Gerald Groemer - Academia.edu (original) (raw)
After earning a Masters of Music and Doctorate of Musical Arts in piano performance under the guidance of Leon Fleisher at Peabody Conservatory (1978-83), Gerald Groemer earned a PhD in musicology at Tokyo University of Fine Arts and Music (Tokyo Geijutsu Daigaku) in 1993, the first non-Japanese ever to do so. He has worked as a researcher at the Edo Tokyo Museum (1992-1994), professor of music at Earlham College in Indiana (1994-1998), and professor of music at University of Yamanashi from 1998 to 2023. He retired from University of Yamanashi in 2023 and currently lives in Tokyo, Japan. He continues to be a research fellow at the Research Center for International Japanese Studies at Hosei University.
His research and writing since has focused on Japanese music and cultural history, in particular the activities of blind popular musicians, outcasts, and religious performers. Besides numerous papers and chapters in books, he has published a study of the genre Tsugaru-jamisen ("The Spirit of Tsugaru," Harmonie Park Press, 1999, revised ed. , Tsugaru-Shobo, 2012), a translation of studies by the renowned cultural historian Nishiyama Matsunosuke ("Edo Culture," University of Hawaii Press, 1997) and, together with Thomas Rimer and Stephen Addiss, a volume of source readings in Japanese culture ("Traditional Japanese Arts and Culture," University of Hawaii Press, 2006). Two of his Japanese-language books, "Bakumatsu no hayariuta" (Popular Songs in the Late Edo Period) (Tokyo:Meicho Shuppan, 1995) and "Goze to goze-uta no kenkyu" (Research on Blind Female Musicians and their Songs) (University of Nagoya Press, 2007), were awarded the Tanabe Hisao Prize, given by the Society for Research in Asian Music (Tokyo) to the author of the best book on Asian music appearing the previous year. In addition, he has been awarded the prestigious "Koizumi Fumio Prize for Ethnomusicology" for his work to date. In 2020, his "Portraits of Edo" was awarded the Japan-U.S. Friendship Commission Prize for the Translation of Japanese Literature by the Donald Keene Center of Columbia University.
Other publications include "Goze: Blind Women and Musical Performance in Japan" (London: Oxford University Press, 2016) and "Street Performers and Society in Urban Japan, 1600-1900: The Beggar's Gift" (London: Routledge, 2016), "The Land We Saw, the Times We Knew: An Anthology of Zuihitsu Writing from Early Modern Japan" (University of Hawaii Press, 2019), and "Portraits of Edo and Early Modern Japan," an anthology of annotated translations of eye-witness reports concerning the city of Edo from 1657-1855 (Palgrave McMillan, 2019), and "Ongaku no miyako no tanjo" (The Birth of the Capital of Music, Iwanami Shinsho 2023), which treats music in Vienna at the end of the eighteenth century.
In 2023 "A Year in Seventeenth-Century Kyoto: Edo-Period Writings on Annual Ceremonies, Festivals, and Customs" (which includes annotated translations of the 1674 Yamashiro shiki monogatari 山城四季物語 and the 1694 Nenjū chōhōki 年中重宝記) was published by University of Hawaii Press. He is currently working on an English-language monograph on the grand festivals of Edo (tenka matsuri) and a Japanese-language study and chronology of historical materials of small theaters (miyachi shibai, koshibai) in Edo.
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Books by Gerald Groemer
ISBN 978-4-00-431962-7, 2023
Before the twentieth century, Japanese religious and cultural life was shaped by a variety of yea... more Before the twentieth century, Japanese religious and cultural life was shaped by a variety of yearly ceremonies, festivals, and customs. These annual events (nenju gyoji) included Shinto festivals in which participants danced through the night to boisterous music and Buddhist temple practices that honored deities, great priests, or temple founders with solemn rituals and prayers-and sometimes, when the Buddha was invoked, raucous dancing. Temples also hosted popular fairs, where holy objects and artworkwere displayed to the faithful and curious. Countless other celebrations were held annually at the residences of the nobility and military elite and at commoner domiciles. Kyoto, the imperial-and cultural-capital since the eighth century, was the center of many of these events. From Kyoto festivals, rituals, and celebrations diffused to other parts of the land, ultimately shaping religious, artistic, and everyday life as a whole. By the seventeenth century the Kyoto public wished to inform itself more accurately about nenju gyoji and their dates and meanings. As a result, a growing number of guidebooks and almanacs were written and published for the urban populace. This volume is the first to present translations of two such publications. Introductory chapters explain Japanese conceptions of time and space within which annual celebrations took place and outline how ceremonies and festivals in and about Kyoto were chronicled, described, and interpreted from the earliest times to the seventeenth century. The final two chapters offer annotated translations of writings from the seventeenth century that catalogue and describe the dates, sites, meanings, and histories of many Kyoto annual events. The two works, one largely historical, the other more ethnographic in nature, indicate not only when and where observances and commemorations took place, but also how their authors understood the significance of each. Both translations feature a large number of illustrations depicting events as they appeared in Kyoto at the time.
The Tokugawa World, 2021
A discussion of the role of blind musicians in Edo-period Japan
Winner of the 2020 Japan-U.S. Friendship Commission Prize for the Translation of Japanese Literat... more Winner of the 2020 Japan-U.S. Friendship Commission Prize for the Translation of Japanese Literature
Introduction Reading the Edo Zuihitsu
This volume opens with a brief discussion of the Japanese essayistic writing known as zuihitsu, a genre that flourished during the Edo period (1600-1868) and nowhere more so than in the city of Edo (today Tokyo) itself. A brief analysis is offered of the economic, political, administrative, and cultural forces that shaped the writing of the five pieces translated and annotated in the book. This analysis examines in turn each zuihitsu presented in order to illuminate both the general path of social and economic development exhibited by the city of Edo and the social situation and subjective disposition of each author.
Chapter 1 An Eastern Stirrup: The Great Fire of 1657 (Musashi abumi むさしあぶみ)
This famous piece, with its dramatic illustrations, harrowing narrative, empirical detail, and episodes of black humor offers a report of the disastrous triple holocaust that engulfed Edo in the winter of 1657. This fire annihilated most of the city and resulted in over 100,000 fatalities. The author, Asai Ryōi (1612?-1691), a Kyoto cleric, assumes the persona of an eye-witness, though he seems to have relied mostly on documentary evidence. Besides rendering a largely accurate depiction of the destruction and horror wrought by the fire, he weaves in fanciful incidents in which he pokes fun at the narrator’s actions during the catastrophe. Despite its hybrid nature, this zuihitsu continues to be one of the most important historical chronicles of a catastrophe that would shape the physical and social environment of Edo for decades to come.
Chapter 2 Tales of Long, Long, Ago: Recollections of the Seventeenth Century (Mukashi mukashi monogatari 昔々物語（八十翁疇昔話）)
This zuihitsu, one of the most often cited pieces of historical evidence regarding seventeenth-century Edo, was probably written by the aged samurai Shinmi Masatomo (1651-1742). Near the end of his days Shinmi looks back and notes the many phenomena that had undergone transformation during the course of a century. He focuses especially on the attitudes, values, and behavior of members of the warrior class, but also documents in detail many of the changes in the physical attributes of the city of Edo. He also treats the transformations experienced by Edo theater, music, language, food, fashions, festivals, religious practices, and many other phenomena. Since the original of this zuihitsu is lost and a confusing variety of copies are extant, this translation relies on multiple versions of the narrative in order to present the most complete and accurate text possible.
Chapter 3 The River of Time: Life in Eighteenth-century Edo (Asukagawa 飛鳥川)
This composition consists of 142 short entries treating the historical changes in a vast array of eighteenth-century topics: kimono fashions and women’s hair styles, street vendors, city shops, old and new headgear, food and housing, children’s games, pleasure boats, raconteurs, prostitutes, festivals, Confucianists, fiction writing, and plenty more. This information is based on the memory of a relatively open-minded samurai named Shibamura Morimichi (1722-?). Unlike many writers of his day, Morimichi evaluates many of the transformations he experienced in the course of almost nine decades in a largely positive light and expresses doubt that things were any better in the past.
Chapter 4 The Spider’s Reel: Traces of the Tenmei Period (1781-1789) (Kumo no itomaki 蜘蛛の糸巻)
This zuihitsu classic, a work of the fiction writer Santō Kyōzan (1769-1858), contains a vivid description of the culture of the Tenmei period (1781-1789) and the immediately preceding years. During this era of comparatively liberal economic and cultural policies, Edo culture flourished as never before. The author writes with evident pride about having been alive when superstars dominated the kabuki and when the Yoshiwara “pleasure quarters” boasted some of the most famous courtesans in its history. He treats the origins of tempura, the emergence of notable restaurants, the behavior of the great writer Takizawa Bakin, the appearance of female geisha, the disastrous collapse of the Eitai Bridge, famous kabuki productions, the celebration of the Sannō festival, and a host of other topics. This zuihitsu supplies a precious eye-witness chronicle of life during a brief and unusual era that would be followed by a period of conservative reforms.
Chapter 5 Disaster Days: The Great Earthquake of 1855 (Nai no hinami なゐの日並)
In 1855 a powerful earthquake destroyed much of the city of Edo. In “Disaster Days” the fiction author Ryūtei Senka (1804-1868) describes in a diary-like fashion urban life during the two months following the catastrophe. Unlike most chroniclers of Edo earthquakes, the author does not focus on the cosmic significance of the event, its relation to the arrival of Perry in 1853, or the presumed movements of a great subterranean catfish. Instead, he details how he and his daughter survived the disaster and then eked out a precarious existence. He also offers meticulous “bottom up” descriptions of his exploratory jaunts throughout the city and the visits he paid to friends and religious institutions. Besides presenting a striking portrait of Edo after a disaster, the author also indicates how a nineteenth-century fiction writer was enveloped in a wide network of literati, artists, and publishers.
Contents Preface Introduction 1. Tales that Come to Mind (Sozoro monogatari) 2. A Record of S... more Contents
Preface
Introduction
1. Tales that Come to Mind (Sozoro monogatari)
2. A Record of Seven Offered Treasures (Nanakusa hōnō-ki)
3. Monologue (Dokugo)
4. Nagasaki Prattle (Nagasaki kanwa)
5. Kyoto Observed (Mita kyō monogatari)
6. A Dustheap of Discourses (Chirizuka-dan)
7. The Breezes of Osaka (Naniwa no kaze)
Bibliography
Index
Contents Maps, Conventions Preface Introduction: Approaching the Goze Chapter 1 The Production o... more Contents
Maps, Conventions
Preface
Introduction: Approaching the Goze
Chapter 1 The Production of Visual Disability
Chapter 2 The Development of Echigo Goze Associations
Chapter 3 Learning the Goze Art and Way of Life
Chapter 4 Touring and Performing in Echigo: Goze and their Audiences
Chapter 5 Endings: Coerced Liberation
Chapter 6 After the End: Goze Songs in the Postwar Era
Appendix
Document 1: “Origins of the Goze,” “Commands of the Retired Emperor,” and the “Goze Code”
Document 2 The 1884 “Regulations of the Takada Goze Association”
Document 3 The 1901 “Revised Regulations of the Takada Goze”
Document 4 The 1898 “Regulations of the Moral Reform Society of Central Echigo Goze”
References
Contents Introduction Chapter 1 Conditions of Possibility: Economic, Political, and Ideologica... more Contents
Introduction
Chapter 1 Conditions of Possibility: Economic, Political, and Ideological
Chapter 2 Outcast(e) Street Performers
Chapter 3 Gods and Spirits in the Streets
Chapter 4 Gōmune and their Arts
Chapter 5 Yashi: Performance as Advertisement
Chapter 6 The Aftermath of Meiji: Conditions of Impossibility
References
Bibliography
A study of blind female musicians and their songs in Japan during the Edo period.
Publisher: Tsugaru Shobo, 2012
The Ashgate Research Companion to Japanese Music, 2008
Hayaru, so the dictionary tells us, means to be popular, fashionable, in vogue. Often written wit... more Hayaru, so the dictionary tells us, means to be popular, fashionable, in vogue. Often written with the ideographs 'to flow' and 'to go', this verb, properly conjugated and coupled to the noun uta (song), results in the expression hayari-uta: songs that 'go with the flow', in short, 'popular song'. 1 From around the seventeenth century, when the term came into common parlance, most Japanese differentiated hayari-uta from songs that seemed more resistant to change. Traditional, anonymously composed songs from the hinterland, today known as min'yi5 (folk song), represented one sort of permanence; aristocratic genres, especially those based on ancient, seemingly eternal Indian or Chinese tradition exemplified another. Between the peasant's timeless ditty and the courtier's time-honoured• chant lay hayari-uta: ephemeral strains and verses often identified with professions or sectors of society that the country bumpkin could not and the samurai would not fully know. No matter how one chooses to define such song, the emergence and growth of Japanese 'popular' culture has always been linked to transformations in the composition of the 'populace', especially to changes resulting from the growth and development of major cities. Gradual urbanization in many parts of the land can already be detected in an early age, but from the Edo (Tokugawa) period (1600-1868) the centralization of culture proceeded at breakneck speed. When the military government, the Tokugawa shogunate, decreed in the early seventeenth century that each province was to maintain only one castle, both warriors and commoners tended to move to the site of this fortress, which usually became the political and cultural hub of the area. The policy of' alternate attendance' (sankin ki5tai), requiring warrior lords and much of their administrative apparatus to spend every other year in the city of Edo (pre-modern Tokyo), meant both that much of the culture 1 The (undated) gloss hayaru of the ideographs 'to flow' and 'to go' appears already in a lyric of the twelfth-century popular song collection Ryojin hisho (see below; song no. 369 in Usuda and Shinma 1985), where it refers to Kyoto fashions.
Winner of the 2008 Koizumi Fumio Prize for Ethnomusicology and the Tanabe Prize of the The Societ... more Winner of the 2008 Koizumi Fumio Prize for Ethnomusicology and the Tanabe Prize of the The Society for Research in Asiatic Music (Tôyô Ongaku Gakkai).
A two-volume Japanese-language study of blind female musicians from the medieval to the prewar era, with emphasis on the Edo and Meiji periods. Volume 1 contains chapters arranged largely by geographical area; volume 2 contains historical materials.
Vol. 1, kenkyū-hen, 758 pp., musical examples, illustrations, annotated bibliography
Vol. 2, shiryō-hen, 949 pp., historical materials in chronological order, tables
Japanese artists, musicians, actors, and authors have written much over the centuries about the c... more Japanese artists, musicians, actors, and authors have written much over the centuries about the creation, meaning, and appreciation of various arts. Most of these works, however, are scattered among countless hard-to-find sources or make only a fleeting appearance in books devoted to other subjects. Compiled in this volume is a wealth of original material on Japanese arts and culture from the prehistoric era to the Meiji Restoration (1867). These carefully selected sources, including many translated here for the first time, are placed in their historical context and outfitted with brief commentaries, allowing the reader to make connections to larger concepts and values found in Japanese culture.
The book is a treasure trove of material on the visual and literary arts, but it contains as well primary texts on topics not easily classified in Western categories, such as the martial and culinary arts, the art of tea, and flower arranging. More than 60 color and black and white illustrations enrich the collection and provide further insights into Japanese artistic and cultural values.
Nishiyama Matsunosuke is one of the most important historians of Tokugawa (Edo) popular culture, ... more Nishiyama Matsunosuke is one of the most important historians of Tokugawa (Edo) popular culture, yet until now his work has never been translated into a Western language. Edo Culture presents a selection of Nishiyama's writings that serves not only to provide an excellent introduction to Tokugawa cultural history but also to fill many gaps in our knowledge of the daily life and diversions of the urban populace of the time. Many essays focus on the most important theme of Nishiyama's work: the seventeenth to nineteenth centuries as a time of appropriation and development of Japan's culture by its urban commoners.
Winner of the 1996 Tanabe Prize of the The Society for Research in Asiatic Music (Tôyô Ongaku Gak... more Winner of the 1996 Tanabe Prize of the The Society for Research in Asiatic Music (Tôyô Ongaku Gakkai).
A study of popular Japanese songs during the late Edo period. The book focuses on the short songs known as dodoitsu and the long songs called kudoki and discusses song writers, composers, publishers, and performers.
Papers by Gerald Groemer
山梨大学教育学部紀要 Yamanashi Daigaku Kyōiku Gakubu Kiyō, 2023
本研究は『山梨大学教育学部紀要第32 号』に発表した論文の続編である。本稿は ウィーン在住のマティアス・ペルト（1788 年～1856 年）の膨大な日記より1818 年11 月から1820 年... more 本研究は『山梨大学教育学部紀要第32 号』に発表した論文の続編である。本稿は
ウィーン在住のマティアス・ペルト（1788 年～1856 年）の膨大な日記より1818 年11 月から1820 年12 月の音楽事情に関する項目を抜粋、翻刻し、註釈を加えた。この時期のロッシーニの人気ぶりをはじめ、ウィーンに話題となった演奏者の活躍が鮮やかに記述されている。若い頃のペルトは特に演劇に興味を示したが、1818 年以降には次第に音楽演奏に関する記録項目が日記に増加している。また1820 年８月21 日彼はその二日前に初演を経験したシューベルト作曲のメロドラマDie Zauberharfe を鑑賞し、1820 年11 月５日の項目にはTheater an der Wien の現状、バレエ・ダンサーたち（特に子供バレエ団）の事情、劇場の入場券の値段までが詳細に記録されている。
1818/5 beendet Perth sein Verhältnis mit Regine Deodat, die er einst ernsthaft zu heiraten beabsichtigte. Etwa sieben Monate später, 1818/12/29, im Zuge eines Neujahrsbesuches bei „Herrn v. F.“ lernt er durch Zufall die neunzehnjährige Baroness Sophie Landen kennen. Es beginnt ein stürmisches Liebesverhältnis, das aber durch den Einspruch Sophies Eltern, welche die unstandesgemässe Neigung ihrer Tochter zu einem bürgerlichen Beamten nicht dulden, zu einer Trennung, und dann zu einer aufgezwungenen Heirat Sophies zu einem dreiundsechzig Jahre alten böhmischen Baron. Drei Jahre später stirbt Sophie fern von Wien, nach Perth rufend. Perth erhält die Nachricht von Sophies Zofe, und 1824/12/13 schreibt er feierlich in sein Tagesbuch „Ich heirate nicht! Ich bleibe Sophien treu bis in den Tod!!!“ (XXXVII:154-155). An diesem Gelöbnis bleibt Perth auch treu.
Monumenta Nipponica, 2022
From perhaps the early sixteenth century until 1 720, performances of noh, considered a sacred of... more From perhaps the early sixteenth century until 1 720, performances of noh, considered a sacred offering to the deities, took place in conjunction with a festival regularly sponsored by Kanda Myojin, a major Edo shrine. Staged after the conclusion of the festival, these presentations gave the commoner public an important opportunity to experience the time-honored art of noh. This study examines the origins of the event, its performance area, the actors and programs, and the increasing difficulty in procuring the vast funding necessary. I argue that the demise of sacred noh resulted from a combination of changes in the community of parishioners, a conflict of interests between parishioners and the shrine, and a series of unfortunate fires--factors compounded by a general decline in popularity of noh.
山梨大学教育学部紀要 , 2022
本研究は『山梨大学教育学部紀要第31 号』に発表した論文の続編である。ウィーン在住の公務員、マティアス・ペルト(1788 年～1856 年) は1803 年から1856 年まで膨大な日記を書き続... more 本研究は『山梨大学教育学部紀要第31 号』に発表した論文の続編である。ウィーン在住の公務員、マティアス・ペルト(1788 年～1856 年) は1803 年から1856 年まで膨大な日記を書き続け、19 世紀のウィーン音楽文化を知るための貴重な記録を残した。本稿は1815 年１月から1818 年10 月の音楽事情に関する項目を抜粋、翻刻し、註釈を加え、ウィーンの音楽事情を目撃者の立場から把握することを試みている。
山梨大学教育学部紀要 (Yamanashi Daigaku Kyōiku Gakubu Kiyō), Feb 22, 2021
この研究は『山梨大学教育学部紀要第 30号』に発表した論文の続編であり、ウィーンの公務員であったマティアス・ペルト (1788年～1856年 )の 58巻に及ぶ膨大な日記に見られる音楽事情に関す... more この研究は『山梨大学教育学部紀要第 30号』に発表した論文の続編であり、ウィーンの公務員であったマティアス・ペルト (1788年～1856年 )の 58巻に及ぶ膨大な日記に見られる音楽事情に関する項目を抜粋・翻刻し註釈を加え、ウィーンの音楽文化の実態を目撃者の立場から把握することを試みている。ペルトについての詳細は前稿を参照いただきたい。1812年～1814年はナポレオン戦争が終結し、オーストリア皇帝をはじめ多くの軍司令官や政治家などがウィーンに戻る時期にあたる。彼らのため、あるいは 1814年 11月から開催されたウィーン会議の出席者のためにも、多数のコンサート、オペラ上演、軍楽の演奏などが催され、国内外の著名な演奏家がウィーンを訪れ、ウィーンの音楽文化が大きく花を開いた。ペルトは日記においてその賑わいを如実に描いている。
山梨大学教育学部紀要 (Yamanashi Daigaku Kyōiku Gakubu Kiyō), 2020
ウィーン在住の公務員、マティアス・ベルト（1788年－1856年）は1803年から1856年まで膨大な日記を書き続け、19世紀のウィーン音楽文化を知るための貴重な記録を残した。一流の史料であるに... more ウィーン在住の公務員、マティアス・ベルト（1788年－1856年）は1803年から1856年まで膨大な日記を書き続け、19世紀のウィーン音楽文化を知るための貴重な記録を残した。一流の史料であるにもかかわらず公開・翻刻されていないため、これまで音楽学の研究に使用することは困難であった。本稿は1803年から1811年の音楽事情に関する項目を抜粋、翻刻し、註釈を加え、ウィーンの音楽事情を目撃者の立場から把握することを試みている。
This paper presents extracts concerning music and musical performance from 1803-1811 out of the unpublished diary of Mathias Perth (1788-1856), a minor government official in Vienna. This diary, which in its entirety contains 58 volumes, is today found in the archives of the Wienbibliothek im Rathaus in Vienna. Perth was an avid theater and concert goer and from his teens began to notate in his diary what he saw and heard. In the years 1803-1811 her witnessed Beethoven conducting "Fidelio," heard of the death of Haydn, noted the arrival of French ballet dancers in Vienna, attended concerts by the pupils of Maria Theresia von Paradis, and experienced many other performers and performances of various sorts. Because of restrictions required by the journal, the paper is divided into two chronologically successive parts.
Asian Ethnology, 2019
Perhaps in the 1850s, a physician named Harada (pseudonym Banraido Kiyufuku) from Kii Province (W... more Perhaps in the 1850s, a physician named Harada (pseudonym Banraido Kiyufuku) from Kii Province (Wakayama Prefecture) was sent to Edo on a turn of duty. During his stay in the shogun’s capital Harada composed what may be counted as an example of early modern urban ethnography. The author begins with a summary of the physical and built environment of the city and then moves to descriptions of the social world, commodities (especially foodstuffs), language, and customs and habits of the populace. Although it does not present a systematic treatment of the metropolis, his writing supplies an unusually discerning and detailed account of life in early modern urban Japan.
ISBN 978-4-00-431962-7, 2023
Before the twentieth century, Japanese religious and cultural life was shaped by a variety of yea... more Before the twentieth century, Japanese religious and cultural life was shaped by a variety of yearly ceremonies, festivals, and customs. These annual events (nenju gyoji) included Shinto festivals in which participants danced through the night to boisterous music and Buddhist temple practices that honored deities, great priests, or temple founders with solemn rituals and prayers-and sometimes, when the Buddha was invoked, raucous dancing. Temples also hosted popular fairs, where holy objects and artworkwere displayed to the faithful and curious. Countless other celebrations were held annually at the residences of the nobility and military elite and at commoner domiciles. Kyoto, the imperial-and cultural-capital since the eighth century, was the center of many of these events. From Kyoto festivals, rituals, and celebrations diffused to other parts of the land, ultimately shaping religious, artistic, and everyday life as a whole. By the seventeenth century the Kyoto public wished to inform itself more accurately about nenju gyoji and their dates and meanings. As a result, a growing number of guidebooks and almanacs were written and published for the urban populace. This volume is the first to present translations of two such publications. Introductory chapters explain Japanese conceptions of time and space within which annual celebrations took place and outline how ceremonies and festivals in and about Kyoto were chronicled, described, and interpreted from the earliest times to the seventeenth century. The final two chapters offer annotated translations of writings from the seventeenth century that catalogue and describe the dates, sites, meanings, and histories of many Kyoto annual events. The two works, one largely historical, the other more ethnographic in nature, indicate not only when and where observances and commemorations took place, but also how their authors understood the significance of each. Both translations feature a large number of illustrations depicting events as they appeared in Kyoto at the time.
The Tokugawa World, 2021
A discussion of the role of blind musicians in Edo-period Japan
Winner of the 2020 Japan-U.S. Friendship Commission Prize for the Translation of Japanese Literat... more Winner of the 2020 Japan-U.S. Friendship Commission Prize for the Translation of Japanese Literature
Introduction Reading the Edo Zuihitsu
This volume opens with a brief discussion of the Japanese essayistic writing known as zuihitsu, a genre that flourished during the Edo period (1600-1868) and nowhere more so than in the city of Edo (today Tokyo) itself. A brief analysis is offered of the economic, political, administrative, and cultural forces that shaped the writing of the five pieces translated and annotated in the book. This analysis examines in turn each zuihitsu presented in order to illuminate both the general path of social and economic development exhibited by the city of Edo and the social situation and subjective disposition of each author.
Chapter 1 An Eastern Stirrup: The Great Fire of 1657 (Musashi abumi むさしあぶみ)
This famous piece, with its dramatic illustrations, harrowing narrative, empirical detail, and episodes of black humor offers a report of the disastrous triple holocaust that engulfed Edo in the winter of 1657. This fire annihilated most of the city and resulted in over 100,000 fatalities. The author, Asai Ryōi (1612?-1691), a Kyoto cleric, assumes the persona of an eye-witness, though he seems to have relied mostly on documentary evidence. Besides rendering a largely accurate depiction of the destruction and horror wrought by the fire, he weaves in fanciful incidents in which he pokes fun at the narrator’s actions during the catastrophe. Despite its hybrid nature, this zuihitsu continues to be one of the most important historical chronicles of a catastrophe that would shape the physical and social environment of Edo for decades to come.
Chapter 2 Tales of Long, Long, Ago: Recollections of the Seventeenth Century (Mukashi mukashi monogatari 昔々物語（八十翁疇昔話）)
This zuihitsu, one of the most often cited pieces of historical evidence regarding seventeenth-century Edo, was probably written by the aged samurai Shinmi Masatomo (1651-1742). Near the end of his days Shinmi looks back and notes the many phenomena that had undergone transformation during the course of a century. He focuses especially on the attitudes, values, and behavior of members of the warrior class, but also documents in detail many of the changes in the physical attributes of the city of Edo. He also treats the transformations experienced by Edo theater, music, language, food, fashions, festivals, religious practices, and many other phenomena. Since the original of this zuihitsu is lost and a confusing variety of copies are extant, this translation relies on multiple versions of the narrative in order to present the most complete and accurate text possible.
Chapter 3 The River of Time: Life in Eighteenth-century Edo (Asukagawa 飛鳥川)
This composition consists of 142 short entries treating the historical changes in a vast array of eighteenth-century topics: kimono fashions and women’s hair styles, street vendors, city shops, old and new headgear, food and housing, children’s games, pleasure boats, raconteurs, prostitutes, festivals, Confucianists, fiction writing, and plenty more. This information is based on the memory of a relatively open-minded samurai named Shibamura Morimichi (1722-?). Unlike many writers of his day, Morimichi evaluates many of the transformations he experienced in the course of almost nine decades in a largely positive light and expresses doubt that things were any better in the past.
Chapter 4 The Spider’s Reel: Traces of the Tenmei Period (1781-1789) (Kumo no itomaki 蜘蛛の糸巻)
This zuihitsu classic, a work of the fiction writer Santō Kyōzan (1769-1858), contains a vivid description of the culture of the Tenmei period (1781-1789) and the immediately preceding years. During this era of comparatively liberal economic and cultural policies, Edo culture flourished as never before. The author writes with evident pride about having been alive when superstars dominated the kabuki and when the Yoshiwara “pleasure quarters” boasted some of the most famous courtesans in its history. He treats the origins of tempura, the emergence of notable restaurants, the behavior of the great writer Takizawa Bakin, the appearance of female geisha, the disastrous collapse of the Eitai Bridge, famous kabuki productions, the celebration of the Sannō festival, and a host of other topics. This zuihitsu supplies a precious eye-witness chronicle of life during a brief and unusual era that would be followed by a period of conservative reforms.
Chapter 5 Disaster Days: The Great Earthquake of 1855 (Nai no hinami なゐの日並)
In 1855 a powerful earthquake destroyed much of the city of Edo. In “Disaster Days” the fiction author Ryūtei Senka (1804-1868) describes in a diary-like fashion urban life during the two months following the catastrophe. Unlike most chroniclers of Edo earthquakes, the author does not focus on the cosmic significance of the event, its relation to the arrival of Perry in 1853, or the presumed movements of a great subterranean catfish. Instead, he details how he and his daughter survived the disaster and then eked out a precarious existence. He also offers meticulous “bottom up” descriptions of his exploratory jaunts throughout the city and the visits he paid to friends and religious institutions. Besides presenting a striking portrait of Edo after a disaster, the author also indicates how a nineteenth-century fiction writer was enveloped in a wide network of literati, artists, and publishers.
Contents Preface Introduction 1. Tales that Come to Mind (Sozoro monogatari) 2. A Record of S... more Contents
Preface
Introduction
1. Tales that Come to Mind (Sozoro monogatari)
2. A Record of Seven Offered Treasures (Nanakusa hōnō-ki)
3. Monologue (Dokugo)
4. Nagasaki Prattle (Nagasaki kanwa)
5. Kyoto Observed (Mita kyō monogatari)
6. A Dustheap of Discourses (Chirizuka-dan)
7. The Breezes of Osaka (Naniwa no kaze)
Bibliography
Index
Contents Maps, Conventions Preface Introduction: Approaching the Goze Chapter 1 The Production o... more Contents
Maps, Conventions
Preface
Introduction: Approaching the Goze
Chapter 1 The Production of Visual Disability
Chapter 2 The Development of Echigo Goze Associations
Chapter 3 Learning the Goze Art and Way of Life
Chapter 4 Touring and Performing in Echigo: Goze and their Audiences
Chapter 5 Endings: Coerced Liberation
Chapter 6 After the End: Goze Songs in the Postwar Era
Appendix
Document 1: “Origins of the Goze,” “Commands of the Retired Emperor,” and the “Goze Code”
Document 2 The 1884 “Regulations of the Takada Goze Association”
Document 3 The 1901 “Revised Regulations of the Takada Goze”
Document 4 The 1898 “Regulations of the Moral Reform Society of Central Echigo Goze”
References
Contents Introduction Chapter 1 Conditions of Possibility: Economic, Political, and Ideologica... more Contents
Introduction
Chapter 1 Conditions of Possibility: Economic, Political, and Ideological
Chapter 2 Outcast(e) Street Performers
Chapter 3 Gods and Spirits in the Streets
Chapter 4 Gōmune and their Arts
Chapter 5 Yashi: Performance as Advertisement
Chapter 6 The Aftermath of Meiji: Conditions of Impossibility
References
Bibliography
A study of blind female musicians and their songs in Japan during the Edo period.
Publisher: Tsugaru Shobo, 2012
The Ashgate Research Companion to Japanese Music, 2008
Hayaru, so the dictionary tells us, means to be popular, fashionable, in vogue. Often written wit... more Hayaru, so the dictionary tells us, means to be popular, fashionable, in vogue. Often written with the ideographs 'to flow' and 'to go', this verb, properly conjugated and coupled to the noun uta (song), results in the expression hayari-uta: songs that 'go with the flow', in short, 'popular song'. 1 From around the seventeenth century, when the term came into common parlance, most Japanese differentiated hayari-uta from songs that seemed more resistant to change. Traditional, anonymously composed songs from the hinterland, today known as min'yi5 (folk song), represented one sort of permanence; aristocratic genres, especially those based on ancient, seemingly eternal Indian or Chinese tradition exemplified another. Between the peasant's timeless ditty and the courtier's time-honoured• chant lay hayari-uta: ephemeral strains and verses often identified with professions or sectors of society that the country bumpkin could not and the samurai would not fully know. No matter how one chooses to define such song, the emergence and growth of Japanese 'popular' culture has always been linked to transformations in the composition of the 'populace', especially to changes resulting from the growth and development of major cities. Gradual urbanization in many parts of the land can already be detected in an early age, but from the Edo (Tokugawa) period (1600-1868) the centralization of culture proceeded at breakneck speed. When the military government, the Tokugawa shogunate, decreed in the early seventeenth century that each province was to maintain only one castle, both warriors and commoners tended to move to the site of this fortress, which usually became the political and cultural hub of the area. The policy of' alternate attendance' (sankin ki5tai), requiring warrior lords and much of their administrative apparatus to spend every other year in the city of Edo (pre-modern Tokyo), meant both that much of the culture 1 The (undated) gloss hayaru of the ideographs 'to flow' and 'to go' appears already in a lyric of the twelfth-century popular song collection Ryojin hisho (see below; song no. 369 in Usuda and Shinma 1985), where it refers to Kyoto fashions.
Winner of the 2008 Koizumi Fumio Prize for Ethnomusicology and the Tanabe Prize of the The Societ... more Winner of the 2008 Koizumi Fumio Prize for Ethnomusicology and the Tanabe Prize of the The Society for Research in Asiatic Music (Tôyô Ongaku Gakkai).
A two-volume Japanese-language study of blind female musicians from the medieval to the prewar era, with emphasis on the Edo and Meiji periods. Volume 1 contains chapters arranged largely by geographical area; volume 2 contains historical materials.
Vol. 1, kenkyū-hen, 758 pp., musical examples, illustrations, annotated bibliography
Vol. 2, shiryō-hen, 949 pp., historical materials in chronological order, tables
Japanese artists, musicians, actors, and authors have written much over the centuries about the c... more Japanese artists, musicians, actors, and authors have written much over the centuries about the creation, meaning, and appreciation of various arts. Most of these works, however, are scattered among countless hard-to-find sources or make only a fleeting appearance in books devoted to other subjects. Compiled in this volume is a wealth of original material on Japanese arts and culture from the prehistoric era to the Meiji Restoration (1867). These carefully selected sources, including many translated here for the first time, are placed in their historical context and outfitted with brief commentaries, allowing the reader to make connections to larger concepts and values found in Japanese culture.
The book is a treasure trove of material on the visual and literary arts, but it contains as well primary texts on topics not easily classified in Western categories, such as the martial and culinary arts, the art of tea, and flower arranging. More than 60 color and black and white illustrations enrich the collection and provide further insights into Japanese artistic and cultural values.
Nishiyama Matsunosuke is one of the most important historians of Tokugawa (Edo) popular culture, ... more Nishiyama Matsunosuke is one of the most important historians of Tokugawa (Edo) popular culture, yet until now his work has never been translated into a Western language. Edo Culture presents a selection of Nishiyama's writings that serves not only to provide an excellent introduction to Tokugawa cultural history but also to fill many gaps in our knowledge of the daily life and diversions of the urban populace of the time. Many essays focus on the most important theme of Nishiyama's work: the seventeenth to nineteenth centuries as a time of appropriation and development of Japan's culture by its urban commoners.
Winner of the 1996 Tanabe Prize of the The Society for Research in Asiatic Music (Tôyô Ongaku Gak... more Winner of the 1996 Tanabe Prize of the The Society for Research in Asiatic Music (Tôyô Ongaku Gakkai).
A study of popular Japanese songs during the late Edo period. The book focuses on the short songs known as dodoitsu and the long songs called kudoki and discusses song writers, composers, publishers, and performers.
山梨大学教育学部紀要 Yamanashi Daigaku Kyōiku Gakubu Kiyō, 2023
本研究は『山梨大学教育学部紀要第32 号』に発表した論文の続編である。本稿は ウィーン在住のマティアス・ペルト（1788 年～1856 年）の膨大な日記より1818 年11 月から1820 年... more 本研究は『山梨大学教育学部紀要第32 号』に発表した論文の続編である。本稿は
ウィーン在住のマティアス・ペルト（1788 年～1856 年）の膨大な日記より1818 年11 月から1820 年12 月の音楽事情に関する項目を抜粋、翻刻し、註釈を加えた。この時期のロッシーニの人気ぶりをはじめ、ウィーンに話題となった演奏者の活躍が鮮やかに記述されている。若い頃のペルトは特に演劇に興味を示したが、1818 年以降には次第に音楽演奏に関する記録項目が日記に増加している。また1820 年８月21 日彼はその二日前に初演を経験したシューベルト作曲のメロドラマDie Zauberharfe を鑑賞し、1820 年11 月５日の項目にはTheater an der Wien の現状、バレエ・ダンサーたち（特に子供バレエ団）の事情、劇場の入場券の値段までが詳細に記録されている。
1818/5 beendet Perth sein Verhältnis mit Regine Deodat, die er einst ernsthaft zu heiraten beabsichtigte. Etwa sieben Monate später, 1818/12/29, im Zuge eines Neujahrsbesuches bei „Herrn v. F.“ lernt er durch Zufall die neunzehnjährige Baroness Sophie Landen kennen. Es beginnt ein stürmisches Liebesverhältnis, das aber durch den Einspruch Sophies Eltern, welche die unstandesgemässe Neigung ihrer Tochter zu einem bürgerlichen Beamten nicht dulden, zu einer Trennung, und dann zu einer aufgezwungenen Heirat Sophies zu einem dreiundsechzig Jahre alten böhmischen Baron. Drei Jahre später stirbt Sophie fern von Wien, nach Perth rufend. Perth erhält die Nachricht von Sophies Zofe, und 1824/12/13 schreibt er feierlich in sein Tagesbuch „Ich heirate nicht! Ich bleibe Sophien treu bis in den Tod!!!“ (XXXVII:154-155). An diesem Gelöbnis bleibt Perth auch treu.
Monumenta Nipponica, 2022
From perhaps the early sixteenth century until 1 720, performances of noh, considered a sacred of... more From perhaps the early sixteenth century until 1 720, performances of noh, considered a sacred offering to the deities, took place in conjunction with a festival regularly sponsored by Kanda Myojin, a major Edo shrine. Staged after the conclusion of the festival, these presentations gave the commoner public an important opportunity to experience the time-honored art of noh. This study examines the origins of the event, its performance area, the actors and programs, and the increasing difficulty in procuring the vast funding necessary. I argue that the demise of sacred noh resulted from a combination of changes in the community of parishioners, a conflict of interests between parishioners and the shrine, and a series of unfortunate fires--factors compounded by a general decline in popularity of noh.
山梨大学教育学部紀要 , 2022
本研究は『山梨大学教育学部紀要第31 号』に発表した論文の続編である。ウィーン在住の公務員、マティアス・ペルト(1788 年～1856 年) は1803 年から1856 年まで膨大な日記を書き続... more 本研究は『山梨大学教育学部紀要第31 号』に発表した論文の続編である。ウィーン在住の公務員、マティアス・ペルト(1788 年～1856 年) は1803 年から1856 年まで膨大な日記を書き続け、19 世紀のウィーン音楽文化を知るための貴重な記録を残した。本稿は1815 年１月から1818 年10 月の音楽事情に関する項目を抜粋、翻刻し、註釈を加え、ウィーンの音楽事情を目撃者の立場から把握することを試みている。
山梨大学教育学部紀要 (Yamanashi Daigaku Kyōiku Gakubu Kiyō), Feb 22, 2021
この研究は『山梨大学教育学部紀要第 30号』に発表した論文の続編であり、ウィーンの公務員であったマティアス・ペルト (1788年～1856年 )の 58巻に及ぶ膨大な日記に見られる音楽事情に関す... more この研究は『山梨大学教育学部紀要第 30号』に発表した論文の続編であり、ウィーンの公務員であったマティアス・ペルト (1788年～1856年 )の 58巻に及ぶ膨大な日記に見られる音楽事情に関する項目を抜粋・翻刻し註釈を加え、ウィーンの音楽文化の実態を目撃者の立場から把握することを試みている。ペルトについての詳細は前稿を参照いただきたい。1812年～1814年はナポレオン戦争が終結し、オーストリア皇帝をはじめ多くの軍司令官や政治家などがウィーンに戻る時期にあたる。彼らのため、あるいは 1814年 11月から開催されたウィーン会議の出席者のためにも、多数のコンサート、オペラ上演、軍楽の演奏などが催され、国内外の著名な演奏家がウィーンを訪れ、ウィーンの音楽文化が大きく花を開いた。ペルトは日記においてその賑わいを如実に描いている。
山梨大学教育学部紀要 (Yamanashi Daigaku Kyōiku Gakubu Kiyō), 2020
ウィーン在住の公務員、マティアス・ベルト（1788年－1856年）は1803年から1856年まで膨大な日記を書き続け、19世紀のウィーン音楽文化を知るための貴重な記録を残した。一流の史料であるに... more ウィーン在住の公務員、マティアス・ベルト（1788年－1856年）は1803年から1856年まで膨大な日記を書き続け、19世紀のウィーン音楽文化を知るための貴重な記録を残した。一流の史料であるにもかかわらず公開・翻刻されていないため、これまで音楽学の研究に使用することは困難であった。本稿は1803年から1811年の音楽事情に関する項目を抜粋、翻刻し、註釈を加え、ウィーンの音楽事情を目撃者の立場から把握することを試みている。
This paper presents extracts concerning music and musical performance from 1803-1811 out of the unpublished diary of Mathias Perth (1788-1856), a minor government official in Vienna. This diary, which in its entirety contains 58 volumes, is today found in the archives of the Wienbibliothek im Rathaus in Vienna. Perth was an avid theater and concert goer and from his teens began to notate in his diary what he saw and heard. In the years 1803-1811 her witnessed Beethoven conducting "Fidelio," heard of the death of Haydn, noted the arrival of French ballet dancers in Vienna, attended concerts by the pupils of Maria Theresia von Paradis, and experienced many other performers and performances of various sorts. Because of restrictions required by the journal, the paper is divided into two chronologically successive parts.
Asian Ethnology, 2019
Perhaps in the 1850s, a physician named Harada (pseudonym Banraido Kiyufuku) from Kii Province (W... more Perhaps in the 1850s, a physician named Harada (pseudonym Banraido Kiyufuku) from Kii Province (Wakayama Prefecture) was sent to Edo on a turn of duty. During his stay in the shogun’s capital Harada composed what may be counted as an example of early modern urban ethnography. The author begins with a summary of the physical and built environment of the city and then moves to descriptions of the social world, commodities (especially foodstuffs), language, and customs and habits of the populace. Although it does not present a systematic treatment of the metropolis, his writing supplies an unusually discerning and detailed account of life in early modern urban Japan.
Japan Review, 2019
In the late 1780s, the renowned kyōka poet Hezutsu Tōsaku (1726–1789) looked back at his life a... more In the late 1780s, the renowned kyōka poet Hezutsu Tōsaku (1726–1789) looked back at his life and set about notating some of his memorable experiences and the characteristics of his age. The result was a presumably unfinished zuihitsu entitled Shin’ya meidan (A Retiree’s Chat). In this piece Tōsaku presents sixteen anecdotes and opinions regarding, among other things, famous writers, poets, thinkers, and artists of the past, renowned kabuki actors, connoisseurs and courtesans in Yoshiwara, rural poets and authors, personal friends, astute monks, conditions in Ezo (Hokkaido), and the benefits of city life. This wealth of subjects supplies not just a rare glimpse into the biography of a late-eighteenth century comic poet but also an unusually personal account of cultural life in Edo.
山梨大学教育学部紀要 (Yamanashi Daigaku Kyōiku Gakubu Kiyō), 2018
平和条約を締結するために1814年から1815年ウィーン会識が催され、ヨーロッパ諸国から数多くの国王、軍司令官、外交官などがウィーンに集まった。そこには音楽演奏に大きな関心を寄せる者も多く含まれ... more 平和条約を締結するために1814年から1815年ウィーン会識が催され、ヨーロッパ諸国から数多くの国王、軍司令官、外交官などがウィーンに集まった。そこには音楽演奏に大きな関心を寄せる者も多く含まれていた。この研究では、会議が開催された時期のウィーンにおいて、どのような演奏会が開かれたのか、会議参加者がどのような音楽に触れる機会に恵まれたのかについて具体的に分析している。
During the Congress of Vienna（1814-1815) the great heads of state of Europe, along with countless politicians, diplomats, military men, and their entourages came to Vienna to hammer out a peace treaty. Many of these individuals were highly cultured and enjoyed musical performances. This study seeks to uncover the precise
nature of the concert scene in Vienna during this period by examining the venues, programs, performers, and occasions of performances.
山梨大学教育学部紀要 (Yamanashi Daigaku Kyōiku Gakubu Kiyō), 2017
During the Congress of Vienna, which was formally opened on Nov. 1, 1814 and terminated in June 1... more During the Congress of Vienna, which was formally opened on Nov. 1, 1814 and terminated in June 1815, the heads of states and representatives of almost all European countries assembled in Vienna to hammer out a peace treaty that would put an end to the wars that had been plaguing the continent for years. While in Vienna, these leaders and those who accompanied them could attend performances of opera, singspiel, farces, parodies, and ballets at any of the many theaters of which the city was proud. This paper surveys the theaters in operation at the time, analyzes the composers, performers, works presented on stages, and examines the audiences and their evaluations of what was offered.
山梨大学教育学部紀要 (Yamanashi Daigaku Kyōiku Gakubu Kiyō), 2016
The Congress of Vienna and Music as Revealed in the Diaries of Matthias Perth (1814-1815), Part ... more The Congress of Vienna and Music as Revealed in the Diaries of Matthias Perth (1814-1815), Part 2: Balls and Waltzes
1814年～ 1815年に聞かれた「ウィーン会議」では政治交渉のさなかに催された数多くの舞踏会と大規模な乗馬競技会、式典などがヨーロツパの人々の耳目を引いた。「会議は踊る、されど進まず」という名言が示す通り、多くの参加者はダンスに熱中し、特に「ワルツアー」（ワルツ）と称された当時はまだ新味を帯びたダンスが人気を博した。この研究では、中間官僚であったマティアス・ベルト（Matthias Franz Perth 1788年～1856年）が残した未刊の日記の中からウィーン会議にともなう舞踏会に関する記録を紹介し、他の目撃者の記録も参照しながら当時の舞踏会の実態をさぐり、ウィンナー・ワルツの誕生、発展、社会的意味を探る。
The Congress of Vienna, held in the years 1814 and 1815 was carefully watched by the European public not just for its political negotiations, but also for the grand balls and ceremonials events that accompanied it. As
indicated by the famous quip that “the congress dances but does not progress，” many of the participants spent their time at grand balls where among other genres the Viennese waltz was danced. This paper uses eye-witness sources including the unpublished diary of the mid-level bureaucrat Mahias FranzPerth (1788-1856) to trace the
development of the Viennese waltz and analyze the social meaning dancing had for participants of the Congress.
山梨大学教育学部紀要 (Yamanashi Daigaku Kyōiku Gakubu Kiyō), 2015
-, after a quarter century of war, the Congress of Vienna set out to determine the new political ... more -, after a quarter century of war, the Congress of Vienna set out to determine the new political order of Europe. Before and during the Congress a large number of events, large and small, were staged. These included military parades, religious ceremonies, concerts of music, theater performances, balls, folk festivals and the like. Through such events various social classes, strata, and groups demonstrated their own cultural superiority to themselves and to others and suggested that they were the proper representatives of society in general. For this reason the Congress of Vienna was not simply a time in which a new political order was set in place, but also one in which the corresponding cultural order was suggested. This study analyzes such social meanings of performances on the basis of the diaries of Matthias Franz Perth -.
It is often pointed out that Japanese religion centers on “worldly benefits” (genze riyaku) and o... more It is often pointed out that Japanese religion centers on “worldly benefits” (genze riyaku) and on practices allowing a petitioner to attain divine boons. Since high and low, rich and poor, young and old have always pined for such benefits, religious practice is easily viewed as a force unifying all social
classes and strata. This article questions such a notion by examining the religious activities and performances of blind women (goze) of Echigo province (present-day Niigata prefecture). Like other itinerant performers, goze often
performed songs linked to the procurement of this-worldly or practical benefits. One favorite was called harugoma, and was intimately linked to silk production; another was manzai, which ushered in good luck, health, and wealth during the New Year’s season. This article presents annotated translations of these two goze songs and analyzes the social meanings of performances, both for performers and listeners. It demonstrates that the pursuit of this-worldly
benefits through religious practice contributed just as much to the identification, maintenance, and reproduction of social differences as to social harmony and unification.
In this uploaded version I have corrected two small errors in footnote 29, p. 241 (July 14, 2010)
Monumenta Nipponica 51:2 (Summer 1996)
Monumenta Nipponica, 1998
Asian Folklore Studies, Jan 1, 2003
The first four tracks offer music recorded by Otto Abraham and Erich yon Hornbostel in November 1... more The first four tracks offer music recorded by Otto Abraham and Erich yon Hornbostel in November 1901, when the troupe of Kawakami Otojiro (1864-1911) and his wife, the legendary singer-dancer-actress Sada Yakko (1872-1946), arrived in Berlin on their second tour of ...
Monumenta Nipponica, 2009
Those familiar with today's stereotyped, mass-produced enka may find it almost impossible to... more Those familiar with today's stereotyped, mass-produced enka may find it almost impossible to imagine that in the past this genre of popular song valued politics over tears. Indeed, the majority of present-day Japanese, whether they love or detest the hackneyed melodies and ...
Asian Folklore Studies, 1994
Although ethnomusicologists often claim that their field encompasses all the world's musics,... more Although ethnomusicologists often claim that their field encompasses all the world's musics, a look at current publications shows that several specific areas of the globe are receiving by far the greatest portion of ethnomusicological attention. Among the mu-sics that Western ...
Asian Folklore Studies, 1996
Asian Folklore Studies, 2000
Angry at his failure to win Quan's affections, the disappointed suitor decides that if he ca... more Angry at his failure to win Quan's affections, the disappointed suitor decides that if he can't have him, no one can. He will lure the fellow into a drunken stupor, and then have him castrated. The conspiracy is planned (101-2) and brutally executed (104), but, consistent with the text's ...
Asian Theatre Journal, Jan 1, 2005
Journal of Japanese Studies, 1996
... The beginnings of Western music in Meiji era Japan. Post a Comment. CONTRIBUTORS: Author: Epp... more ... The beginnings of Western music in Meiji era Japan. Post a Comment. CONTRIBUTORS: Author: Eppstein, Ury. PUBLISHER: E. Mellen Press (Lewiston, NY). SERIES TITLE: YEAR: 1994. PUB TYPE: Book (ISBN 0773491511 ). VOLUME/EDITION: Volume 44. ...
Ethnomusicology, 1996
The Way of the Pipa STRUCTURE AND IMAGERY IN CHINESE LUTE MUSIC John E. Myers ... The Way of the ... more The Way of the Pipa STRUCTURE AND IMAGERY IN CHINESE LUTE MUSIC John E. Myers ... The Way of the Pipa This Ono U635-9XR-ZX2L ... OTHER KENT STATE TITLES IN WORLD MUSICS The Ethnomusicologist Mantle Hood Music in the Mind: The Concepts of Music ...
Asian Folklore Studies, 1997
... Han Kuo-huang (1979) and Shen Sin-yan (1979) discuss the larger topic of instru-mental ensemb... more ... Han Kuo-huang (1979) and Shen Sin-yan (1979) discuss the larger topic of instru-mental ensemble music and Jiangnan sizhu 's place in it, while Alan Thrasher gives consideration to sizhu traditions in his writings on the aesthetics (1980) and sociology (1981) of Chinese ...
Asian Folklore Studies, 2000
Asian Folklore Studies, Jan 1, 2003
It has long been known that Turkic ethnic groups have played an important role in the emergence o... more It has long been known that Turkic ethnic groups have played an important role in the emergence of Hungarian ethnicity, culture, and folk music. From at least the 1930s, when Bela Bartok investigated the folk music of the Volga region and Anatolia, numerous Hungarian ethnomusicologists ...
Asian Folklore Studies, 1999
Asian Folklore Studies, 2002
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Asian Music, 1998
... loyalties, local musicologists and folklorists had tended to focus their fieldwork on a singl... more ... loyalties, local musicologists and folklorists had tended to focus their fieldwork on a single region of Uzbekistan or Tajikistanusually the ... played a leading role in the ecumenical social world that Bukharan Jews had shared for centuries with Central Asian Muslims, and as ...
Page 1. PATRICIA MATUSKY AND TAN SOOI BENG Page 2. Page 3. Page 4. Page 5. THE MUSIC OF MALAYSIA ... more Page 1. PATRICIA MATUSKY AND TAN SOOI BENG Page 2. Page 3. Page 4. Page 5. THE MUSIC OF MALAYSIA his One WLTQ-5J2-UCGR Page 6. Page 7. The Music of Malaysia The Classical, Folk and Syncretic Traditions PATRICIA ...