＜概要/Course Content Summary＞
This course overviews transnational flows of popular music in Japan. Particularly, we will trace how Japanese “adopted” and “imagined” American sound for their domestic ideological contests within (particularly the mainland) Japan. The course deals with the period roughly from the late 1920s to the present. Particularly, we examine 1) the ways in which musicians, fans, journalists and writers manufactured the ideas about American sound and music, 2) the ways in which musicians composed and played American popular music for the Japanese popular music market and community and 3) the ways in which those musical actors, including the state, used American popular music to construct the ideas about Japan as a modern nation. The course also offers several ways to study about popular music. The lecturer will provide anecdotes on her experiences as a professional singer both in Japan and in the US.
＜到達目標/Goals,Aims＞
1) Students will understand how Japanese understood and performed American popular music of their own
2) Students will understand transnational flow of popular music can both blur and reinforce the boundaries of nation-states.
3) Students can interpret musical performances, narratives and representations critically.
＜授業計画/Schedule＞
（実施回/
Week）
|
（内容/
Contents）
|
（授業時間外の学習/
Assignments）
|
|
（実施回/ Week）
1
|
（内容/ Contents）
Introduction
What do we make of music?
|
（授業時間外の学習/ Assignments）
Reading and Summary (by following questions assigned): Small, p.1-18, Taking notes of your musical experiences of the week.
|
|
（実施回/ Week）
2
|
（内容/ Contents）
Sharing your musical experiences of the previous week and thinking about the concept of "Musicking"
|
（授業時間外の学習/ Assignments）
Reading and Summary (by following questions assigned): Atkins, p.45-91 (app. 60 min)
|
|
（実施回/ Week）
3
|
（内容/ Contents）
Jazz as modern
|
（授業時間外の学習/ Assignments）
Reading and Summary (by following questions assigned): Atkins, p.93-127 (app. 60 min)
|
|
（実施回/ Week）
4
|
（内容/ Contents）
Jazz as counter culture in the 1920s to the 1930s
|
（授業時間外の学習/ Assignments）
Reading and Summary (by following questions assigned): Nagahara, p.66-108 (app. 45 min)
|
|
（実施回/ Week）
5
|
（内容/ Contents）
Censorship on popular music in total war regime
|
（授業時間外の学習/ Assignments）
Reading and Summary (by following questions assigned): Nagahara, p.153-188, (app. 60 min)
|
|
（実施回/ Week）
6
|
（内容/ Contents）
Occupation, gender and immediate postwar popular music
|
（授業時間外の学習/ Assignments）
Preparing for mid-term
|
|
（実施回/ Week）
7
|
（内容/ Contents）
mid-term evaluation
|
（授業時間外の学習/ Assignments）
Reading and Summary (by following questions assigned): Bourdaghs, p.85-112 and Shimizu (in Mitsui), p.103-119 (app. 80 min)
|
|
（実施回/ Week）
8
|
（内容/ Contents）
Anxiety about Japanese masculinity: Country and Western, Rockabilly and Rhythm and Blues
|
（授業時間外の学習/ Assignments）
Reading and Summary (by following questions assigned): Dorsey (in Lent et.al), p.79-108, (app. 60 min)
|
|
（実施回/ Week）
9
|
（内容/ Contents）
Folk music movement in the 1960s: Comparative views of the ideas about "folk" between Japan and the US
|
（授業時間外の学習/ Assignments）
Reading and Summary (by following questions assigned): Wajima, p.157-207, (app. 60 min)
|
|
（実施回/ Week）
10
|
（内容/ Contents）
Enka as a part of the countercultural flow in the late 1960s
|
（授業時間外の学習/ Assignments）
Reading and Summary (by following questions assigned): Bourdaghs, p.159-195, (app. 60 min)
|
|
（実施回/ Week）
11
|
（内容/ Contents）
Music "depoliticized" -- New music and rock as normalcy (Japanese popular music receptions in the world)
|
（授業時間外の学習/ Assignments）
Preparing for the final exam
|
|
（実施回/ Week）
12
|
（内容/ Contents）
The final evaluation
|
（授業時間外の学習/ Assignments）
Reading and Summary (by following questions assigned): Bigenho, p.1-31, (app. 60 min)
|
|
（実施回/ Week）
13
|
（内容/ Contents）
Going on the fields
|
（授業時間外の学習/ Assignments）
Preparing for final presentations and paper
|
|
（実施回/ Week）
14
|
（内容/ Contents）
Sharing your musical field note and the meanings you interpreted from the site
|
（授業時間外の学習/ Assignments）
Preparing for final presentations and paper
|
|
（実施回/ Week）
15
|
（内容/ Contents）
Sharing your musical field note and the meanings you interpreted from the site
|
（授業時間外の学習/ Assignments）
|
The class will be conducted by following this schedule listed above. However, the schedule and some assigned readings are subjected to change.
This class will be conducted on real-time meeting on Zoom.
＜成績評価基準/Evaluation Criteria＞
|
Class participation (including group work and attendance)
|
30%
|
|
|
Exams (mid-term and the final)
|
40%
|
|
|
Final paper/presentation
|
30%
|
|
＜テキスト/Textbook＞
|
Yusuke Wajima
, Creating Enka
:
"The Soul of Japan" in the Postwar Era
.
(Public Bath Press, 2018)
.
|
| |
|
Michael k. Bourdaghs
, Sayonara Amerika, Sayonara Nippon
:
A Geopolitical Prehistory of J-Pop
.
(Columbia University Press , 2012)
.
|
| |
|
Michelle Bigenho
, Intimate Distance
:
Andean Music in Japan
.
(Duke University Press, 2012)
.
|
| |
|
E. Taylor Atkins
, Blue Nippon
:
Authenticating Jazz in Japan
.
(Duke University Press, 2001)
.
|
| |
|
Toru Mitsui
, Made in Japan
.
(Routledge, 2014)
.
|
| |
|
Hiromu Nagahara
, Tokyo Boogie-Woogie
:
Japan's Pop Era and Its Discontents
.
(Harvard University Press, 2017)
.
|
| |
|
John A.Lent and Lorna Fitzsimmons
, Asian Popular Culture
:
New, Hybrid, And Alternate Media
.
(Lexington Books, 2014)
.
|
| |
|
Christopher Small 『Musicking－The Meaning of Performing and Listening－』 (Wesleyan University Press 、1998)
|
| |
＜備考/Remarks＞
Instructor: Mari NAGATOMI
|
