User:CBFraoch/Nagauta/Bibliography

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. "[https://www.jstor.org/stable/pdf/595588.pdf?casa_token=TdvfDYaYpM0AAAAA:AVinzGVxzrvVa5VpvAYAl7FV9pGkxCVFsQ9JM3PQN7e22A1PlXK8JjujA5IG1Cu_qz9_AradoIrphAuzKmwC1gVs_pHDPeCM7kmV1EBRK8KNlP-RYPPp0g 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. "[https://www.jstor.org/stable/831386 "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. "[https://www.jstor.org/stable/834263 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) [https://books.google.ca/books?hl=en&lr=&id=4u-TAgAAQBAJ&oi=fnd&pg=PP1&dq=nagauta&ots=TI6L2ppwqq&sig=Wce0fGNaW4rpP7KdYi2Ign4Ow9M#v=onepage&q=nagauta&f=false 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. "[https://www.jstage.jst.go.jp/article/toyoongakukenkyu1936/1998/63/1998_63_37/_article/-char/ja/ 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. "[https://www.jstage.jst.go.jp/article/toyoongakukenkyu1936/1999/64/1999_64_1/_article/-char/ja/ 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

• 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)