Japanese popular culture has been steadily increasing in visibility both in Asia and beyond in recent years. This book examines Japanese popular music, exploring its historical development, technology, business and production aspects, audiences, and language and culture. Based both on extensive textual and aural analysis, and on anthropological fieldwork, it provides a wealth of detail, finding differences as well as similarities between the Japanese and Western pop music scenes. Carolyn Stevens shows how Japanese popular music has responded over time to Japan's relationship to the West in the post-war era, gradually growing in independence from the political and cultural hegemonic presence of America. Similarly, the volume explores the ways in which the Japanese artist has grown in independence vis-à-vis his/her role in the production process, and examines in detail the increasingly important role of the jimusho, or the entertainment management agency, where many individual artists and music industry professionals make decisions about how the product is delivered to the public. It also discusses the connections to Japanese television, film, print and internet, thereby providing through pop music a key to understanding much of Japanese popular culture more widely.
The book features 32 pages of manga plus 50 additional photos, illustrations, and shorter comic samples.
The book first presents a general description of the history and background of popular music, followed by essays organized into thematic sections: Putting Japanese Popular Music in Perspective; Rockin’ Japan; and Japanese Popular Music ...
In the first English-language history of this Japanese industry, Hiromu Nagahara connects the rise of mass entertainment with Japan’s transformation into a postwar middle-class society.
It does, however, represent the performance scene of old-time music in Japan and the newer interest shown by the younger generation. ... One of them, Valerie Mindel, a former member of Any Old Time, an old-time band in California, ...
In eight revised and updated essays written in English by renowned Japanese scholar Toru Mitsui, this book tells the story of popular music in Japan since the late 19th century when Japan began positively embracing the West.
Informed by theories of nostalgia, collective memory, cultural nationalism, and gender, this book draws on the author’s extensive fieldwork in probing the practice of identity-making and the processes at work when Japan becomes “Japan ...
Tokyo Boogie-Woogie is a tale of competing cultural dynamics coming to a head just as Japan’s traditionally hierarchical society was shifting toward middle-class democracy.
Yet, as I shall explain, the birth, development and present state of this popular musical genre are all inextricably linked to the Japanese presence on the island over the last one hundred years. In this chapter, I would like to examine ...
See also Michael Lydon, “The Electric Guitar,” in Boogie Lightning: How Music Became Electric, ed. Michael Lydon and Ellen Mandel (New York: Da Capo, 1974), 145–58. Tony Bacon, “Beatle Guitars,” in Bacon, Fuzz & Feedback, 56.
Producing Popular Songs in Modern Japan, 1887–1952 Patrick M. Patterson. Galliano, Luciana. Yōgaku: Japanese Music in ... Traditional Folk Song in Modern Japan.” 171. Ann Arbor: University of Michigan, 1985. ———. “Japanese “New Folk Songs ...