Music knows no borders? Crisscrossing French, Polish and Japanese music milieus

2020 ◽  
pp. 126-156
Author(s):  
Beata M. Kowalczyk
Keyword(s):  
Japanese Music

Contractual Relationships among Artists, Record Labels, and Artist Management Companies in Japan

2020 ◽  
Author(s):  
Kazuhiro Ando
Keyword(s):  
Music Industry ◽  
Music Business ◽  
Know How ◽  
Contractual Relationships ◽  
The World ◽  
Employee Relationship ◽  
International Audience ◽  
Music Market ◽  
Japanese Music ◽  
The Relationship

Although Japan is the second largest music market in the world, the structure and practices of the music industry are little understood internationally. People overseas need to know how the music business works in Japan so that they can conduct business comfortably. The Japanese music industry has unique features in some respects. First, Japanese record labels remain heavily dependent on traditional physically packaged music although its profitability is much lower than that of digital distribution. Second, full-scale competition in the music copyright management business has just begun. While JASRAC monopolized this market for more than sixty years, the new entrant, NexTone has gradually increased the market share thanks to the frustration experienced by many music publishers and songwriters in their dealings with JASRAC. Third, the relationship between artists and artist management companies is more like an employer-employee relationship than a client-agent relationship. Artist management companies are fully invested in discovering, nurturing, and marketing young artists just the way big businesses handle their recruits. This chapter illuminates practices of the Japanese music industry for an international audience.

Japanese Music in Peru

Asian Music ◽  
1980 ◽  
Vol 11 (2) ◽  
pp. 41 ◽  
Author(s):  
Dale A. Olsen
Keyword(s):  
Japanese Music

Between Race and Culture: Hearing Japanese Music in Berlin

2017 ◽  
Vol 2 (2) ◽  
pp. 361-374
Author(s):  
Benjamin Steege
Keyword(s):  
Japanese Music ◽  
Race And Culture

Traditional Music in Japanese Music Education

2019 ◽  
pp. 94-107
Author(s):  
Kensho Takeshi
Keyword(s):  
Music Education ◽  
Traditional Music ◽  
Cultural Background ◽  
Folk Songs ◽  
Research Topic ◽  
New Music ◽  
Training Method ◽  
Music Curriculum ◽  
Children's Songs ◽  
Japanese Music

The research topic deals with the development of a music education on fundamental approach of teaching shakuhachi traditional music. The shakuhachi is a Japanese bamboo flute with four finger holes in the front and one thumb hole in the back. It is a very simple instrument and is played without a reed. The purpose of the study is to investigate the extent of the interaction of traditional musical issues on Japanese music education by tracing the new music curriculum in 2019. The topic of this study is the development of a fundamental approach of teaching Japanese traditional music. The author demonstrates a basic shakuhachi training method using two to five tones in Japanese traditional children's songs, and Japanese warabeuta (traditional children's songs) and minyo (folk songs). Students study how to make sound, then they play a simple piece. Also, they will be able to study Japanese cultural background through to shakuhachi.

The Nohkan and Oral Transmission

2020 ◽  
pp. 47-72
Author(s):  
Mariko Anno
Keyword(s):  
Western Music ◽  
Universal Method ◽  
Oral Transmission ◽  
History Of ◽  
Japanese Music ◽  
Comprehensive Study

This chapter discusses the three primary functions of the nohkan in a Noh play and focuses on comprehending the role of shōga and the importance and history of oral transmission. It offers an analysis of Issō Yukihiro singing the shōga of the ryo-chū-kan keishiki of the [Chū no Mai] using Western staff notation, followed by his performance of the ryo-chū-kan keishiki. It also talks about Issō Yukihiro as a professional nohgaku-shi and a nohkan performer, who has been actively promoting the nohkan by collaborating with musicians that play Western music and Japanese music. The chapter analyses how the nohkan failed to reach a level of popularity within or outside Japan due to the lack of comprehensive study on the nohkan and the challenges of oral transmission using shōga. It includes transcriptions of nohkan melodies in Western staff notation, which has become a universal method of notating music.

Beat and Square Cold War Encounters

2019 ◽  
pp. 317-371
Author(s):  
W. Anthony Sheppard
Keyword(s):  
Cold War ◽  
American Composers ◽  
Henry Cowell ◽  
Duke Ellington ◽  
Japanese Music ◽  
Primary Focus ◽  
The Cold War ◽  
Lou Harrison ◽  
Toru Takemitsu

This chapter is focused on the transnational influences of Japanese music during the Cold War and on music’s role in U.S. cultural diplomacy efforts aimed at Japan. This includes examples of numerous American jazz musicians (David Brubeck, Duke Ellington, Herbie Mann) who were sent to Japan and who created musical “impressions” of their experience. A primary focus in on the 1961 Tokyo East-West Music Encounter organized by Nicolas Nabokov and attended by multiple American composers (Lou Harrison, Henry Cowell, Colin McPhee) and scholars (Robert Garfias). The chapter then details the broad influence of gagaku on European (Messiaen, Stockhausen, Xenakis) and American composers, focusing particularly on Alan Hovhaness. Experimental composers, such as Richard Teitelbaum, inspired by John Cage’s engagement with Zen also turned toward Japan. The chapter concludes with an extended discussion of the role of Japanese music and Japanese composers (particularly Toru Takemitsu) in the career of Roger Reynolds.

The Truth About Japan

Worldview ◽  
1979 ◽  
Vol 22 (7-8) ◽  
pp. 9-12
Author(s):  
Donald Kirk
Keyword(s):  
Academic Interest ◽  
The Past ◽  
Japanese Music ◽  
The Government ◽  
The Individual ◽  
Coffee Shops

Ron McLean is a hangover from another era, an aging hippie who still does his hair in a graying pony-tail nearly a decade after he first carried placards and shouted slogans denouncing Japan's support for U.S. policy in Vietnam. For the past eight years of his existence in Japan, though, McLean waged a different kind of crusade—this one against an official ruling that finally forced him to leave the country and return to Hawaii to pursue his academic interest in classical Japanese music.“The government of most countries is intended to protect the rights of the individual,” he said with the didactic air of one who has just discovered a basic truth. “In Japan it's to protect the government.” He was talking in the half light of one of those glittering little coffee shops that purvey a small cup for the equivalent of nearly two dollars and a piece of cake for twice as much.

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