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The Consumption of English-Language Music Videos on Youtube in Japan

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The Consumption of English-Language Music Videos on Youtube in Japan The Consumption of English-language Music Videos on YouTube in Japan Amanda Gillis-Furutaka Goldsmiths, University of London PhD Music Thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy 2017 1 I declare that, unless otherwise stated, all the work presented in this thesis is my own. July, 2017 2 Acknowledgements I wish to thank my husband Hikaru, and three sons, Oto, Gen and On Furutaka for their patient support and help throughout my research. I also wish to thank my Japanese and non-Japanese colleagues for distributing my survey questionnaires and letting me test my ideas with them. Special thanks go to Professor Thomas Robb for his advice on inputting my survey data. Finally, I owe the fact that I have managed to complete this project to the wonderful support, advice and help provided by my supervisor, Professor Keith Negus. 3 Abstract Euro-American (Western) popular music has been imported, performed and adapted to Japanese musical sensibilities since 1854. It influenced Japanese popular music throughout the 20th century and can be heard everywhere these days in shops, on university campuses, at school festivals, on the radio and television, and at the live shows of touring artists. Although record sales indicate the dominance of the domestic industry, especially the J-pop market, young Japanese people are actively consuming Western music through YouTube. This study demonstrates the eclectic musical tastes of young Japanese people today and the role of YouTube as a music platform. Using a mixed methods approach that combines a survey of over 500 university undergraduates with interviews and focus group work with 82 students, a rich description is presented of the ways in which music videos on YouTube are consumed mainly through mobile digital devices. The data show that the music videos themselves are watched with varying levels of engagement because music provides a background accompaniment to other activities much of the time. Nevertheless, certain types of music video, such as those with skilful dancing, great originality, or a dramatic storyline, tend to attract higher levels of engagement and repeated viewings. The role of English-language lyrics and the priority given to melody and rhythm are also explored. Although many of the YouTube viewing practices of young Japanese audiences resemble those of their Western counterparts, this study highlights attitudes, values and expectations of Japanese and non-Japanese artists that are unique to Japanese audiences. In doing so, it underscores the need for investigating global phenomena in local (non-Western) contexts and sharing those findings to build a more accurate understanding of music video consumption through YouTube worldwide. 4 Table of Contents Introduction 6 1 Research Approach and Methods 12 2 Western music in Japan: Its Influences on Popular Music Production and Consumption from 1854–1989 55 3 Popular Music Consumption by Young Japanese Audiences in the Heisei Era (1989 to the Present) 77 4 New Media, Digital Technologies, the Mobile Internet and Popular Music Consumption 143 5 Contemporary commercial music video: its roles and aesthetics 186 6 Music video consumption on YouTube 214 7 Western music video consumption by young Japanese 237 8 Japanese students’ appreciation and interpretations of Western music videos 266 9 Conclusion 301 Bibliography 307 Appendices 327 5 Introduction The purpose of this research is to present a rich description of the ways in which young Japanese are consuming popular music, in particular English-language music videos, through the website YouTube. This study also presents responses to a small selection of English-language music videos by Japanese university students. The aim is to fill gaps in existing English-language scholarship on popular music and YouTube audiences in Japan. Sullivan (2013), an American scholar, underlines the current significance of YouTube when he says: ‘Perhaps the single most important online tool for empowering audiences in the 21st century has been the video-sharing website YouTube’ (p. 220). In order to obtain a broad understanding of the empowering effect of a global media phenomenon such as YouTube, it is important to take into account localized practices and their cultural context because it is unwise to assume without investigation that a global phenomenon implies globally shared styles of consumption. Among the most viewed types of video clips on YouTube are commercial pop music videos. Kinskey (2014), also writing from an American perspective, implies that music video is a medium that has universal influence: ‘Music video, as a form that unites popular music, visual communication, and changing sociocultural aesthetics, touches the everyday practices and interest of almost anyone engaged with contemporary culture’ (p. 34). Again, it is advisable to explore the situation in a variety of contexts. Since I have not come across any studies of music video audiences in Japan, or anyone researching this area in my encounters with scholars of Japanese popular music, I wish to rectify this situation. This study used a mixed methods approach, combining survey data with interview and focus group work in order to get as full a picture as possible. The research subjects were undergraduates at the middle-level, mid-sized private university where I am employed. Two surveys were conducted in 2010 (N= 2,217) and 2015 (N= 511). Interviews with 51 students were carried out in 2011- 6 12, and in 2015-2016, work with 33 additional students was carried out in focus groups. The total sample of females and males in interviews and focus groups was 52 and 36 respectively. Qualitative research uses non-probability samples for selecting the population to study. This means that the units are deliberately selected to reflect particular features or groups within the sample population. The sample is not intended to be statistically representative as in quantitative research. It is the characteristics of the population that are the basis for selection because they have particular features which will enable detailed exploration and understanding of the central themes and puzzles which the researcher wishes to study (Ritchie and Lewis, 2010). In this case, the overall sample population was large, but drawn from the same institution. They shared the essential features of being young people who listened to and watched Western popular music and music videos. Although a significant proportion of the students at this university came from Western Japan, there were many from other regions throughout the Japanese archipelago. They also were studying in nine different faculties. Although there is clearly the possibility of institutional bias, and I can only say with certainty that my findings are true of the Japanese young adults at this particular university, I believe they provide a reasonably representative sample of average young Japanese people living outside the Tokyo area and that readers familiar with Japan will find my findings applicable to a great many Japanese young people. They are not part of the relatively small number Japanese fashion leaders and trendsetters, but represent the far larger, less conspicuous majority. Moreover, they were a sample population that I had daily access to and was able to obtain permission from my university research ethics committee to survey and interview. The aim of this research project was to find out what English-language music videos ordinary young Japanese were consuming on YouTube as this was the most common means of accessing music videos at that time. I also wanted to investigate their interpretations. As will be seen, this depended a lot on their level 7 of engagement with the visuals as well as with the music and the song lyrics. None of the students interviewed had studied media in school or university classes (apart from five students who were in my media studies seminar) because media studies are not part of the Japanese high school curriculum. This is an additional way in which they can be seen as representative of Japanese middle-class youth. One of the difficulties in discussing popular music in a Japanese context is terminology. In the Japanese language, there are two words closest to the English phrase ‘the West’. One is ōbei, in which the Chinese character for ō represents ‘Europe’ and bei represents ‘America’. The other is seiyō, in which the Chinese character sei represents ‘west’ and yō represents ‘ocean’. Both words are usually translated into ‘the West’. Many young Japanese consider that ōbei (Europe-America) means the United States and, to a lesser extent, Europe, while seiyō (west-ocean) corresponds to Europe, which is particularly symbolized by France. While at least two ideas of ‘the West’ exist, Japan is not seen as part of ‘the West’. It is considered to be part of Asia because Japan and Asia are similar in terms of ‘appearances’, ‘culture’, ‘race’, ‘mentality’, and ‘geography’ (Fujita, 2008). This could also be because the young generation has been influenced by Japan’s positively reasserting its Asian identity after its long retreat following its defeat in WWII. This renewed Asian identity has been stressed since the 1990s when the rise of Asian global economic power meant Japan could not neglect Asia as a vital market for its products (Iwabuchi, 2002). The term Western music is used throughout this discussion to refer to music imported from Europe and the USA. This is for convenience, rather than to imply that music from these regions does not ecompass multiple influences from other regions around the world. For Japanese people, the term yō means ‘from outside Japan’ and is used in the word yōgaku (music from outside Japan). The most common translation of yōgaku is Western music, regardless of the language of the lyrics or the origins and mixed influences inherent in music styles from 8 outside Japan. While I use the term Western on the understanding that this encompasses all music from outside Japan, it needs to be acknowledged that in the minds of most Japanese people Western music usually signifies English- language music.
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