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

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

East Asia is a powerhouse of economic and social development, with cultural industries that have burgeoned as countries in the region have generated consumer economies and a middle class. Despite ongoing security tensions, growing evidence suggests that a vigorous cultural trade in such commodities as comics, cinema and TV drama is creating a shared regional popular culture. The widespread diffusion of the Internet, and the concomitant rise of non-professional online publishing and social networking, is creating new communities among the consumers of these cultural commodities. Rivalry for leadership in the sphere of the culture industries provides a fertile field for the study of soft market power versus hard political power. The competing national discourses of the 'Korean Wave' (hallyu) and Japan's 'Gross National Cool' indicate a struggle for new forms of influence in the East Asian region, a struggle that is becoming more intense as China, too, starts to exert soft power influence on a global scale in the form of cultural industries and foreign aid. Complicated Currents: Media Flows, Soft Power and East Asia addresses transnational production and consumption of media products such as cinema, television dramas, popular music, comics and animation in Japan, South Korea and China. Its multidisciplinary approaches include cultural studies, gender studies, media studies, and a content analysis of the popular discourse of otherness in the East Asian context. While suggesting the emergence of a shared East Asian popular consumer culture, it critically examines the proposition that such a shared popular culture can resolve tensions between nation-states, and highlights the appropriation of popular culture by nation-states in an attempt to exercise soft power. Complicated Currents: Media Flows, Soft Power and East Asia will be of interest to researchers and students in Asian Studies, Cultural Studies and Media Studies, and will be particularly useful to researchers in the emerging area of Inter-Asian Cultural Studies.