User:CBFraoch/Nagauta/Bibliography
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Bibliography: Nagauta
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- William P. Malm, Nagauta: the heart of kabuki music (C. E. Tuttle, 1963) Internet Archive copy
- Reliable: Malm is one of the foremost Japanese music scholars
- Verifiable: archived version of the book is available online
- Independent: yes
- Secondary source
- Malm, William P. "A Short History of Japanese Nagauta Music." Journal of the American Oriental Society 80.2 (1960): 124-132.
- Malm, William P. "Japanese nagauta notation and performance realities." Musicology Australia 11.1 (1988): 87-104.
- Malm, William P. ""Four Seasons of the Old Mountain Woman": An Example of Japanese" Nagauta" Text Setting." Journal of the American Musicological Society 31.1 (1978): 83-117.
- Malm, William P. "Yamada Shôtarô: Japan's First Shamisen Professor." Asian music (1998): 35-76.
- Jay Davis Keister, Shaped by Japanese Music: Kikuoka Hiroaki and Nagauta Shamisen in Tokyo (Routledge, 2004) Available on Google Books
- Reliable: Keister is an ethnomusicologist/scholar of Japanese music
- Verifiable: book available through libraries; portions available through Google Books
- Independent: yes
- Secondary source
- Yako, Masato, and Toshinori Araki. "An Analysis of nagauta-shamisen Melody by Blocking." Toyo ongaku kenkyu: The Journal of the Society for the Research of Asiatic Music 1998.63 (1998): 37-56.
- Reliable: peer-reviewed journal
- Verifiable: article is available online but it is written in Japanese -- however, the abstract is lengthy and in
- Oshio, Satomi. "The concept of “gaku” in nagauta." Toyo ongaku kenkyu: the journal of the Society for the Research of Asiatic Music 1999.64 (1999): 1-22.
- article is in Japanese but a lengthy English-language abstract could be useful
Notes
[edit]Malm, William P. "A Short History of Japanese Nagauta Music." Journal of the American Oriental Society 80.2 (1960): 124-132.
[edit]- type of shamisen music for kabuki theatre (124)
- arose from earlier forms of shamisen music
- shamisen first came to Japan from Ryūkyū Islands in 1560
- first shamisen music evolved from narrative biwa/lute music since the shamisen seems to have been used as a biwa substitute when it first arrived (125)
- shamisen also began to be used to accompany a folk narrative tradition that had not previously had instrumental accompaniment
- two categories of shamisen music
- katarimono: connected to narratives
- utaimono: music emphasized over lyrics
- various forms of lyric music for shamisen (in addition to narrative music)
- e.g., kumiuta -- first known shamisen music
- first appears in published notation in 1685 (126)
- e.g., kumiuta -- first known shamisen music
- although notation existed earlier for other instrumental traditions, notation was late developing for shamisen b/c it was associated with blind musicians (like the koto and biwa)
- shamisen notation not truly developed until 20thC
- jiuta = district/local songs
- generic term used to refer to early shamisen music
- includes all lyric forms of music, including nagauta
- later, by mid-18thC, jiuta and kumiuta were terms for koto repertoire
- hauta, kouta, and nagauta came to be the words used to refer to shamisen repertoire
- in 17thC, these terms were all used in different, cavalier ways -- no clear accepted definitions
- first reference to nagauta as shamisen music appears in vol 2 of Matsu no ha (1703)
- no notation in this collection so can only make observations about the lyrics of nagauta -- which tend to be longer than other texts
- Kabuki emerged in late 16thC as one of several popular entertainments (127)
- early Kabuki instruments were instruments from the Noh theatre, plus songs -- probably popular songs (128)
- 17thC: shamisen was a common street instrument outside of Kabuki
- shamisen integrated into Kabuki sometime in 17thC but not clear exactly when
- Malm speculates that it entered Kabuki before 1650 (129)
- shamisen a regular part of Kabuki by early 18thC
- nagauta is music created to accompany longer Kabuki dances
- also provided reflective interludes
- 18thC:
- nagauta became a permanent fixture in Kabuki
- basic forms and classifications of nagauta crystallized
- narrative forms of music influenced nagauta's development
- many nagauta "classics" were composed in the 19thC
- time of the best-known nagauta composers too
- 19thC
- ozashiki nagauta developed: concert nagauta -- composed for non-Kabuki, non-dance performances; virtuosity emphasized
- two classic compositions: "Azuma hakkei" (1818) and "Aki no irogusa" (1845) (131)
- many pieces based on Noh theatre, partly b/c a lot of Kabuki theatre was based on Noh plays and many were revived during this century
- folk music influences on nagauta compositions evident too
- ozashiki nagauta developed: concert nagauta -- composed for non-Kabuki, non-dance performances; virtuosity emphasized
- zenith of nagauta music reached by end of 19thC
- 20thC: many composers tried to incorporate western elements
- often involved playing the shamisen faster, in violin cadenza style, or using larger ensembles to increase volume
- 20thC: accurate musical notation systems developed
- nagauta is the product of the Edo period (1615-1867)