." International Journal of Education and Humanities 3, no. 1 (June 8, 2022): 47–50. http://dx.doi.org/10.54097/ijeh.v3i1.453.

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With the growth of demand for cultural exchange between China and Japan since the normalization of diplomatic relations, two-way interactive communication in the field of Chinese and Japanese popular music has passed nearly fifty years. As the background of the times has changed, the focus of the two-way dissemination trend has also changed. In general, it seems that Japanese pop music has had a greater impact on China than Chinese musical elements have contributed to Japan, due to the different backgrounds and cultural policies of the two countries' music industries. To promote China's pop music outward, we should learn from the advanced experience of Japanese pop music dissemination, improve the domestic pop music development environment, broaden the music promotion and dissemination channels, and realize mature two-way dissemination.

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KANEDA, MIKI. "Acoustics of the Everyday: Between Growth and Conflict in 1960s Japan." Twentieth-Century Music 12, no. 1 (January 28, 2015): 71–96. http://dx.doi.org/10.1017/s1478572214000188.

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AbstractFocusing on a multimedia practice labelled ‘intermedia art’, this article shows how experimental musical practices complicate popular characterizations of the idea of politics in 1960s Japan that are polarized by their focus on extraordinary economic growth, on the one hand, and radical protest, on the other. Like their counterparts in art, experimental musicians and artists such as Shiomi Mieko, Kosugi Takehisa, and Yuasa Jōji took an interest in everyday sounds, spaces, and technologies as sites for artistic exploration. However, their musical approaches did not share the overtly political engagement with the scenes of protest playing out in the public sphere that played a central role in the visual arts. Through an investigation of the notion of ambiguity in the acoustics of intermedia, the article seeks to re-examine understandings about the role of sound in shifting perceptions about political participation.

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Oh, Yumin. "Comparison of the Factors Behind K-Pop’s International Success and the Popular Music Industries of its Neighbors." BCP Social Sciences & Humanities 20 (October 18, 2022): 266–70. http://dx.doi.org/10.54691/bcpssh.v20i.2327.

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Unlike the widespread success of K-Pop, the popular music industries of neighboring Japan and China did not enjoy a similar level of global success. This paper examines the success of the South Korean popular music industry that transformed K-Pop from a national pop genre to an international phenomenon through three factors: the top-down approach taken by the K-Pop industry, emphasis on exporting its contents, and the absence of government suppression. It then explores possible reasons as to why the pop music industries of Korea’s neighbors, Japan, and China, did not achieve a similar level of global success by “testing” them to the factors that led to the popularity of K-Pop. On comparing the circumstances in these nations to the three factors examined in this paper, J-Pop did not adapt a top-down approach in its industry nor did it produce content designed appeal to export markets. C-Pop, in addition to these two factors, did not meet the third factor.

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Chandra, Jennifer Andriany, and Jenny Mochtar. "Sexualized Depictions of AKB48 Girls in Their Summer Music Videos." k@ta kita 10, no. 3 (December 20, 2022): 579–86. http://dx.doi.org/10.9744/katakita.10.3.579-586.

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A pop idol group in Japan, AKB48, has female members capable of attracting the opposite sex into their fans. In this study, I will analyze the depictions of women portrayed in AKB48’s five summer music videos. To reach the objective of my analysis, I will use the theory of male gaze, specifically on the way the members are depicted in the videos. From my analysis, I discovered that through the perspective of male gaze, the idols are depicted as alluring, seductive, and playful. It can be assumed that the portrayal might be a strategy used to hoist their popularity over the other girl groups in Japan. Therefore, the sexualized depiction of the idols is actually proven to be successful in making the group popular.

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Asai, Susan Miyo. "Nisei Politics of Identity and American Popular Music in the 1930s and 1940s." Ethnic Studies Review 32, no. 2 (January 1, 2009): 92–119. http://dx.doi.org/10.1525/esr.2009.32.2.92.

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Growing nationalist thinking and anti-immigration legislation in American politics today calls for a critical historicizing of the continuing ambiguities of U.S. citizenry and notions of what it is to be an American. The identity crisis of Nisei-second generation Japanese Americansresulted from the complex intersection of America's racialized ideology toward immigrants, California's virulent anti-Asian agitation, and the economic and political power struggles between the United States and Japan in gaining dominance of the Pacific region.

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Fracchia, Roberto. "Visual kei: visuality, narratives and textuality in a musical sub-culture." Religación. Revista de Ciencias Sociales y Humanidades 7, no. 33 (September 26, 2022): e210949. http://dx.doi.org/10.46652/rgn.v7i33.949.

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This article seeks to show how narrative, textuality, and visuality are essential elements of a music genre, going to reinforce its style as much as its symbolism and perception. The visual kei genre, a popular music style in Japan, is used in the article. Although it is often considered a style of hard rock or heavy metal, the article will emphasize how the use of narratives (the characterization of performers), visuality (fashion, make-up, coloring, etc.) and textuality (lyrics, symbolism, language) make this genre a true sub-culture. Through hermeneutic analysis and taking phenomena as examples, it will show how music can thus become a form of expression of those people who feel excluded from Popular Culture and find in one of these mentioned elements a way to express their identity. It will then show how the sub-culture is inclusive for those people whose identity is not reflected by Popular Culture.

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Knight, John. "The temple, the town-office and the migrant: demographic pluralism in rural Japan." European Journal of Sociology 35, no. 1 (May 1994): 21–47. http://dx.doi.org/10.1017/s0003975600006755.

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One widespread image of Japanese internal migration is to be found in a well-known ballad Kita kuni no haru, ‘The northern country spring’, one of the biggest hits of Japanese popular music in the 1970s. The ballad is about a man reflecting on his furusato, the rural hometown from which he migrated to the city.

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Koizumi, Kyoko. "Creative Music Education in Japan during the 1920's: The Case of the Elementary School Attached to Nara Women's Higher Teachers College." British Journal of Music Education 11, no. 2 (July 1994): 157–62. http://dx.doi.org/10.1017/s0265051700001030.

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‘Creative music-making’, as developed in recent years in Great Britain and other countries, has also become popular in Japanese music education; for many music teachers have come to think seriously about the significance of child-centred music education instead of teacher-centred music education. Such a trend seems to be new. However, as in the United States and Great Britain, child-centred music education has been implemented previously – during the 1920's, in Japan's case. This development began in the Elementary School Attached to Nara Women's Higher Teachers College. The author describes the ideas and practices of creative music education in this school, and its historical background, comparing them with creative music-making today.

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TOKIMITSU, YOSHIE, KUNIKO MAEDA, SATOSHI MURAO, and EWALD HENSELER. "External-PIXE identification of material for popular music pipes during the late Meiji era, Japan." International Journal of PIXE 08, no. 02n03 (January 1998): 155–66. http://dx.doi.org/10.1142/s0129083598000194.

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Two types of music pipes, Ginteki and Suifûkin, that were popular during the late Meiji period in Japan were semi-quantitatively analyzed by the external-PIXE at RIKEN. The aim of this study is to identify the material used for these pipes and to assist the description to make an instrumental catalogue. Our results show that most of the collected Ginteki, literally silver flute, is composed of two parts. One is the whistle head of Pb - Sb alloy with the Pb to Sb ratio between 5.9 and 6.4; and the other is the main body with six holes which is made of tinplate. All of the Ginteki in this study are nickel coated. The Suifûkin, on the contrary, is made of only tinplate and is not coated with nickel.

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De Launey, Guy. "Not-so-big in Japan: Western pop music in the Japanese market." Popular Music 14, no. 2 (May 1995): 203–25. http://dx.doi.org/10.1017/s0261143000007443.

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The phrase ‘big in Japan’ has become a popular cliché, used to describe acts which are meant to be enjoying Japanese success: anyone from Kylie Minogue to Primal Scream; from Dead or Alive to Blur. It seems that even the most unregarded artists can make it in Japan. Even Spinal Tap – the fictional, washed-up heavy metal band from Rob Reiner's film of the same name – were finally able to find success in Japan. The implication seems to be that the Japanese hunger for Western culture is so strong that even bands who have failed in their own countries can succeed in the Japanese market. Indeed, an expressed belief that Japanese listeners could not get enough of Western music was the usual reaction when I told acquaintances that I was studying the Japanese pop music market. This belief is perpetuated by music magazines, which regularly print stories detailing bizarre acts of devotion by Japanese fans.

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Sheppard, W. Anthony. "Continuity in Composing the American Cross-Cultural: Eichheim, Cowell, and Japan." Journal of the American Musicological Society 61, no. 3 (2008): 465–540. http://dx.doi.org/10.1525/jm.2008.61.3.465.

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Abstract Japanese music has repeatedly served as an exotic model for those American composers seeking “ultra-modern” status. Henry Eichheim's and Henry Cowell's engagements with Japan offer rich case studies for reconsidering our common critical approaches to cross-cultural works, prompting us to question the temporal, geographic, generic, and high/low boundaries typically employed in modernist taxonomy. I find that attempts to employ categorically such terms as “appropriation” and “influence” and “modernist” and “post-modernist” in evaluating cross-cultural compositions limits our experience of such works and that specific examples tend to demonstrate the full contradictory and multifaceted nature of musical exoticism. I turn first to the impact of literary japonisme and travel on Eichheim and consider his aesthetic and didactic motivations. The writings of Lafcadio Hearn provided Eichheim with ready-made impressions of Japan and directly shaped his compositional responses. I note the influence of gagaku and shōō pitch clusters and briefly compare Eichheim's work with that of Hidemaro Konoye (Konoe). I then chronicle Cowell's lifelong encounters with Japanese music, focusing on his study of the shakuhachi with Kitaro Tamada, his experiences at the 1961 Tokyo East-West Music Encounter Conference, and his collaboration with the koto performer Kimio Eto, which reveal the limits of Cowell's embrace of musical hybridity. I argue that Cowell's mature Japanese-inspired works should be considered within the context of American Cold War cultural diplomacy and contemporaneous works of popular, jazz, and film music.

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Smith, Graeme. "Australian country music and the hillbilly yodel." Popular Music 13, no. 3 (October 1994): 297–311. http://dx.doi.org/10.1017/s0261143000007212.

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Of the seventy-five tracks issued as a historical survey of Australian country performers from 1936 to 1960, sixty-eight feature a yodelling interlude, and in many the yodelling forms the main part of the performance. The importance of this vocal technique in Australian country music, and its persistence till the present day is a striking feature of the genre. Prominent Australian performers such as Wayne Horsborough comment that yodelling before country audiences in the USA produces reactions of amazement, for the technique has been almost totally abandoned by current American performers. Yet because most historical commentary on Australian country music has stressed textual development, the presence of the yodel, a wordless interlude, is often merely noted, even if with an acknowledgement of the skill of performers in this technique. And for those in the present period wishing to promote Australian country music to a broader audience, the yodel tends to be a source of embarrassment. The country music industry today is preoccupied with ‘throwing off the hick image’ and emphasising the broad appeal of the genre, and to many current propagandists for Australian country music yodelling is an aspect of both the history and current state of the music which condemns them to commercial unacceptability. Yet it has remained popular with audiences and a significant number of performers, and recently a telemarketed album of yodelling songs by veteran country performer Mary Schneider sold at Australian platinum levels (Latta, 1991, p. 150). Country music clubs, which form a backbone of committed support for the genre, frequently organise local festivals where talent quests characteristically include yodelling competitions.

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Moon, Krystyn R. ""There's no Yellow in the Red, White, and Blue": The Creation of Anti-Japanese Music during World War II." Pacific Historical Review 72, no. 3 (August 1, 2003): 333–52. http://dx.doi.org/10.1525/phr.2003.72.3.333.

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This article focuses on the production of anti-Japanese music during World War II through the frameworks of popular culture, consumption, and propaganda and by analyzing the music itself, as well as lyrics and sheet music covers. Anti-Japanese music codified certain racial beliefs while distinguishing among Asian nationalities. Portraying Japan in racialized and gendered terms told Americans something about themselves and white male superiority. These musical images also demonstrated the dialogue between the music industry and its consuming audience. Publishers and composers tried to describe the nation's emotions toward the enemy. Although their early efforts were somewhat successful, overall, anti-Japanese songs were not. Consumers looked to other musical forms and lyrics to embody the war, not necessarily voting against racism, but for more innovative music.

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Nugroho, Bhakti Satrio. "American Cultural Imperialism in 1960s Japan as Seen in Haruki Murakami’s Norwegian Wood." Jurnal Lingua Idea 11, no. 1 (June 4, 2020): 1. http://dx.doi.org/10.20884/1.jli.2020.11.1.2361.

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Haruki Murakami is mostly well-known for his many works and is considered as one of the most influential writers in Japan. One of his greatest works is a nostalgic novel Norwegian Wood which named after The Beatles song, Norwegian Wood (This Bird Has Flown) in their album Rubber Soul (1965). It becomes #1 bestselling novel in Japan. This novel resembles many aspects of “Americanization” of Japanese young adult life in the 1960s Japan which was strongly influenced by American popular culture. Many Japanese in this novel adopt Western culture which was popular in the United States. Hollywood and American music became central part of the main story in Haruki Murakami’s Norwegian Wood. By using cultural imperialism theory, this research focuses on the imposition and glorification of American culture in 1960s Japan which is celebrated as part of central storyline. American cultural imperialism can be seen in dissemination and glorification of American popular culture and American way of life (lifestyle) among Japanese young adults. Furthermore, they create many social and cultural changes. It is further helped by the post-war Japanese’s inferiority after losing to the United States in World War II. In fact, Western thoughts and beliefs are part of “American gifts” during U.S occupation which disseminate even after the end of occupation. Thus, this historical postcolonial relationship between Japan (as the colonized) and the United States (as the colonizer) massively supports “Americanization” of 1960s Japan which results a loss of identity and a cultural dependency of Japan toward the United States.

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Lancashire, Terence. "World music or Japanese - the gagaku of Tôgi Hideki." Popular Music 22, no. 1 (January 2003): 21–39. http://dx.doi.org/10.1017/s0261143003003027.

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The term ‘world music’ usually conjures up images of musics from ‘remote’ corners of the world. However, that remoteness is not always geographical and can, for example, be chronological. Tôgi Hideki, a former musician from the Imperial court in Japan, has sought to introduce court music - gagaku - to a wider audience through the reworking of traditional gagaku pieces and new compositions for gagaku instruments. Gagaku boasts a history of over 1,200 years and its esoteric nature inhibits popular interest. Tôgi Hideki’s popularised gagaku, on the other hand, has found a new audience for gagaku, and his music serves as a bridge introducing Japanese back to a remote part of Japanese musical culture.

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Lippit, Takuro Mizuta. "Ensembles Asia: Mapping experimental practices in music in Asia." Organised Sound 21, no. 1 (March 3, 2016): 72–82. http://dx.doi.org/10.1017/s1355771815000394.

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In Western countries and in Japan, experimental practices of music have developed into larger communities that share a common musical aesthetic and language, and are generally associated with genres such as noise music, free improvisation, or experimental music. However in South East Asia, and particularly in Indonesia, these categories are of little use for finding artists making unique music. Instead, distinctly individualistic styles and a form of musical experimentalism is found at the edge of more popular genres such as punk, metal, or as a result of incorporating traditional and indigenous musical influences. Ensembles Asia is project that aims to explore these forms of musical experimentations that slip through conventional categorisations of music. The project also tries to cultivate a new network of musicians through playing together in a large improvising ensemble.

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Wu, Yuqing. "Can Pop Culture Allay Resentment? Japan’s Influence in China Today." Media and Communication 9, no. 3 (August 5, 2021): 112–22. http://dx.doi.org/10.17645/mac.v9i3.4117.

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In China, despite the traumatic collective memory relating to militaristic Japan during World War II, an increasing number of Chinese young adults have developed an obsession with Japanese culture, due to its export of anime, movies, pop music, and other popular culture. Based on interviews with 40 Chinese and Japanese young adults, this work examines how contemporary pop culture and historical war memories related to Japan influenced Chinese young adults, who had to reconcile their contradictory sentiments toward the Japanese government, people, and culture. The success of Japanese pop culture in China also shows how the allegedly apolitical, virtual sphere of entertainment has helped build Japan’s soft power through shaping a cool image of Japan in Asia and worldwide.

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Zhang, Qian, and Keith Negus. "East Asian pop music idol production and the emergence of data fandom in China." International Journal of Cultural Studies 23, no. 4 (February 10, 2020): 493–511. http://dx.doi.org/10.1177/1367877920904064.

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This article traces the formation of popular music idol industries in China and the emergence of data fandom. It charts the growth of digital platforms and historicizes the commercial and geopolitical itinerations linking cultural production in Japan, South Korea, and China. It locates data fandom as an integral part of the popular music industries reconfigured by digital social media platforms; a structural change from the production-to-consumption ‘supply chain’ model of the recording era towards emergent circuits of content that integrate industries and audiences. Data fans understand how their online activities are tracked, and adopt individual and collective strategies to influence metric and semantic information reported on digital platforms and social media. This article analyses how the practices of data fans impact upon charts, media and content traffic, illustrating how this activity benefits the idols they are following, and enhances a fan’s sense of achievement and agency.

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Lehtonen, Lasse. "Japanese women singer-songwriters of the 1970s: female agency, musical impact and social change." Popular Music 40, no. 1 (February 2021): 114–38. http://dx.doi.org/10.1017/s0261143021000088.

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AbstractWith the debuts of highly popular artists such as Matsutōya Yumi, Nakajima Miyuki and Takeuchi Mariya, Japanese popular music of the 1970s saw a rise of young female singer-songwriters. Not only were they notably successful commercially but they were also respected as creative artists. This recognition and valuation of female professional creativity was extraordinary from a gender point of view. Furthermore, their position as active social agents defied the social expectations for women in Japan at that time. In this respect, they can be conceptualised as a musical embodiment of the movements pursuing female emancipation in the 1970s. While the musical significance of these female singer-songwriters has been recognised in previous studies, the gender point of view has remained largely unaddressed. By drawing from theories about female musicians and canon formation, this article re-assesses the social significance of Japanese female singer-songwriters of the 1970s.

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Lie, John. "Popular Music and Political Economy : South Korea and Japan in the 2010s, or Girls’ Generation and AKB48." Culture and Empathy: International Journal of Sociology, Psychology, and Cultural Studies 2, no. 1 (March 25, 2019): 3–17. http://dx.doi.org/10.32860/26356619/2019/2.1.0002.

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Liew, Kongmeng, Yukiko Uchida, and Igor de Almeida. "Cultural differences in music features across Taiwanese, Japanese and American markets." PeerJ Computer Science 7 (August 3, 2021): e642. http://dx.doi.org/10.7717/peerj-cs.642.

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Background Preferences for music can be represented through music features. The widespread prevalence of music streaming has allowed for music feature information to be consolidated by service providers like Spotify. In this paper, we demonstrate that machine learning classification on cultural market membership (Taiwanese, Japanese, American) by music features reveals variations in popular music across these markets. Methods We present an exploratory analysis of 1.08 million songs centred on Taiwanese, Japanese and American markets. We use both multiclass classification models (Gradient Boosted Decision Trees (GBDT) and Multilayer Perceptron (MLP)), and binary classification models, and interpret their results using variable importance measures and Partial Dependence Plots. To ensure the reliability of our interpretations, we conducted a follow-up study comparing Top-50 playlists from Taiwan, Japan, and the US on identified variables of importance. Results The multiclass models achieved moderate classification accuracy (GBDT = 0.69, MLP = 0.66). Accuracy scores for binary classification models ranged between 0.71 to 0.81. Model interpretation revealed music features of greatest importance: Overall, popular music in Taiwan was characterised by high acousticness, American music was characterised by high speechiness, and Japanese music was characterised by high energy features. A follow-up study using Top-50 charts found similarly significant differences between cultures for these three features. Conclusion We demonstrate that machine learning can reveal both the magnitude of differences in music preference across Taiwanese, Japanese, and American markets, and where these preferences are different. While this paper is limited to Spotify data, it underscores the potential contribution of machine learning in exploratory approaches to research on cultural differences.

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Bochmann, Minari. "Zur Rezeption deutscher Musik in der japanischen Musikpublizistik während des Pazifischen Krieges - eine Zwischenbilanz." Die Musikforschung 73, no. 1 (September 22, 2021): 31–46. http://dx.doi.org/10.52412/mf.2020.h1.29.

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This article analyses the reception of German music in the music press of Japan during the Pacific War, against the bakdrop of the German-Japanese policy of alliance and a twofold centralization of the Japanese music press. In the first half of the 1940s the number of journals dealing with European music was reduced and an official cultural association, subordinated to the ministries for culture and propaganda, was founded. A close reading of Japanese music journals from between 1941 and 1944 establishes that German music was re-interpreted several times within a relatively short period of time, depending on its use for propaganda or social conformity. At first music journals demonstrated great interest in the restructuring of cultural life in Germany and compared German art music favourably with Russian, French and American music, particularly jazz. From 1943 onwards official control of the music press tightened and, in the wake of calls for a genuinely Japanese music independent of European traditions, anti-European rhetoric became more prominent, although German art music continued to be invoked against jazz and the vulgarization of art through popular music.

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Palchuk, Mariia, and Irina Kensitskaya. "Transformation of the students leisure sphere in modern conditions." (Scientific Journal of National Pedagogical Dragomanov University Series 15 Scientific and pedagogical problems of physical culture (physical culture and sports), no. 2(130) (February 22, 2021): 95–97. http://dx.doi.org/10.31392/npu-nc.series15.2021.2(130).21.

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The types and forms of leisure activities are gradually transformed in modern conditions. It is caused by the objective conditions of modern life, such as informatization and value reorientation of people. The article is about student’s leisure, identifying activities that are preferred by student youth in their free time. During leisure time students prefer activities such as socializing with friends, listening to music, playing computer games, and reading books. Only 12% of students indicated that they doing exercised during leisure time. It is established that one of the most popular types of employment among students in modern conditions is e- sports. E-sports it is a new direction in the leisure activities of different age’s people and social status, a type of competitive activities and special practices of preparation for competitions based on computer or video games. E-sport is very popular among students but its development and implementation in leisure is just beginning. The reason for the negative attitude towards e-sports is the lack of physical activity. The positive impact of e-sports on the development of thought processes, logic, stability, independence, speed of reaction, attention, memory, development of teamwork and programming skills, the formation of general computer literacy is established. Prospects for further research are to determine the directions of formation positive attitude of students to use e-sports in the leisure process.

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Everett, William A. "Imagining China in London musical theatre during the 1890s: The Geisha and San Toy." Studia Musicologica 57, no. 3-4 (September 2016): 417–26. http://dx.doi.org/10.1556/6.2016.57.3-4.9.

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For people living in London during the 1890s, China and the Chinese were largely mythical constructions. Attitudes towards China, as well as the Chinese themselves, were being imagined at the time through various media, including popular musical theatre. Two shows, both with music by Sidney Jones and produced by George Edwardes at Daly’s Theatre, were significant in this identity construction: The Geisha (1896) and San Toy (1899). Both musicals are set in East Asia and include Chinese and British characters. In The Geisha, which takes place in Japan, the sole Chinese character is Wun-Hi, the owner of a teahouse. He is less than honorable, and his music is in an ethnic-based music hall style, with nearly speech-sung melodies and unashamed Pidgin English. In Jones’s score for San Toy, which is set in China, characters who endorse Western views sing glorious melodic lines reminiscent of Gilbert and Sullivan while those who do not sound like Wun-Hi in The Geisha, with clipped articulations and non-standard English.

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Shin, Hyunjoon. "Reconsidering Transnational Cultural Flows of Popular Music in East Asia: Transbordering Musicians in Japan and Korea Searching for "Asia"." Korean Studies 33, no. 1 (2009): 101–23. http://dx.doi.org/10.1353/ks.0.0023.

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Kwaczyńska, Olga. "The Reception of American Jazz in Japan: An Outline of Issues." Kwartalnik Młodych Muzykologów UJ, no. 44 (1) (2020): 33–46. http://dx.doi.org/10.4467/23537094kmmuj.20.027.13900.

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The following article presents the history of Japanese jazz, from the first musical contacts to its contemporary successes and problems of the jazz music market. An important role in the development and evolution of jazz in Japan (even before the post-war US occupation of that country) was played by the presence of American military forces in the Philippines, which, as an American-dependent territory, maintained cultural contacts with the United States, where jazz had been born at the beginning of the 20th century and became one of the most popular forms of music. Apart from contact with Filipino musicians, who were the first source of jazz education for the Japanese, the rise of jazz cafés (jazzu-kissa) was also important for the development of jazz in the Land of the Cherry Blossom. The cafés played a huge role in generating interest in jazz and shaping musical tastes. The article also shows the influence of jazz on the formation of a modern, American-type lifestyle among the Japanese middle-class. In addition, the article discusses the complex issue of the authenticity of Japanese jazz in relation to American jazz and the role of world-famous Japanese musicians, such as Toshiko Akiyoshi, in overcoming stereotypes. The aim of the article is to demonstrate the universality and at the same time the local character of contemporary Japanese jazz as well as the distinguishing features of jazz in Japan.

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Journal articles on the topic 'Popular music competitions Japan'

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