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Music, Modernity and Locality in Prewar Japan: Osaka and Beyond (Paperback)
Loot Price: R1,535
Discovery Miles 15 350
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Music, Modernity and Locality in Prewar Japan: Osaka and Beyond (Paperback)
Series: SOAS Studies in Music
Expected to ship within 12 - 17 working days
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Total price: R1,555
Discovery Miles: 15 550
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This anthology addresses the modern musical culture of interwar
Osaka and its surrounding Hanshin region. Modernity as experienced
in this locale, with its particular historical, geographic and
demographic character, and its established traditions of music and
performance, gave rise to configurations of the new, the
traditional and the hybrid that were distinct from their Tokyo
counterparts. The Taisho and early Showa periods, from 1912 to the
early 1940s, saw profound changes in Japanese musical life.
Consumption of both traditional Japanese and Western music was
transformed as public concert performances, music journalism, and
music marketing permeated daily life. The new bourgeoisie saw
Western music, particularly the piano and its repertoire, as the
symbol of a desirable and increasingly affordable modernity.
Orchestras and opera troupes were established, which in turn
created a need for professional conductors, and both jazz and a
range of hybrid popular music styles became viable bases for
musical livelihood. Recording technology proliferated; by the early
1930s, record players and SP discs were no longer luxury
commodities, radio broadcasts reached all levels of society, and
'talkies' with music soundtracks were avidly consumed. With the
perceived need for music that suited 'modern life', the seeds for
the pre-eminent position of Euro-American music in
post-Second-World war Japan were sown. At the same time many
indigenous musical genres continued to thrive, but were hardly
immune to the effects of modernization; in exploring new musical
media and techniques drawn from Western music, performer-composers
initiated profound changes in composition and performance practice
within traditional genres. This volume is the first to draw
together research on the interwar musical culture of the Osaka
region and addresses comprehensively both Western and non-Western
musical practices and genres, questions the common perception of
their being wholly separate domains
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