Japanese music history

for their patience, encouragement and support. I also want to thank Deborah Forbis for her encouragement and willingness to read and re-read for stylistic errors, and to my colleagues Cynthia Smith and David Panisnick for their support. Thanks also to my parents, who have encouraged me all along. Without these people this dissertation would not have come into existence. Any errors are, of course, solely my responsibility and no doubt occurred in spite of all of the assistance mentioned above. Last, and most important, I wish to thank Takako Patterson, a most valued critic and my inspiration.

The objective of this paper is to compare the traditional music changing in the twentieth century between Japan and Lanna societies. The discipline of ethnomusicology is being used as a fundamental method in this research in compare to musical forms, social contexts, and contemporary phenomena in the twentieth-first century.
Results of the research show that the two important social factors to the traditional music changing depending on the internal and external factors. The traditional music instruments divide to three main groups; the avant-garde, popular and experimental music.
The traditional music in the twentieth-first century shows that the social paradigms influence to the music composers, tradition musicians, and audiences. The new traditional music styles are connected with three ideologies of the regionalism, nationalism, and internationalism.

for their patience, encouragement and support. I also want to thank Deborah Forbis for her encouragement and willingness to read and re-read for stylistic errors, and to my colleagues Cynthia Smith and David Panisnick for their support. Thanks also to my parents, who have encouraged me all along. Without these people this dissertation would not have come into existence. Any errors are, of course, solely my responsibility and no doubt occurred in spite of all of the assistance mentioned above. Last, and most important, I wish to thank Takako Patterson, a most valued critic and my inspiration.

Nigeria is a multicultural society with a diversified linguistic and cultural structure with over 500 languages spoken. Each of the spoken languages has something unique to contribute to humanity, ranging from crafts to the arts and so on. Music, being the most practiced act in the lives of Africans, is ingrained and practiced by every culture in Africa. Although each culture has its own unique ways and singing styles, even within the same cultural circle, with dialectical variances, there are differences in their musical modes of singing and media of performance and sometimes the pitch structures being used in their musical practices. This research investigated the traditional scales being used by the Berom in their music but its focus is on the Kundung (a xylophone). Relying on critical observation, experiments, and measurements, it employed a mixedresearch method that was both qualitative and quantitative. It explored the science of the musical instrument, its pitch structure, and the scale patterns used in its construction. The article also compared the Kundung with the piano in terms of tones and scale similarities. The researcher noticed that the tones in the Kundung and those found on the piano are comparable in pitch, but not identical, necessitating the production of musical tones that will sound distinct from those of the Kundung. The Kundung is a musical instrument that follows the Berom musical idiom and is built on a whole-tone scale with a maximum of five separate melodic tones. The rationale for this is simply a natural experiment that allows the researcher to compare the Kundung from two different manufacturers to a Western piano.

Phonetic symbols describe movements of the vocal tract, tongue and lips, and are combined into complex movements forming the words of language. In music, vocables are words that describe musical sounds, by relating vocal movements to articulations of a musical instrument. We posit that vocable words allow the composers and listeners to engage closely with dimensions of timbre, and that vocables could see greater use in electronic music interfaces. A preliminary system for controlling percussive physical modelling synthesis with textual words is introduced, with particular application in expressive specification of timbre during computer music performances.

Exploring an array of captivating topics, from hybridized Buddhist music to AI singers, this book introduces Japanese music in the modern era. The twenty-five chapters show how cultural change from the late nineteenth century to the present day has had a profound impact on the Japanese musical landscape, including the recontextualization and transformation of traditional genres, and the widespread adoption of Western musical practices ranging from classical music to hip hop.
The contributors offer representative case studies within the themes of Foundations, Heritage, Institutions, and Hybridities, examining both musical styles that originated in earlier times and distinctly localized or Japanized musical forms.

Part 1, A Comprehensive Model Based on Fundamental Theories of Art and Tradition," I outline a model for analyzing the contextual background and the mode of transmission within traditional art forms. １ In this Part 2, the aim is to investigate the historical background and positioning of one traditional music genre, and how they are presented within various schoolsor lineages-within that genre. As stipulated in Part 1, the main material in this second part centers on the Japanese bamboo flute shakuhachi, and the genres to which it relates. ２ This includes the fundamental solo repertoire, honkyoku, of the shakuhachi as well as the ensemble music commonly known as sankyoku, or more precisely jiuta-sōkyoku. However, for reasons of comprehensiveness I focus here solely on the fundamental repertoire. Some lineages only transmit the fundamental solo repertoire, whereas some transmit both the solo and the secular ensemble repertoires. Furthermore, some lineages use modern compositions as the core repertoire, adding older ensemble pieces for more advanced students. The solo repertoire of the Edo-period shakuhachi has connections to Buddhism, since this repertoire developed as meditative pieces by the hands of mendicant monks, so-called komusō. The way of transmission has however changed over time, and it is of interest to investigate both into the process of transmission and the authenticity practitioners bestow on their different lineages; this Part 2 thus relates to issues of authenticity and positioning, and I will return to the matter of transmission in a future

In this article I attempt a partly new way of analysing the clusters of sound that constitute the building blockskata-of the fundamental repertoire of the Japanese bamboo flute shakuhachi. These kata can be perceived as structural entities of the music, but some Japanese scholars regard them as intangible prescriptive entities that are implicit in… any of the traditional art forms that exist (or have existed) in Japan. I challenge the notion that these kata should be seen as motifs, and suggest a new terminology that I find appropriate for describing the musical events that occur in the sound clusters.

Politics of Chinese Media in Malaysia: Case Study on the Nanyang Takeover Issue Iga Tsukasa* This study examines the politics of Chinese media in Malaysia, focusing on a case study of the Nanyang takeover issue. In June 2001, the Malaysian Chinese Association (MCA), one of the major component parties of the Barisan Nasional (BN) ruling coalition, took over a Chinese daily, Nanyang Siang Pau, in the face of vehement opposition from the United Chinese School Committees Association of Malaysia (Dong Jiao Zong), famous Chinese writers, and even a part of MCA. Five years after the takeover, however, MCA sold off Nanyang Siang Pau to the rival daily Sin Chew Jit Poh. This deal created a monopolistic media group that controls 85% of the Chinese newspaper market. This study examines the following questions on the Nanyang takeover issue. Why did Dong Jiao Zong and other groups oppose the takeover? Why did MCA take over Nanyang Siang Pau? What happened in the opposition groups after MCA sold Nanyang Siang Pau? The conclusion of this study has implications with regard to how political actors, such as the state and ruling parties, owners of the media group, journalists, and civil society groups, fi ghting the confl ict over the media in Malaysia.

Anava acompanyat d'un famós dibuix d'André Favory del músic francès. La importància de Samper com a principal narrador musical en el període llarg del Noucentisme segueix encara ara en un incomprensible segon pla; ens atrevim a pensar que això és així per la manca d'atenció tant dels estudis literaris com de la musicologia catalana moderna a la crítica musical del primer terç del segle XX, que sens dubte ens revelaria un dels més importants assagistes, d'una profunditat sorprenent i un estil literari admirable, sobre la música del seu temps. És una de les tantes assignatures pendents del nostre passat cultural. L'admiració que sentia Baltasar Samper per Ravel és incomparable a la que pogués tenir per altres compositors, com ara Robert Schumann, Ígor Stravinsky o Béla Bartók. Pel músic mallorquí, el francès fou un «exquisit arquitecte dels sons» , el model i la referència de la música contemporània; 1 no en va, havia estat ell mateix qui, com a pianista, havia fet la primera audició pública a Barcelona de Le tombeau de Couperin, l'any 1920 , una de les obres que inaugura el modern neoclassicisme 2 francès i europeu en general. El 18 de maig de 1924, l'Associació de Música «da Camera» va 3 organitzar un Festival monogràfic de Ravel, amb la presència en persona del compositor; una vegada més, Samper, convertit ja en el crític ravelià de referència, va rebre l'encàrrec d'escriure la notes al programa. Aquest text va ser la base de l'article a la portada de La Publicitat del 2 de 4 gener de 1938. Encara durant la guerra, el mallorquí va impartir una altra conferència sobre Ravel, al Casal de la Cultura, institució popular i antifeixista de la que era Vicesecretari General, l'11 de març de 1938. Com a compositor, la influència del compositor francès en l'obra de Samper es 5 deixa sentir clarament en l'orquestració brillantíssima de la Suite Mallorca (1929). L'article que transcrivim de Baltasar Samper és, com és habitual en ell, ben escrit i ric en referències, noms i exemples. Samper era un bon lector de la crítica musical francesa, especialment

Over the twentieth century, various types of synthetic fibers were invented, mass-produced, and widely distributed across the globe. This article analyzes the political power that was exercised to generate this innovation in musical instrument industries. Synthetics also contributed to the growth of the global garment, textile, sporting goods, and military industries, among many others. This article specifically discusses the politics behind the transition from the use of silk to nylon during the World War II and Cold War eras. Modern cultural industry's tendency in the mid- to late twentieth century to favor synthetic and other "man-made" fibers over natural ones was importantly shaped by political-economic—and political-ecological—conflicts between the United States and Japan, especially during World War II. These conflicts prepared the ground for the rise of global capitalism's synthetic regime.

N ic h ir e n ， s View o f N a tio n a n d R e lig io n Sat o Hiroo A concern with "peace of the nation " was an integral part of Nichiren， s religious vision. This paper examines Nichiren's understanding' of the term "nation" (kokka), which for him pertained not so much to the politi cal power structure, as much as to the land and the people who lived there in. His view of the Tenno and of earthly political power can then be seen in this light, as instruments toward establishing peace in the land and among the people. For Nichiren the highest value is the Transcendent Power who is none other than Sakyamuni Buddha, before whom all human beings stand on an equal plane. Failure on the part of political rulers to achieve the goal for which they are in power, that is, "peace of the nation, " results in their fall from power, and even death, or punishment in hell. This paper also surveys how tms revolutionary message of Nichiren was modified by his followers in the course of Japanese history.

Questions of continuity and transmission, as well as relationship to the community, have long occupied an important part of folk performance scholarship. These topics take on a different urgency in disaster-affected communities, where preexisting socioeconomic issues become more pressing and endanger not only the continuity of folk practices but the communities themselves. The aftermath of the 2011 Great East Japan Earthquake and tsunami has seen a surge of folk performance revivals in affected areas, hinting to the depth of the ties between local folk performance and community. Following an ethnographic approach, this paper explores the case of the community of Ogatsu (Ishinomaki City, Miyagi Prefecture) and its folk performance, the Ogatsu hōin kagura, as one expression of the revival process in an isolated, rural community extensively affected by the 2011 disaster. Putting in perspective the underlying dynamic of continuity and change that characterizes folk performances, the objective is to explore the nature and usage of the kagura and its relationship to the post-disaster community as it responds to changing circumstances.

This dissertation addresses the conflicting and complementary dynamic processes that drive both continuity and change in the world of Japanese koto (long zither) music today. These dynamic processes articulate the relationship among the traditional, the modern, and the globalized. The concrete object of this study is the musicians of the Sawai Koto School, an influential school in Japan formed in 1979 by the renowned musicians Sawai Tadao and Sawai Kazue. Their son Sawai Hikaru is now the head of the school. Empirical fieldwork was carried out in Kyôto, in a branch of the Sawai Koto School led by Iwahori Keiko, and supplemented by library, archival, and online research. xxiv The main questions guiding this project can be summarized as follows: First, how do the musicians of the Sawai Koto School influence, and how are they influenced by, the longer established iemoto-system schools and their ideology, which still constitute the dominant structure of the koto music scene? Second, how do these musicians continue tradition, and how do they change tradition by modernizing or globalizing it? The iemoto system, its ideology, and classical koten music maintained in this system are regarded as tradition (the dominant structure) in this context. Further, the aim is to explore how these dynamic processes interlink with the constitution of the musicians' identity. I address these questions by looking at three domains of music practice: learning, performing, and creating music, and further in the human relations present in these domains. In investigating the dialectical relation between agency and structure Bourdieu's theory of practice and his notions of objective structures, habitus, doxa, and symbolic capital are applied. Alan Page Fiske's relational models theory is also applied in order to illuminate what kind of relational forms are created in these music practices. My dissertation thus combines the "ethnomusicology of the individual" and the study of institutional processes as a whole, in order to explore the dialectical processes at work in the dynamic relationship between agency and structure. CHAPTER ONE INTRODUCTION Prologue: Between "old" and "new" During my years of studying koto in Japan, I witnessed "new" and "old" Japanese practices coming together, merging, conflicting, complementing each other, the "new" replacing the "old," the "old" influencing and maintaining power over the "new," and so on. The dynamic process between the "old" and the "new," or between continuity and change, pointed in various directions, and was present everywhere: in music repertory, notation systems, teaching style, the way of sitting and where to sit when performing, the way of socializing, in how to be polite, what gifts to give or not to give, in dress codes, and so on. In other words, the dynamic process seemed all-encompassing-even in a cultural domain such as koto music, which the majority of the Japanese people tend to look upon as representing a "traditional Japaneseness." Japan is today a technologically highly advanced culture. At the same time, its well preserved traditional culture is well-known internationally. This double-sidedness in ancient and traditional culture on the one hand, and high technology and contemporary "Japaneseness" on the other, is everywhere: in architecture, sports, food, clothes and design, visual arts, theater, and music. The area of music is particularly illustrative in this context. Ancient music traditions such as gagaku and nô are passed on with utmost care My project thus offers significant insight into the musical practices of the Sawai Koto School, a lively and influential school that represents innovation in the koto music scene. Besides this, my work contributes to the research on the iemoto system in a larger socio-musical context. Here, the iemoto system's relation to present-day, alternative school models is examined. This relation involves complex tensions, negotiations, and complementarities among "tradition," "modernity," and "globalization." Further, my research offers perspectives on how individual actions, human relations, and larger organizational attributes in a music culture all affect dialectical relationships in the process of music-making. Fieldwork for this study My research project is based on two periods of stay in Japan as an adult when I studied koto and later also shamisen with Iwahori Keiko in Kyôto: the first period was during 1995-98 when I studied for my M.A. in Kyôto; 8 the second period was a 14-month stay in 2001-02 when I conducted fieldwork for this Ph. D. project. 9 In the first period, 1995-98, I did not intend to do fieldwork for this current project. Nevertheless, my koto studies with Iwahori in the first period have been highly valuable experiences for my 8 In fact, I undertook my M.A. studies in musicology and ethnomusicology over 1996-1998 at the Department of Music, Kyôto City University of Arts, under the guidance of ethnomusicologist Professor Nakagawa Shin. In academic year 1995-96, I attended an intensive Japanese language study program at Kyôto University, and also prepared for the admission exam for M.A. studies at Kyôto City University of Arts. 9 During fieldwork, I was affiliated to the Kyôto City University of Arts, under the guidance of Professor Nakagawa Shin's successor, ethnomusicologist Professor Yamada Yôichi. 12 The people I got to meet and interview were: Ms. Iwahori Keiko (professor in the Sawai Koto School, Kyôto, performer in koto/shamisen, my koto/shamisen teacher); Ms. Sawai Kazue (koto/shamisen performer/professor, one of the founders of Sawai Koto School); Mr. Sawai Hikaru (head of the Sawai Koto School, koto/shamisen perfomer/professor, composer, heavy rock musician); Mr. Arai Tetsu between the ideology of the iemoto system and newer types of schools (including the Sawai Koto School); possible conflicts between individual freedom and creativity, and bonds to the tradition and master; the informants' relation to classical koten music and to newer music such as gendai hôgaku music-for instance, how often they played these types of repertoire; how the informants valued innovation and "authentic" transmission of tradition; and what kind of musical practices the informants undertook in their everyday life. Through these interviews, I aimed to collect data about various practices, attitudes and thinking found in the traditional koto music world in Japan, and possible changes in (composer of Japanese Buddhist music, Kyôto); Ms. Kôda Ritsuko (koto/shamisen performer, professor at the Sawai Koto School, Kyôto); Ms. Kojima Tomiko (professor and researcher on Japanese music, former professor at Tôkyo University in musicology/ethnomusicology); Kokoo (the popular gendai hôgaku music group consisting of the members Mr. Nakamura Akikazu [shamisen performer, composer, jazz performer], Ms. Yagi Michiyo [koto/shamisen performer, member of the Sawai Koto School], and Ms. Ishigai Maki [koto/shamisen performer, member of the Sawai Koto School]); Ms. Kubota Toshiko (professor at the Research Center for Traditional Music of Japan, Kyôto City University of Arts, specialist in koto music); Mr. Kuribayashi Hideaki (koto/shamisen performer, composer, former member of the Sawai Koto School); Mr. Miyashita Shin (koto performer, composer, professor in the Yamada school koto tradition); Mr. Mizuno Toshihiko (gendai hôgaku composer, koto performer, founder of the Mizuno Koto School); Mr. Nagahiro Hitoshi (founder of gendai hôgaku music programs at Japanese State Radio NHK, gendai hôgaku researcher, affiliated to the Research Center for Japanese Traditional Music, Kyôto); Ms. Nakamura Noriko (composer and professor of composition at Kyôto City University of Arts); Ms. Nishigata Akiko (gendai hôgaku shamisen performer, founder of and head of Gendai Hôgaku Kenkyûsho in Tôkyô [Contemporary Japanese Traditional Research Center]); Ms. Ôgaki Keiko (office staff member at NHK Hôgaku ginôsha ikuseikai [NHK's Education Program for Skilled Performers in Japanese Traditional Music, Tôkyô]); Mr. Sakamoto Masahiko (Head of the Dainippon Ongaku Shuppansha [Great-Japan Music Publishing], representing Zenkoku Hôgaku Shidôsha Kyôgikai [All-Japan Japanese Traditional Music Educators' Association]); Mr. Tanaka Takafumi (head/editor of the Japanese traditional music magazine Hôgaku Journal); Ms. Tsuda Michiko (leader of Kyôto Tôdôkai Koto school, koto/shamisen performer, researcher in koto/shamisen music); and Mr. Yoshizaki Katsuhiko (koto/shamisen performer, gendai hôgaku composer, educator). Unfortunately, the planned interviews with Ms. Kôtô Sumiko (koto performer, one of the pioneer performers in gendai hôgaku music) and Ms. Sunazaki Tomoko (koto performer, a distinguished performer in gendai hôgaku music) had to be cancelled due to my sudden trip back to Norway in April 2002 for my grandmother's funeral. We were not able to find new appointments after this time before I left Japan at the end of May 2002. In addition, I had formerly carried out four interviews with high-profile koto performers in fall 1997. These four persons were: my koto teacher, Professor (Ms.) Iwahori Keiko in Kyôto; Mr. Masubuchi Jin'ichirô, professor in the Yamada school koto tradition at the Department of Traditional Music, Tôkyo National University of Fine Arts and Music; Ms. Nakanoshima Hiroko, koto performer in the Yamada school and iemoto head (daughter of the famous performer and composer Nakanoshima Kinichi); and finally Ms. Nitani Fujimika, koto performer and teacher in the Yamada school of koto tradition in Kyôto. 4 The strings are named in the following way from the string farthest away from the player to the closest string: the first to tenth strings are numbered from 1 to 10 in the Japanese language (ichi 一, ni 二, san 三, etc.), the 11 th string is called to 斗, the 12 th string i 為, the 13 th string kin 巾 (closest to the player). 5 The plectrum itself is made of ivory, tied to a...

Notation is a visual representation of musical sounds and/or of how these sounds should be reproduced. It is found in numerous music cultures all over the world, in their culture-specific forms. Notation performs diverse functions and roles, depending on its overall aim and the musical values predominant in its cultural context. The music cultures of East Asia share a long history of notation. Coherent, wellestablished notation systems have been in use for hundreds of years, such as the Chinese gongchepu and the Korean chȏngganbo. Still, oral-aural transmission and rote learning have been the most central characteristics of these musical practices. In the East Asian context, notation has mainly functioned as an auxiliary means for musical memorization. This chapter discusses the cultural context and structural qualities of notation in Japanese musical culture. Although there are distinct differences among the East Asian cultures in their musical values and practices, Japan shares with her neighbors the same twofold relationship between oral-aural and written transmission.

The modern Japanese geisha is a versatile performing artist who derives her identity within a context that the public casts in a bad light. The widespread and deep misunderstandings about geisha result from the lack of direct contact most people have had with geisha and the subsequent reliance upon fictional and wordof-mouth representations. Geisha reside within the world of Japanese traditional performance arts, and geisha are rarely understood within this context because this world is largely unknown to outsiders. However, this context is essential if one is to understand their reasons for giving evening performances, the high costs of attending these parties, and the motivations for these women choosing the geisha career in the first place. Both actual geisha and "geisha girls" of the West have been cast as "bad" in their respective societies for very different reasons. In Japan, the avoidance of family responsibility and monogamy to focus on careers in the performing arts renders geisha as "bad" within a society that measures female "goodness" on humility and loyalty. Moreover, because the term "geisha" was often misapplied to maids or prostitutes having nothing whatsoever to do with art, these "geisha" stories-as bought-and-sold powerless objects-are embraced as remnants of a "bad" feudal social order and incompatible with progressive modern gender roles. In the West, the "geisha-girl" image is utilized as a symbol of repression, passivity, and the inequities that we continue to find unpurged from our own society-"bad" elements that reveal stagnancy in our own social progress. In order to untangle the various "bad girl" interpretations of geisha, we need to first gain a more complete understanding of these women and this requires us to revisit the social context of Japanese female performance history (the context in which geisha originated). Because so few have seen geisha or their performances L. Miller et al. (eds.

The uninhabited yet socially active and culturally important Japanese island of Chikubu (Chikubu-shima) is situated towards the northern end of Lake Biwa in the Kansai region of Japan’s largest island of Honshū. Chikubu Island is linked to Shintō and Buddhist ritualistic culture and hosts tens of thousands of day-tripper pilgrims who travel there each year. But its cultural significance is also carried beyond its aquatic margins through multimodal signification in Japanese traditional performing arts where meaning connected with the island is portrayed through visual and sonic media. Extending discourse on islands and performing arts, this article shows how one culturally noteworthy Japanese island is imagined within creative practices and how island meaning is embodied in settings that are far removed from the island’s physical or lake environment. Expanding the scope of Island Studies, select creative works are discussed in terms of how they represent Chikubu Island through sound ...

The uninhabited yet socially active and culturally important Japanese island of Chikubu (Chikubu-shima) is situated towards the northern end of Lake Biwa in the Kansai region of Japan’s largest island of Honshū. Chikubu Island is linked to Shintō and Buddhist ritualistic culture and hosts tens of thousands of day-tripper pilgrims who travel there each year. But its cultural significance is also carried beyond its aquatic margins through multimodal signification in Japanese traditional performing arts where meaning connected with the island is portrayed through visual and sonic media. Extending discourse on islands and performing arts, this article shows how one culturally noteworthy Japanese island is imagined within creative practices and how island meaning is embodied in settings that are far removed from the island’s physical or lake environment. Expanding the scope of Island Studies, select creative works are discussed in terms of how they represent Chikubu Island through sound ...

REPERTORI
Albert Guinovart: Tre canti di Leopardi (2023) 15′ – Obra d’encàrrec, estrena mundial
Felip Pedrell: I trionfi (Els triomfs): “Trionfo d’amore”, poema simfònic (1880) 28′
Serguei Prokófiev: Simfonia n. 7 en do # m, op. 131 (1951-1952) 31′

ARTISTES
Orquestra Simfònica de Barcelona i Nacional de Catalunya (OBC)
Cor participatiu amb membres d’El Cor Canta
Jordi Francés, direcció

The history of the reception of contemporary Japanese music at the Darmstädter Ferienkurse began in the mid 1950s. Relations between Darmstadt and Japan intensified in 1961, thanks to the efforts of Bernhard Großmann (1929-2013), director of the German Cultural Institute in Tokyo, and Yoshida Hidekazu (1913-2012), director of the Nijūsēki ongaku kenkyūjo (Twentieth-Century Music Laboratory). Together with Wolfgang Steinecke at IMD, the three organized special performances of works by Japanese composers at the Ferienkurse in 1963 and shared scores, recordings, pamphlets, and programs from contemporary music festivals. Drawing from material preserved in IMD's archive, the author examines the communications pertaining to the Ferienkurse during the Steinecke and Thomas eras.

Nine regions are covered in this work; four chapters are devoted to Europe, four to the Americas; there are also two introductory chapters in which the author describes his approach to the folk, tribal and national musics of these regions, all of which have been in near or distant contact with the music of the west, or have been within its 'sphere of influence'. • The chapter which refers to Africa will be most likely to interest readers of this Journal (pp. 125-156). Its subsections are: The uses of music in Africa, Instruments of Africa, Music and language in Africa General characteristics of Mrican forms, Melody, Rhythm, Polyphony, Regional variation in black African music, Bibliography and discography. The book is written for westerners, in the western music-school tradition. Various aspects of Mrican music are considered in turn, with widely varied examples, and conclusions reached. Nett! does try to avoid the pitfall of a catch-all work like this-of oversimplifying or over-generalising-but, nevertheless, he falls into it often. In discussing African 'rounds': " ... if leader and chorus use the same tune, the chorus may become overarutious and fail to wait for the leader to finish his turn, and a round of sorts is born". In a discussion of Mrican scales: " ... we must content ourselves with the generalization that African scales are varied but that as a group they seem to be closely related to those of Europe". (Yet in another part of the book he mentions "a considerable number of deviations from Western scales (or rather, differences between Mrican and Western scales) that Mrican musics exhibit"). Mrican musicians might find it hard to recognise their music in this: " ... the accompaniment of singers on a harp, a xylophone or a mbira may have nothing to do melodically with the tune of the singers". Here and elsewhere Nett! does not seem to be aware of any of the groundbreaking new work done in the last ten years or so. Much of his data is drawn from out-of-date or inaccurate earlier works. This does not seem to be the case in the other chapters of the book, which seem more extensively and confidently handled, such as those on Latin America and Afro-America. There can be little excuse for the nee-racialist attitude to Mrican music, described as that of 'Black Mrica' any more than one would describe Chinese and Indian music as 'Yellow' Chinese or 'Brown' Indian music. Nor can there be any justification for the vilification of African musicians who, in one context, are quaintly described, among other shortcomings, as 'impotent' and 'adulterers'. In the bibliography the omission of any reference to most of the many authors who have contributed to this Society's annual Journal over the past eighteen years may well explain his reliance on other less authoritative sources. A detailed listing of errors is not the purpose of this reviewer, who welcomes all contributions to the study of Mrican music, but, nevertheless, must record the fact that this chapter, however excellent the other parts of the book, only partly succeeds in conveying the spirit and raison

This article analyzes of philosophical approaches and methods of teaching musical instru- ments at traditional Japanese schools. These approaches have a long history within the Japanese Iemoto system. This study’s author highlights several similarities between some conceptual settings of the Japanese tradition and Carl Orff’s Schulwerk system. The article formulates a hypothesis about the possibility and expediency of mastering Japanese tradi- tional music in Europe, also considering the pentatonic basis of Japanese modes. The article provides examples of the implementation of this idea (including the improvisational creativity of students on the instruments of Carl Orff in the style of Japanese traditional music) based on a generalization of the author’s practical experience.

Programme Notes for the Orchestra of the Balearic Islads: Hommage an Clara de C. Schumann / R. Martinsson: Gehrmans Musikförlag Simfonia núm.1 de F. Price: Schirmer Revelacions (world premiere), Mercè Pons Ramis (1968) Hommage an Clara, Op.115 Clara Schumann (1819-1896) (estrena a Espanya) Orquestrada per Rolf Martinsson (1956) Dedicat a Lisa Larsson Cançons de Clara Schumann amb fragments entrellaçats de Robert Schumann i Johannes Brahms Clara Schumann: 1. Geheimes Flüstern hier und dort 2. Er ist gekommen in Sturm und Regen 3. Das ist ein Tag, der klingen mag Robert Schumann: 4. Er, der Herrlichste von allen (fragment d'orquestra) Clara Schumann: 5. Sie liebten sich beide 6. Ich stand in dunklen Träumen 7. Was weinst Du, Blümlein 8. Walzer Johannes Brahms: 9. Lerchengesang (fragment d'orquestra) Clara Schumann: 10. Liebst Du um Schönheit 11. Oh weh des Scheidens, das er tat Johannes Brahms: 12. Meine Liebe ist grün (fragment d'orquestra) Clara Schumann: 13 Lorelei Pausa Simfonia núm.1 en mi menor

In this paper, I explore the linguistic-syllabic mapping of sound in Japanese culture, focusing in particular on its presence in the ancient Japanese gagaku tradition and how it resonates with cultural customs, audiocentricity and ontological views of nature and sound in modern Japan.

Gagaku is an oral tradition that had its peak in the Heian period (794-1185), whereby its performers learn pieces by reciting and committing to memory a sung mnemonic called shōga (唱歌), which essentially acts as the blueprints for a piece of gagaku music. I focus on the cultural resonance and the philosophical ramificationsof this linguistic-syllabizing of soundsin shōga. In a similar spirit to R. M. Schafer’s idea of a “soundscape,” though not at all worked out in the same way, there is a long standing custom in Japanese culture of ensconcing oneself in identifying the sounds of nature, not only as a “chirp” or “hum,” but by attributing specific linguistic-syllabic denotations for specific chirping sounds in linguistic kana characters.Similarly, shōga also attribute syllabic-linguistic denotations to specific pitches. In other words, these shōga that denote abstract sounds (i.e., pitches) have a similar cognitive resonance to the deep-rooted Japanese sonic ontology of audiocentricity that involves the linguistic-syllabic mapping of concrete specific sounds from nature and one’s surroundings. Through examining the linguistic-syllabic “scores” and encoding systems of gagaku music, along with their ritualistic contexts that are inextricable to understanding them, I wish to illuminate an intriguing sense of “prayer” found in Japan and its relationship with nature from a more sonic perspective. I will then relate this to gagaku’s musical principles and systems of sonic mapping found in Japan more generally, and suggest reasons why the five-line staff musical notation system did not develop in medieval Japan as it did in Europe, despite both musics having, on the surface, similar musical structures and organizations. Further, in conjunction with the analytics of play, the workings of an audiocentric framework that I explore throughout the paper also have philosophical ramifications that blur the line between the literal and the metaphorical, which in turn have implications for the semiotics of perception and environment and, by extension, questions in zoomusicology and comparative cognition.

In 1927 a new building cast long shadows over the tiled roofs and narrow alleys of Kyoto’s Pontocho geisha district. Four stories framed by steel girders and clad with fashionable yellow bricks, the building dwarfed tea houses of wood, tile and paper. Inspecting it from across the river, an observer would have quite naturally wondered how much longer Pontocho’s narrow streets would echo the shamisen’s twang, the geisha’s song, and the quiet rustling of kimono over candle-lit tatami mats.

But in fact Pontocho geisha were thrilled. After all, they were the ones who had built this startlingly modern kaburenjo as a multi-purpose entertainment hall. It housed a large theater to showcase their district’s annual “Kamogawa odori,” it gave geisha and their maiko apprentices space for classrooms, and it boasted a large hall the public could rent out for dances, banquets or other fun. This new kaburenjo, then, was one prominent way Pontocho’s geisha adapted to a rapidly changing popular entertainment landscape.

Scholars of interwar Japanese culture have largely overlooked geisha in favor of department stores, cafes, and movie palaces, and the cabaret dancers, actresses and “modern girls” that all seemed to be making the geisha obsolete. Focusing on Kyoto’s Pontocho geisha district, this paper instead argues that geisha creatively adapted to new forms of mass spectacle and popular entertainment. Geisha are, in short, a fascinating and overlooked constituent in the emergence of “the modern.”

N JAPAN, SHRINE FESTIVALS HAVE BEEN THE FOCAL POINT OF POPULAR culture in rural and urban communities for hundreds of years (Ashkenazi 4; Littleton 195; Honda 6). Folk performances formed the core of shrine festivals until their decline during World War II (Ikeda 121). During the postwar period, a variety of state policies have encouraged the revival of old traditions and the creation of new local practices (Knight 250; Robertson 26), but neither has been as popular or highly revered as the original. In the most unlikely communities, however, prewar folk traditions continue to survive. In Ochiai, a small rice farming hamlet in Tôwa-chô, Iwate prefecture, the deer dance, known locally as shishi odori, has endured Japan's feudal era, World War II, and the nation's postwar industrial growth period. In recent decades, modernity has ushered in a set of new challenges. Depopulation, economic decline, the lack of young people, and aging in northeastern Japan, known as the Tôhoku region, are crippling once thriving agricultural hamlets like Ochiai (Kelly 215; Knight 255; Thompson 174). Yet, here and in other similar rural agricultural cooperatives across Japan, local folk performance traditions uninterrupted for centuries continue to thrive. A closer look at the history of Ochiai and shishi odori will reveal why. Ochiai is one of ten hamlets in Nakanai, one of Tôwa-chô's four municipal districts (see Figure 1). Consisting of approximately 160 residents (see Table 1), there are forty-one households in the hamlet, most of which are rice farms. Until fifteen years ago, over half of these households contained three-generation families. Now, only five such

DOI numbers may be found for individual articles and items on the Kyushu University Library here: 
https://www.lib.kyushu-u.ac.jp/publications_kyushu/jahq

USE NOTICE OF CORRECTIONS (Errata sheet) for final item (report)  by Mertz, et. al. and one correction for first article by Imazato.

TABLE OF CONTENTS
VOLUME 7, SPRING 2022
SATOSHI IMAZATO
Inter-Changeable Religions: A Style of Japanese
Religious Pluralism in Hirado Island Villages,
Northwestern Kyushu .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  . 1
AKIKO WALLEY
The Power of Concealment: Tōdaiji Objects and the
Effects of Their Burial in an Early Japanese Devotional
Context .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  . 23
AKIKO HIRAI
Structural Analysis of the Dance Within the Odaidai
Ceremony of Kawaguchi Asama Shrine: Choreography,
Music, and Meaning .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  . 47
MEW LINGJUN JIANG
A Short Visual History of Abstraction in Early Modern
Japanese Karuta: Simplification, Reinterpretation, and
Localization . . . . . . . . . . . . . . . . . . . . . . . 61
Report
Kyushu, Asia, and Beyond
YOSHINORI IWASAKI
TRANSLATED BY KAZUHIRO MURAYAMA
Book Collecting by a Literati Daimyo in Early Modern
Japan, and the Exchange of Information: An Investigation
into Catalogues of the Rakusaidō Collection in
Hirado Domain .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  . 85
Reviews
Kyushu and the World, on the Fiftieth Anniversary of
International Awareness of Minamata Disease
MULTIPLE BOOK REVIEW BY TIMOTHY S. GEORGE
W. Eugene Smith and Aileen Mioko Smith. Minamata
(in Japanese). Trans. Nakao Hajime 中尾ハジメ. With
contributions by Ishikawa Takeshi 石川武志, Yamagami
Tetsujirō 山上徹二郎, Saitō Yasushi 斉藤靖史,
and Yorifuji Takashi 頼藤貴志. Crevis, 2021.
Seán Michael Wilson (text) and Akiko Shimojima
(illustrations). The Minamata Story: An EcoTragedy.
Berkeley: Stone Bridge Press, 2021. . . . . . . . . . . 95
BOOK REVIEW BY MARILYN ROBERT
Reiko Sudo. NUNO: Visionary Japanese Textiles. Edited
by Naomi Pollock. London: Thames & Hudson, 2021.
　　　　　 . . . . . . . . . . . . . . . . . . . . . . . 103
BOOK REVIEW BY MARIA CĂRBUNE
Eduard Klopfenstein, ed. Sprachlich-literarische
‘Aggregatzustände’ im Japanischen: Europäische Japan-
Diskurse 1998–2018. Berlin: BeBra Wissenschaft Verlag,
2020. . . . . . . . . . . . . . . . . . . . . . . . . . . . 107
BOOK REVIEW BY MALLY STELMASZYK
Laurel Kendall. Mediums and Magical Things: Statues,
Paintings, and Masks in Asian Places. University of
California Press, 2021. .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  119
BOOK REVIEW BY SUSAN NAQUIN
Alain Arrault. A History of Cultic Images in China:
The Domestic Statuary of Hunan. Translated by Lina
Verchery. The Chinese University of Hong Kong Press,
2020. . . . . . . . . . . . . . . . . . . . . . . . . . . . 123
Research Report
MECHTILD MERTZ, SUYAKO TAZURU, SHIRŌ ITŌ,
AND CYNTHEA J. BOGEL
A Group of Twelfth-Century Japanese Kami Statues
and Considerations of Material Intentionality:
Collaborative Research Among Wood Scientists and
Art Historians .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  127
Notice of Corrections .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  159

A contextual-historical study and annotated translation of 大野正夫 Masao Ohno,「Arnold Dolmetsch を語る」‘Arnold Dolmetsch wo kataru’ [Talking About Arnold Dolmetsch], 音樂新潮 Ongaku shinchō [New Trends in Music], vol. 9 no. 12 (1932), pp. 78–81. Translation by Masumi Yamamoto.

https://www.dolmetsch.com/dolmetschconsort.htm