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Автор: Grafiati
Опубліковано: 10 грудня 2022
Оновлено: 28 січня 2023

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Статті в журналах з теми "Popular music competitions Japan"

1

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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Анотація:
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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2

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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3

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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4

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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Анотація:
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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5

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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Анотація:
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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6

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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Анотація:
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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8

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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Анотація:
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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9

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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Анотація:
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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Дисертації з теми "Popular music competitions Japan"

1

Rivel, Charley. "Wagakki and Japanese Popular Music: The Perception of Music and Cultural Identity." Thesis, Stockholms universitet, Institutionen för Asien-, Mellanöstern- och Turkietstudier, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-193443.

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Анотація:
This study focuses on the connection between cultural identity and Japanese popular music. It contains conducted interviews and semantic analyses on musicians who use Japanese traditional instruments and Western instruments in their repertoire. It uses performativity theory as theoretical framework. The analyses are divided in to the three levels of Sauter’s phenomenological path: the symbolic level, the sensory level and the artistic level.  It concludes how musicians in Japan perceive their own musical identity, and gives insights on the role of cultural identity in Japanese music. The potential significance is to contribute to identity studies using a performativity perspective as explained above, and thereby elucidating both musicological and historical aspects.
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2

Pope, Edgar W. "Songs of the empire : continental Asia in Japanese wartime popular music /." Thesis, Connect to this title online; UW restricted, 2003. http://hdl.handle.net/1773/11322.

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3

Iwabuchi, Koichi, University of Western Sydney, and School of Cultural Histories and Futures. "Returning to Asia : Japan in the cultural dynamics of globalisation, localisation and Asianisation." THESIS_XXXX_CHF_Iwabuchi_K.xml, 1999. http://handle.uws.edu.au:8081/1959.7/384.

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Анотація:
This thesis explores the re-articulation of Japan's cultural connections with Asia in the1990s through popular cultural flows. This is a time when the ascent of Asian economic power has encouraged Japan to stress its Asian identity again, and the forces of media globalisation have facilitated intra-regional cultural flow in Asia. In this context, popular culture, particularly TV programmes and popular music, which arguably embody the ongoing formation of Asian cultural modernity through cultural indigenisation of Western cultural influence, has become a key site where Japan's historically constituted ambivalent relation with other Asian nations has been newly articulated. I shall look at various facets of Japan's 'return to Asia' through the analysis of Japanese discourses on its international cultural influence; through the empirical examination of the promotion, production and reception of Japanese popular music and TV programmes in East and Southeast Asian markets; and through the analysis of Japanese media representation of Asian societies and Japanese fans' reception of Hong Kong popular culture. 'Asia' in the 1990s has evoked Japan's repetitious nationalist desire for a trans-Asian expansion of its cultural imaginary. However, as popular cultural flows have made Japan's encounter with Asia more immediate and concrete, Japan's cultural nationalist project has been reconfigured within a transnational framework which increasingly capitalises on the regional cultural resonance in Asia. In the process, the asymmetrical power relationship between Japan and Asia and Japan's condescending sense of being 'in the above Asia' have been renewed, ruptured and refracted in complex and contradictory ways
Doctor of Philosophy (PhD)
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4

Perry, Robyn Paige. ""Ersatz as the Day is Long": Japanese Popular Music, the Struggle for Authenticity, and Cold War Orientalism." Bowling Green State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1617205969493365.

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5

Norkey, Alec. "Intersectional Androgyny in Cyberspace: Gender, Commercialization, and Vocality in Female Ryouseiruis' Music Videos." Bowling Green State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1462552660.

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6

Brunt, Shelley Dorothy. "Performing community : Japan’s 50th Kōhaku song contest." Thesis, 2006. http://hdl.handle.net/2440/70157.

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7

Kurokawa, Yoko. "Yearning for a distant music consumption of Hawaiian music and dance in Japan /." 2004. http://proquest.umi.com/pqdweb?index=0&did=765934141&SrchMode=1&sid=1&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1234371405&clientId=23440.

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8

Aalgaard, Scott Wade. "Gimme shelter: enka, self and society in contemporary Japan." Thesis, 2011. http://hdl.handle.net/1828/3385.

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Анотація:
This study examines a genre of Japanese popular music known as enka, and the manner in which devotees of the genre and other stakeholders approach and negotiate with it. Previous academic examinations of enka have tended to locate it as a static musical embodiment of nostalgic ‘Japaneseness’. Relying upon field observations and discussions with enka devotees carried out in Tokyo and Fukushima, I argue that enka are in fact intensely ambiguous, and that the genre ultimately serves as a shelter for historically-specific listeners, one that is deeply implicated in the production of subjectivity and the social. Depending upon the manner in which they intertwine with other ‘texts’ in the listener’s life, enka can act as a homogenizing agent, or as a conduit for heterogeneity and movement – or both. This research will contribute to the advancement of our understanding both contemporary Japanese society and the role of popular music within it.
Graduate
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9

Kurokawa, Yoko 1957. "Yearning for a distant music : consumption of Hawaiian music and dance in Japan." Thesis, 2004. http://hdl.handle.net/10125/11757.

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Анотація:
Thesis (Ph. D.)--University of Hawaii at Manoa, 2004.
Includes bibliographical references (leaves 532-554) and discography (leaves 555-557).
Also available by subscription via World Wide Web
2 v. (xix, 557 leaves, bound) music 29 cm
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10

"Chinese fans of Japanese rock: how young people find meaning through fandom and consumer culture." 2010. http://library.cuhk.edu.hk/record=b5894416.

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Анотація:
Sun, Lin.
Thesis (M.Phil.)--Chinese University of Hong Kong, 2010.
Includes bibliographical references (p. 233-242).
Abstracts in English and Chinese.
Abstract --- p.i
Acknowledgements --- p.vi
Introduction --- p.1
Chinese Youth Today and Japanese Popular Culture --- p.6
Theoretical Context --- p.11
Methodology --- p.29
Structure of the Thesis --- p.48
Chapter Chapter1 --- Chinese Youth Today: Choice and Constraint --- p.51
Economic Conditions and the Only Child --- p.54
Pervasive Japanese Popular Culture in China --- p.59
Cultivation of National Identity: Mass Media and Schooling --- p.77
A Proper Chinese Youth: Social Norms in Today's China --- p.89
Summary --- p.93
Chapter Chapter2 --- Being a Fan of Japanese Rock: Consumer Choice and Authenticity --- p.96
Becoming a fan of Japanese Rock --- p.97
Confirming the Japanese Rock Fan Identity: Being an Authentic Fan --- p.111
West-Japan-the Rest of Asia: In the Eyes of Chinese Fans of J-Rock --- p.122
Summary --- p.126
Chapter Chapter3 --- Localizing Japanese Rock Fandom through Individual Consumption --- p.129
"Fandom as ""a Private Religion""" --- p.130
Fandom as Compensation for Lack of Romantic Love --- p.155
Summary --- p.164
Chapter Chapter4 --- Fan Community: Consuming Japanese Rock in Groups --- p.167
Fan Community and Belonging --- p.167
Hierarchy among Individual Fans: Glory and Pain --- p.178
Summary --- p.185
Chapter Chapter5 --- Japanese Rock Fan Identity Vs. National Identity --- p.187
"The Chinese National Identity and the Japanese ""Soft Power""" --- p.187
Becoming a Better Chinese through Japanese Rock Fandom --- p.201
Pan-East Asianism or Cosmopolitanism? --- p.205
Summary --- p.212
Conclusion --- p.215
The Real Appeal of Japanese Rock --- p.215
Fans and Consumers of Popular Culture in Globalized China --- p.219
Fandom: a Way of Life for Today's Urban Young Chinese --- p.224
Appendix --- p.232
Bibliography --- p.233
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Книги з теми "Popular music competitions Japan"

1

C'era una volta il-- disco!: Storia della discografia italiana (1960-1969). Pisa: Istituti editoriali e poligrafici internazionali, 2001.

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2

The Eurovision Song Contest: The official history. London: Carlton, 2010.

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3

Feddersen, Jan. Ein Lied kann eine Brücke sein: Die deutsche und internationale Geschichte des Grand Prix Eurovision. Hamburg: Hoffmann und Campe, 2002.

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4

Smith, Jared (Jared Michael), 1978- author, Josephson, Erik (Erik Hill), 1985- author, and Myers Chris 1986 author, eds. Your all-access pass to American idol. Springville, Utah: CFI, 2011.

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5

Soeda, Azenbō. A life adrift: Soeda Azembo, popular song and modern mass culture in Japan. New York: Routledge, 2009.

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6

Bednar, Chuck. Insights into American idol. Broomall, Pa: Mason Crest, 2010.

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7

Bednar, Chuck. Insights into American idol. Broomall, Pa: Mason Crest, 2010.

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8

Bednar, Chuck. Insights into American idol. Broomall, Pa: Mason Crest, 2010.

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9

American idol profiles index: Top finalists from seasons 1 to 7 (82 contestants). Broomall, Pa: Mason Crest, 2010.

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10

Bednar, Chuck. American idol profiles index: Top finalists from each season (82 contestants). Broomall, Pa: Mason Crest, 2010.

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Частини книг з теми "Popular music competitions Japan"

1

Cheng, Ya-Hui. "“Chinese Got Talent”: Popular Music Singing Competitions in Taiwan and China." In Popular Music Studies Today, 61–65. Wiesbaden: Springer Fachmedien Wiesbaden, 2017. http://dx.doi.org/10.1007/978-3-658-17740-9_6.

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2

Ōtomo, Ayako, and Aya Satō. "Manufacturing Identity: Femininity, Discourse and Representation in Japanese Popular Music." In Music in the Making of Modern Japan, 187–208. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-73827-3_10.

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3

Ralph, Barnaby. "Juna’s Groove and Emi’s Beat: Women and Popular Music in Modern Japan." In Music in the Making of Modern Japan, 167–86. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-73827-3_9.

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4

Düster, Benjamin. "Obsolete Technology? The Significance of the Cassette Format in Twenty-First-Century Japan." In Popular Music, Technology, and the Changing Media Ecosystem, 165–81. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-44659-8_10.

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"Music in Transnational Transfers and International Competitions." In Popular Music and Public Diplomacy, 29–48. transcript-Verlag, 2018. http://dx.doi.org/10.14361/9783839443583-003.

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Nathaus, Klaus. "Music in Transnational Transfers and International Competitions." In Popular Music and Public Diplomacy, 29–48. transcript Verlag, 2018. http://dx.doi.org/10.1515/9783839443583-003.

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"Japanese popular music in Hong Kong." In Globalizing Japan, 143–52. Routledge, 2003. http://dx.doi.org/10.4324/9780203361351-19.

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Jung, Eun-Young. "Korean Pop Music in Japan." In Introducing Japanese Popular Culture, 180–90. Routledge, 2018. http://dx.doi.org/10.4324/9781315723761-17.

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Yano, Christine. "Charisma’a Realm: Fandom in Japan 1." In Non-Western Popular Music, 333–47. Routledge, 2017. http://dx.doi.org/10.4324/9781315090450-16.

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10

"Th e Culture of Popular Music in Occupied Japan." In Made in Japan, 68–86. Routledge, 2014. http://dx.doi.org/10.4324/9780203384121-12.

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