Pop Music, Culture and Identity

Series Editors Stephen Clark, Graduate School Humanities and Sociology, University of , Bunkyo-ku, Tokyo, Tristanne Connolly, Department of English, St Jerome’s University, Waterloo, ON, Jason Whittaker, School of English & Journalism, University of Lincoln, Lincoln, Lincolnshire, UK Pop music lasts. A form all too often assumed to be transient, commer- cial and mass-cultural has proved itself durable, tenacious and continually evolving. As such, it has become a crucial component in defining various forms of identity (individual and collective) as influenced by nation, class, gender and historical period. Pop Music, Culture and Identity inves- tigates how this enhanced status shapes the iconography of celebrity, provides an ever-expanding archive for generational memory and accel- erates the impact of new technologies on performing, packaging and global marketing. The series gives particular emphasis to interdisciplinary approaches that go beyond musicology and seeks to validate the informed testimony of the fan alongside academic methodologies.

More information about this series at http://www.palgrave.com/gp/series/14537 Kei Hibino · Barnaby Ralph · Henry Johnson Editors Music in the Making of Modern Japan

Essays on Reception, Transformation and Cultural Flows Editors Kei Hibino Barnaby Ralph Faculty of Humanities Seikei University Seikei University Tokyo, Japan Tokyo, Japan

Henry Johnson University of Otago Dunedin,

ISSN 2634-6613 ISSN 2634-6621 (electronic) Pop Music, Culture and Identity ISBN 978-3-030-73826-6 ISBN 978-3-030-73827-3 (eBook) https://doi.org/10.1007/978-3-030-73827-3

© The Editor(s) (if applicable) and The Author(s), under exclusive license to Springer Nature Switzerland AG 2021 This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and informa- tion in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, expressed or implied, with respect to the material contained herein or for any errors or omissions that may have been made. The publisher remains neutral with regard to jurisdictional claims in published maps and institutional affiliations.

Cover illustration: Akio Iwanaga, Getty Images

This Palgrave Macmillan imprint is published by the registered company Springer Nature Switzerland AG The registered company address is: Gewerbestrasse 11, 6330 Cham, Switzerland Acknowledgements

This collection of essays is the product of an international joint research project entitled “Influences of Western Music as Affective Media on the Asia–Pacific Region,” sponsored by the Center for Asian and Pacific Studies (CAPS), Seikei University, Japan. Beginning in April 2016 and ending in 2018, the project held six international conferences, which were hosted by Seikei University and the University of Otago in New Zealand, as well as associated sessions and meetings at the Auckland University of Technology, New Zealand, and the Queensland University of Tech- nology, . The contributors to this collection are either members of the project—Kei Hibino and Barnaby Ralph from Seikei University and Henry Johnson from the University of Otago, who also serve as the editors of the present volume—or participants in the conferences. Without the generous travel funding from CAPS, this project would not have been possible. It has brought about a deeper understanding of the three distinct stages of historical impact of Western Music on the Asia-Pacific Region discussed in Chapter 1. First of all, the editors would like to thank our host institutions for setting the stage for a productive and long-term collabora- tion. Special thanks must go to Professor Takayasu Kensuke, the Director of CAPS, and Sait¯o Miyuki and Nagahashi Noriko, the staff members in charge, for their tremendous support in carrying out this project. The Division of Humanities at the University of Otago is acknowledged for providing research funding that contributed to the project and the School of Performing Arts for hosting one of the collaborative conferences. We

v vi ACKNOWLEDGEMENTS appreciate wholeheartedly the devoted editorial work that Lisa Marr has undertaken in bringing this volume into a publishable form.

Kei Hibino Barnaby Ralph Henry Johnson Note on Transliteration

Unless otherwise noted in a quotation, all Japanese names are written according to Japanese practice with the family name first, followed by the given name (an exception is with the names of Japanese contribu- tors to this volume, who are listed with given name first). Long vowels in Japanese words are indicated by macrons (a bar on the top of vowels), but names of well-known places that have an established use in English do not follow this rule. For example, the capital of Japan is spelled “Tokyo,” although it should be written “T¯oky¯o” according to its Japanese pronun- ciation. In quotations where authors employ a different orthography, the original spelling is retained and followed by a transliteration in square brackets according to the system followed in this book. When a Japanese band has an established English name, this has been given preference in the text. Passages from Japanese sources have been translated into English by the chapter author unless otherwise mentioned. Authors hold sole responsibility for any errors.

vii Praise for Music in the Making of Modern Japan

“Zipang, Japonisme, Cool Japan—Japan has always been a unique and enigmatic wonderland. Innovatively capturing the essence of this excep- tionally exotic country through the unifying notion of affective media as well as via thoughtful approaches to delicate shades of Japanese culture, Music in the Making of Modern Japan succeeds in making a tremen- dous contribution to Cultural Studies, Ethnomusicology, History, Theatre Studies and a number of related areas.” —Professor Noriyuki Harada, , Tokyo, Japan, Member of the SCJ (Science Council of Japan), President of the ELSJ (English Literary Society of Japan)

“This innovative volume deals with a number of aspects of music as affec- tive media in modern and contemporary Japan. It brings together highly diverse genres, texts, and issues, including music education, gender, and traditional, classical, and popular genres. The chapters speak to each other through the unifying concept of affective media, and successfully provide a rich palette of a wide variety of the vibrant and multifaceted state of music in Japan today.” —Professor Alison Tokita, , Australia

ix Contents

1 Introduction 1 Kei Hibino, Barnaby Ralph, and Henry Johnson

Part I Reception 2 Western Art Music in Pre-Edo and Meiji Japan: Historical Reception, Cultural Change and Education 13 Ayako Otomo¯ 3 Western Musical Elements in Japanese Koto Music: Affective Media in Sonic, Visual and Behavioural Context 39 Henry Johnson 4 Guitar Making and Intercultural Communication in Japan and Australia 59 Gavin Carfoot

Part II Transformation 5 Black Intentions: Ishii Maki, Hirose Ry¯ohei, Shinohara Makoto and the Japanese Avant-Garde 77 Barnaby Ralph

xi xii CONTENTS

6 Scarlett, an American Musical Made in Japan; or, How Japanese Learned to Stop Worrying and Love Integrated Musicals 101 Kei Hibino 7 “Like Some Cat from Japan”: Sukita Masayoshi’s Photographs of David Bowie as Japan’s First Appearance in the History of Rock Music 123 Yuki Gennaka

Part III Cultural Flows 8 The Flow of Jazz in Japan: Why Jazz Resonates so Far from Home 147 Michael Pronko 9 Juna’s Groove and Emi’s Beat: Women and Popular Music in Modern Japan 167 Barnaby Ralph 10 Manufacturing Identity: Femininity, Discourse and Representation in Japanese Popular Music 187 Ayako Otomo¯ and Aya Sat¯o

Index 209 Notes on Contributors

Gavin Carfoot is a Senior Lecturer in Music at the Queensland Univer- sity of Technology, Australia. He has worked extensively in popular music curriculum and assessment at the undergraduate and postgraduate levels, and his collaborative work in popular music education and community service learning won a Griffith Award for Excellence in Teaching in 2012. His book Making Things Musical was published by Routledge in 2018, and he has recent publications in Artistic Citizenship (Oxford University Press, 2016), The Routledge Research Companion to Popular Music Education (2017), Engaging First Peoples in Arts-Based Service Learning (Springer, 2016), Popular Music and Popular Communication. As a songwriter and producer, Gavin’s musical career has taken him from performing with touring swing bands to working with pop artists from television shows such as Australian Idol and XFactor. Yuki Gennaka is an academic who focusses on twentieth-century Amer- ican literature and contemporary American culture. Her published works include “On a Dancefloor Again: Value, Identity, Dance Music” (Yur¯ıka [2006]), “Who Hates the Bo(b) Dy(lan) Electric?: The Political, Cultural and Historical Discourses about the Electric Dylan” (Gendai Shis¯o [2010]), “The Buddha Statue and the Soul: Pizzicato Five and Authen- ticity in Popular Music in Japan” (in On the Pacific Waterfront [Sairy¯usha, 2014]), “The Revolution and Prince: Music, America and Democracy” (Gendai Shis¯o [2016]) and “Why Are We in a Creative Unequal Society?:

xiii xiv NOTES ON CONTRIBUTORS

DJs’ Labor, Creativity and Capitalism” (in American Labor [Sairy¯usha, 2017]). Kei Hibino is Professor of English in the Faculty of Humanities, Seikei University, Tokyo. He has a MPhil in Theatre and was educated at the and the City University of New York, where he majored in theatre history and criticism. His published works include The American Musical and its Era (Seidosha, 2020), The Postwar Development of Japanese Musicals (Shinwasha, 2017), American Labor: The Cultural Representations of Labor in the (Sairy¯usha, 2017), “(I’d Say in Sotto Voce:) American New Musical Theatre” (Bungaku [2014]) and “Oscillating between Fakery and Authenticity: Hirata Oriza’s Android Theatre” (Comparative Theatre Review [2011]). Henry Johnson is Professor of Music at the University of Otago, New Zealand. His research interests are in the anthropology of music, Asian Studies and Island Studies, and he has carried out field research in a number of locations in Europe, Asia, Australasia and the Pacific. His books include The Koto (Hotei, 2004), Asia in the Making of New Zealand (Auckland University Press, 2006; co-edited), Performing Japan (Global Oriental, 2008; co-edited), Cultural Transformations (Rodopi, 2010; co- edited), The Shamisen (Brill, 2010) and The Shakuhachi (Brill, 2014). He is Associate Director of the Centre for Global Migrations at the University of Otago. Ayako Otomo¯ teaches at both Tokyo Woman’s Christian University and Jumonji University, with interests that span several disciplines and methodologies. She has presented widely at conferences internationally, including giving numerous papers in the US, Australia, Japan and New Zealand at conferences on topics as diverse as Early Modern Studies, Musicology and Literary Romanticism. Her publications include work on instrument soundboard decoration in the early modern period and discus- sions of the sublime in the work of Milton, Wren and Thornhill. She is a graduate of the Queensland Conservatorium (BMus Hons), the Univer- sity of Queensland (M.Phil.) and the University of Otago (M.A.) and is also a concert harpsichordist. Michael Pronko is Professor of American Literature, , Tokyo. His teaching focusses on American literature and culture, with classes in American film, art and music, as well as in film adaptations. His research interests are contemporary American novels, NOTES ON CONTRIBUTORS xv narrative theory, novel to film adaptations and American music. He writes about the Tokyo jazz scene for his own website, Jazz in Japan (www.jaz zinjapan.com), and has written about Japanese culture, art, jazz, society and politics for Newsweek Japan, The Japan Times, Artscape Japan and other publications. His recent works include award-winning collections of essays about Tokyo, Beauty and Chaos (2014), Tokyo’s Mystery Deepens (2014) and Motions and Moments (2015), and a novel, The Last Train (2017), all published by Raked Gravel Press. Barnaby Ralph is Professor of English in the Faculty of Humanities, Seikei University, Tokyo. He has published and presented worldwide on a wide range of topics, from literature to interdisciplinary studies. His present research is focussed on seventeenth- and eighteenth-century culture, as well as the reception of affective media. His recent publications include the book London and Literature, 1603–1901 (CSP, 2017), for which he was principal editor, “Four Men in a Boat: Dryden, D’Avenant, Shadwell, Locke and The Tempest”(Poetica [2015]) and “‘To Circle Round One Centre of Pain’: Oscar Wilde, Thomas Hardy, and the Human Condition” (Oscar Wilde Studies [2017]). He has also had a successful international career as a classical musician, spanning more than two decades and recording for radio, television and CD. Aya Sat¯o is an independent scholar who holds a Bachelor’s degree and M.A. from the Department of British and American Literature and Culture, Tokyo Woman’s Christian University, Tokyo. Her research has centred on women in culture, including studies of Virginia Woolf and gender and identity. She has presented work on contemporary Japan and the representation of women in popular music at the University of Otago, New Zealand. Additionally, she has undertaken work as a translator and a research assistant for the Center for Asian and Pacific Studies at Seikei University.