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Wadaiko in Japan and the United States: the Intercultural History of a Musical Genre
Wadaiko in Japan and the United States: The Intercultural History of a Musical Genre by Benjamin Jefferson Pachter Bachelors of Music, Duquesne University, 2002 Master of Music, Southern Methodist University, 2004 Master of Arts, University of Pittsburgh, 2010 Submitted to the Graduate Faculty of the Kenneth P. Dietrich School of Arts & Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2013 UNIVERSITY OF PITTSBURGH Dietrich School of Arts & Sciences This dissertation was presented by Benjamin Pachter It was defended on April 8, 2013 and approved by Adriana Helbig Brenda Jordan Andrew Weintraub Deborah Wong Dissertation Advisor: Bell Yung ii Copyright © by Benjamin Pachter 2013 iii Wadaiko in Japan and the United States: The Intercultural History of a Musical Genre Benjamin Pachter, PhD University of Pittsburgh, 2013 This dissertation is a musical history of wadaiko, a genre that emerged in the mid-1950s featuring Japanese taiko drums as the main instruments. Through the analysis of compositions and performances by artists in Japan and the United States, I reveal how Japanese musical forms like hōgaku and matsuri-bayashi have been melded with non-Japanese styles such as jazz. I also demonstrate how the art form first appeared as performed by large ensembles, but later developed into a wide variety of other modes of performance that included small ensembles and soloists. Additionally, I discuss the spread of wadaiko from Japan to the United States, examining the effect of interactions between artists in the two countries on the creation of repertoire; in this way, I reveal how a musical genre develops in an intercultural environment. -
Copyright by Angela Kristine Ahlgren 2011
Copyright by Angela Kristine Ahlgren 2011 The Dissertation Committee for Angela Kristine Ahlgren certifies that this is the approved version of the following dissertation: Drumming Asian America: Performing Race, Gender, and Sexuality in North American Taiko Committee: ______________________________________ Jill Dolan, Co-Supervisor ______________________________________ Charlotte Canning, Co-Supervisor ______________________________________ Joni L. Jones ______________________________________ Deborah Paredez ______________________________________ Deborah Wong Drumming Asian America: Performing Race, Gender, and Sexuality in North American Taiko by Angela Kristine Ahlgren, B.A.; M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2011 Dedication To those who play, teach, and love taiko, Ganbatte! Acknowledgments I would like to extend my heartfelt thanks to each person whose insight, labor, and goodwill contributed to this dissertation. To my advisor, Jill Dolan, I offer the deepest thanks for supporting my work with great care, enthusiasm, and wisdom. I am also grateful to my co-advisor Charlotte Canning for her generosity and sense of humor in the face of bureaucratic hurdles. I want to thank each member of my committee, Deborah Paredez, Omi Osun Olomo/Joni L. Jones, and Deborah Wong, for the time they spent reading and responding to my work, and for all their inspiring scholarship, teaching, and mentoring throughout this process. My teachers, colleagues, and friends in the Performance as Public Practice program at the University of Texas have been and continue to be an inspiring community of scholars and artists. -
WISTERIA, CHERRY TREES, and MOUNTAINS: PRESENTING a NEW MODEL for UNDERSTANDING BUDDHIST COMMUNITIES in the UNITED STATES by CL
WISTERIA, CHERRY TREES, AND MOUNTAINS: PRESENTING A NEW MODEL FOR UNDERSTANDING BUDDHIST COMMUNITIES IN THE UNITED STATES by CLAIRE MILLER SKRILETZ B.A., Drew University, 2002 A thesis submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Master of Arts Religious Studies 2012 This thesis entitled: Wisteria, Cherry Trees, and Mountains: A New Model for Understanding Buddhist Communities in the United States written by Claire Miller Skriletz has been approved for the Department of Religious Studies _____________________________________________ Dr. Holly Gayley, Committee Chair & Assistant Professor, Religious Studies ______________________________________________ Dr. Greg Johnson, Associate Professor, Religious Studies _______________________________________________ Dr. Deborah Whitehead, Assistant Professor, Religious Studies Date____________________ The final copy of this thesis has been examined by the signatories, and we find that both the content and the form meet acceptable presentation standards of scholarly work in the above mentioned discipline. iii Miller Skriletz, Claire. (M.A., Religious Studies) Wisteria, Cherry Trees, and Mountains: A New Model for Understanding Buddhist Communities in the United States Thesis directed by Assistant Professor Holly Gayley This thesis critiques the existing binary categories applied to American Buddhism, that of ethnic and convert. First, a critique of existing models and the term ethnic is presented. In light of the critique and the shortcomings of existing models, this thesis presents a new model for studying and classifying Buddhist communities in the United States, culturally-informed Buddhisms. Chapter Three of the thesis applies the culturally-informed Buddhisms model to case studies of the websites for the Buddhist Churches of America organization and the Tri-State/Denver Buddhist Temple. -
CONFERENCE Program
CONFERENCE ProGRAM MINE, YOURS, AND OURS The Responsibility to Navigate the Rapids of Change 22nd NAIS People 16th NAIS Student Diversity of Color Conference® Leadership Conference (and Joint Sessions with SDLC) Hyatt Regency Denver at the Colorado Convention Center Colorado Convention Center ADVERTISEMENTS TableTable of Contents Welcome 2 Program at a Glance 4 Overview 6 Highlights 9 Daily Program Pre-Conference Program 16 Thursday 17 Friday 25 Saturday 31 SDLC 32 Thank You! 34 Floor Plans 37 Advertisements 38 Corporate Sponsors XXX FOLLOW THE 2009 PoCC BLOGGERS AS THEY ExpERIENCE THE RICHNESS AND OUTCOMES OF THIS YEAR’S CONFERENCE AT www.NAIS.ORG/GO/POCC ! THIS YEAR’S BLOGGERS ARE: SANDra CHAPmaN Little Red School House and Elisabeth Irwin High School (New York) JENNIFER GUTIErrEZ The Colorado Springs School (Colorado) GISELLE CHOW Lick-Wilmerding High School (California) CHRIstEL MCGUIgaN Greenhill School (Texas) Welcomewelcome NAIS WELCOME Greetings and welcome to the 2009 People of Color Conference (PoCC) and Student Diversity Leadership Conference (SDLC) in the Mile High City — Denver! With a spectacular view of the Rocky Mountains from the Colorado Convention Center, both conferences will offer a rich, value- added experience for all who attend. We commend the Denver local committee co-chairs for developing this year’s PoCC conference theme — Moving Mountains: Mining Within — as a fitting tribute to Denver’s unique cultural diversity and Colorado’s history-making election of two African Americans to lead both the Senate and House of Representatives in the Colorado State Assembly, both of which serve as key examples of why matching the mission of our conferences with a host city is very important. -
Development and Support of Taiko in the United States
DEVELOPMENT AND SUPPORT OF TAIKO IN THE UNITED STATES Paul J. Yoon, Ph.D. 1 2/10/2007 Edited Yoon Figure 1: Members of San Francisco Taiko Dojo performing at the Japantown Peace Plaza. The taiko, Japanese for drum, is variously spoken of as an instrument that was used in ancient Japan to drive pestilence away from planted fields or for encouraging troops engaged in battle. Village boundaries were said to be demarcated by the point at which one could no longer hear the taiko being played from the village’s center. These statements, whether real or fable, offer important characterizations about the taiko that continue to resonate today. For one, by virtue of size, the taiko is a loud instrument. The average nagado taiko, as seen in Figure 1, is between eighteen and twenty-four inches in diameter and is struck with a pair of bachi (Japanese for any stick or plectrum used with a musical instrument) fifteen inches in length or greater. Playing taiko typically demands strength and rigorous training. The taiko, as an art form, is also closely associated with communities and the places they inhabit. The booming sound of the taiko has become a staple of Japanese and Asian American festivals, Japanese American Buddhist temples, and concerts halls across the United States. For many, taiko, as instrument and art form, has come to symbolize the Japanese and Asian American experience. For all its ancient underpinnings, the art form of taiko has a relatively contemporary provenance and differs significantly from the traditional contexts of Japanese drumming. Taiko drums are 2 traditionally supporting instruments within an orchestra, giving rhythmic support to melodic instruments or singers. -
Taiko As Performance: Creating Japanese American Traditions
The Japanese Journal of American Studies, No. 12 (2001) Taiko as Performance: Creating Japanese American Traditions Hideyo KONAGAYA INTRODUCTION The acoustics, rhythms, and visual symbols of taiko illuminate the cul- turally specific values and beliefs of Japanese Americans, mirroring their ties to Japanese traditions but transcending ethnic boundaries as well.1 Taiko has prevailed as the most powerful mode of folk expression among Japanese Americans since the late 1960s, surviving acculturation of the ethnic community into American society. Sansei, the third generation Japanese Americans, discovered new meanings in this form of the Japanese folk tradition and have transformed it into an effective medi- um of self-expression. The significance of this new folk tradition highlights its performance perspective. Taiko, performed before an audience, carries cultural, his- torical, and social messages from Japanese Americans to their own com- munity and also to the larger society. Sansei performers began to perform taiko because they found it “calls attention to and involves self-conscious manipulation of the formal features of the communicative system.”2 Taiko mediates the inner struggles and dilemmas of individual sansei performers through the reflexivity of its performance. Presented in public, the emerging American taiko tradition has also matured into Copyright © 2001 Hideyo Konagaya. All rights reserved. This work may be used, with this notice included, for noncommercial purposes. No copies of this work may be distributed, electronically or otherwise, in whole or in part, without per- mission from the author. 105 106 HIDEYO KONAGAYA a cultural performance, and functions as a means for the Japanese American community to claim higher esteem in multicultural American society.