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ABSTRACT Title of Document: PUBLICATION AND ABSTRACT Title of Document: PUBLICATION AND CENSORSHIP OF POPULAR SONG DURING THE ALLIED OCCUPATION OF JAPAN, 1945–1949 Nathanial Lyn Gailey-Schiltz, Master of Arts, 2014 Directed By: Professor J. Lawrence Witzleben, Department of Ethnomusicology During the Allied Occupation of Japan, General MacArthur’s SCAP administration ran a system of censorship of all publications and public broadcasts, lasting from September 1945 through late 1949. Included in the censored publications were sheet music and hit song collections of ryūkōka (流行歌) and dōyō (童謡), popular songs and children’s songs. The Gordon W. Prange Collection at the University of Maryland holds an extensive collection of the proofs and publications that the censors collected, complete with their markings if material was to be deleted or suppressed. The sentiments expressed in the collection of songs in general, and in the items that censors marked for deletions, reflect the new cultural hegemony of the Occupation. Publishers and censors both contributed to the reinforcement of hegemonic ideas, through the addition and removal of specific sentiments from the popular discourse of the time. PUBLICATION AND CENSORSHIP OF POPULAR SONG DURING THE ALLIED OCCUPATION OF JAPAN, 1945–1949 By Nathanial Lyn Gailey-Schiltz Thesis submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Master of Arts 2014 Advisory Committee: Professor J. Lawrence Witzleben, Chair Michele M. Mason Robert C. Provine Fernando Rios © Copyright by Nathanial Lyn Gailey-Schiltz 2014 Dedication To Emmaline, whose love and support have been with me throughout my endeavors. ii Acknowledgements This is a project that would not have come to fruition without the support and guidance of a number of individuals. First I must thank Amy Wasserstrom and Kana Jenkins at the Gordon W. Prange Collection for all of their time and generosity as I barraged them with materials requests and questions about SCAP protocol, as well as former Prange Collection Curator Eiko Sakaguchi, whose enthusiasm first drew me into this project. My translations of Japanese texts owe much correction and help with interpretation to Dr. Michele Mason, conversations with whom never fail to re- kindle my passion for this topic. Aleksandra Kotliarova helped with additional translation guidance and interpretation. Many thanks to my advisor, Dr. Larry Witzleben, for his advice and patience along the way. Finally, thanks to Dr. Fernando Rios, Dr. Rob Provine, Dr. Kendra Salois, and Dr. Roger Vetter, whose ideas have touched and inspired mine along the way. iii Notes On transliteration: Words in the text translated from Japanese are given in standard Hepburn Romanization. For many cases, I have included kanji (漢字) characters at a word’s first introduction. Japanese names are given in Japanese-style order, with the family name first and given name second, both in the text and bibliography. Some common words, such as place names like Tokyo, are given without diacritical marks or italics. On copyright: Due to copyright restrictions on the materials in the Prange Collection, I have not been able to include images of all of the materials I would ideally show in this thesis. For those who want to see more, I must urge readers to visit the archive and see the materials in person. iv Table of Contents Dedication ..................................................................................................................... ii Acknowledgements ...................................................................................................... iii Notes ............................................................................................................................ iv Table of Contents .......................................................................................................... v List of Figures, Plates, and Tables ............................................................................... vi Chapter 1: Introduction ................................................................................................. 1 Methodology ............................................................................................................. 3 Literature Review...................................................................................................... 7 Goals and Significance ........................................................................................... 15 Chapter 2: Popular Song in Japan from the Meiji Period through the Occupation .... 18 What is Popular? ..................................................................................................... 18 Meiji Reforms and Popular Music .......................................................................... 21 Popular Song, Jazz, and Innovation from the 1910s through the 1930s ................. 24 Popular Song during Rising Nationalism ............................................................... 34 Occupation and Beyond .......................................................................................... 38 Chapter 3: Allied Occupation, Censorship Procedures, and the Gordon W. Prange Collection .................................................................................................................... 40 SCAP Organization and the Censorship Apparatus................................................ 40 Defining Materials within the Gordon W. Prange Collection ................................ 49 CCD Documentation ............................................................................................... 55 Trends and Keyword Analysis ................................................................................ 62 Chapter 4: Censorship Actions and Trends ................................................................ 69 Militarism, Incitement, and Defense of Wartime Actions ...................................... 70 Greater East Asia Propaganda ................................................................................ 74 Popular Music and Films ........................................................................................ 77 The Right and the Left ............................................................................................ 81 Chapter 5: Interpretation and Conclusions ................................................................ 86 Music and Popular Discourse ................................................................................. 88 Looking Forward at Censorship.............................................................................. 91 Appendix: Descriptions of Materials with Censorship Actions ................................. 94 Bibliography ............................................................................................................. 124 v List of Figures, Plates, and Tables All figures, tables, and images are property of the author, unless otherwise noted. Figure 1: Organization of SCAP Censorship ..............................................................41 Plate 1: Press Code for Japan ......................................................................................43 Plate 2: Examples of music notation ...........................................................................54 Plate 3: Japanese Chevé-style notation .......................................................................54 Plate 4: “Magazine Routing Slip” ...............................................................................56 Plate 5: “Magazine Examination” form ......................................................................57 Plate 6: Censorship report accompanying an item with violations .............................59 Plate 7: Examples of censors’ markings .....................................................................61 Table 1: Frequency of keywords in sheet music titles ................................................65 vi Chapter 1: Introduction It is hard for me to say when I first heard the sounds of ryūkōka (流行歌), the Japanese popular song form that was popular in the first half of the twentieth century. I may have stumbled across its sounds in an old Japanese film at some point, but I certainly was not aware of it. I had heard the sounds that ryūkōka begat a half a century later in enka (演歌) songs, as when I did karaoke with my host father in Tokyo at his hole-in-the-wall pub, but those sounds carry different meanings, being far removed from the context of Imperial Japan, and, as Christine Yano (2002) suggests, evoking a kind of idyllic, imagined past instead. Regardless of the specifics, it is safe to say that this kind of music was not my introduction to Japanese music. I came to Japanese music the way I would guess many budding ethnomusicologists do, through a combination of hyper-fashionable pop culture and conversely esoteric traditions. J-pop and kabuki are both pretty far removed from ryūkōka, and they are examples of the two veins of Japanese music scholarship I have typically encountered in my studies so far: current popular trends on one hand (J-pop, J-rap, noise) and Japan’s “art music” traditions on the other (kabuki, bunraku, music for koto, shamisen, and shakuhachi)—with Tsugaru-jamisen as perhaps the bridge between the two worlds. Really, everything changed for me and the trajectory of my thesis project materialized when I took a tour of one of the under-appreciated resources of the University of Maryland: the Gordon W. Prange Collection.
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