Conclusion

Author:

Mehl Margaret1ORCID

Affiliation:

1. University of Copenhagen

Abstract

The Conclusion, after briefly outlining how the changes in musical culture in the 1920s made themselves felt in Sendai, returns to the larger framework, placing emergence of a new musical culture in Sendai into the context of national consolidation, as well as Japan growing importance on the international stage after the First World War. This leads back to the question posed in this introduction: what can music contribute to our understanding of history? The case of Japan demonstrates that music and musical modernization were an integral part of Japan’s transformation towards a modern nation. As in other areas, the transformation was motivated by the need to respond to Western dominance, and inspired by Western models. Traditional genres of Japanese music flourished in the period examined, although they were, ultimately, relegated to a niche existence. Arguably, this ensured their preservation as (supposedly) unadulterated tradition. In this way, Western and indigenous music each played – and still play – their part in defining modern Japan.

Publisher

Open Book Publishers

Reference481 articles.

1. Abe, Hiroshi. Chūgoku no kindai kyōiku to Meiji Nihon. Tokyo: Fukumura Shuppan, 1990.

2. Aikawa, Yumi. ‘Enka’ no susume. Tokyo: Bungei Shunjū, 2002.

3. Akita, George. Evaluating Evidence: A Positivist Approach to Reading Sources on Modern Japan. Honolulu: University of Hawai’i Press, 2008.

4. Akutsu, T., and K. Takeishi. ‘Meiji jidai ni okeru hōgaku to yōgaku no ongaku shidō no kakawari: Nakao Tozan ni miru shakuhachi to vaiorin gakufu shuppan no keii to sono haikei’. Tōkyō Gakugei Daigaku kiyō - Geijutsu/Spōtsu kagaku kakari 65 (2013): 1–14. http://hdl.handle.net/2309/134258

5. ‘Amusements’. Display Ad, The Washington Post, 10 December 1911, TA3.

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