374
Views
0
CrossRef citations to date
0
Altmetric
Articles

Sensing the music: oral mnemonics as a technique of affective sensitization in Japanese “court music”

ORCID Icon

References

  • Basso, Keith H. 1996. “Wisdom Sits in Places: Notes on a Western Apache Landscape.” In Senses of Place, edited by Steven Feld and Keith H. Basso, 53–90. Santa Fe, NM: School of American Research Press.
  • Chiba, Junnosuke. 1988. “‘Shōga’ to Iu Yōgo Ni Kansuru Shomondai -Tokuni Rekishiteki Yōhō No Kanten Kara-.” In Nihon No Ongaku, Ajia No Ongaku, edited by Kenji Hirano, 288–311. Tōkyō: Iwanami shoten.
  • Clough, Patricia Ticineto, and Jean Halley, eds. 2007. The Affective Turn: Theorizing the Social. Durham, NC: Duke University Press.
  • Crossley, Nick. 1995. “Merleau-Ponty, the Elusive Body and Carnal Sociology.” Body & Society 1 (1): 43–63. doi:10.1177/1357034X95001001004.
  • Dart, Thurston, John Morehen, and Richard Rastall. 2001. “Tablature (General).” In The New Grove Dictionary of Music and Musicians, edited by Stanley Sadie and John Tyrrell, 2nd ed., Vol. 24, 905–914. New York: Macmillan.
  • De Antoni, Andrea, and Paul Dumouchel. 2017. “The Practices of Feeling with the World: Towards an Anthropology of Affect, the Senses and Materiality.” Japanese Review of Cultural Anthropology 18 (1): 91–98.
  • Downey, Greg, Monica Dalidowicz, and Paul H. Mason. 2015. “Apprenticeship as Method: Embodied Learning in Ethnographic Practice.” Qualitative Research 15 (2): 183–200. doi:10.1177/1468794114543400.
  • Endō, Tōru. 2008. “Gagaku.” In Nihon No Dentō Geinō Kōza. Ongaku, edited by Tomiko Kojima, 76–108. Kyōto: Tankōsha.
  • Fujita, Takanori. 1986. “Kuchishōga: The Vocal Rendition of Instrumental Expression in the Oral and Literate Tradition of Japanese Music: With Emphasis on the Nōkan.” In The Oral and the Literate in Music, edited by Yosihiko Tokumaru and Osamu Yamaguti, 239–262. Tōkyō: Academia Music.
  • Garfias, Robert. 1975. Music of a Thousand Autumns: The Tōgaku Style of Japanese Court Music. Berkeley: University of California Press.
  • Giolai, Andrea. 2016. “Passion Attendance: Becoming a ‘Sensitized Practitioner’ in Japanese Court Music.” Antropologia E Teatro (Online) 7: 244–266.
  • Gregg, Melissa, and Gregory J. Seigworth, eds. 2010. The Affect Theory Reader. Durham, NC: Duke University Press.
  • Hahn, Tomie. 2007. Sensational Knowledge: Embodying Culture through Japanese Dance. Middletown, CT: Wesleyan University Press.
  • Hirano, Kenji. 1989. “Shōga (ad vocem).” In Nihon Ongaku Daijiten, edited by Kenji Hirano, Yūkō Kamisangō, and Satoaki Gamō, 97–98. Tōkyō: Heibonsha.
  • Hughes, David W. 1989. “The Historical Uses of Nonsense: Vowel-Pitch Solfege from Scotland to Japan.” In Ethnomusicology and the Historical Dimension. Papers Presented at the European Seminar in Ethnomusicology, London, May 20–13 1986, edited by Margot Lieth Philipp, 3–18. Darmstadt: Philipp Verlag.
  • Hughes, David W. 2000. “No Nonsense: The Logic and Power of Acoustic-Iconic Mnemonic Systems.” British Journal of Ethnomusicology 9 (2): 93–120. doi:10.1080/09681220008567302.
  • Hughes, David W. 2002. “Oral Mnemonics (Japan-Notation Systems).” In The New Grove Dictionary of Music and Musicians, edited by Stanley Sadie and John Tyrrell, 2nd ed., Vol. 12, 848–850. London: Macmillan.
  • Ingold, Tim. 2000. The Perception of the Environment: Essays on Livelihood, Dwelling and Skill. London: Routledge.
  • Ingold, Tim. 2017. “On Human Correspondence.” Journal of the Royal Anthropological Institute 23 (1): 9–27. doi:10.1111/1467-9655.12541.
  • Kamisangō, Yūkō. 1986. “Oral and Literate Aspects of Tradition Transmission in Japanese Music: With Emphasis on Syōga [Shōga] and Hakase.” In The Oral and the Literate in Music, edited by Yosihiko Tokumaru and Osamu Yamaguti, 288–299. Tōkyō: Academia Music.
  • Kapuscinski, Jaroslaw, and François Rose. 2013. “Orchestration in Gagaku Music.” Accessed May 20, 2018. https://ccrma.stanford.edu/groups/gagaku/index-en.html
  • Kasagi, Kan’ichi. 2014. Gagaku No Nara o Aruku. Tōkyō: PAO.
  • Kawada, Junzō. 1986. “Verbal and Non-Verbal Sounds: Some Considerations of the Basis of Oral Transmission in Music.” In The Oral and the Literate in Music, edited by Yosihiko Tokumaru and Osamu Yamaguti, 158–172. Tōkyō: Academia Music.
  • Keister, Jay. 2008. “Okeikoba: Lesson Places as Sites for Negotiating Tradition in Japanese Music.” Ethnomusicology 52 (2): 239–269.
  • Kikkawa, Eishi. 1973. “Shōga (Gakki Senritsu Shōhō) No Rekishi to Genri to Kinō -Shamisen to Sō No Shōga o Chūshin Toshite.” Musashino Ongaku Daigaku Kenkyū Kiyō 7: 1–23.
  • Lancashire, Terence. 2003. “World Music or Japanese–The Gagaku of Tōgi Hideki.” Popular Music 22 (1): 21–39. doi:10.1017/S0261143003003027.
  • Massumi, Brian. 2002. Parables for the Virtual: Movement, Affect, Sensation. Durham, NC: Duke University Press.
  • Massumi, Brian. 2005. “Notes on the Translation and Acknowledgments.” In A Thousand Plateaus: Capitalism and Schizophrenia, edited by Gilles Deleuze and Félix Guattari, xvi–xix. Minneapolis: University of Minnesota Press.
  • Massumi, Brian. 2015. Politics of Affect. Malden: Polity.
  • Nanto Gakuso. 1986. “Nanto Gakuso Komabue Fu.” (Manuscript) Nara.
  • Nelson, Steven G. 2008a. “Court and Religious Music (1): History of Gagaku and Shōmyō.” In The Ashgate Research Companion to Japanese Music, edited by Alison McQueen Tokita and David W. Hughes, 35–48. Aldershot: Ashgate.
  • Nelson, Steven G. 2008b. “Court and Religious Music (2): Music of Gagaku and Shōmyō.” In The Ashgate Research Companion to Japanese Music, edited by Alison McQueen Tokita and David W. Hughes, 49–76. Aldershot: Ashgate.
  • Nihon Gagakukai, ed. 1999. Gagaku Uchimono Sōfu. Tōkyō: Nihon Gagakukai.
  • Shiba, Sukehiro. 1972. Shochōshi Bugakukyoku, Komagakuhen. Gosenfu Ni Yoru Gagaku Sōfu, Vol. 4. Tōkyō: Kawai Gakufu.
  • Sterne, Jonathan. 2003. The Audible Past: Cultural Origins of Sound Reproduction. Durham, NC: Duke University Press.
  • Tanabe, Shirō. 1984. “Shōga (Ad Vocem).” In Hōgaku Hyakka Jiten, edited by Eishi Kikkawa, 516–519. Tōkyō: Ongaku no Tomosha.
  • Terauchi, Naoko. 2016. “Ancient and Early Medieval Performing Arts.” In A History of Japanese Theatre, edited by Jonah Salz, 4–19. New York: Cambridge University Press.
  • Thompson, Marie, and Ian D. Biddle. 2013. “Introduction: Somewhere between the Signifying and the Sublime.” In Sound, Music, Affect: Theorizing Sonic Experience, edited by Marie Thompson and Ian D. Biddle, 1–24. New York: Bloomsbury Academic.
  • Tōkyō Gakuso, and Reigakusha. 2010. Gagaku (Dentō Ongaku No Susume: Meijin Ensō to Tomo Ni). Tōkyō: Columbia Music Entertainment. ASIN B003M13XJY.
  • Wacquant, Loïc. 2004. Body & Soul: Notebooks of an Apprentice Boxer. Oxford: Oxford University Press.
  • Wacquant, Loïc. 2015. “For a Sociology of Flesh and Blood.” Qualitative Sociology 38 (1): 1–11. doi:10.1007/s11133-014-9291-y.
  • Wetherell, Margaret. 2012. Affect and Emotion: A New Social Science Understanding. Los Angeles, CA: SAGE.
  • White, Daniel. 2017. “Affect: An Introduction.” Cultural Anthropology 32 (2): 175–180. doi:10.14506/ca32.2.01.
  • Wolz, Carl. 1971. Bugaku Japanese Court Dance, with the Notation of Basic Movements and of Nasori. Providence, RI: Asian Music Publications Brown University.
  • Yokomichi, Mario, and Satoaki Gamō. 1978. “Kaisetsu Rekōdo.” In Kuchi Shōga Taikei (5 LP Records), edited by Mario Yokomichi and Satoaki Gamō, 457–461. Tōkyō: CBS/Sony. OOAG.

Reprints and Corporate Permissions

Please note: Selecting permissions does not provide access to the full text of the article, please see our help page How do I view content?

To request a reprint or corporate permissions for this article, please click on the relevant link below:

Academic Permissions

Please note: Selecting permissions does not provide access to the full text of the article, please see our help page How do I view content?

Obtain permissions instantly via Rightslink by clicking on the button below:

If you are unable to obtain permissions via Rightslink, please complete and submit this Permissions form. For more information, please visit our Permissions help page.