Pop Music, Culture and Identity

Pop Music, Culture and Identity Series Editors Stephen Clark, Graduate School Humanities and Sociology, University of Tokyo, Bunkyo-ku, Tokyo, Japan Tristanne Connolly, Department of English, St Jerome’s University, Waterloo, ON, Canada 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, New Zealand 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 information 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, Australia. 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 contributors 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 tremendous contribution to Cultural Studies, Ethnomusicology, History, Theatre Studies and a number of related areas.” —Professor Noriyuki Harada, Keio University, 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 affective 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, Monash University, 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

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