Notes
Kanpō 官報 (Official Gazette), 12 May 1955. Japan was the first country in the world to adopt the designation of Intangible Cultural Property (mukei bunkazai 無形文化財). See Bruno Nettl, The Western Impact on World Music: Change, Adaptation, and Survival (New York: Schirmer Books, 1985). The UNESCO Convention for the Safeguarding of Intangible Cultural Heritage, inspired by UNESCO’s Japanese Director-General, Matsuura Kōichirō 松浦晃一郎, was adopted in October 2003 and modelled on the Japanese intangible heritage protection system; Mariannick Jadé, Patrimoine immatériel: Perspectives d’interprétation du concept de patrimoine [Intangible Heritage: Interpretations of the concept of heritage] (Paris: L’Harmattan, 2006), 85‑86.
For more information on the history of the creation of modern Japan’s heritage and canons in the field of literature and the arts, see Satō Dōshin 佐藤道信, “Nihon bijutsu” tanjō: Kindai Nihon no “kotoba” to senryaku 〈日本美術〉誕生: 近代日本の「ことば」と戦略 [The Birth of “Japanese Art”: The “language” and strategies of modern Japan], part of the Kōdansha Sensho Mechie series 講談社選書メチエ (Tokyo: Kōdansha 講談社, 1996); Christophe Marquet, “Conscience patrimoniale et écriture de l’histoire de l’art national” [Heritage Awareness and the Writing of National Art History] in La Nation en marche [A Nation in Progress], ed. Claude Hamon and Jean-Jacques Tschudin (Arles: Picquier, 1999), 143‑162; Christophe Marquet, “Le Japon moderne face à son patrimoine artistique” [Modern Japan and its Artistic Heritage], Cipango, special edition, “Mutations de la conscience dans le Japon modern” [The Changing Conscience of Modern Japan] (spring 2002): 243‑304. On the subject of Japanese literature, see Haruo Shirane ハルオ・シラネ and Suzuki Tomi 鈴木登美 (ed.), Sōzō sareta koten: kanon keisei, kokumin kokka, nihon bungaku 創造された古典: カノン形成・国民国家・日本文学 [Inventing the Classics: Canon formation, the nation-state and Japanese literature] (Tokyo: Shin’yōsha 新曜社, 1999); Emmanuel Lozerand, Littérature et génie national: naissance d’une histoire littéraire dans le Japon du xixe siècle [Literature and National Genius: The birth of a literary history in 19th century Japan] (Paris: Belles Lettres, 2005).
正統に伝え、芸術的に演じ得るのは宮内庁楽部である; Bunkazai Hogo Iinkai 文化財保護委員会, “Gagaku,” List of Intangible Cultural Properties, Kikan Bunkazai 季刊文化財 [Quarterly Report of Cultural Properties], vol. 3 (1955): 41.
See for example the entry for gagaku 雅楽 in the dictionary Kōjien 広辞苑, 6th edition (Tokyo: Iwanami Shoten 岩波書店, 2008), 484.
See for example Nihon Ongaku Daijiten 日本音楽大事典 [Dictionary of Japanese Music] (Tokyo: Heibonsha 平凡社, 1989); Gagaku Daijiten 雅楽大事典 [Dictionary of Gagaku] (Tokyo: Ongaku no Tomo Sha 音楽の友社, 1989).
Tanabe Hisao, Kikkawa Eishi 吉川英士 and Hiraide Hisao 平出久雄, “Nihon no gagaku,” 日本の雅楽 [Japanese Gagaku] in Ongaku Jiten 音楽事典 [Dictionary of Music], vol. 2 (Tokyo: Heibonsha, 1955), 206‑216.
François Picard, La Musique chinoise [Chinese Music] (Paris: Minerve, 1991), 46 and 80.
Analects of Confucius (Lun Yu 論語), chapter 17, paragraph 18.
Ibid., chapter 13, paragraph 3. See Véronique Alexandre‑Journeau, “Avant‑propos,” [Foreword] in Yueji 樂記: Le livre de musique de l’Antiquité chinoise [Yueji: The book of ancient Chinese music], trans. Véronique Alexandre‑Journeau (Paris: You‑Feng, 2008), xiii.
Analects of Confucius (Lun Yu 論語), chapter 17, paragraph 18.
On the history of ancient gagaku, see Ogi Mitsuo 荻美津夫, Nihon kodai ongaku shiron 日本古代音楽史論 [Studies on the History of Ancient Japanese Music] (Tokyo: Yoshikawa Kōbunkan 吉川弘文館, 1977), 27‑61.
Shoku nihon-gi 続日本紀 [Chronicles of Japan, Continued], in the section dated earth‑dog day (tsuchinoe inu), seventh month of the first year of Taihō (701).
Ogi, Nihon kodai ongaku shiron, 16.
Ibid., 76-77. These musical genres are detailed in a document by the Council of State dated month nine of the year 848.
Francine Hérail, La Cour et l’Administration du Japon à l’époque de Heian [The Court and Government of Heian Japan], (Geneva: Droz, 2006), 27 and 663‑666.
Musical style that also included “Champa music” (rin’yū-gaku 林邑楽), named after the kingdom located in central Vietnam, as well as Japanese compositions modelled on Tang music.
In addition to “Goguryeo music” proper, this included “Silla music,” “Baekje music,” and “Balhae music” (bokkai‑gaku 渤海楽), named after the kingdom that was founded after the fall of Goguryeo. Together these represent the entire range of musical styles from the Korean peninsula.
Hérail, La Cour, 664.
Ogi Mitsuo 荻美津夫, Heian-chō ongaku seidoshi 平安朝音楽制度史 [The History of Heian Japan’s Musical Institutions] (Tokyo: Yoshikawa Kōbunkan, 1994), 24‑57 and 137‑228.
Ibid., 23.
Ogi, Nihon kodai ongaku shiron, 17‑21.
Nishiyama Matsunosuke 西山松之助, Iemoto no kenkyū 家元の研究 [Studies on the Iemoto or Family System within the Arts] (Tokyo: Yoshikawa Kōbunkan, 1989), 161‑168.
For more information on the gagaku studies carried out during the Edo period, see Ōtsuki Kunio 大築邦雄, “Kinsei no gagaku kenkyū” 近世の雅楽研究 [Edo Period Gagaku Studies], Ongaku‑gaku 音楽学 (Journal of the Japanese Musicological Society), 10‑3 (1964).
On the institutionalisation of gagaku during the Edo period, see Ogawa Tomoko 小川朝子, “Kinsei no bakufu girei to sanpō gakuso” 近世の幕府儀礼と三方楽所 [Ceremonies of the Tokugawa Shogunate and the Sampō Gakusho during the Edo Period] in Chūkinsei no kokka to shūkyō 中近世の宗教と国家 [Religion and the Early Modern State], ed. Imatani Akira 今谷明 and Takano Toshihiko 高埜利彦 (Tokyo: Iwata Shoin 岩田書院, 1998), 407‑446; Ogawa Tomoko, “Gakunin” 楽人 [Gagaku Musicians] in Geinō bunka no sekai 芸能文化の世界 [The World of the Performing Arts Culture], ed. Yokota Fuyuhiko 横田冬彦(Tokyo: Yoshikawa Kōbunkan, 2000), 19‑53.
On the revival and reorganisation of gagaku during the Edo period, see Hiraide Hisao 平出久 雄, “Edo jidai no kyūtei ongaku saikō oboegaki,” 江戸時代の宮廷音楽再興覚え書 [Essay on the Revival of Court Music during the Edo Period], Gakudō 楽道 [The Way of the Arts] vols. 212‑215 (June to September 1959); Tsukahara Yasuko 塚原康子, Meiji kokka to gagaku 明治国家と雅楽 [Gagaku and the Meiji State] (Tokyo: Yūshisha 有志舎, 2009), 15‑41.
Matsudaira Sadanobu, “Zokugaku mondō 俗楽問答” [Dialogue on Popular Music; 1829] in Rakuō-kō isho 楽翁公遺書 [Posthumous Collection of texts by Rakuō], ed. Ema Seihatsu 江間政発, vol. 2 (Tokyo: Yao Shoten 八尾書店, 1893), 13‑34.
Tsukahara, Meiji kokka, 47‑51.
Ibid., 42‑71. On the invention of imperial traditions, see Takagi Hiroshi 高木博志, Kindai tennōsei no bunkashiteki kenkyū: Tennō shūnin girei, nenchū gyōji, bunkazai 近代天皇制の文化史的研究: 天皇就任儀礼・年中行事・文化財 [Cultural‑Historical Research on the Modern Emperor System: Enthronement ceremonies, seasonal rites and cultural heritage] (Tokyo: Azekura Shobō 校倉書房, 1997); François Macé, “Le Shintō désenchanteur” [Disenchanting Shintō], Cipango, special edition “Mutation de la conscience dans le Japon Moderne” [The Changing Consciousness of Modern Japan] (spring 2002): 7‑70.
Tsukahara, Meiji kokka, 195‑196.
Emperor Meiji’s attendance at a performance was a prerequisite for asserting the status of an art form. This came about in 1874 for Noh and in 1887 for Kabuki, for example.
Ongaku ryakuge 音楽略解 [Brief Notes on Music], 1878. This book can be viewed at the Archives and Mausolea Division of the Imperial Household Agency (Kunai‑chō Shoryō‑bu 宮内庁書陵部).
Tsukahara, Meiji kokka, 35.
Established in 1879, this institute was subsequently renamed the Tokyo Music School (Tōkyō Ongaku Gakkō 東京音楽学校) in 1889 and was the forerunner of the present‑day Music Department at Tokyo National University of the Arts (Tōkyō Geijutsu Daigaku Ongaku Gakubu 東京藝術大学音楽学部), founded in 1946.
Anne‑Marie Thiesse, La Création des identités nationales: Europe xviiie‑xxe siècle [The Creation of National Identities in Europe: 18th‑20th century] (Paris: Éditions du Seuil, 1999), 139‑140. The concept of “national music” was first used in Japan by Kanda Kōhei 神田孝平 (1830‑1898) in his paper “Kokugaku o shinkō subeki no setsu” 国楽ヲ振興スへキノ說 [On the Need to Develop a National Music] Meiroku zasshi 明六雑誌, no. 18 (October 1874): 7‑8.
See Benedict Anderson, Imagined Communities: Reflections on the Origin and Spread of Nationalism (London and New York: Verso, 1991), 141‑162. See also the work of Jane F. Fulcher, French Cultural Politics and Music: From the Dreyfus Affair to the First World War (New York: Oxford University Press, 1999).
See the earlier section in this paper on the Confucian view of ritual and music.
Okunaka Yasuto 奥中康人, Kokka to Ongaku 国家と音楽 [Music and the State] (Tokyo: Shūnjūsha 春秋社, 2008), 48‑59.
Dajōkan nisshi 太政官日誌 [Official Gazette of the Council of State], no. 75, 5th year of Meiji (1872), new edition (Tōkyō‑dō Shuppan 東京堂出版, 1990), 188.
Tsukahara, Meiji kokka, 42‑71.
Ibid., 79‑83.
Gagaku‑roku 雅楽録 [Official Register of Japanese Imperial Court Music], no. 10, 11th year of Meiji (1878). These documents can be consulted at the Archives and Mausolea Division of the Imperial Household Agency. For more information on gagaku at the Exposition Universelle in 1878, see Tsukahara, Meiji kokka, 144‑148; Inoue Satsuki 井上さつき, Ongaku o tenji suru: Pari banpaku 音楽を展示する: パリ万博 1855‑1900 (Exhibiting Music: The world fairs in Paris, 1855‑1900) (Tokyo: Hōsei Daigaku Shuppankyoku 法政大学出版局, 2009), 196‑198.
Nihon gagaku gaiben 日本雅楽概弁 [A Summary of Japanese Gagaku], 1878. These nine volumes of handwritten scrolls can be consulted at the Archives and Mausolea Division of the Imperial Household Agency.
Gagaku-roku, no. 22, 11th year of Meiji (1878).
Sondra Wieland Howe, “Music Teaching in the Boston Public Schools, 1864‑1879,” Journal of Research in Music Education 40, no. 4 (Winter 1992): 316 and 326.
Megata Tanetarō, “Waga kōgaku ni shōka no ka o okosubeki shikata ni tsuite watakushi no mikomi” 我公学ニ唱歌ノ課ヲ與スベキ仕方ニツキ私ノ見込 [My Expectations of How We Should Create a Music Class in Japanese Public Schools], 20 April 1878, reprinted in Tōkyō Geijutsu Daigaku Hyakunen Shi Henshū Iinkai 東京芸術大学百年史編集委員会 [Editorial Committee for the 100‑year History of Tokyo University of the Arts], Tōkyō geijutsu daigaku hyakunen shi: Tōkyō ongaku gakkō hen 東京芸術大学百年史: 東京音楽学校篇 [The 100‑year History of Tokyo University of the Arts: Volume on the Tokyo Conservatory of Music], vol. 1 (Tokyo: Ongaku no Tomo Sha, 1987), 15‑17.
See Okunaka, Kokka to Ongaku, 149‑151.
Ongaku torishirabe seiseki shinpō sho 音楽取調成績申報書 [Activity Report of the Music Research Institute] (Music Research Institute, 1884), 67‑79 and 81‑99.
“Kokugaku seitei to gagaku kyōkai” 国楽制定と雅楽協会 [The Gagaku Association and the Establishment of a National Music], Teikoku bungaku 帝国文学 [Imperial Literature], 1‑3 (March 1895): General News section (zappō 雑報).
See Philip von Bohlman, “Landscape-Region-Nation-Reich: German Folk Song in the Nexus of National Identity,” in Music and German National Identity, ed. C. Applegate & P. Potter (Chicago and London: University of Chicago Press, 2002), 105‑27.
In his article entitled “Girisha no min’yō 希臘の民謡 (Greek Folk Songs), Shigarami zōshi しらがみ草紙, vol. 35 (August 1892): 4‑5.
Shinada Yoshikazu 品田悦一, Man’yōshū no hatsumei: Kokumin kokka to bunka sōchi to shite no koten 万葉集の発明: 国民国家と文化装置としての古典 [The Invention of the Man’yōshū: The nation-state and classical literature as a cultural device] (Tokyo: Shin’yōsha, 2001), 191‑195.
He worked under the supervision of Haga Yaichi 芳賀矢一 (1867‑1927), who studied philology in Germany. For more information on the Department of National Literature at Tokyo Imperial University and the role played by Haga, see Shinada Yoshikazu, Man’yōshū no hatsumei, 187‑196 and 210‑218; Hanamori Shigeyuki 花森重行, “Kokubungaku kenkyū shi ni tsuite no ichikōsatsu: 1890 nendai no Haga Yaichi o megutte” 国文学研究史についての一考察: 1890年代の芳賀矢一をめぐって [An Analysis of the History of Research on National Literature: Haga Yaichi during the 1890s), Ōsaka daigaku nihon gakuhō 大阪大学日本学報, vol. 21 (March 2002): 71‑85. See also the work of Emmanuel Lozerand in Littérature et génie national.
Shida Yoshihide, “Nihon min’yō gairon” 日本民謡概論 [An Introduction to Japanese Folk Songs], Teikoku bungaku 帝国文学 [Imperial Literature], 12‑2, 12‑3, 12‑5 and 12‑9 (1906).
The literal meaning of the word saibara 催馬楽 is “music” (ra 楽) to “drive” (sai 催) “horses” (ba 馬).
Kokushi daijiten 国史大辞典 (Tokyo: Yoshikawa Kōbunkan, 1908), 543. Vocal pieces were divided into the following genres: kagura-uta 神楽歌; kume-uta 久米歌, songs from the Kume clan, which at the time Shiga wrote his article were performed to commemorate the enthronement of Emperor Jinmu (kigensetsu 紀元節); azuma-asobi 東遊, songs sung on the anniversary of the death of Emperor Jinmu and during the two equinoxes; ta‑uta 田歌, rice‑planting songs sung at the Great Feast of Enthronement (daijō‑e 大嘗会); yamato‑uta 大和歌, songs from the Yamato region which were also sung at the Great Feast of Enthronement; utagaki 歌垣, songs sung between men and women, and for which no mention exists after 770; saibara 催馬楽; rōei 朗詠; fuzoku 風俗, folk songs from various provinces, also sung at the Great Feast of Enthronement; and kuzubito-uta 国栖人歌, literally “songs from the people of Kuzu,” which are mentioned only in ancient texts like the Kojiki or the Nihonshoki.
Tōgi Tetteki 東儀鉄笛, Ongaku nyūmon 音楽入門 [Musical Initiation] (Tokyo: Waseda Daigaku Shuppan-bu 早稲田大学出版部, 1910).
Tanabe Hisao, Tanabe Hisao jijoden 田辺尚雄自叙伝 [Autobiography of Tanabe Hisao] (Tokyo: Hōgakusha 邦楽社, 1981), 158‑159 and 235‑236.
Ibid., 150.
Ibid., 215. Studying music from an “objective,” scientific point of view for the first time, this book heavily influenced European musicology during the second half of the nineteenth century. Hermann von Helmholtz, Die Lehre von den Tonempfindungen als physiologische Grundlage für die Theorie der Musik (Braunschweig: Friedrich Vieweg und Sohn, 1863). English translation by Alexander J. Ellis (London: Longman, 1875). Musicology (Musikwissenschaft) was presented for the first time as a discipline modelled on the Newton‑style natural sciences in an article published by the German periodical Allgemeine musikalische Zeitung in Leipzig, entitled “Über Musik als Musikwissenschaft” [On Music as Musicology], in March 1827. This approach to the subject was systematised in the early twentieth century by Guido Adler (1855‑1941)—a musicologist at the University of Vienna and student of Helmholtz Carl Stumpf (1848‑1936)—and Hugo Riemann (1849‑1918). On the birth of musicology in Europe, see John Haines, “Généalogies musicologiques aux origines d’une science de la musique vers 1900” [Musicological Genealogies: At the Origins of a Science of Music around 1900], Acta musicological 73, no. 1 (2001): 21‑44.
On Tanaka’s conception of national music, see Hiratsuka Tomoko 平塚智子, “‘Hattatsu’ suru nihon ongaku: Tanaka Shōhei no risō to riron o megutte”「発達」する日本音楽: 田中正平の理想と実践をめぐって [The “Development” of Japanese Music: On the ideas and theories of Tanaka Shōhei), Hikaku bungaku kenkyū 比較文学研究 [Research on Comparative Literature], no. 71 (1998): 109‑128.
Konakamura Kiyonori 小中村清矩, Kabu-ongaku ryakushi 歌舞音楽略史 [A Brief History of Music, Song and Dance] (Tokyo: Yoshikawa Hanshichi 吉川半七, 1888; reprinted in 1928 and 2000 in the Iwanami Bunko series by Tokyo: Iwanami Shoten 岩波書店).
Underlining by Tanabe, Nihon ongaku kōwa (Tokyo: Iwanami Shoten, 1919), 69.
Underlining by Tanabe, Nihon ongaku kōwa, 341.
Tanabe, Gagaku tsūkai 雅楽通解 [An Explanation of Gagaku] (Tokyo: Kokyoku Hozon Kai 古曲保存会, 1921).
For more information on the history of the phonograph’s invention, see Philippe Tournès, Du Phonographe au MP3 : Une histoire de la musique enregistrée – xixe‑xxie siècle [From the Phonograph to the MP3 Player: A History of Recorded Music from the 19th to the 21st century] (Paris: Autrement, 2008), 11‑18.
Tanabe, Meiji ongaku monogatari 明治音楽物語 [A Musical History of the Meiji Period] (Tokyo: Seiasha 青蛙社, 1965), 299‑303.
As of August 1922, this publication took over the helm from The World of the Gramophone (Chikuonki sekai 蓄音器世界), the first magazine devoted to records in Japan, founded in 1915.
Tanabe, Zoku Tanabe Hisao jijoden 続田辺尚雄自叙伝 [Sequel to the Autobiography of Tanabe Hisao] (Tokyo: Hōgakusha, 1981), 84‑88.
Ibid., 86.
Tanabe, Gagaku Tsūkai, 138‑168. The record sleeves and sound recordings have all been digitised and are available on the website of the Digital Archive of 78 RPM Records (SPレコードデジタルアーカイブ), run by the Research Centre for Traditional Japanese Music at Kyoto City University of Arts (Kyoto Shiritsu Geijutsu Daigaku Nihon Dentō Ongaku Kenkyū Sentā 京都市立芸術大学日本伝統音楽研究センター), http://neptune.kcua.ac.jp/cgi-bin/kyogei/index_sp.cgi (link valid November 2016).
Hattatsu no jō kara 発達の上から; Tanabe, Gagaku Tsūkai, 15.
Tanabe, Gagaku Tsūkai, 18.
The educational role of the phonograph was explored by Mark Katz, who compared the way American schools used phonographs in the early twentieth century to teach children to listen to and appreciate “real music” or “good music”, and the use of group singing in nineteenth-century musical education; Mark Katz, Capturing Sound: How Technology Has Changed Music (Berkeley: University of California Press, 2005) 61.
“Tōyō ongaku riron no kagakuteki kenkyū” 東洋音楽理論の科学的研究; Zaidan hōjin keimei-kai daisankai taishō kyūnendo jigyō hōkokusho 財団法人啓明会第三回大正九年度事業報告書 [Third Annual Report of the Keimei‑kai Foundation, Taishō 9 (1920)] (Tokyo: Keimei‑kai, 1921), 29‑31.
Ue Sanemichi 上眞行, Ōno Tadamoto 多忠基 and Tanabe Hisao, “Shōsō‑in gakki no chōsa hōkoku” 正倉院楽器の調査報告 [Research Report on the Musical Instruments Held at the Shōsō‑in], Teishitsu hakubutsukan gakuhō 帝室博物館学報 [Bulletin of the Imperial Museum], no 5 (1921).
For a discussion of Tanabe’s musical studies as “ethnomusicology,” see Hosokawa Shūhei 細川周平, “In Search of the Sound of Empire: Tanabe Hisao and the Foundation of Japanese Ethnomusicology,” Japanese Studies, vol. 18 (May 1998): 5‑19.
Tanabe, Chōsen riōke no kogakubu: waga kyūchū no bugaku tono kankei 朝鮮李王家の古楽舞: 我が宮中の舞楽との関係 [The Ancient Music and Dance of the Court of the Yi (Joseon) Dynasty in Korea: Links with Bugaku from the Japanese Imperial Court], in Keimei-kai daigokai kōen-shū 啓明会第五回講演集 [Fifth Collection of Lectures by the Keimei-kai] (September 1921): 2‑6.
Tanabe, Zoku tanabe hisao jijoden, 120‑121.
See Uemura Yukio 植村幸生, “Shokuminchiki chōsen ni okeru kyūtei ongaku no chōsa o megutte: Tanabe Hisao ‘Chōsen gagaku chōsa’ no seijiteki bunmyaku” 植民地期朝鮮における宮廷音楽の調査をめぐって: 田辺尚雄『朝鮮雅楽調査』の政治的文脈 [Research on the Court Music of Korea under Japanese Rule: The Political Context of Tanabe Hisao’s ‘Research on Joseon Gagaku’], Chōsen shi kenkyūkai ronbun-shū 朝鮮史研究会論文集, vol. 35 (1997): 117‑144, in particular 134‑138; Yamamoto Hanako 山本華子, Ri ōshoku gagaku bu no kenkyū: shokuminchi jidai chōsen no kyūtei ongaku denshō 李王職雅楽部の研究: 植民地時代朝鮮の宮廷音楽伝承 [Research on the Gagaku Department of the Joseon Dynasty: Transmission of Court Musical Tradition under the Japanese Occupation], doctoral thesis in musicology (Tokyo University of the Arts, 2008), 146‑169.
Day of protest for the return of Port Arthur and Dairen, which were leased by China to Japan as part of the Twenty-One Demands issued by Tokyo in 1915.
Tanabe Hisao, “Ongaku kara mita tōa kyōei ken” 音楽から見た東亜共栄圏 [The Greater East Asia Co-Prosperity Sphere seen from a Musical Perspective] in Tōyō ongaku no inshō 東洋音楽の印象 [Impressions of Oriental Music] (Tokyo: Jinbun Shoin 人文書院, 1941), 88‑93.
Tanabe Hisao, Chūgoku chōsen ongaku chōsa kikō 中国・朝鮮音楽調査紀行 [Travelogue of Music Research Carried Out in China and Korea] (Tokyo: Ongaku no Tomo Sha, 1970), 318‑319.
広く東洋音楽の比較研究に基づき、日本音楽史の上に革命的の解釈を与えたものである; Tanabe, “Introduction,” Nihon ongaku no kenkyū 日本音楽の研究 [Research on Japanese Music] (Tokyo: Kyōbun-sha 京文社, 1926).
Nihon gakushiin hachijūnen shi 日本学士院八十年史 [Eighty‑Year History of the Japan Academy] (Tokyo: Nihon Gakushiin 日本学士院, 1963), 278‑280.
Kishibe Shigeo 岸辺成雄, “Tōyō ongaku gakkai sanjū nen shōshi” 東洋音楽学会三十年小史 [Brief History of the Thirty Years of the Society for Research in Asiatic Music], Tōyō ongaku kenkyū 東洋音楽研究 [Research on Oriental Music], vol. 19 (1966): 63‑80.
Tanabe Hisao, “Sōkan ni saishite” 創刊に際して [On the Occasion of the Inaugural Issue], Tōyō ongaku kenkyū 東洋音楽研究, 1‑1 (November 1937): 3.
Researchers working at the same time as Tanabe, such as Shiratori Kurakichi 白鳥庫吉 (historian of the Orient and Honorary Chair of the Society for Research in Asiatic Music, 1865-1942) and Watsuji Tetsurō 和辻哲郎 (philosopher, 1889-1960), also responded to the problem of orientalism by calling for “Orientals” to reclaim the subject for themselves. See Kan Sang-jung, Orientarizumu no kanata e オリエンタリズムの彼方へ [Beyond Orientalism], Iwanami Gendai Bunko 岩波現代文庫 (Tokyo: Iwanami Shoten, 2004), 133-162.
Erich Moritz von Hornbostel, Music of the Orient (1928), set of twenty-four 78‑rpm records, re‑released by Folkways Records (part of the Smithsonian Center for Folklife and Cultural Heritage in Washington) in 1979. Compilation reference FW04157.
Tanabe, Tōa no ongaku 東亜の音楽 [East Asian Music], set of ten 78‑rpm records (Tokyo: Columbia‑Nipponophone コロムビア・ニッポノフォン, 1941), pages 1‑2 of the accompanying booklet.
These three compilations featured music from the following countries and regions (names are those used during Tanabe’s time): for East Asian Music, Manchuria, China, Mongolia, Java, Bali, Thailand, India, Iran (which Tanabe called “Ancient Persia”); for A Collection of Greater East Asian Music, Manchuria, Mongolia, China, French Indochina, Thailand, Burma, Malaysia, India, Indochina, Southwest Asia; for Music of the South, Thailand, French Indochina, Malaysia, Burma, Sumatra, and Bali.
Tanabe, Tōa no ongaku, 7‑8 of the accompanying booklet.
Daitōa to ongaku 大東亜と音楽 [Music and Greater East Asia], published in March 1942 as part of a collection established by the Educational Affairs Bureau (Kyōgaku‑kyoku 教学局), which reported directly to the Ministry of Education. The citation appears on pages 21‑22.
This is particularly notable in an article written by Tanabe, entitled “Koten ongaku no bunka‑zai toshite no kachi” 古典音楽の文化財としての価値 [The Value of Classical Music as a Cultural Property], Bunkazai Geppō 文化財月報 [Monthly Report by the Committee for the Protection of Cultural Properties] no. 1 (December 1951): 6.
Bunkazai Hogo Iinkai 文化財保護委員会, “Gagaku,” List of Intangible Cultural Properties, Kikan bunkazai 季刊文化財, vol. 3 (1955): 41.
Carol Gluck, “The Past in the Present,” in Postwar Japan as History, ed. Andrew Gordon (Berkeley, Los Angeles and London: University of California Press, 1993), 66‑95.
A group known as the “Old Liberalists”; Tsuzuki Tsutomu 都築勉, Sengo nihon no chishikijin 戦後日本の知識人 [The Intellectuals of Postwar Japan] (Yokohama: Seori Shobō 世織書房, 1995), 123‑124; Oguma Eiji 小熊英二, “Minshu” to “aikoku” 「民主」と「愛国」 [“Democracy” and “Patriotism”] (Tokyo: Shin’yōsha, 2002), 175‑208.
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