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Journal articles on the topic 'Japanese songs'
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Putri, Annisa, and Meira Anggia Putri. "Analisis Gaya Bahasa Metafora Pada Lirik Lagu Karya LiSA." Omiyage : Jurnal Bahasa dan Pembelajaran Bahasa Jepang 4, no. 1 (2021): 62–69. http://dx.doi.org/10.24036/omg.v4i1.225.
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Song is a literary work that is enjoyed by all people, from young people to adults. In the song lyrics, there are many language styles, especially metaphorical styles. Metaphorical language style is an implicit comparative language style. One of the functions of using metaphors in writing song lyrics is to add beauty to the lyrics. Japanese songs are one of the most popular songs by Japanese students or learners, anime enthusiasts and the general public. LiSA is one of the popular Japanese singers whose songs are widely enjoyed. In this study, researchers analyzed the metaphorical language style of LiSA's song lyrics. This study aims to determine the types and meanings of metaphors in LiSA's song lyrics. This type of research is qualitative research with descriptive methods. The data in this study are in the form of phrases containing metaphors in the lyrics of LiSA's songs. The source of the data taken is the lyrics of a song by LiSA which is an anime soundtrack consisting of 8 songs including Adamas, Catch the Moment, Datte Atashi no Hero, Gurenge, Rally Go Round, Rising Hope, Shirushi, and Unlasting. This study uses the theory of Stephen Ullmann. Based on the results of the study, there were 4 types of metaphors, namely anthropomorphic metaphors with 9 data, synesthetic metaphors with 9 data, abstract metaphors with 22 data, and animal metaphors with 2 data. Besides that, there are different meanings in each metaphorical expression.
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Waseda, Minako. "Looking Both Ways: Gi Songs and Musical Exoticism in Post-World War II Japan." Yearbook for Traditional Music 36 (2004): 144–64. http://dx.doi.org/10.1017/s0740155800020506.
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GI songs or shinchū-gun songu in Japanese are legacies of the U.S. occupation of Japan, which started in 1945 with Japan's defeat in the Pacific War. Although the occupation officially ended in 1952, many American soldiers continued to arrive and remained in Japan even after 1952. This was due to the outbreak of the Korean War (1950-53), which made Japan America's advance base. GI songs generally refer to compositions addressed to American soldiers stationed in Japan during this occupation period and through the 1950s.
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Hrykun, Yu. "Educational and entertainment audiovisual aids in teaching the Japanese language: mnemonic song supported by video as a tool of edutainment." Scientific and methodological journal "Foreign Languages", no. 4 (January 2, 2024): 35–57. http://dx.doi.org/10.32589/1817-8510.2023.4.295051.
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Introduction. This article is dedicated to the problem of efficiency of using the multimedia aids in Japanese language teaching at the modern stage considering peculiarities of perception of today’s students (students of Net Generation). On the base of the mentioned above as the object of our research were chosen video clips from Youtube for teaching Japanese language which have mnemonic song as an element of edutainment. Тhe purpose of this article is to show the potential of mnemonic song which is supporting the images of learning content during teaching Japanese and also to show efficiency of video clips with mnemonic songs. Methods. We have provided the analytical review of the recent tendencies in teaching, using multimedia in particular, and demonstrated its benefits and efficiency. Results. Having analyzed mentioned above educational and entertainment video clips with mnemonic songs we developed the detailed classifications of those basing on such criteria as the object of teaching (vocabulary, grammar, writing), peculiarities of layout of study material (visual and audial), made detailed description of those structure and pointed those special aspects. Also we provided the classification of the Japanese mnemonic songs and demonstrated its connection with other classifications mentioned above. Conclusion. On the basis of the conducted analysis it’s possible to state that the educational and entertainment video clips with mnemonic songs can be considered the effective tool of teaching Japanese language for the students of modern generation since those correspond to their peculiarities of perception and improve memorizing of content in entertaining mode which makes studying Japanese more effective at different stages.
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Hrykun, Yuliia. "EDUCATIONAL AND ENTERTAINMENT AUDIOVISUAL AIDS IN TEACHING JAPANESE LANGUAGE: MNEMONIC SONG SUPPORTED BY VIDEO AS A TOOL OF EDUTAINMENT." Scientific and methodological journal "Foreign Languages", no. 1 (March 13, 2024): 40–49. http://dx.doi.org/10.32589/1817-8510.2024.1.298903.
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Introduction. This article is dedicated to the problem of efficiency of using the multimedia aids in Japanese language teaching at the modern stage considering peculiarities of perception of today’s students (students of Net Generation). On the base of the mentioned above as the object of our research were chosen video clips from Youtube for teaching Japanese language which have mnemonic song as an element of edutainment. Тhe purpose of this article is to show the potential of mnemonic song which is supporting the images of learning content during teaching Japanese and also to show efficiency of video clips with mnemonic songs. Methods. We have provided the analytical review of the recent tendencies in teaching, using multimedia in particular, and demonstrated its benefits and efficiency. Results. Having analyzed mentioned above educational and entertainment video clips with mnemonic songs we developed the detailed classifications of those basing on such criteria as the object of teaching (vocabulary, grammar, writing), peculiarities of layout of study material (visual and audial), made detailed description of those structure and pointed those special aspects. Also we provided the classification of the Japanese mnemonic songs and demonstrated its connection with other classifications mentioned above. Conclusion. On the basis of the conducted analysis it’s possible to state that the educational and entertainment video clips with mnemonic songs can be considered the effective tool of teaching Japanese language for the students of modern generation since those correspond to their peculiarities of perception and improve memorizing of content in entertaining mode which makes studying Japanese more effective at different stages.
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Nakano, Tomoyasu, Kazuyoshi Yoshii, and Masataka Goto. "Musical Similarity and Commonness Estimation Based on Probabilistic Generative Models of Musical Elements." International Journal of Semantic Computing 10, no. 01 (2016): 27–52. http://dx.doi.org/10.1142/s1793351x1640002x.
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This paper proposes a novel concept we call musical commonness, which is the similarity of a song to a set of songs; in other words, its typicality. This commonness can be used to retrieve representative songs from a set of songs (e.g. songs released in the 80s or 90s). Previous research on musical similarity has compared two songs but has not evaluated the similarity of a song to a set of songs. The methods presented here for estimating the similarity and commonness of polyphonic musical audio signals are based on a unified framework of probabilistic generative modeling of four musical elements (vocal timbre, musical timbre, rhythm, and chord progression). To estimate the commonness, we use a generative model trained from a song set instead of estimating musical similarities of all possible song-pairs by using a model trained from each song. In experimental evaluation, we used two song-sets: 3278 Japanese popular music songs and 415 English songs. Twenty estimated song-pair similarities for each element and each song-set were compared with ratings by a musician. The comparison with the results of the expert ratings suggests that the proposed methods can estimate musical similarity appropriately. Estimated musical commonnesses are evaluated on basis of the Pearson product-moment correlation coefficients between the estimated commonness of each song and the number of songs having high similarity with the song. Results of commonness evaluation show that a song having higher commonness is similar to songs of a song set.
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Reynaldi, Vito Faisal, and Anisa Arianingsih. "CODE SWITCHING IN THE SONGS MISSING AND SPECIAL KISS BY NANIWA DANSHI." Proceeding of International Conference on Business, Economics, Social Sciences, and Humanities 7 (June 26, 2024): 224–31. http://dx.doi.org/10.34010/98ezpw45.
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This study aims to describe code-switching in the lyrics of the songs Special Kiss and Missing. The subject of this research is the song entitled Special Kiss and Missing Song by Naniwa Danshi. The object of this research is the code-switching contained in these two songs. The qualitative method was employed in the study is descriptive, Specifically, referring to research utilizing descriptive analyses presented through song lyrics. The songs "Special Kiss" and "Missing" exhibit instances of external code-switching from Japanese to English. The findings of this study highlight distinct characteristics that emerge from analyzing these two songs: 1. The analysis reveals the utilization of two types of code-switching in the two songs. 2. In "Special Kiss," intra-sentential code-switching is frequently employed, whereas in "Missing," inter-sentential code-switching is more prevalent 3. In these two songs, intra-sentential code-switching predominates, with 12 instances compared to inter-sentential code-switching, which only occurs 7 times
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Yeni, Yeni, and Gede Satya Hermawan. "Penggunaan Nomina Kyoku dan Uta pada Kolom Komentar Youtube." Jurnal Pendidikan Bahasa Jepang Undiksha 7, no. 2 (2021): 97. http://dx.doi.org/10.23887/jpbj.v7i2.37588.
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This paper describes the use of words that are synonymous or have the same meaning. The words chosen are Kyoku and Uta, each of which refers to the meaning of the song. For Japanese language learners, the word Uta is better known to refer to the meaning of a song, and Ongaku refers to the meaning of music. This study will show that in its use the word Uta can be replaced with the word Kyoku, which generally refers to the meaning of the song. But Kyoku shows a more specific meaning. The data is taken from the YouTube comments on popular Japanese songs. Three songs were selected that are in the top three of the Oricon Chart, namely: Gomen ne Finger Crossed (Nogizaka 46); Hitori ni Shinai yo (Kanjani 8), and Pale Blue (Kenshi Yonezu).
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Kelly, William H. "Mediating Modernity Through Popular Song: The geography of visual images illustrating enka in the context of karaoke and thematic parallels with Arabesk." GLOBAL PERSPECTIVES ON JAPAN, no. 1 (March 31, 2017): 175–206. http://dx.doi.org/10.62231/gp1.160001a07.
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It is often said that enka, a popular song genre which has been closely associated with karaoke-singing since its inception in the mid-1970s, expresses the true Japanese heart. Although enka is by no means an entirely uniform song genre, encompassing some degree of stylistic and thematic variation, enka songs are characteristically melancholy, expressing themes related to separation, lost love and loneliness, as well as a nostalgia for the past as expressed most potently through the concept of furusato (hometown), but also through a panoply of symbolic images which serve to contrast contemporary, modern, urban Japan with its more traditional, rural counterpart of another (better) age. Focusing on the visual images used to illustrate enka songs in the context of karaoke and their categorisation by the karaoke industry, this paper examines how, through a series of oppositions –rural and urban, past and present, western and Japanese– such images serve not only as a symbolic discourse mediating modernisation, but also to articulate a collective notion of Japanese identity, at least as it is expressed through the emotive symbolism of enka songs. Finally, the paper explores parallels between enka and the Turkish popular song genre, Arabesk, both in terms of the sentiments and themes expressed in song lyrics and with reference to the wider backdrop of rapid change and social dislocation characteristic of the historical contexts within which both genres developed and thrived.
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Suzuki, Reiji, Shinji Sumitani, Naren Naren, et al. "Field observations of ecoacoustic dynamics of a Japanese bush warbler using an open-source software for robot audition HARK." Journal of Ecoacoustics 2, no. 2 (2018): 1. http://dx.doi.org/10.22261/jea.eyaj46.
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We report on a simple and practical application of HARK, an easily available and portable system for bird song localization using an open-source software for robot audition HARK, to a deeper understanding of ecoacoustic dynamics of bird songs, focusing on a fine-scaled temporal analysis of song movement — song type dynamics in playback experiments. We extended HARKBird and constructed a system that enables us to conduct automatic playback and interactive experiments with different conditions, with a real-time recording and localization of sound sources. We investigate how playback of conspecific songs and playback patterns can affect vocalization of two types of songs and spatial movement of an individual of Japanese bush-warbler, showing quantitatively that there exist strong relationships between song type and spatial movement. We also simulated the ecoacoustic dynamics of the singing behavior of the focal individual using a software, termed Bird song explorer, which provides users a virtual experience of acoustic dynamics of bird songs using a 3D game platform Unity. Based on experimental results, we discuss how our approach can contribute to ecoacoustics in terms of two different roles of sounds: sounds as tools and subjects.
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Kasai, Amane. "Dubbed in patois: Musical mimicry involving the Chinese in wartime Japanese popular songs." East Asian Journal of Popular Culture 10, no. 1 (2024): 29–42. http://dx.doi.org/10.1386/eapc_00123_1.
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This article examines the politics of cultural differentiation in wartime Japan, especially from the viewpoint of linguistic imperialism and musical mimicry, by researching official documents, newspapers and magazines, as well as investigating popular songs. Various sources from this period demonstrate that Japanese critics, musicians and musicologists were conscious of the cultural difference between Asian regions, even while the government propagated a unified East Asia. Different actors pursued contradictory objectives of cultural assimilation and dissimilation, reflecting tensions and contradictions in both popular attitudes and official policy. On the other hand, the boundary was distorted in musical practices, as seen in the way different languages were selected and used in the lyrics of wartime popular songs. This article analyses two cases as examples of this phenomenon: (1) popular songs sung by Chinese singers, mostly female, in Japanese patois, and (2) songs by Japanese singers in broken and role language. Even during the Second Sino-Japanese War, Chinese and Japanese singers visited each other’s countries on the pretext of ‘goodwill’ to record songs and participate in shows or radio broadcasts for local audiences.
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Strasser, Sabiene. "Home, Militarism and Nostalgia in Japanese Popular Song from 1937 to 1945." Vienna Journal of East Asian Studies 2, no. 1 (2011): 115–47. http://dx.doi.org/10.2478/vjeas-2011-0011.
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Abstract The article focuses on the representation of wartime Japan as a home (and home country) by analysing contemporary popular songs. Within this frame I show examples of how the Japanese state managed to influence the Japanese people through propaganda songs in order to gain the people’s moral support for the war effort. My essay aims further at drawing a picture of Japan’s musical world from the latter half of the 1930s to the end of World War II, as a detailed consideration of popular music and its surroundings always allows us to interpret much more than expected at first view. In addition, I consider the mass media as a supporter of Japan’s ideological aims. The history of radio and record companies is firmly interwoven with the efforts of the Japanese state to manipulate people during the war years. The contribution from artists must also be considered an important part of this mosaic.
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Nishimura, Sey. "Retrospective Comprehension: Japanese Foretelling Songs." Asian Folklore Studies 45, no. 1 (1986): 45. http://dx.doi.org/10.2307/1177833.
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Tongwei, Pan. "Love, Suffering and the Fight for Freedom: the “New Woman” Image in Nie Er’s Vocal Music." Университетский научный журнал, no. 75 (August 25, 2023): 118–24. http://dx.doi.org/10.25807/22225064_2023_75_118.
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The article is devoted to the “new woman” image in the vocal music of the Chinese composer Nie Er, the founder of Chinese proletarian music. The heyday of his work was in the 1930s, when a large-scale anti-Japanese anti-imperialist struggle took place in China. Nie Er, an active supporter of national salvation, translated national liberation ideas and the spirit of struggle into mass patriotic and lyrical songs. This also applies to songs dedicated to the fate of Chinese women. From simple peasants to educated teachers, the women in Er’s songs, even suffering from injustice and oppression, nevertheless fi nd strength to fi ght for freedom and a better future. The article includes a detailed analysis of the “Song of Mei Niang” from Tian Han’s play “Song of Youth”.
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Suslov, A. V. "Origins of Japanese archaic poetry: Japanese long song (<i>nagauta / chōka</i>)." Japanese Studies in Russia, no. 3 (October 12, 2023): 17–33. http://dx.doi.org/10.55105/2500-2872-2023-3-17-33.
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The presented article is devoted, on the one hand, to the general problem of the literary process in an archaic society on the example of the genesis of waka poetry; on the other hand, it directly refers to the archaism of the so-called long song (nagauta or chōka). The article raises the question of the transformation of that pre-aesthetic primitive song into archaic poetry. Describing the possible ways of genesis of the primitive song, the author, agreeing with the principle of accumulation of poetic lines, proposed by Bowra-Konishi, notes the need for a deeper comprehension of the Archaic period of Japanese (Yamato) literature. Stating the necessity to distinguish a primitive song from an archaic one, the author operates with the concept of a developed “aesthetic feeling” as a necessary criterion for the transformation of the primitive song, based on parallelism. Unlike primitive poetry, which performed merely the utilitarian function, archaic poetry started to meet not only ritual, but also aesthetic needs of an ancient human. In addition, the article examines the role of writing as a necessary condition for the death of primitive song and the formation of the canon. In addition, the text presents a critical characteristic of the main body of archaic poetry, including long songs, which are relatively few in number. Based on a sample analysis of the presented texts (poetic fragments from Kojiki, Nihonshoki, long songs from Man’yōshū and Naniwaza-uta from mokkan tablets), the author provides a classification-periodization of the genesis of the archaic form of nagauta/chōka (a narrative chronicle speech-stressing long song, a non-narrative non-epic long song, and a long song created by a specific author and having a developed system of imagery. Emphasizing the chronicles’ long song, its structural heterogeneity, the author builds a hypothesis of its genesis opposite to the accumulative principle of Bowra-Konishi, consisting in the principle of reductionism from the long epic form of a primitive song. The limit of this reduction is justified by the aesthetic “capacity” of the poetic form in the transitional period of the non-written method of versification. Keywords: nagauta (long song), archaic poetry, non-book culture, literary canon, reductionism, literary process.
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Pujiono, Mhd, and Abdul Gapur. "Ekolirik Dalam Lagu Anak Jepang: Tinjauan Dua Douyou." IZUMI 8, no. 1 (2019): 9. http://dx.doi.org/10.14710/izumi.8.1.9-19.
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[Ecolyrics in Japanese Children Songs: A Review of Two Douyou] This paper is an ecolinguistic analysis of the lyrics of two douyou (Japanese children songs) – coined in this paper as ‘eco-lyrics’. The aim was to analyse the representation of the state of the natural environment and the hometown in the lyrics of Japanese children's songs and the value that Japanese society inculcates to their children in relation to the natural environment. The two songs chosen were furusato and kokyou no sora. As a qualitative-descriptive study, this paper focuses on the intertextual discussion using the coherence approach of Ramlan (1993) and the semantic product of Burnett (2003). The result are a representation of the natural environment for the Japanese society in two douyou consisting of a thick traditionality, a place of longing, a place where family and friends live, a place to return home, a place that is beautiful and blends with nature, a comfortable and beautiful place. Then the values embedded in his children consist of emotional semantics, empirical semantics, origin semantics, contextual semantics, and functional semantics.
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Chang, Hyun Kyong Hannah. "A Fugitive Christian Public: Singing, Sentiment, and Socialization in Colonial Korea." Journal of Korean Studies 25, no. 2 (2020): 291–323. http://dx.doi.org/10.1215/07311613-8551992.
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Abstract Well-known songs of colonial Korea such as “Kagop’a” and “Pongsŏnhwa” appear to be secular songs, but their origins lie in the complex intersection of North American Christian missions, Korean cultural life, and Japanese colonial rule. This article explores the historical significance of secular sentimental songs in colonial Korea (1910–45), which originated in mission schools and churches. At these sites North American missionaries and Christian Koreans converged around songwriting, song publishing, and vocal performance. Missionary music editors such as Annie Baird, Louise Becker, and their Korean associates relied on secular sentimental songs to cultivate a new kind of psychological interior associated with a modern subjectivity. An examination of representative vernacular song collections alongside accounts of social connections formed through musical activities gives a glimpse into an intimate space of a new religion in which social relations and subjective interiors were both mediated and represented by songs. The author argues that this space was partly formed by Christianity’s fugitive status in the 1910s under the uncertainty of an emergent colonial rule and traces the genealogy of Korean vernacular modernity to the activities of singing in this space, which she calls a fugitive Christian public.
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Naumova, Ju, and T. Dementieva. "Edutainment as a Modern Japanese Language Teaching Technology (Using Songs and Web Quest)." Vìsnik KNLU. Serìâ “Psihologìâ ta Pedagogìka” / Visnyk KNLU. Series "Pedagogy and Psychology" 38 (July 21, 2023): 95–104. http://dx.doi.org/10.32589/2412-9283.38.2023.284568.
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Introduction. Among the modern trends in the development of education, there is a growing demand for entertainment projects. In teaching foreign languages and cultures in institutions of higher education, active learning entertainment technologies also occupy a prominent place, because they have significant potential. Purpose. To demonstrate the linguodidactic and socio-cultural potential of using songs and web quests as edutainment technology tools in teaching the Japanese language and culture to university students. Methods. Consideration and practical application of some modern approaches to the use of educational technologies through the example of songs and web quests in order to analyze the features and benefits of their use. Results. The possibilities of using songs in the educational process in the formation of language, speech and socio-cultural competencies were analyzed and demonstrated. There were provided examples of exercises for working with song material and web quests at the beginner and advanced stages of learning the Japanese language and culture. It can be concluded that the use of edutainment technology tools in learning foreign languages and cultures has a positive impact on student’s motivation, promotes the activation and practical application of knowledge, skills and abilities acquired in the learning process and significantly diversifies it. Conclusion. Songs and web quests as tools of educational technologies can perform educational, upbringing and developmental functions and have significant methodological potential as a modern teaching tool that deserves further study. At the same time, we cannot deny the fact that educational technology tools like songs and web quests are not an alternative to academic education.
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Mugiyanti, Mugiyanti, and Candra Rizki Permana. "Makna Persahabatan Dalam Lagu Kana Nishino “Best Friend”." IDEA : Jurnal Studi Jepang 3, no. 2 (2021): 118–29. http://dx.doi.org/10.33751/idea.v3i2.4480.
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ABSTRACT: A song it is said to become popular if is known and loved almost throughout the world. Each song has different meanings and intentions, according to the purpose of the author. Kana Nishino is popular Japanese musician who create many hit songs in Japan. One of her songs which is she created “Best Friend" about friendship become popular song. That is the basis of the writer to research, analyze, and prove whether “Best Friend” has eight characteristics of friendship according to De Vito's theory. The author uses a descriptive method by examining the lyrics of “Best Friend” as well as the meaning of friendship. From this research indicate that the friendship shown in the song lyrics of Kana Nishino “Best Friend” has eight characteristics of friendship according to De Vito's theory.
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Shimada, Miori. "Creating English Songs with Familiar Music for EFL Classrooms in Japanese Elementary Schools." JALT PIE SIG Mask and Gavel 11, no. 1 (2023): 5–21. http://dx.doi.org/10.37546/jaltsig.pie11.1-1.
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This paper introduces a compilation of simple and easy English songs designed for children learning English as a Foreign Language (EFL). While belonging to various language schools, the author encountered numerous songs that captured children’s interest in English vocabulary and phrases. While some of these songs had original melodies, many were adaptations of traditional songs in Japan, USA, and UK. Consequently, the author undertook the task of developing English songs using familiar tunes and shared them with a group of Japanese and Filipino English teachers who taught Japanese children. The article presents the feedback received from these teachers regarding the preference for utilizing traditional tunes and the focus of these songs. Additionally, the list of the tunes used for Wee Sing CD series that have been very popular among children throughout Japan and North America will be presented for further discussion.
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Heylen, Ann, Edward Vickers, and Kate Taylor-Jones. "Editorial." East Asian Journal of Popular Culture 10, no. 1 (2024): 3–6. http://dx.doi.org/10.1386/eapc_00120_2.
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This editorial is an overview of this edition of the East Asian Journal of Popular Culture (EAJPC). In celebration of our tenth anniversary, it features a guest-edit by Yuiko Asaba and Amane Kasai on ‘Resonating Across Oceanic Currents’. Six articles share a focus on the trans-oceanic circulation of popular music to and from Japan during the 1920s to the 1960s. Themes include Japanese tango musicians in Manchuria, interpretations of Chinese popular song in wartime Japan, trans-Pacific circulations of Japanese popular songs in Cold War South Korea and among American military personnel in East Asia. One general paper complements this issue with an analysis on the linguistic nuances of the lyrics of Japan’s top-selling female idol groups. The book reviews section features commentary on recently published works that relate to themes discussed in the research articles.
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MATSUDA, Minoru, and Kouichi AKIYAMA. "The Characteristics of Japanese Favorite Songs." Transactions of the Institute of Systems, Control and Information Engineers 8, no. 12 (1995): 685–91. http://dx.doi.org/10.5687/iscie.8.685.
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박진수. "Japanese Translation of Korean Popular Songs." 아시아문화연구 48, no. ll (2018): 151–82. http://dx.doi.org/10.34252/acsri.2018.48..006.
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Heward, Lehyla G. "Scripting a Multicultural Future: The Chinese and Korean Songs of the Northeast Anti-Japanese United Army." Sungkyun Journal of East Asian Studies 23, no. 1 (2023): 73–93. http://dx.doi.org/10.1215/15982661-10336302.
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Abstract Hundreds of military songs are credited to the Northeast Anti-Japanese United Army (NAUA). The NAUA was a coalition of Chinese and Korean guerrilla armies that operated in Northeast China during the Manchukuo period (1932–45). The NAUA used songs to teach and inculcate new behaviors in line with socialist and communist ideologies. Most importantly, the songs worked on an emotional level, meaning that they conveyed collective sentiments while also directing their appropriate expression in order to foster camaraderie and boost morale. Drawing from concepts formulated by historians of emotions, I argue that the NAUA became what Barbara Rosenwein terms an “emotional community.” As such, the NAUA defied strict nationalist sentiments primarily due to the discursive power and easy dissemination of the military songs. The Chinese and Korean songs, along with their aesthetic features, have not been studied comprehensively. As literary products of a tumultuous era, the NAUA songs deliver historical evidence of the transnational and transcultural ideologies present in resistance groups across the Japanese empire.
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Kim, Seon ah. "From early composed art songs in Japanese occupation period to korean style art songs: the correlation between poetry and music in Park Tae-joon s art Song." Korean Society of Music Education Technology 47 (April 30, 2021): 209–28. http://dx.doi.org/10.30832/jmes.2021.47.209.
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A study on the analysis of Park Tae-joon s art song is the first step in studying the process of transforming from early composing song to Korean style art songs in the early modern era of Korea. IIt focused on changing musical factors of his pieces from his initial period of time until the time when he established matured technique. I analyzed how the music expressed the lyrics when it sings a poem and how Korean elements were used in Park Tae-joon s music works.
 Generally Park Tae-joon composed simple music with regular phrase such as children s songs and hymns. Sometimes he tried to express the meaning of poetry matching texts with music by using musical elements like word painting, figurations of piano accompaniment and using irregular time. In addition, although he composed art songs that are western musical forms, he tried to use Korean musical idioms, which commonly used in Korean traditional songs called “Min-yo” such as a pentatonic scale, triple meter and Saeya harmony. This study finds that Park Tae-joon tried to find his identities of Korean art songs in the early modern era of Korea.
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Geber, Clara Momoko. "Songs of Japanese Prisoners of War in the Soviet Union after World War II." Vienna Journal of East Asian Studies 11, no. 1 (2019): 179–211. http://dx.doi.org/10.2478/vjeas-2019-0007.
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Abstract The Second World War ended with Japan’s capitulation after the disastrous nuclear bombing of Hiroshima and Nagasaki. Subsequently, approximately 700,000 Japanese soldiers were selected as captives to undertake physical labour in Soviet prison camps. After returning to Japan, some of them wrote about their lives in the Soviet Union, drew pictures about their experiences, or wrote about their favourite songs that they had sung during their imprisonment. My study of various reports of Japanese prisoners of war (POWs) after the Second World War surprisingly revealed that not only traumatic conditions during forced labour were published, but also social interactions in the form of joint artistic activities such as making music, producing theatre plays, and staging sports competitions. The prisoners have often retrospectively described these as strikingly positive events during their years of internment in the Soviet Union. This article analyses a total of thirty-four songs sung and composed by Japanese POWs during captivity on a lyrical level (text analysis). In doing so, I adopt a new approach to interpreting the social conditions during the imprisonment of Japanese soldiers in the Soviet Union.
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Jude, Gretchen. "Japan's Nightingale Geisha Singers: Listening to Women Through Audio Media." Malaysian Journal Of Music 9 (November 27, 2020): 101–14. http://dx.doi.org/10.37134/mjm.vol9.8.2020.
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This paper examines the emergence and disappearance of Japan’s geisha kashu recording stars over the course of the 20th century, delving into their extensive body of audio recordings, which includes songs by some of Japan's most important early popular composers. Clarifying the distinction between geisha and the geisha recording stars, this paper traces the relationship between “traditional” Japanese musical forms (specifically, the complex of short shamisen songs long associated with geisha) and the popular genres that also comprised the geisha stars' repertoire. While historical audio media provide a valuable resource for scholars and fans alike, unconscious habits and unexamined discourses of listening may lead to the replication of orientalist and sexist stereotypes—and ultimately a superficial experience of the music. As a corrective to such tendencies in audience reception, this paper gives an overview of the key cultural and historical contexts of the geisha recording stars, including their contributions to the careers of several of well-respected composers. Attending to the sometimes difficult circumstances faced by geisha recording stars (and their geisha sisters) may rectify the image of these critically neglected women artists, ultimately providing a necessary counterpoint to the predominance of male musicians and male-centred musical genres in the Japanese canon.
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Aoki, Shin. "Japanese popular songs brought home: Histories and current circulations of post-Second World War audible souvenirs from US military bases in East Asia." East Asian Journal of Popular Culture 10, no. 1 (2024): 91–110. http://dx.doi.org/10.1386/eapc_00127_1.
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This article focuses on the transpacific circulations of Japanese popular songs alongside touring American military personnel in East Asia between 1945 and 1958: that is, from the end of the Second World War, across the span of the Korean War, and up to the year of the American ground forces’ withdrawal from ‘mainland’ Japan. By first tracing the trans-oceanic travels of musical souvenirs such as phonograph records and music boxes, and then by delving into their ‘afterlives’ as ex-souvenirs variously lost or preserved, this article reveals the seemingly minor yet no less significant histories and memories of musical objects containing within them the traces of post-war Japanese popular song. Over this period, musical souvenirs entered into postwar American households with returning military personnel, imparting to family and friends an auditory sensation of ‘Japan’ that carried with it the fantasy of knowing a place and culture that lay far across the Pacific. Although many of the Japanese pop songs contained therein lost their ‘souvenir’ status in the late 1960s, their recent revival via transnational online media suggests new ways of re-‘discovering’ and circulating a wealth of music that might have otherwise fallen into obscurity.
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Danardana, Michael Dony. "AN ANALYSIS ON ENGLISH LOANWORDS IN AKB48 SONGS." ELTR Journal 2, no. 1 (2018): 25–30. http://dx.doi.org/10.37147/eltr.v2i1.93.
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There are vast amount of English loanwords in Japanese language than other languages. It is in contradistinction to the fact that Japanese language itself has a distant difference in terms of phonology, syntax, pragmatics and discourse from English. Certainly, the borrowing of English words in Japanese language involves some loanword transformations in order to fit its language system. In order to discover those, first, the researcher reviews the relevant literature of the loanword transformations in Japanese. Then, the researcher analyses the types of loanwords transformation from English loanwords production of 5 AKB48 songs. Document analysis was used in this research. The result shows that phonological transformation is the dominant type used in the songs.
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Danardana, Michael Dony. "AN ANALYSIS ON ENGLISH LOANWORDS IN AKB48 SONGS." ELTR Journal 2, no. 1 (2018): 25–30. http://dx.doi.org/10.37147/eltr.v2i1.93.
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There are vast amount of English loanwords in Japanese language than other languages. It is in contradistinction to the fact that Japanese language itself has a distant difference in terms of phonology, syntax, pragmatics and discourse from English. Certainly, the borrowing of English words in Japanese language involves some loanword transformations in order to fit its language system. In order to discover those, first, the researcher reviews the relevant literature of the loanword transformations in Japanese. Then, the researcher analyses the types of loanwords transformation from English loanwords production of 5 AKB48 songs. Document analysis was used in this research. The result shows that phonological transformation is the dominant type used in the songs.
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Adnania Nugra, Heni, and Agus Subiyanto. "Phonological Processes of English Words Pronounced by Japanese Found in Hey Say Jump! Songs." Madah: Jurnal Bahasa dan Sastra 13, no. 2 (2023): 131–42. http://dx.doi.org/10.31503/madah.v13i2.421.
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This study aims to find out what types of phonological processes found in pronouncing English words by Japanese native speakers and to find out the reason why the changes occur. This study is a descriptive qualitative research using transformational generative phonology’s approach. The source of data is 8 songs sung by Japanese’s idol group, Hey Say Jump! The result of the study shows that there are 8 types of phonological processes found from data analysis, they are; backing, stopping, affrication, assimilation, substitution from /l/ to /r/, epenthesis, vowel coalescence, and vowel shift. Based on the findings, it can be concluded that the phonological processes happen because of two reasons; first, Japanese has open syllable system so there is no cluster consonants and consonant sound in the final position except for /n/. Second, there are some sounds that are not present in Japanese so the sounds are adjusted according to the Japanese phonological system.
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KAWASE, Akihiro, and Akifumi TOKOSUMI. "Regional Classification of Traditional Japanese Folk Songs." Kansei Engineering International Journal 10, no. 1 (2010): 19–27. http://dx.doi.org/10.5057/kei.10.19.
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KISHIMOTO, Shunichi, Atsuko SUZUKI, Yuko KODAMA, and Takeo HIRATA. "The Origin of the Japanese Olympic Songs." Journal of Japan Society of Sports Industry 30, no. 2 (2020): 2_223–2_232. http://dx.doi.org/10.5997/sposun.30.2_223.
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Eppstein, Ury, and Ichiro Nakano. "101 Favorite Songs Taught in Japanese Schools." Monumenta Nipponica 40, no. 3 (1985): 374. http://dx.doi.org/10.2307/2384774.
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Hughes, David W. "Japanese "New Folk Songs," Old and New." Asian Music 22, no. 1 (1990): 1. http://dx.doi.org/10.2307/834289.
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Sanjaya, Agung. "THE PHONOLOGICAL ANALYSIS OF A JAPANESE SINGER: THE CRITICISM OF USING SONGS IN ENGLISH TEACHING." International Journal of Humanity Studies (IJHS) 2, no. 1 (2018): 70–81. http://dx.doi.org/10.24071/ijhs.v2i1.1574.
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This study deals with the phonological analysis of a Japanese singer in some English sounds in live performance music videos. It aims to analyse and describe the pronunciation process of Japanese singer in producing tense vowels, diphthongs, and liquids. It also criticizes the use of songs in English teaching based on the findings. The data are from live performance videos of Japanese singer. The researcher watched and listened to the videos. After that, the researcher listed the words in the lyrics of the songs containing tense vowels, diphthongs, and liquids. The words were transcribed into standard phonetic transcription. Then, the researcher transcribed the words into the phonetic transcription according to the pronunciation of the singer. After that, the data were classified into three parts which were the words containing tense vowels, diphthongs, and liquids. After the researcher analyzed the videos, the findings of this study showed that the Japanese singer as an EFL speaker had different pronunciation process in producing tense vowels, diphthongs, and liquids sound. The findings also gave the criticism on the use of songs in English teaching in a form of caution and contribution.DOI: https://doi.org/10.24071/ijhs.2018.020108
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Manggong, Lestari, and Amaliatun Saleha. "Beyond Anpanman the (Super)hero: Investigating Figures of Hero and Idol in BTS’s Songs." Jurnal Lingua Idea 12, no. 1 (2021): 51. http://dx.doi.org/10.20884/1.jli.2021.12.1.3435.
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Released in May 2018, the song “Anpanman” by the world’s most popular K-Pop boy group to date, BTS, shares the idea of being a hero by setting an example from the Japanese superhero Anpanman. Anpanman, whose head is made of red bean paste-filled pastry, is well-known for his superpower ability to share parts of his head to those in need. This humble and self-sacrifice mode of helping others seems to be the basic idea of the song, to represent what BTS is about. This essay aims to further dissect the song lyrics of “Anpanman” to show the ambivalence presented between the concept of hero and superhero (termed here as (super)hero). The discussion goes further to juxtaposing the concept of hero/superhero with idol, a term used as another one of BTS’s songs “Idol”. Considering that in K-Pop, being an idol is practically a dream job, it is therefore paramount that in discussing the songs, this essay highlights the paradox of what it means to be a hero/superhero with an idol. Within the frame of network analysis, the discussion is conducted specifically along the line of the effects that digital culture has, which helps the spreading of BTS’s popularity and persona globally. In this light, this essay argues that beyond the songs, a problematic view on what it means to be a hero and an idol is projected. Ultimately, the discussion concludes that such an ambivalent view potentially leads to a reconceptualization of a superhero figure.Released in May 2018, the song “Anpanman” by the world’s most popular K-Pop boy group to date, BTS, shares the idea of being a hero by setting an example from the Japanese superhero Anpanman. Anpanman, whose head is made of red bean paste-filled pastry, is well-known for his superpower ability to share parts of his head to those in need. This humble and self-sacrifice mode of helping others seems to be the basic idea of the song, to represent what BTS is about. This essay aims to further dissect the song lyrics of “Anpanman” to show the ambivalence presented between the concept of hero and superhero (termed here as (super)hero). The discussion goes further to juxtaposing the concept of hero/superhero with idol, a term used as another one of BTS’s songs “Idol”. Considering that in K-Pop, being an idol is practically a dream job, it is therefore paramount that in discussing the songs, this essay highlights the paradox of what it means to be a hero/superhero with an idol. Within the frame of network analysis, the discussion is conducted specifically along the line of the effects that digital culture has, which helps the spreading of BTS’s popularity and persona globally. In this light, this essay argues that beyond the songs, a problematic view on what it means to be a hero and an idol is projected. Ultimately, the discussion concludes that such an ambivalent view potentially leads to a reconceptualization of a superhero figure.
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Anjarningsih, Harwintha Y., and Anisa Saraayu. "A PHONETIC CONTRASTIVE ANALYSIS OF ENGLISH WORDS IN THREE JAPANESE SONGS BY AKB48." Jurnal Humaniora 27, no. 3 (2016): 350. http://dx.doi.org/10.22146/jh.v27i3.10595.
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Many studies have revealed how Japanese speakers pronounce English words differently. However, not much research has explained the causes of the difference, let alone relating such difference with native language interference. By drawing a comparison between the sound structures of the English and Japanese languages using Contrastive Analysis Hypothesis (CAH), we will see how native language may influence foreign language usage and cause pronunciation differences in popular songs. Transcriptions of three AKB48’s songs – Heavy Rotation, Sugar Rush, and Namida Surprise – will be used as the data sources to determine native language interference. Our findings show that additions of vowel sounds, changes of syllable, changes of height and place of vowel articulation, replacements of a consonant with another consonant, and elisions of consonants happened to the English words across the three songs. These phonetic changes should inform discussions about the relationship between lyrics and melody in songs that incorporate two or more languages (i.e., bilingual).
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Gottschewski, Hermann. "Nineteenth-Century Gagaku Songs as a Subject of Musical Analysis: An Early Example of Musical Creativity in Modern Japan." Nineteenth-Century Music Review 10, no. 2 (2013): 239–64. http://dx.doi.org/10.1017/s1479409813000256.
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Nineteenth-century gagaku (Japanese traditional court music) songs, composed mainly between 1877 and 1884, are almost forgotten today; but they deserve special attention for their function in the development of modern composition in Japan. More than 100 compositions by 28 composers, belonging to two collections, can be counted as gagaku songs in the narrowest sense. Most of them are accompanied by an individually composed ostinato pattern played on the wagon, a six-stringed zither. The songs are strongly shaped by Restoration thought, one of the characteristic aspects of the early modernization period in Japan, although the genre originated in response to the need for music for a modern Western method of education.An analysis of the two collections, of intertextually related pieces and of different versions of single songs shows that the collective process of genre development and the individual process of song composition were closely intertwined. The aim of my analysis was to uncover the problems faced by composers when they composed a single song. Particular solutions were often required to fulfil all the demands of the strict stylistic framework of the genre, while meeting the conditions of a specific poem. While similarity to an already existing song was not avoided when a new song was composed, the effort to create a difference can also be observed clearly in some cases. My analysis gives special attention to heterophonic techniques that characterize the relation between voice and accompaniment. Their use is constitutive for the musical form, and their analysis sheds light on the aesthetic significance of each song. An analytical approach to the gagaku song repertoire provides us with a fascinating insight into how musical creativity was performed under the circumstances of a quickly changing cultural environment in the early modernization period of Japan.
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ZEMTSOVSKY, IZALY, and ALMA KUNANBAEVA. "Homo Lyricus, or Lyric Song in the Ethnomusicological Stratigraphy of “Folkloric Culture”: Notes for a Monograph (part 2)." Revista de etnografie și folclor / Journal of Ethnography and Folklore 2023, no. 1-2 (2023): 139–67. http://dx.doi.org/10.59277/jef.2023.1-2.09.
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"Authors concentrate on the very fact that there existed among the cultures of Eurasia songs resembling Japanese oiwake, this uniquely sophisticated form that were also in some respects analogous to it in significance. That solo-performed lyric “long” song is an international phenomenon, one that is found to this day along practically the entire length of the Great Silk Road. Such masterworks constitute one-of-a-kind creative products that are, as it were, Mona Lisas of oral tradition. Authors gave the creator of lyric songs, the lyric singer and poet, the name Homo Lyricus. The article consists of six sections: Just how unique is oiwake? (preface); Methodological foundations (after Boris Putilov); Toward future research: hypotheses and limitations; Lyric drawn-out song in the great expanse of typological succession; On the problem of authorship in Eurasian drawn-out song; Some concluding theses on freedom as the essence of lyric song; and a musical supplement. Note: “folkloric culture,” as opposed to “folk culture,” the term is Boris Putilov’s. Keywords: ethnomusicology, folkloristics, lyric singer and poet, lyric long solo song, drawn-out song, oiwake, urtyn duu, ozyn кüi, hora lungă, typological succession, Great Silk Road, Eurasia, Boris Putilov. "
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Setiawan, Albert Octavio, and Chrisdina Chrisdina. "Marketing Strategy Of JKT48 As A Japanese-Style Idol Group In Attracting New Markets In Indonesia." COMMENTATE: Journal of Communication Management 4, no. 1 (2023): 58. http://dx.doi.org/10.37535/103004120246.
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The world of performances is very developed in Indonesia, one of which is in the country's music industry. Pop music or songs are songs that are often heard by Indonesian people, due to the influence of outside culture, one of which is Japanese culture, so in Indonesia, there are J-pop style songs or Japanese-style songs. But persistence in Indonesia is not as popular as K-Pop. One of the well-known J-Pop in Indonesia has survived until now, namely JKT48 which has been established since 2012. JKT48 is an idol group branch of AKB48 which was formed for the first time in Japan, specifically in the city of Akihabara. This study uses a qualitative methodology and also Hovland's persuasive theory wants to see the existence of J-pop, especially JKT48, to survive with the support of its fans and attract new fans. And the researchers interviewed 1 person from JKT48 marketing as well as their new fans and judged that JKT48's marketing is unique, making JKT48 still exist in the community and survive to this day.
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Setiawan, Albert Octavio, and Chrisdina Chrisdina. "Marketing Strategy Of JKT48 As A Japanese-Style Idol Group In Attracting New Markets In Indonesia." COMMENTATE: Journal of Communication Management 4, no. 1 (2023): 58. http://dx.doi.org/10.37535/103004120236.
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The world of performances is very developed in Indonesia, one of which is in the country's music industry. Pop music or songs are songs that are often heard by Indonesian people, due to the influence of outside culture, one of which is Japanese culture, so in Indonesia, there are J-pop style songs or Japanese-style songs. But persistence in Indonesia is not as popular as K-Pop. One of the well-known J-Pop in Indonesia has survived until now, namely JKT48 which has been established since 2012. JKT48 is an idol group branch of AKB48 which was formed for the first time in Japan, specifically in the city of Akihabara. This study uses a qualitative methodology and also Hovland's persuasive theory wants to see the existence of J-pop, especially JKT48, to survive with the support of its fans and attract new fans. And the researchers interviewed 1 person from JKT48 marketing as well as their new fans and judged that JKT48's marketing is unique, making JKT48 still exist in the community and survive to this day.
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Akaishi, Jin, Masaki Sakata, Jouichiro Yoshinaga, Mitsutaka Nakano, Kazuhiro Koshi, and Kimiyasu Kiyota. "Estimating the Emotional Information in Japanese Songs Using Search Engines." Sensors 22, no. 5 (2022): 1800. http://dx.doi.org/10.3390/s22051800.
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Several studies have shown that music can reduce unpleasant emotions. Based on the results of this research, several systems have been proposed to suggest songs that match the emotions of the audience. As a part of the system, we aim to develop a method that can infer the emotional value of a song from its Japanese lyrics with higher accuracy, by applying the technology of inferring the emotions expressed in sentences. In addition to matching with a basic emotion dictionary, we use a Web search engine to evaluate the sentiment of words that are not included in the dictionary. As a further improvement, as a pre-processing of the input to the system, the system corrects the omissions of the following verbs or particles and inverted sentences, which are frequently used in Japanese lyrics, into normal sentences. We quantitatively evaluate the degree to which these processes improve the emotion estimation system. The results show that the preprocessing could improve the accuracy by about 4%. Japanese lyrics contain many informal sentences such as inversions. We pre-processed these sentences into formal sentences and investigated the effect of the pre-processing on the emotional inference of the lyrics. The results show that the preprocessing may improve the accuracy of emotion estimation.
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Petersen, Esben. "Hans Haas, the Songs of Buddha, and Their Sounds of Truth." Journal of Religion in Japan 10, no. 2-3 (2021): 161–94. http://dx.doi.org/10.1163/22118349-01002002.
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Abstract The writings of German missionary Hans Haas (1868–1934) were seminal texts which greatly influenced how many Europeans came to understand Japanese Buddhism. Haas became a significant actor in this early reception of Japanese Buddhism after he began working as an editor for the journal Zeitschrift für Missionskunde und Religionswissenschaft while stationed in Japan from 1898–1909. Haas covered all areas and aspects of Japanese Buddhism, from editing and translating texts such as Sukhavati Buddhism (1910a) into German to cross-religious comparisons of Buddhist songs and legends. This paper seeks to identify various elements which contributed to the development of Japanese Buddhism in Europe, paying special attention to the role of Haas’s work. In particular, it seeks to reconstruct his understanding of Pure Land Buddhism by demonstrating how a Protestant interpretative scheme, particularly that of Lutheran Protestantism, dominated much of the early reception of Japanese Buddhism in Europe.
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Triwulandari, Dinar, Sudjianto Sudjianto, and Neneng Sutjiati. "ANALISIS MAJAS HIPERBOLA PADA LAGU JEPANG (STUDI DESKRIPTIF TERHADAP LAGU JEPANG PADA ALBUM HERO)." JAPANEDU: Jurnal Pendidikan dan Pengajaran Bahasa Jepang 1, no. 1 (2016): 55. http://dx.doi.org/10.17509/japanedu.v1i1.2651.
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AbstrakDalam bahasa Jepang, majas merupakan salah satu bagian dari bidang linguistik namun dalam pembelajaran tidak begitu sering dibahas padahal majas dapat memperkaya bentuk-bentuk kalimat dan kosakata, termasuk majas hiperbola yang memberikan efek berlebihan dalam sebuah kalimat. Penelitian ini merupakan penelitian yang membahas tentang analisis majas hiperbola pada lagu Jepang. Tujuan dari penelitian ini adalah untuk mengetahui bentuk-bentuk majas hiperbola pada lagu Jepang dan mencari padanannya dalam bahasa Indonesia. Objek penelitian dari analisis ini adalah lagu-lagu Super Junior yang terdapat pada album Hero, lagu yang diteliti sebanyak 15 lagu. Metode yang digunakan adalah metode deskriptif. Berdasarkan hasil penelitian dapat diketahui bahwa 1) bentuk yang sering dipakai adalah kata “ように”yang memiliki arti seperti, karena pada dasarnya majas hiperbola selalu mengandaikan sesuatu dan memberi efek berlebihan. 2) kata “世界中”dimana menggunakan kata dunia untuk memberi efek luas dan tak terbatas. 3) kata “になる”yang memiliki arti menjadi. 4) kata “より” yang memiliki arti lebih dari. 5) kata ”永遠“yang memiliki arti selamanya. Kata kunci : majas hiperbola,lagu jepang,super junior,analisis.ABSTRACTIn the Japanese Languange,figure of speech is one of linguistic material but rarely discussed in class,whereas the figure of speech could gain more knowledge on sentences and vocabulary,and one form of the figure of speech is hyperbole it can add exaggerate figuration to sentences. This research talks about figurative hyperbole that used in Japanese songs,the goal of this research is to get to know the form of figurative hyperbole,which is contained in the song and can find out the equivalent of it. The object in this study is the songs from a boygroup named Super Junior which is included in their Hero’s album. This research uses 15 songs from them. This research use descriptive methods. Based on results this research is 1) the form usually used is “ように”it has hyperbole meaning. 2) “世界中”it has means world. 3) “になる”it has means be. 4) “ように” it has means more than. 5) “永遠”it has means eternal.Keyword : hyperbole,Japanese songs,super junior,analysis.
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Tamanoi, Mariko Asano. "Songs as Weapons: The Culture and History of Komori (Nursemaids) in Modern Japan." Journal of Asian Studies 50, no. 4 (1991): 793–817. http://dx.doi.org/10.2307/2058542.
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Komori is a generic term that consists of a noun, ko (a child), and a verb, moru (to protect or to take care of); Japanese use it to refer to any person, male or female, old or young, who takes care of children. This article will focus on the young girls, hired by families in need of child care in the so-called modern Imperial period (1868–1945), who were called komori. Like their European counterparts, nursemaids and nannies, komori began to appear in what Michel Foucault has called the “discourse of power” in the late nineteenth century, i.e., in the formative period of the Japanese modern nation state. The komori's appearance in Japan's discourse of power corresponded to the emergence of a subculture among the komori that is the focus of my analysis in this article.
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Tsukahara, Yasuko. "State Ceremony and Music in Meiji-era Japan." Nineteenth-Century Music Review 10, no. 2 (2013): 223–38. http://dx.doi.org/10.1017/s1479409813000244.
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The music culture of Japan following the Meiji Restoration of 1868 is characterized by the coexistence and interdependent development of three types of music: (1) traditional music passed down from the Edo period (1603–1867) as exemplified by gagaku (court music); (2) the Western music that entered the country and became established after it was opened to the outside world; and (3) modern songs that were the first to be created in East Asia, such as shōka and gunka (school and military songs). These three types of music each played the role required of them by the Meiji state, and they became indispensable elements of the music culture of modern Japan. Traditional music is an irreplaceable fund of original musical expression intrinsic to Japan, Western music offers a common language facilitating musical contact in international society, especially with countries of the West, and modern songs are an essential tool for unifying the Japanese people through the act of ‘singing together in Japanese’.This article examines the way in which the coexistence of these three types of music began, from the perspective of the musical expression of national identity in the state ceremonies of the Meiji era, namely imperial rites, military ceremonies and school ceremonies. Gagaku was reorganized and strengthened in the 1870s as the music of Japan's imperial rites, and it was given priority both within Japan and overseas, as the most intrinsic of Japan's genres of traditional music. The gagaku scales, defined clearly only from 1878 onwards, were used to amalgamate the musical language of Japan's state ceremonies by their use in ceremonial pieces for military and school ceremonies. This article clarifies the special role played by gagaku in post-Restoration nineteenth-century Japan.
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Jang, Mi-Kyung, and Soon-Jeon Kim. "Terminal Represented in Popular Songs between Japanese and Japanese Colony `China` Space." Korean Journal of Japanese Language and Literature 66 (September 30, 2015): 193. http://dx.doi.org/10.18704/kjjll.2015.09.66.193.
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Ryu, Jaeyeon. "Japanese Society and Popular Songs in the 1960s." Journal of Humanities and Social sciences 21 10, no. 3 (2019): 1363–78. http://dx.doi.org/10.22143/hss21.10.3.99.
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Wade, Bonnie C., and Elizabeth Markham. "Saibara: Japanese Court Songs of the Heian Period." Journal of Japanese Studies 11, no. 2 (1985): 466. http://dx.doi.org/10.2307/132574.
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Nelson, Steven G., and Elizabeth J. Markham. "Saibara: Japanese Court Songs of the Heian Period." Monumenta Nipponica 40, no. 1 (1985): 122. http://dx.doi.org/10.2307/2385010.
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