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Shaver Hawii 0085O 10961.Pdf TAKING THE TRADITION OUT OF TRADITIONAL: THE SHAKUHACHI IN THE NARUTO ANIME A THESIS SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI‘I AT MĀNOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN MUSIC MAY 2021 By Travis J. Shaver Thesis Committee: Byong Won Lee, Chairperson Kate McQuiston Christine YAno Keywords: NAruto, anime, shakuhachi, fans ABSTRACT In my five yeArs plAying the shakuhachi (the traditional JApanese bamboo flute), I have noticed thAt with increAsing frequency, people come up to me with new and interesting wAys in which they associAte the sound of the instrument. The traditional associAtion—And the reAson I wAnted to study the instrument—wAs its history as a Zen Buddhist tool to gain enlightenment. This is also almost the exclusive discourse in acAdemic literature. However, among the public this associAtion is changing, and I am more likely to heAr audience members mention how they have heArd the sound in and associAte the instrument with its use in modern compositions like Tōru TAkemitsu’s November Steps and populAr contexts like in a track of Linkin PArk, Hollywood movies like Jurassic Park, video games like Okami, and anime like Naruto. With the global rise of JApanese populAr and traditional culture and the JApanese government’s use of it as A politicAl and economic tool to increAse soft power and their stAtus as a cultural superpower through government programs such as “Cool JApan,” phenomena like this are ever more importAnt to exAmine. This thesis aims to investigate a smAll portion of this phenomenon, in particulAr the use of the shakuhachi in Naruto. I breAk down the dissociAtion from its traditional meAnings and uses in the Zen honkyoku repertoire and sankyoku music and its transformAtion into a consumed sound. Using transcriptions of the score, I analyze how the shakuhachi is utilized in the score And why, connecting it to JApanese and Western sounds, scAles, and genres. Finally, I also use surveys and An interview to evaluate fan reAction to these items As well as their own creAtions using the sounds of the instrument. Throughout this thesis I argue that although the shakuhachi is still very much connected to the history and culture, without this knowledge mAny Naruto fans are creAting and attAching connections, meAnings, and value to the shakuhachi that are linked to this history and culture but at the sAme time new and detAched from it. ii TABLE OF CONTENTS ABSTRACT .................................................................................................................................... ii LIST OF CHARTS, GRAPHS, FIGURES, ILLUSTRATIONS, PLATES, MAPS ...................... v LIST OF ABBREVIATIONS AND/OR SYMBOLS ................................................................... vi PREFACE ..................................................................................................................................... vii CHAPTER 1 INTRODUCTION .................................................................................................... 1 1.1 Introduction ........................................................................................................................... 1 1.2 Chapter Overview ................................................................................................................. 4 CHAPTER 2 A BRIEF HISTORY OF THE SHAKUHACHI AND ANIME ............................... 7 2.1 Description and Brief HistoricAl Overview of the Shakuhachi ............................................ 7 2.2 History of Sound in Anime and its Transnational Flow ..................................................... 22 2.3 TheoreticAl Underpinning of the Thesis: MeAning MAking ................................................ 36 CHAPTER 3 THE NARUTO ANIME AND ITS MUSIC .......................................................... 41 3.1 The Beginnings of NAruto ................................................................................................... 41 3.2 The World of NAruto ........................................................................................................... 44 3.3 Why NAruto? ....................................................................................................................... 46 3.4 The Composer and the Performer—MAsuda Toshio and MusAshi ..................................... 49 3.5 Overview of the Soundtrack ............................................................................................... 51 3.6 MusicAl Analysis ................................................................................................................. 54 CHAPTER 4 TRADITIONAL SOUNDS IN THE EARS OF NARUTO FANS ........................ 68 4.1 Survey Results .................................................................................................................... 68 4.2 TAkeAwAys from the Survey ................................................................................................ 75 CHAPTER 5 NARUTO PARTICIPATORY CULTURE AND FAN CREATION .................... 80 5.1 Musicking With the Shakuhachi ......................................................................................... 80 5.2 Dōjin Culture and Comparable Practices ............................................................................ 85 5.3 Symbolic CreAtivity with NAruto Music ............................................................................. 91 5.4 Case Study: In the Life and Mind of Kyuubikaze, a NAruto/Anime YouTuber ................. 99 CHAPTER 6 SUMMARY AND CONCLUSION ..................................................................... 107 6.1 SummAry ........................................................................................................................... 107 6.2 Impact and ApplicAtions ................................................................................................... 108 6.3 AreAs for Further Study .................................................................................................... 110 APPENDIX A TABLE OF MUSIC IN THE FIRST FIVE EPISODES OF NARUTO ............ 119 iii Episode 1—Enter: NAruto UzumAki! ...................................................................................... 119 Episode 2—My NAme is KonohamAru! .................................................................................. 122 Episode 3—SAsuke and SAkura: Friends or Foes? .................................................................. 125 Episode 4—PAss or FAil: Survival Test .................................................................................. 129 Episode 5—You FAiled! KAkashi’s Final Decision ................................................................ 133 APPENDIX B SURVEY RESULTS .......................................................................................... 137 APPENDIX C KYUUBIKAZE INTERVIEW TRANSCRIPTION .......................................... 150 BIBLIOGRAPHY ....................................................................................................................... 163 iv LIST OF CHARTS, GRAPHS, FIGURES, ILLUSTRATIONS, PLATES, MAPS Figure 1—Kinko And Tozan Utaguchi Differences ...................................................................... 15 Figure 2—TozAn-ryū Licensing Structure .................................................................................... 16 Figure 3—SAkura in TozAn (left), Chikuho (middle), and Kinko (right) NotAtion ...................... 17 Figure 4—StAff NotAtion of Sakura .............................................................................................. 18 Figure 5—Doughnuts? .................................................................................................................. 32 Figure 6—Naruto World MAp ...................................................................................................... 45 Figure 7—Transcription of Afternoon of Konoha Melody ........................................................... 56 Figure 8—Sadness and Sorrow Shakuhachi Solo TrAnscription .................................................. 57 Figure 9—The Rising Fighting Spirit Shakuhachi PArt Transcription ......................................... 65 Figure 10--NAruto on the Infamous Swing ................................................................................... 74 Figure 11—Transcription of First 4 MeAsures of Final PiAno Solo in Sadness and Sorrow ........ 93 Figure 12—Transcription of HomuraGAmi's Sadness and Sorrow Cover ................................... 94 Figure 13—Dirty Kid Music PrimAry Hip-Hop PArts Transcription ............................................ 96 Figure 14—Dirty Kid Music CabasA Accompaniment Transcription .......................................... 97 Figure 15—SAd Funk Remix Rhythmic Motive Transcription .................................................... 98 v LIST OF ABBREVIATIONS AND/OR SYMBOLS MAcron—This symbol is a line that appeArs above elongated vowels in romAnizAtion of JApanese words. OST—Original Soundtrack vi PREFACE In this study, JApanese names are used in the traditional mAnner of plAcing family name first and given name second (e.g., MAsuda Toshio). Throughout this thesis, JApanese words will be romAnized using the Revised Hepburn system. This meAns that elongated or long vowel sounds will have a mAcron over them. A good example of this is 虚無僧―こむそう which could be transliterated as komusou, but is insteAd romAnized as komusō. Also, phonemes that are eAsily confused such as a single “n” syllAble/mora
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