User:CBFraoch/Nagauta/Bibliography

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Bibliography: Nagauta edit

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

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)
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)