MUSC110

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ASHGATE RESEARCH CCMPANION

Cont e4land change in ]apanese (Atou',') \-------j) ffiUSIC

Alison McQueen Tokita and Dnaid W" Hughes

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L vfhat is Japanese m*sicr? 'lro'- ) t'1p an r"'

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"' "Y- k'ri*; -I' lLIncreasingly, the common view, of Japan as a r}rQno-culjslS! mono-ethnic society, { ( _ i, :

ln}..rs}i"r1rwhetherin-modernorancienttimes,.isbeint.a.[.ai-ei\.;.. 11- \ categoqy'Japan'itself has been questioned by many {forexample Amina1992; ...: I.- 1/ )r11- \ categoqy'Japan'itself hasbeenquestionedbymany{forexample Amina1992; '^-. ..,:1.- i,^ )al"

g: nrt Y'47 \.{-Vtoriis-suzukl 1991t). Amino insists that when discussing the past wc should l)rr'{"' /, - }. .: -l i^- )^l^. lltaiknotaboutlapanorthelapanesepeople,butaboutpeopiervholivedinthe L,, u,r:s) tr) , 'n1t/' ') fiapanese archipelago.If lapm itself is not a solid entity*, neither can its musica] i,'*JL^io-,.n.---cujtu,ebere<luce,J*toamoirolithi.",tity\,,rrs}""][

{, _l ,, a! vrr. lapffi' mightrefertoanfmffiiem-b6fffindinlapan,thenthephrase'musicof the \-q.\l'^t. w' irp****'i.ruldcoverinymusicplayedorenjoyedbythelapinese, assumingwe So'q< 'issuc uS

rl r.i.)-. lc I can talk with confidence about'the japang:'. The phrase Japlngie mqqic',r-rrigtt

^tr,. YV\\- 1. t ]-lir r! - --- -r! -,-:t-!lni* fin This book w,oulilideally covcr ali such 1 uJr{{c

t",'.,U )^ ( possibillties,butmustber"uthlesslysellctive.Ittakesasitsmainfocusthemusical \ 14 )ur.l,t^J-

ylz,rivr f "{'* \rlt:::^:li'l-^.1'::.T9.i*.1,T1"I'::*:::"::H**#*13"sff5 ). ,qi,^ ., },,I ttt ' , - L.t \ the present duy. Egbgdigry. aim is to assess the state of research in ]apanese music

) ^f n' "1. ,, -, )To ql ':r1'9ffi-giL *:1.Y: :,t:sing chapters cover western-influenced

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- n ^n^i 5 t I fpopulau"aud ctlssical nrusics respectivcl,v'

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//1 )- : Nt"iut rather than 'Tapane s6 music' ,- we might do better to talk about '|apanese ar^ pt,. ^

VU^" rv't ,/ / Nleast,ratlrerthan'Japancsemusit',wemightdobcttertotalkabout'Japanese \ . ^ ., .- ,' / musit:s', which becomes one justification for thc rnulti-author approach of this IL-, ) I I ,r,rrs'-'

\^^f d". \*7' / fr"ffi Thereare.somanydiiTerenttypesandgenresof rnusic in'fapan,pastand \l otrlvo,.i, ]h^

,^t,r', ./ /lpr"r"nt, and practised by p.eople in Jgqan and !y- S".irlr*E * j,r:p"P tha! thc. , , Jb^' "' . , /,/ LVOlU-me. lnere are SO rnany frtrr.erellt tyPes imLr tielueb ut lrtulrL u, Jdydl\ P([i. drru \ I O[lVorr, ]h^-r ,/1At ^ ^ ,/ 1 lpr"r"nt,

and practised by people in Japan and hy the Iapanese diasporo tha! thc. r ,, IJplura] is neccssary. It is'difficult to dcfine'kaditional' (ordasslcalpi&moderrl *L,., I y-,,.i,]

(-zsr '4{]a(hq' lLinUigcnrrus)music,'pop'rnusicand'!{estern'musicintheJapancsecontextbecause J ., , I 1.. \" t)( trr,.r^l n.-1 lfof Sg.tg.gLIXry$,._To say 'Japanesc.musiC it,l? ":u*l.tializc

what. is a fuz.zy I ] n a,/ ' "i rr^

^ ' For exampie, when did urhat is now calledll caiegoty, in rvilateverleriod. For exampie, when did what is naw callefga€ak.t, an I yrnr r v. ?_

imported court genre/ come to be seen as Japanese? Whcn did its i

-r rr. i ,/ I their derivatives corrr{ to be sccn as Japancse? Virtr.rallv all Japanese instrum]nts I

\r'ztn') n'r r -

\ wereintroducedrrgprnlrnthchistorica! pertod.

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