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Downloaded by [New York University] at 04:19 09 August 2016 Focus: Music in Contemporary Japan Focus: Music in Contemporary Japan explores a diversity of musics performed in Japan today, ranging from folk song to classical music, the songs of geisha to the screaming of underground rock, with a specific look at the increasingly popular world of taiko (ensemble drumming). Discussion of contemporary musical prac- tice is situated within broader frames of musical and sociopolitical history, processes of globalization and cosmopolitanism, and the continued search for Japanese identity through artistic expression. It explores how the Japanese have long negotiated cultural identity through musical practice in three parts: • Part I, “Japanese Music and Culture,” provides an overview of the key characteristics of Japanese culture that inform musical performance, such as the attitude towards the natural environment, changes in ruling powers, dominant religious forms, and historical processes of cultural exchange. • Part II, “Sounding Japan,” describes the elements that distinguish traditional Japanese music and then explores how music has changed in the modern era under the influence of Western music and ideology. • Part III, “Focusing In: Identity, Meaning and Japanese Drumming in Kyoto,” is based on fieldwork with musicians and explores the position of Japanese drumming within Kyoto. It focuses on four case studies that paint a vivid picture of each respective site, the music that is practiced, and the pedagogy and creative processes of each group. The accompanying CD includes examples of Japanese music that illustrate specific elements and key genres introduced in the text. A companion website includes additional audio-visual sources discussed in detail in the text. Jennifer Milioto Matsue is an ethnomusicologist at Union College specializing in modern Japanese music and culture. She has conducted research on numerous music cultures in contemporary Japan and is author of the monograph Making Music in Japan’s Underground: The Tokyo Hardcore Scene (Routledge 2008), as well as several articles on related topics. The Focus on World Music Series is designed specifically for area courses in world music and Downloaded by [New York University] at 04:19 09 August 2016 ethnomusicology. Written by the top ethnomusicologists in their field, the Focus books balance sound pedagogy with exemplary scholarship. Each book provides a telescopic view of the musics and cultures addressed, giving the reader a general introduction on the music and culture of the area and then zooming in on different musical styles with in-depth case studies. Visit the companion website for this edition: www.routledge.com/textbooks/focusonworldmusic This website includes further resources for both instructors and students. FOCUS ON WORLD MUSIC Series Editor: Michael B. Bakan Focus: Music, Nationalism, and the Making of the New Europe Second Edition Philip V. Bohlman Focus: Music of Northeast Brazil Second Edition Larry Crook Focus: Afro-Caribbean Music Katherine J. Hagedorn Focus: Music of South Africa Second Edition Carol A. Muller Focus: Gamelan Music of Indonesia Second Edition Henry Spiller Focus: Irish Traditional Music Sean Williams Downloaded by [New York University] at 04:19 09 August 2016 Focus: Music in Contemporary Japan Jennifer Milioto Matsue Union College, USA Downloaded by [New York University] at 04:19 09 August 2016 First published 2016 by Routledge 711 Third Avenue, New York, NY 10017 and by Routledge 2 Park Square, Milton Park, Abingdon, Oxon, OX14 4RN Routledge is an imprint of the Taylor & Francis Group, an informa business © 2016 Jennifer Milioto Matsue The right of Jennifer Milioto Matsue to be identified as author of this work has been asserted by her in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Trademark notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. Library of Congress Cataloging in Publication Data A catalog record for this book has been requested ISBN: 978-1-138-79138-1 (hbk) ISBN: 978-1-138-79140-4 (pbk) ISBN: 978-1-315-76285-2 (ebk) Typeset in Minion Pro by Swales & Willis Ltd, Exeter, Devon, UK Downloaded by [New York University] at 04:19 09 August 2016 Dedication To my husband Ryota, who is the air in my lungs, and my son Hikaru, who is the spring in my step. Thank you for your perseverance and patience. Our year in Kyoto changed all our lives and brought me closer to you than you can ever possibly know. None of what follows would have been possible without the two of you. Downloaded by [New York University] at 04:19 09 August 2016 This page intentionally left blank Downloaded by [New York University] at 04:19 09 August 2016 Contents List of Figures ix List of Musical Examples on Compact Disc xi List of Musical Examples on Companion Website xiii About the Author xv Series Foreword by Michael B. Bakan xvi Preface xviii Acknowledgments xxii A Word About Translations and Languages xxiii Maps xxiv East Asian Historical Periods xxviii Part I Japanese Music and Culture 1 1 Japanese Music in Geographical, Historical and Cultural Context 3 2 Japanese Cultural Identity and Musical Modernity 36 Downloaded by [New York University] at 04:19 09 August 2016 Part II Sounding Japan 65 3 Performing Music of Pre-modern Japan 67 4 Making Music in the Modern Era 108 PART III Focusing In: Identity, Meaning and Japanese Drumming in Kyoto 147 5 Taiko and the Marketing of Tradition in Kyoto 149 6 Four Case Studies and Some Conclusions 175 vii viii • Contents Tosha Rōetsu and the Pontochō Okeiko (Lesson) 176 Basara and the One-room Schoolhouse 190 Matsuri-shū and the Kyoto Taiko Center 198 Murasaki Daiko and the Proper Dōjō (Studio) 206 Conclusion: The Future of Japanese Music 220 Appendices 224 A “Echigojishi” (Yoshizumi Kojūrō-fu for shamisen) 225 B “Echigojishi” (Kineya bunkafu for shamisen) 226 C “Echigojishi” (Japanese score for ko-tsuzumi and ō-tsuzumi, by Tosha Rōetsu) 227 D “Echigojishi” (Western score for ko-tsuzumi and ō-tsuzumi, by Yamauchi Reach) 228 Glossary 233 Additional Resources 245 Index 267 Downloaded by [New York University] at 04:19 09 August 2016 Figures Map 1 Asia xxiv Map 2 Japan (prefectures) xxv Map 3 Japan (topographical) (Courtesy of the University of Texas Libraries, The University of Texas at Austin) xxvi 0.a East Asian Historical Periods xxviii 1.1 Commemorative light display in Kobe 8 1.2 Kennin-ji garden in Kyoto 9 1.3 Miyajima torii 17 1.4 Basara performing “Shishi-mai” 18 1.5 Kongōbu-ji garden at Kōya-san 19 1.6 Gravestones at Kōya-san 21 1.7 “Rishukyō” 22 1.8 Ryūkyū scale 31 2.1 East Asian zithers 39 2.2 Tokyo Tower and Zōjō-ji 42 Downloaded by [New York University] at 04:19 09 August 2016 2.3 Tokyo urban landscape 45 2.4 Hardcore girl on guitar 50 2.5 Urban cherry blossoms 54 3.1 James Nyoraku Schlefer at Columbia University (photo by Lenny Pridatko) 74 3.2 “Choshi” (Japanese score) 75 3.3 “Choshi” (Western score) (provided by James Nyoraku Schlefer) 76 3.4 Stanley Jiang (Union College ’16) and the author on nagauta shamisen 78 3.5 Yamauchi Reach on tsugaru-jamisen 79 3.6 Ryo and ritsu scales 85 3.7 In and yō scales 86 ix x • List of Figures 3.8 Koizumi’s tetrachords 86 3.9 Koizumi’s scales 87 3.10 Yabusame (archery on horseback) at Shimogamo-jinja in Kyoto 91 3.11 “Chū no Mai” (transcription) 96 3.12 Bugaku performance at Shiramine-jingū in Kyoto 102 4.1 Yonanuki pentatonic scales 112 4.2 “Akatonbo” (vocal melody) (JASRAC 出 1414514-401) 113 4.3 Hardcore band Jug 123 4.4 Hatsune Miku (Illustration by KEI (C) Crypton Future Media, INC. www.piapro.net) 129 4.5 NAMCO “Taiko no Tatsujin” (©BANDAI NAMCO Games Inc.) 136 4.6 Asano Kaoly, leader of Gocoo with additional members (photo by Mark Dozadzillo) 140 4.7 Kenny Endo on ō-daiko (photo by Raymond Yuen) 142 5.1 Mikoshi from Yasaka-jinja on display 150 5.2 Crowds at Gion Matsuri 151 5.3 Gion Matsuri yamaboko 152 5.4 Matsuri at Ichihime-jinja in Kyoto 153 5.5 Matsuri at Genbu-jinja in Kyoto 154 5.6 Kiyomizu-dera in Kyoto 156 5.7 Kamo-gawa 156 5.8 Kyoto Tower 160 6.1 Tosha Rōetsu 176 6.2 Geiko Gionkōbu Mamechizu on ko-tsuzumi at okeiko 182 6.3 Tosha Rōetsu (with Imafuji Misuzu), instructing geiko Miyagawa Yachiho on ō-tsuzumi 183 6.4 “Echigojishi” (Japanese score by Tosha Rōetsu) 188 6.5 Notation key (by Tosha Rōetsu) 188 6.6 “Echigojishi” (Western score by Yamauchi Reach) 189 6.7 Basara rehearsing 191 6.8 Ōtsuka Takeshi of Basara on shinobue 194 6.9 Basara performing “Narushima” 196 6.10 Matsuri-shū performing “Konjichō” 199 6.11 Yamauchi Reach on shime-daiko 199 6.12 Kawarazaki Yoshihiro on katsugi-oke-daiko 201 6.13 Osoda Miho of Murasaki Daiko performing at Heian-jingū 207 Downloaded by [New York University] at 04:19 09 August 2016 6.14 Murasaki Daiko dōjō 209 6.15 Akane Fujino 211 6.16 Murasaki Daiko dancing 213 6.17 Murasaki Daiko drumming 214 7.1 Vendors at a matsuri 220 Musical Examples on Compact Disc 1 “Rishukyō” by Kōya-san shōmyō no kai from Kōya-san no shōmyō / daimandaraku, VZCG-249, 2002.