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20100719Textbodywithoutsound2.Pdf I certify that the substance of this thesis has not already been submitted for any degree and is not currently being submitted for any other degree or qualification. I certify that any help received in preparing this thesis, and all sources used, have been acknowledged in this thesis. I TABLE OF CONTENTS 1 INTRODUCTION 1-1 Objectives of This Study ----------------------------------------------------------------------------- 4 1-2 Methodology ------------------------------------------------------------------------------------------- 4 1-2-1 Preliminary considerations ------------------------------------------------------------------ 4 a) Understanding relations between kaeuta, motouta and forms of hayariuta b) Delimitation of the concept of popular song in this thesis c) How to group popular songs － Definition of song genres 1-2-2 Consideration of sources and their use for identifying most popular songs in the time ---------------------------------------------------------------------------------------- 6 a) Collecting and utilizing popular song anthologies of the time b) Principles for counting occurrence frequency of songs in the anthologies c) How to identify the lyrics and melodies of the songs d) Musical realizations of the sources as sound examples 1-2-3 Principles of song description and analysis --------------------------------------------- 10 a) Framework for analysis of characteristics of lyric structure and contents b) Framework for analysis of characteristics of rhythmic structure c) Framework for analysis of relations between lyrics and music d) Framework for analysis of characteristics of melodic structure 1-3 Extant Studies and Sources ----------------------------------------------------------------------- 17 a) Retrospective studies and sources on Meiji music history b) Meiji era studies on popular song 2 WHAT SONGS WERE POPULAR IN THE MEIJI ERA? RESULTS FROM A SURVEY OF ANTHOLOGIES 2-1 An Overview of Popular Song Anthologies During the Meiji Period --------------------- 20 2-2 Hit songs of Meiji, as Shown by Occurrence Frequency in the Popular Song Anthologies Collected from the KDL --------------------------------- 22 a) Overwhelming majority of zokuyoo over gunka and shooka －the twelve 'best-hits' of the Meiji era b) Twelve representative songs in specific genres and periods c) Relative dominance of zokuyoo throughout Meiji - most frequently occurring songs of the Meiji 30s (1897-1906) and 40s (1907-1912) 2-3 The Gradual Dissemination and Longevity of Meiji Popular Song ----------------------- 24 2-4 Changing Aspects of Meiji Popular Song Evident in Gross Publication Data in the KDL --------------------------------------------------------- 26 3 A COMPENDIUM OF ZOKUYOO AND THEIR CHARACTERISTICS II 3. 1 The Two Representative Zokuyoo of Meiji Era, Dodoitsu and Ootsue -------------------- 29 3.1.1 Dodoitsu ------------------------------------------------------------------------------------------- 29 a) Gerald Groemer’s work ‘Mizu no debana to' (Our relationship) b) Dodoitsu in the Gaisberg recordings ‘Atashiga shoobai’ (My job) 'Wakarega tsurai to’ (Parting with you) 'Shamisen ya' c) Origins and lyric contents of Dodoitsu d) Characteristics of rhythmic structures e) Characteristics of melodic pitch-structures f ) The conspicuous relation between lyric and music of Dodoitsu 3-1-2 ‘Ootsue’ or ‘Ootsue-bushi’ -------------------------------------------------------------------- 39 a) ‘Ooi oyaji dono’ (Hey, Boss!) b) ‘Ameno yoni' (In a rainy night) c) Other resources for understanding 'Ootsue-bushi' d) Relation between 'Ooi oyaji dono' and 'Ameno yoni' 3-2 Two Zokuyoo from Early Meiji ------------------------------------------------------------------- 47 a) ‘Nooe-bushi’ or ‘Noge no Yama kara’ b) 'Asaku-tomo' (Although it is shallow) 3-3 Nationwide Popularization of Zokuyoo - Nihon Zokkyoku-shuu --------------------------- 52 3-3-1 'Harusame’ (Spring rain) ----------------------------------------------------------------------- 54 3-3-2 ‘Tooka-Ebisu’ (Ebisu-God-Fest) --------------------------------------------------------------- 56 a) 'Tooka Ebisu' from Nihon Zokkyoku-shuu b) Another transcription of 'Tooka Ebisu' c) Two kinds of zokkyoku pitch-structure advocated by Uehara －Yoo-sen of inaka-bushi and In-sen of miyako-bushi 3-3-3 'Echigo-jishi’ (Echigo lion-head dancer) ---------------------------------------------------- 59 3-3-4 'Kompira funefune' ------------------------------------------------------------------------------- 61 3-3-5 ‘Kappore’ ------------------------------------------------------------------------------------------- 62 3-4 Zokuyo o Adopted in Schoolbook ----------------------------------------------------------------- 66 3-4-1 Kazoeuta,'Hitotsu toya' and 'Hitotsu tose' --------------------------------------------------- 67 a) 'Hitotsu toya' b) 'Hitotsu tose' c) Relation between ‘Hitotsu toya’ and ‘Hitotsu tose’ 3-4-2 'Miyasan miyasan’ or ‘Ton'yare-bushi’ ------------------------------------------------------- 71 3-5 Zokuyoo Born in the Meiji Era ------------------------------------------------------------------- 75 3-5-1 'En kaina', the last pure zokuyoo born in Meiji -------------------------------------------- 75 a) 'Enkaina', a later transcription by Machida b) 'Nyan kaina' sung by Tokunaga Richoo III 3-5-2 ‘Umegae’ and its original 'Kankan no' ------------------------------------------------------- 79 a) 'Kankan noo’, a hybrid of Chinese and Japanese music b) 'Umegae' (Plum branch) 3-5-3 'Hookai-bushi' and its original 'Kyuurenkan' ---------------------------------------------- 81 a) 'Kyuurenkan’, the popularization of minshingaku and Chinese notation b) ‘Hookai-bushi’, a variant of 'Kyuurenkan' 3-6 Final observations of Zokuyoo -------------------------------------------------------------------- 87 a) Reliability of the contemporary sources －to what extent we can grasp the music of zokuyoo of that time b) How people enjoyed the newly popularized zokuyoo since mid-Meiji. 4 A COMPENDIUM OF GUNKA AND SHOOKA AND THEIR CHARACTERISTICS 4-1 The Earliest Gunka in Meiji from before the Sino-Japanese War (1894-1895) --------- 90 4-1-1 So-called gunka without music -------------------------------------------------------------- 91 4-1-2 The two earliest gunka with documented melodies ------------------------------------- 92 a) ‘Battoo-tai’ (Platoon with naked sword) b) 'Kitareya kitare' (Come! Come on!) 4-1-3 Heitai-bushi gunka in the earliest years of Meiji ----------------------------------------- 97 a) 'Tooshin gunka' (Bash China War song) b) Four other examples of heitai-bushi melody c) Music characteristics of the earliest heitai-bushi 4-1-4 War songs that were kaeuta of shooka ---------------------------------------------------- 102 4-2 Gunka and Shooka in the Middle years of Meiji Around the Time of the Sino-Japanese War -------------------------------------------------- 104 4-2-1 Heit ai-bushi in the middle years of Meiji ------------------------------------------------- 104 a) ‘Michi wa roppyaku-hachijuu-ri’ (Our journey of 680-ri ) b) ‘Poorando Kaiko’ (Retrospection of Poland) c) ‘Shoo-Nankoo’, a melody composed for use with any 7-5-choo lyrics 4-2-2 The most popular gunka of the middle years of Meiji --------------------------------- 111 a) ‘Teki wa ikuman' (No matter how countless the enemies are!) b) ‘Genkoo' (Khubilai’s Attack) c) 'Yuukan naru suihei', the typical gunka of pyonko-beat and 4-7-nuki melody 4-2-3 Shooka in the middle years of Meiji -------------------------------------------------------- 115 a) 'Kasumi ka kumo ka' (A haze or a cloud) b) ‘Hotaru’ or ‘Hotaru no Hikari' (Light of fireflies) 4-3 Gunka and shooka in the Meiji 30s - 40s (1897-1912) --------------------------------------- 118 4-3-1 ‘Yuki no shingun' (Marching in the snow) ------------------------------------------------- 118 4-3-2 'Tetsudoo Shooka' (Railway Song) ----------------------------------------------------------- 121 4-3-3 ' Sen-yuu' (War mate), the last heitai-bushi ------------------------------------------------ 123 IV 5 CONCLUSIONS 5-1 Relative Significance of Zokuyoo, Gunka, and Shooka -------------------------------------- 126 5-2 Noticeable Movements in Meiji Popular Song History ------------------------------------- 127 a) Popularisation of minshingaku and the introduction of 4-7-nuki major and kon-chie (gongche) notation in the early years of Meiji b) 'New Style Poem', the forerunner of songs that came to be called 'gunka' c) Heitai-bushi, the third genre of Meiji popular song d) Popularization of gunka through children's singing e) Publication of Nihon Zokkyoku-shuu and subsequent public performances of zokuyoo by the Army band f) The first hayariuta among shooka g) Appearance of shooka written in colloquial language for children 5-3 Characteristics of Each Genre of Popular Song ---------------------------------------------- 129 5-3-1 Characteristics of Gunka-Shooka ------------------------------------------------------------ 129 a) Lyric structure and contents of gunka-shooka b) Rhythmic structure and music phrase structure of gunka-shooka c) Melodic structure of gunka-shooka d) Melodic structure of heitai-bushi 5-3-2 Characteristics of Zokuyoo -------------------------------------------------------------------- 131 a) Lyric structure and contents of zokuyoo b) Rhythmic structure, musical phrase structure, and their relation to the lyrics of zokuyoo c) Melodic structure of zokuyoo 5.4 Suggestions for future research------------------------------------------------------------------- 134 BIBLIOGRAPHY
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