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Nakayama Shimpei's Popular Songs in the History Of THE RULES OF HEART: NAKAYAMA SHIMPEI'S POPULAR SONGS IN THE HISTORY OF MODERN JAPAN A DISSERTATION SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI‘I AT MĀNOA IN PARTIAL FULFILLMENT OF REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN HISTORY DECEMBER 2014 By Patrick M. Patterson Dissertation Committee: Mark McNally, Chairperson James Kraft Christine Yano Jun Yoo Nobuko Ochner For Takako, Matthew, Erin, Charles and Judy I Acknowledgements: I would like to thank my dissertation committee: Mark McNally, James Kraft, Christine Yano, Jun Yoo, and Nobuko Ochner for their patience, encouragement and support. I also want to thank Deborah Forbis for her encouragement and willingness to read and re-read for stylistic errors, and to my colleagues Cynthia Smith and David Panisnick for their support. Thanks also to my parents, who have encouraged me all along. Without these people this dissertation would not have come into existence. Any errors are, of course, solely my responsibility and no doubt occurred in spite of all of the assistance mentioned above. Last, and most important, I wish to thank Takako Patterson, a most valued critic and my inspiration. II Abstract Composer Nakayama Shimpei (1887-1952) wrote more than 300 popular songs in his lifetime. Most are still well known and recorded regularly. An entrepreneur, he found ways to create popular songs that powered Japan’s nascent recording industry in the 1920s and 1930s. An artist, his combination of Japanese and Western musical styles and tropes appealed to Japanese sentiments in a way that not only reflected the historical and social context, but anticipated and explained those historical changes to his listeners. This dissertation seeks to use a method suggested by Pierre Bourdieu to analyze the social context of Nakayama’s work. The analytical model is didactic, seeking to compare the outcomes suggested by Bourdieu’s theory and modern analysis of popular music to the events that occurred in the context of Japan’s development of a record industry and popular music market between 1887 and 1952. The dissertation evaluates Nakayama’s positions within the Field of Musical Production and the Field of Power and compares that history to the field theory of Bourdieu. The dissertation concludes that Bourdieu’s ideas provide an excellent framework for analysis of the social and economic meaning of popular songs, but that reality in Japan was more complex than the theoretical construction. Bourdieu built artistic capital in a society in which music was changing rapidly and Western music held a cachet, whether classical or popular. Nakayama’s uncanny ability to make listening to Western music a comfortable experience for Japanese by adding elements from Japanese musical styles allowed him to be successful financially, and to hold respect within the artistic community as well. The ultimate goal of the dissertation is to show how popular songs can be utilized as primary sources to help deepen our understanding of historical contexts. III Table of Contents Chapter 1 Introduction: Nakayama Shimpei and Japanese Popular Song ...................................... 1 It Takes Two to Tango ................................................................................................................ 4 A Song Is More than Its Words .................................................................................................. 7 Discovering the Meaning of a Song in Its Context ..................................................................... 8 Shimpei Bushi in Historical Context ......................................................................................... 18 How This Study Fits Into Current Scholarship ......................................................................... 21 Chapter 2 Gondora no Uta: The Field of Musical Production in Modern Japan, 1872-1912 ..... 35 Adopting and Adapting Western Music ................................................................................... 36 Western Music in Modern Japan .............................................................................................. 37 From the Classroom to the Auditorium .................................................................................... 42 School Songs: Modern and Japanese ........................................................................................ 44 Modernizing Traditional Music ................................................................................................ 45 The World of Western Classical Music .................................................................................... 51 The Life of a Composer ............................................................................................................ 54 Life in Tokyo ............................................................................................................................ 68 Chapter 3 Katyūsha’s Song: Changing the Landscape of Popular Song, 1912-1924 .................. 75 Becoming a Professional........................................................................................................... 75 The Development of New Popular Music Scales ..................................................................... 93 Shimpei Bushi: A Hybrid Popular Music ................................................................................. 98 Market-leading Practices ........................................................................................................ 101 The Composer and the Audience ............................................................................................ 102 Western Music with Japanese Characteristics: Instrumentation ............................................ 106 Recorded Sound: The Heart of Popular Music ...................................................................... 108 Reflecting the Times ............................................................................................................... 121 Conclusion .............................................................................................................................. 137 Chapter 4 Sunayama: Nakayama Shimpei and New Folk Songs, 1919-1929 ........................... 140 Why Write Folk Songs? .......................................................................................................... 141 Inventors of Tradition ............................................................................................................. 144 Connecting Worlds: High Art and Rural Tradition ............................................................... 172 Conclusion .............................................................................................................................. 185 Chapter 5 Tokyo Kōshinkyoku: Modern Urban Folk Songs, 1920-1935 ................................... 191 IV A Record For Modern Times .................................................................................................. 194 Shin Min’yō As the Voice of Japan ......................................................................................... 197 Touring for Treasure ............................................................................................................... 209 Shin Min’yō and Edokko: Linking the City to the Countryside ............................................. 215 What the Critics Said .............................................................................................................. 227 Changing the Popular Mind .................................................................................................... 244 Chapter 6 Sendō Kouta: Mainstreaming the Marginal in Japanese Culture, 1925-1952 ............ 251 The Popular Music Feedback Loop ........................................................................................ 257 Dōyō: Children’s Songs and the Revolution in Childhood Education .................................. 261 Songs About the Margins........................................................................................................ 270 Workers and Managers: Songs for an Industrial Revolution ................................................. 272 City Songs: Celebrating the Urban Modern........................................................................... 282 Class Consciousness: Songs of Resistance and Marginality ................................................. 293 Wartime Music – The Unification of the Whole .................................................................... 296 Conclusion .............................................................................................................................. 299 Chapter 7 Conclusion: Nakayama Shimpei’s Modern Japan ................................................... 310 Appendix ..................................................................................................................................... 323 V Illustrations Figure 1 “Katyusha no uta” first eight measures ........................................................................ 124 Figure 2: Sendō Kouta first eight bars ........................................................................................ 128 Figure 3: "Habu no minato" (The Harbor of Habu) verse one with music notation ................... 132 VI Chapter 1 Introduction: Nakayama Shimpei and Japanese Popular Song In 1905, eighteen year old Nakayama Shimpei made a snap decision to move to Tokyo and become a composer. On November 28, quoting in his diary the aphorism
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