Bonnie C. Wade
- Published in print:
- 2014
- Published Online:
- May 2014
- ISBN:
- 9780226085210
- eISBN:
- 9780226085494
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226085494.003.0005
- Subject:
- Music, Ethnomusicology, World Music
Chapter Four with Chapter Three explores the environment of shared cultural space that was created by systematically introducing Western music in Japan. Chapter Four focuses on that space within ...
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Chapter Four with Chapter Three explores the environment of shared cultural space that was created by systematically introducing Western music in Japan. Chapter Four focuses on that space within Japan where the environment encompasses the co-existence (however skewed the balance) of Western music and Japanese traditional music (hogaku)— each deeply cultivated, historically grounded complexes from which composers might make creative choices. Chapter Four chronologically traces some choices from the 1920s, considering personal, political, and economic reasons for them. Intersections among performers of Japanese traditional music, performer-composers and composers are bridging internal difference in ways valuable for Japanese culture.Less
Chapter Four with Chapter Three explores the environment of shared cultural space that was created by systematically introducing Western music in Japan. Chapter Four focuses on that space within Japan where the environment encompasses the co-existence (however skewed the balance) of Western music and Japanese traditional music (hogaku)— each deeply cultivated, historically grounded complexes from which composers might make creative choices. Chapter Four chronologically traces some choices from the 1920s, considering personal, political, and economic reasons for them. Intersections among performers of Japanese traditional music, performer-composers and composers are bridging internal difference in ways valuable for Japanese culture.
Bonnie C. Wade
- Published in print:
- 2014
- Published Online:
- May 2014
- ISBN:
- 9780226085210
- eISBN:
- 9780226085494
- Item type:
- book
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226085494.001.0001
- Subject:
- Music, Ethnomusicology, World Music
When, in the second half of the nineteenth century, Japanese leaders put into motion processes of modernization, Western music was adopted into the curriculum of a new educational system as a ...
More
When, in the second half of the nineteenth century, Japanese leaders put into motion processes of modernization, Western music was adopted into the curriculum of a new educational system as a technology for producing shared cultural space for all Japanese people. As the infrastructures of modernity developed, a new role of composer apart from performer was created to meet the needs that emerged in education, industry and commerce (Part 1). The absorption of Western music in Japan did indeed create an environment of shared cultural space— shared internally by all Japanese people including those who have continued to cultivate traditional musical practices (albeit marginalized), and also shared internationally as Japanese composers have increasingly benefitted from, participated in, and contributed to global cosmopolitan culture (Part 2). The particular nature of the reception in Japan of European spheres of musical participation— orchestras, small ensembles for chamber and contemporary music, wind bands, and choruses--has afforded composers a variety of opportunities to create repertoire for musicians both professional and amateur (Part 3). Although the role of composer was new, based on primarily ethnographic research this book argues that most Japanese composers have maintained a socially relational role in their society as performer-composers previously did, as they respond with artistic flexibility to expectations of Japanese musical modernity.Less
When, in the second half of the nineteenth century, Japanese leaders put into motion processes of modernization, Western music was adopted into the curriculum of a new educational system as a technology for producing shared cultural space for all Japanese people. As the infrastructures of modernity developed, a new role of composer apart from performer was created to meet the needs that emerged in education, industry and commerce (Part 1). The absorption of Western music in Japan did indeed create an environment of shared cultural space— shared internally by all Japanese people including those who have continued to cultivate traditional musical practices (albeit marginalized), and also shared internationally as Japanese composers have increasingly benefitted from, participated in, and contributed to global cosmopolitan culture (Part 2). The particular nature of the reception in Japan of European spheres of musical participation— orchestras, small ensembles for chamber and contemporary music, wind bands, and choruses--has afforded composers a variety of opportunities to create repertoire for musicians both professional and amateur (Part 3). Although the role of composer was new, based on primarily ethnographic research this book argues that most Japanese composers have maintained a socially relational role in their society as performer-composers previously did, as they respond with artistic flexibility to expectations of Japanese musical modernity.
Bonnie C. Wade
- Published in print:
- 2014
- Published Online:
- May 2014
- ISBN:
- 9780226085210
- eISBN:
- 9780226085494
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226085494.003.0001
- Subject:
- Music, Ethnomusicology, World Music
The Introduction distinguishes the modern Japanese composer from the performer-composer in the sphere of Japanese traditional music. The author situates herself in terms of experience and motivation ...
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The Introduction distinguishes the modern Japanese composer from the performer-composer in the sphere of Japanese traditional music. The author situates herself in terms of experience and motivation and the book in terms of ethnomusicology. The discussion of modernity in the book is framed and affordance theory established as the analytic.Less
The Introduction distinguishes the modern Japanese composer from the performer-composer in the sphere of Japanese traditional music. The author situates herself in terms of experience and motivation and the book in terms of ethnomusicology. The discussion of modernity in the book is framed and affordance theory established as the analytic.
