- Takeda 4-4-37
Kofu, Japan 400-8510 - in Japan 055-220-8335
- Gerald Groemer is professor of ethnomusicology and Western musicology at University of Yamanashi, a national universi... moreGerald Groemer is professor of ethnomusicology and Western musicology at University of Yamanashi, a national university in Kofu, some 90 miles west of Tokyo. Before assuming his position at University of Yamanashi he served as a research associate at the Edo-Tokyo Museum (1992-93) and then taught at Tokyo University of Fine Arts and Music (1993), and Earlham College (1994-98).
After earning a Masters of Music and Doctorate of Musical Arts in piano performance under the guidance of Leon Fleisher at Peabody Conservatory (1978-83), he entered the ethnomusicology program at Tokyo University of Fine Arts and Music (Tokyo Geijutsu Daigaku) where he earned a PhD in musicology in 1993, the first non-Japanese ever to do so.
His research and writing since has focused on Japanese music and cultural history, in particular the activities of blind popular musicians, outcasts, and religious performers. Besides numerous papers and chapters in books, he has published a study of the genre Tsugaru-jamisen ("The Spirit of Tsugaru," Harmonie Park Press, 1999, revised ed. , Tsugaru-Shobo, 2012), a translation of studies by the renowned cultural historian Nishiyama Matsunosuke ("Edo Culture," University of Hawaii Press, 1997) and, together with Thomas Rimer and Stephen Addiss, a volume of source readings in Japanese culture ("Traditional Japanese Arts and Culture," University of Hawaii Press, 2006). Two of his Japanese-language books, "Bakumatsu no hayariuta" (Popular Songs in the Late Edo Period) (Tokyo:Meicho Shuppan, 1995) and "Goze to goze-uta no kenkyu" (Research on Blind Female Musicians and their Songs) (University of Nagoya Press, 2007), were awarded the Tanabe Hisao Prize, given by the Society for Research in Asian Music (Tokyo) to the author of the best book on Asian music appearing the previous year. In addition, he has been awarded the prestigious "Koizumi Fumio Prize for Ethnomusicology" for his work to date. Recent publications include "Goze: Blind Women and Musical Performance in Japan" (London: Oxford University Press, 2016) and "Street Performers and Society in Urban Japan, 1600-1900: The Beggar's Gift" (London: Routledge, 2016), "The Land We Saw, the Times We Knew: An Anthology of Zuihitsu Writing from Early Modern Japan" (University of Hawaii Press, 2019). In addition "Portraits of Edo and Early Modern Japan," an anthology of annotated translations of eye-witness reports concerning the city of Edo from 1657-1854, is scheduled to appear in late 2019 (Palgrave McMillan).edit
Contents Preface Introduction 1. Tales that Come to Mind (Sozoro monogatari) 2. A Record of Seven Offered Treasures (Nanakusa hōnō-ki) 3. Monologue (Dokugo) 4. Nagasaki Prattle (Nagasaki kanwa) 5. Kyoto Observed (Mita kyō... more
Contents
Preface
Introduction
1. Tales that Come to Mind (Sozoro monogatari)
2. A Record of Seven Offered Treasures (Nanakusa hōnō-ki)
3. Monologue (Dokugo)
4. Nagasaki Prattle (Nagasaki kanwa)
5. Kyoto Observed (Mita kyō monogatari)
6. A Dustheap of Discourses (Chirizuka-dan)
7. The Breezes of Osaka (Naniwa no kaze)
Bibliography
Index
Preface
Introduction
1. Tales that Come to Mind (Sozoro monogatari)
2. A Record of Seven Offered Treasures (Nanakusa hōnō-ki)
3. Monologue (Dokugo)
4. Nagasaki Prattle (Nagasaki kanwa)
5. Kyoto Observed (Mita kyō monogatari)
6. A Dustheap of Discourses (Chirizuka-dan)
7. The Breezes of Osaka (Naniwa no kaze)
Bibliography
Index
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Contents Maps, Conventions Preface Introduction: Approaching the Goze Chapter 1 The Production of Visual Disability Chapter 2 The Development of Echigo Goze Associations Chapter 3 Learning the Goze Art and Way of Life Chapter 4 Touring... more
Contents
Maps, Conventions
Preface
Introduction: Approaching the Goze
Chapter 1 The Production of Visual Disability
Chapter 2 The Development of Echigo Goze Associations
Chapter 3 Learning the Goze Art and Way of Life
Chapter 4 Touring and Performing in Echigo: Goze and their Audiences
Chapter 5 Endings: Coerced Liberation
Chapter 6 After the End: Goze Songs in the Postwar Era
Appendix
Document 1: “Origins of the Goze,” “Commands of the Retired Emperor,” and the “Goze Code”
Document 2 The 1884 “Regulations of the Takada Goze Association”
Document 3 The 1901 “Revised Regulations of the Takada Goze”
Document 4 The 1898 “Regulations of the Moral Reform Society of Central Echigo Goze”
References
Maps, Conventions
Preface
Introduction: Approaching the Goze
Chapter 1 The Production of Visual Disability
Chapter 2 The Development of Echigo Goze Associations
Chapter 3 Learning the Goze Art and Way of Life
Chapter 4 Touring and Performing in Echigo: Goze and their Audiences
Chapter 5 Endings: Coerced Liberation
Chapter 6 After the End: Goze Songs in the Postwar Era
Appendix
Document 1: “Origins of the Goze,” “Commands of the Retired Emperor,” and the “Goze Code”
Document 2 The 1884 “Regulations of the Takada Goze Association”
Document 3 The 1901 “Revised Regulations of the Takada Goze”
Document 4 The 1898 “Regulations of the Moral Reform Society of Central Echigo Goze”
References
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Contents Introduction Chapter 1 Conditions of Possibility: Economic, Political, and Ideological Chapter 2 Outcast(e) Street Performers Chapter 3 Gods and Spirits in the Streets Chapter 4 Gōmune and their Arts Chapter 5 Yashi:... more
Contents
Introduction
Chapter 1 Conditions of Possibility: Economic, Political, and Ideological
Chapter 2 Outcast(e) Street Performers
Chapter 3 Gods and Spirits in the Streets
Chapter 4 Gōmune and their Arts
Chapter 5 Yashi: Performance as Advertisement
Chapter 6 The Aftermath of Meiji: Conditions of Impossibility
References
Bibliography
Introduction
Chapter 1 Conditions of Possibility: Economic, Political, and Ideological
Chapter 2 Outcast(e) Street Performers
Chapter 3 Gods and Spirits in the Streets
Chapter 4 Gōmune and their Arts
Chapter 5 Yashi: Performance as Advertisement
Chapter 6 The Aftermath of Meiji: Conditions of Impossibility
References
Bibliography
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A study of blind female musicians and their songs in Japan during the Edo period.
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A large two-volume Japanese-language study of blind female musicians from the medieval to the prewar era, with emphasis on the Edo and Meiji periods. Volume 1 contains chapters arranged largely by geographical area; volume 2 contains... more
A large two-volume Japanese-language study of blind female musicians from the medieval to the prewar era, with emphasis on the Edo and Meiji periods. Volume 1 contains chapters arranged largely by geographical area; volume 2 contains historical materials.
Vol. 1, kenkyū-hen, 758 pp., musical examples, illustrations, annotated bibliography
Vol. 2, shiryō-hen, 949 pp., historical materials in chronological order, tables
Vol. 1, kenkyū-hen, 758 pp., musical examples, illustrations, annotated bibliography
Vol. 2, shiryō-hen, 949 pp., historical materials in chronological order, tables
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Japanese artists, musicians, actors, and authors have written much over the centuries about the creation, meaning, and appreciation of various arts. Most of these works, however, are scattered among countless hard-to-find sources or make... more
Japanese artists, musicians, actors, and authors have written much over the centuries about the creation, meaning, and appreciation of various arts. Most of these works, however, are scattered among countless hard-to-find sources or make only a fleeting appearance in books devoted to other subjects. Compiled in this volume is a wealth of original material on Japanese arts and culture from the prehistoric era to the Meiji Restoration (1867). These carefully selected sources, including many translated here for the first time, are placed in their historical context and outfitted with brief commentaries, allowing the reader to make connections to larger concepts and values found in Japanese culture.
The book is a treasure trove of material on the visual and literary arts, but it contains as well primary texts on topics not easily classified in Western categories, such as the martial and culinary arts, the art of tea, and flower arranging. More than 60 color and black and white illustrations enrich the collection and provide further insights into Japanese artistic and cultural values.
The book is a treasure trove of material on the visual and literary arts, but it contains as well primary texts on topics not easily classified in Western categories, such as the martial and culinary arts, the art of tea, and flower arranging. More than 60 color and black and white illustrations enrich the collection and provide further insights into Japanese artistic and cultural values.
Nishiyama Matsunosuke is one of the most important historians of Tokugawa (Edo) popular culture, yet until now his work has never been translated into a Western language. Edo Culture presents a selection of Nishiyama's writings that... more
Nishiyama Matsunosuke is one of the most important historians of Tokugawa (Edo) popular culture, yet until now his work has never been translated into a Western language. Edo Culture presents a selection of Nishiyama's writings that serves not only to provide an excellent introduction to Tokugawa cultural history but also to fill many gaps in our knowledge of the daily life and diversions of the urban populace of the time. Many essays focus on the most important theme of Nishiyama's work: the seventeenth to nineteenth centuries as a time of appropriation and development of Japan's culture by its urban commoners.
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A study of popular Japanese songs during the late Edo period. The book focuses on the short songs known as dodoitsu and the long songs called kudoki and discusses song writers, composers, publishers, and performers.
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平和条約を締結するために1814年から1815年ウィーン会識が催され、ヨーロッパ諸国から数多くの国王、軍司令官、外交官などがウィーンに集まった。そこには音楽演奏に大きな関心を寄せる者も多く含まれていた。この研究では、会議が開催された時期のウィーンにおいて、どのような演奏会が開かれたのか、会議参加者がどのような音楽に触れる機会に恵まれたのかについて具体的に分析している。 During the Congress of Vienna（1814-1815) the great... more
平和条約を締結するために1814年から1815年ウィーン会識が催され、ヨーロッパ諸国から数多くの国王、軍司令官、外交官などがウィーンに集まった。そこには音楽演奏に大きな関心を寄せる者も多く含まれていた。この研究では、会議が開催された時期のウィーンにおいて、どのような演奏会が開かれたのか、会議参加者がどのような音楽に触れる機会に恵まれたのかについて具体的に分析している。
During the Congress of Vienna（1814-1815) the great heads of state of Europe, along with countless politicians, diplomats, military men, and their entourages came to Vienna to hammer out a peace treaty. Many of these individuals were highly cultured and enjoyed musical performances. This study seeks to uncover the precise
nature of the concert scene in Vienna during this period by examining the venues, programs, performers, and occasions of performances.
During the Congress of Vienna（1814-1815) the great heads of state of Europe, along with countless politicians, diplomats, military men, and their entourages came to Vienna to hammer out a peace treaty. Many of these individuals were highly cultured and enjoyed musical performances. This study seeks to uncover the precise
nature of the concert scene in Vienna during this period by examining the venues, programs, performers, and occasions of performances.
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During the Congress of Vienna, which was formally opened on Nov. 1, 1814 and terminated in June 1815, the heads of states and representatives of almost all European countries assembled in Vienna to hammer out a peace treaty that would put... more
During the Congress of Vienna, which was formally opened on Nov. 1, 1814 and terminated in June 1815, the heads of states and representatives of almost all European countries assembled in Vienna to hammer out a peace treaty that would put an end to the wars that had been plaguing the continent for years. While in Vienna, these leaders and those who accompanied them could attend performances of opera, singspiel, farces, parodies, and ballets at any of the many theaters of which the city was proud. This paper surveys the theaters in operation at the time, analyzes the composers, performers, works presented on stages, and examines the audiences and their evaluations of what was offered.
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The Congress of Vienna and Music as Revealed in the Diaries of Matthias Perth (1814-1815), Part 2: Balls and Waltzes 1814年～... more
The Congress of Vienna and Music as Revealed in the Diaries of Matthias Perth (1814-1815), Part 2: Balls and Waltzes
1814年～ 1815年に聞かれた「ウィーン会議」では政治交渉のさなかに催された数多くの舞踏会と大規模な乗馬競技会、式典などがヨーロツパの人々の耳目を引いた。「会議は踊る、されど進まず」という名言が示す通り、多くの参加者はダンスに熱中し、特に「ワルツアー」（ワルツ）と称された当時はまだ新味を帯びたダンスが人気を博した。この研究では、中間官僚であったマティアス・ベルト（Matthias Franz Perth 1788年～1856年）が残した未刊の日記の中からウィーン会議にともなう舞踏会に関する記録を紹介し、他の目撃者の記録も参照しながら当時の舞踏会の実態をさぐり、ウィンナー・ワルツの誕生、発展、社会的意味を探る。
The Congress of Vienna, held in the years 1814 and 1815 was carefully watched by the European public not just for its political negotiations, but also for the grand balls and ceremonials events that accompanied it. As
indicated by the famous quip that “the congress dances but does not progress，” many of the participants spent their time at grand balls where among other genres the Viennese waltz was danced. This paper uses eye-witness sources including the unpublished diary of the mid-level bureaucrat Mahias FranzPerth (1788-1856) to trace the
development of the Viennese waltz and analyze the social meaning dancing had for participants of the Congress.
1814年～ 1815年に聞かれた「ウィーン会議」では政治交渉のさなかに催された数多くの舞踏会と大規模な乗馬競技会、式典などがヨーロツパの人々の耳目を引いた。「会議は踊る、されど進まず」という名言が示す通り、多くの参加者はダンスに熱中し、特に「ワルツアー」（ワルツ）と称された当時はまだ新味を帯びたダンスが人気を博した。この研究では、中間官僚であったマティアス・ベルト（Matthias Franz Perth 1788年～1856年）が残した未刊の日記の中からウィーン会議にともなう舞踏会に関する記録を紹介し、他の目撃者の記録も参照しながら当時の舞踏会の実態をさぐり、ウィンナー・ワルツの誕生、発展、社会的意味を探る。
The Congress of Vienna, held in the years 1814 and 1815 was carefully watched by the European public not just for its political negotiations, but also for the grand balls and ceremonials events that accompanied it. As
indicated by the famous quip that “the congress dances but does not progress，” many of the participants spent their time at grand balls where among other genres the Viennese waltz was danced. This paper uses eye-witness sources including the unpublished diary of the mid-level bureaucrat Mahias FranzPerth (1788-1856) to trace the
development of the Viennese waltz and analyze the social meaning dancing had for participants of the Congress.
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It is often pointed out that Japanese religion centers on “worldly benefits” (genze riyaku) and on practices allowing a petitioner to attain divine boons. Since high and low, rich and poor, young and old have always pined for such... more
It is often pointed out that Japanese religion centers on “worldly benefits” (genze riyaku) and on practices allowing a petitioner to attain divine boons. Since high and low, rich and poor, young and old have always pined for such benefits, religious practice is easily viewed as a force unifying all social
classes and strata. This article questions such a notion by examining the religious activities and performances of blind women (goze) of Echigo province (present-day Niigata prefecture). Like other itinerant performers, goze often
performed songs linked to the procurement of this-worldly or practical benefits. One favorite was called harugoma, and was intimately linked to silk production; another was manzai, which ushered in good luck, health, and wealth during the New Year’s season. This article presents annotated translations of these two goze songs and analyzes the social meanings of performances, both for performers and listeners. It demonstrates that the pursuit of this-worldly
benefits through religious practice contributed just as much to the identification, maintenance, and reproduction of social differences as to social harmony and unification.
classes and strata. This article questions such a notion by examining the religious activities and performances of blind women (goze) of Echigo province (present-day Niigata prefecture). Like other itinerant performers, goze often
performed songs linked to the procurement of this-worldly or practical benefits. One favorite was called harugoma, and was intimately linked to silk production; another was manzai, which ushered in good luck, health, and wealth during the New Year’s season. This article presents annotated translations of these two goze songs and analyzes the social meanings of performances, both for performers and listeners. It demonstrates that the pursuit of this-worldly
benefits through religious practice contributed just as much to the identification, maintenance, and reproduction of social differences as to social harmony and unification.
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In this uploaded version I have corrected two small errors in footnote 29, p. 241 (July 14, 2010)
This paper traces the emergence and development of the gannin or gannin bozu, a group of religious performer-practitioners. The gannin, who were active in Kyoto, Osaka, Edo, as well as many rural areas, had their headquarters at the... more
This paper traces the emergence and development of the gannin or gannin bozu, a group of religious performer-practitioners. The gannin, who were active in Kyoto, Osaka, Edo, as well as many rural areas, had their headquarters at the Kurama temple. Throughout the Tokugawa period, gannin
engaged in proxy pilgrimages and provided the public with rites, exorcisms, and entertaining performances. Although the gannin are often portrayed in contemporaneous documents as “disorderly，” the gannin maintained a nationwide administrative apparatus supported by the bakufu. To the rank-and-file gannin, this hierarchical organization, which at first may have served the interests of the gannin themselves,
appears to have become something of a burden. As a result, gannin continued to seek independence in order to better their lot, thereby irritating their social superiors.
engaged in proxy pilgrimages and provided the public with rites, exorcisms, and entertaining performances. Although the gannin are often portrayed in contemporaneous documents as “disorderly，” the gannin maintained a nationwide administrative apparatus supported by the bakufu. To the rank-and-file gannin, this hierarchical organization, which at first may have served the interests of the gannin themselves,
appears to have become something of a burden. As a result, gannin continued to seek independence in order to better their lot, thereby irritating their social superiors.
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This out-of-print paper keeps getting removed by those who think they will earn money by selling it. If you wish to have a copy write me an email.
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This out-of-print paper keeps getting removed by those who think they will earn money by selling it. If you wish to have a copy write me an email.
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Summarizes recent research (since 2007) and introduces and discusses several new published and unpublished sources on blind female musicians in Japan.
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The first four tracks offer music recorded by Otto Abraham and Erich yon Hornbostel in November 1901, when the troupe of Kawakami Otojiro (1864-1911) and his wife, the legendary singer-dancer-actress Sada Yakko (1872-1946), arrived in... more
The first four tracks offer music recorded by Otto Abraham and Erich yon Hornbostel in November 1901, when the troupe of Kawakami Otojiro (1864-1911) and his wife, the legendary singer-dancer-actress Sada Yakko (1872-1946), arrived in Berlin on their second tour of ...
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Those familiar with today's stereotyped, mass-produced enka may find it almost impossible to imagine that in the past this genre of popular song valued politics over tears. Indeed, the majority of present-day Japanese, whether they... more
Those familiar with today's stereotyped, mass-produced enka may find it almost impossible to imagine that in the past this genre of popular song valued politics over tears. Indeed, the majority of present-day Japanese, whether they love or detest the hackneyed melodies and ...
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Although ethnomusicologists often claim that their field encompasses all the world's musics, a look at current publications shows that several specific areas of the globe are receiving by far the greatest portion of... more
Although ethnomusicologists often claim that their field encompasses all the world's musics, a look at current publications shows that several specific areas of the globe are receiving by far the greatest portion of ethnomusicological attention. Among the mu-sics that Western ...
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Angry at his failure to win Quan's affections, the disappointed suitor decides that if he can't have him, no one can. He will lure the fellow into a drunken stupor, and then have him castrated. The conspiracy is planned (101-2)... more
Angry at his failure to win Quan's affections, the disappointed suitor decides that if he can't have him, no one can. He will lure the fellow into a drunken stupor, and then have him castrated. The conspiracy is planned (101-2) and brutally executed (104), but, consistent with the text's ...
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... The beginnings of Western music in Meiji era Japan. Post a Comment. CONTRIBUTORS: Author: Eppstein, Ury. PUBLISHER: E. Mellen Press (Lewiston, NY). SERIES TITLE: YEAR: 1994. PUB TYPE: Book (ISBN 0773491511 ). VOLUME/EDITION: Volume... more
... The beginnings of Western music in Meiji era Japan. Post a Comment. CONTRIBUTORS: Author: Eppstein, Ury. PUBLISHER: E. Mellen Press (Lewiston, NY). SERIES TITLE: YEAR: 1994. PUB TYPE: Book (ISBN 0773491511 ). VOLUME/EDITION: Volume 44. ...
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The Way of the Pipa STRUCTURE AND IMAGERY IN CHINESE LUTE MUSIC John E. Myers ... The Way of the Pipa This Ono U635-9XR-ZX2L ... OTHER KENT STATE TITLES IN WORLD MUSICS The Ethnomusicologist Mantle Hood Music in the Mind: The Concepts of... more
The Way of the Pipa STRUCTURE AND IMAGERY IN CHINESE LUTE MUSIC John E. Myers ... The Way of the Pipa This Ono U635-9XR-ZX2L ... OTHER KENT STATE TITLES IN WORLD MUSICS The Ethnomusicologist Mantle Hood Music in the Mind: The Concepts of Music ...
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... Han Kuo-huang (1979) and Shen Sin-yan (1979) discuss the larger topic of instru-mental ensemble music and Jiangnan sizhu 's place in it, while Alan Thrasher gives consideration to sizhu traditions in his writings on the... more
... Han Kuo-huang (1979) and Shen Sin-yan (1979) discuss the larger topic of instru-mental ensemble music and Jiangnan sizhu 's place in it, while Alan Thrasher gives consideration to sizhu traditions in his writings on the aesthetics (1980) and sociology (1981) of Chinese ...
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It has long been known that Turkic ethnic groups have played an important role in the emergence of Hungarian ethnicity, culture, and folk music. From at least the 1930s, when Bela Bartok investigated the folk music of the Volga region and... more
It has long been known that Turkic ethnic groups have played an important role in the emergence of Hungarian ethnicity, culture, and folk music. From at least the 1930s, when Bela Bartok investigated the folk music of the Volga region and Anatolia, numerous Hungarian ethnomusicologists ...
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Whoops! An error has occurred. We are experiencing difficulty with your request. If you continue to experience the same problem, please contact us. We sincerely apologize for the inconvenience and will do everything we can to resolve the problem. ...
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... loyalties, local musicologists and folklorists had tended to focus their fieldwork on a single region of Uzbekistan or Tajikistanusually the ... played a leading role in the ecumenical social world that Bukharan Jews had shared for... more
... loyalties, local musicologists and folklorists had tended to focus their fieldwork on a single region of Uzbekistan or Tajikistanusually the ... played a leading role in the ecumenical social world that Bukharan Jews had shared for centuries with Central Asian Muslims, and as ...
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Page 1. PATRICIA MATUSKY AND TAN SOOI BENG Page 2. Page 3. Page 4. Page 5. THE MUSIC OF MALAYSIA his One WLTQ-5J2-UCGR Page 6. Page 7. The Music of Malaysia The Classical, Folk and Syncretic Traditions PATRICIA ...