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User:CBFraoch/Nagauta/Bibliography

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Bibliography: Nagauta

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This is where you will compile the bibliography for your Wikipedia assignment.

  • 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

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Malm, William P. "A Short History of Japanese Nagauta Music." Journal of the American Oriental Society 80.2 (1960): 124-132.

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  • 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)
  • 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
  • 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)