Course Information
Course title
Modernity, Colonialism and Music in East Asia 
Semester
105-1 
Designated for
VARIOUS PROGRAM  Asian Art Program  
Instructor
YAMAUCHI FUMITAKA 
Curriculum Number
Music5086 
Curriculum Identity Number
144 U1130 
Class
 
Credits
Full/Half
Yr.
Half 
Required/
Elective
Elective 
Time
Tuesday 7,8,9(14:20~17:20) 
Remarks
Restriction: juniors and beyond
The upper limit of the number of students: 15. 
 
Course introduction video
 
Table of Core Capabilities and Curriculum Planning
Table of Core Capabilities and Curriculum Planning
Course Syllabus
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Course Description

This graduate seminar examines current issues in the study of modernity and colonialism in relation to music in East Asia. Advances in critical studies of the relationship between music and society in the early 20th century have become noticeable in recent years. More studies have gradually been engaging in postcolonial issues regarding Japanese and other imperial projects and their cultural effects as well as colonial collaboration and negotiation in the region. Running through a broad overview of relevant literature, this course aims at gaining insight into the cultural dimensions of colonialism in its ambiguous relationship with modernity. More stress will be put on Japan and Korea than on Taiwan, China and others due to the instructor’s specialty, but this course is intended to extend students’ interest to the whole region and beyond. 

Course Objective
 
Course Requirement
Language Proficiency:
The seminar is conducted in English. Readings and discussions are mostly in English. And yet, since the increasing number of noticeable studies have been carried out by scholars working in different languages in East Asia, particularly studies published in Japanese regarding the relationship between music and Japan’s colonial and wartime enterprise, students will be required to tackle some readings in Japanese and others. With the help of summary notes made by students in charge (see below) and the instructor’s support, they are expected to try hard to understand the main discussions of those foreign texts for participating in class discussion.

Assignments:
1. Critical Summary Notes: Every week two students are responsible for preparing summary notes of two required readings with additional information and critical comments in their own words, and for giving a short presentation to lead class discussion. Presentation materials such as a ppt file should be sent to the instructor and the teaching assistant (TA) no later than one day before each class. An effective and creative use of audio-visual materials highly recommended.
2. Final Presentation/Term Paper: All students give a final oral presentation in English regarding any topics relevant to this course at the end of the semester, and develop it into a 5 - 10-page English term paper to be submitted due by 6/●. They will talk with the instructor to clarify a research topic beforehand. A consulting schedule to be announced around the midterm period. 
Office Hours
 
References
WEEK 1 INTRODUCTION TO COURSE
PART I. JAPANESE INTEREST IN COLONIAL OTHERS : SCHOLARLY AND POPULAR
WEEK 2 JAPANESE COLONIAL STUDY OF ‘ORIENTAL’ MUSIC (1)
READINGS:
HOSOKAWA, SHUHEI, 1998, “IN SEARCH OF THE SOUND OF THE EMPIRE: TANABE HISAO AND THE FOUNDATION OF JAPANESE ETHNOMUSICOLOGY,” JAPANESE STUDIES 18/1, 5-19.
植村幸生, 2000, 〈田?尚雄?朝鮮宮廷音?調?(1921)?問??????〉, 《EXMUSICA》??創刊?, 33-41 (UEMURA UKIO, “QUESTIONS THE RESEARCH OF KOREAN COURT MUSIC BY TANABE HISAO (1921) POSES,” EXMUSICA)
SUPPLEMENTARY:
朴賢洙 1993, 《日帝? 朝鮮調?? ?? ?究》, ????? ??? ???? (PARK HYUN SU, “A STUDY OF THE SURVEY WORKS ON KOREA BY THE JAPANESE IN THE COLONIAL PERIOD,” UNPUBLISHED PH.D. DISSERTATION IN CULTURAL ANTHROPOLOGY, SEOUL NATIONAL UNIVERSITY)
植村幸生, 1997, 〈植民地朝鮮????宮廷音??調??????─田?尚雄〈朝鮮雅?調?〉?政治的文脈〉, 《朝鮮史研究?論文集》35, 117-144 (UEMURA YUKIO, THE RESEARCH OF KOREAN COURT MUSIC BY TANABE HISAO: A RE-EXAMINATION OF ITS POLITICAL CONTEXTS, BULLETIN OF THE SOCIETY FOR THE KOREAN HISTORICAL SCIENCE)
WEEK 3 JAPANESE COLONIAL STUDY OF ‘ORIENTAL’ MUSIC (2)
READINGS:
王櫻芬, 2005,〈殖民化與全球化:從日治時期音樂學者的調查記錄看臺灣原住民音樂的變遷及其成因〉, 《民俗曲藝》148: 43-102.
楊麗祝,2000, CHAP.3 AND 6, 《歌謠與生活─日治時期台灣的歌謠采集及其時代意義》, 台北:稻鄉.
SUPPLEMENTARY:
王櫻芬, 2008, 《聽見殖民地-黑澤隆朝與戰時臺灣音樂調查》, 國立臺灣大學出版中心.
E. TAYLOR ATKINS, 2010, CHAP.2 “ETHNOGRAPHY AS SELF-REFLECTION: JAPANESE ANTHROPOLOGY IN COLONIAL KOREA,” PRIMITIVE SELVES: KOREANA IN THE JAPANESE COLONIAL GAZE, 1910-1945, UNIVERSITY OF CALIFORNIA PRESS.
WEEK 4 JAPANESE CRAZE FOR ASIAN CULTURE (1): KOREANA
READINGS:
SANG MI PARK, 2006, “THE MAKING OF A CULTURAL ICON FOR THE JAPANESE EMPIRE: CHOE SEUNG-HUI'S U.S. DANCE TOURS AND "NEW ASIAN CULTURE" IN THE 1930S AND 1940S,” POSITIONS: EAST ASIA CULTURES CRITIQUE, 14, NO. 3, 597-632.
E. TAYLOR ATKINS, 2007, “THE DUAL CAREER OF “ARIRANG”: THE KOREAN RESISTANCE ANTHEM THAT BECAME A JAPANESE POP HIT,” THE JOURNAL OF ASIAN STUDIES, 66, NO. 3, 645-687.
SUPPLEMENTARY:
宮塚利雄, 1995, 〈海??越??????〉, 《?????誕生》, 創知社 (MIYATSUKA TOSHIO, “ARIRANG CROSSED THE [JAPAN-KOREA] CHANNEL,” THE BIRTH OF ARIRANG)
WEEK 5 JAPANESE CRAZE FOR ASIAN CULTURE (2): EXOTICISM
READINGS:
???????? (EDGAR WRIGHT POPE), 2005, 〈???????日本?????音????????─大陸?????中心?〉, 三井徹監修《?????音????????》, 音?之友社, 161-182 (EDGAR WRIGHT POPE, “EXOTICISM AND THE DYNAMISM OF JAPANESE POPULAR MUSIC: FOCUSING ON TAIRIKU (LIT. CONTINENTAL) MELODIES,” IN MITSUI TORU ED. POPULAR MUSIC AND ACADEMISM)
※ CLASS DISCUSSION ABOUT PART I
PART II. THE FORMATION OF POPULAR MUSICAL GENRES
WEEK 6 THE BIRTH OF POPULAR MUSIC
READINGS:
CHRISTINE YANO, CHAPTER 2 “INVENTING ENKA: DEFINITIONS, GENRES, PASTS,” TEARS OF LONGING: NOSTALGIA AND THE NATION IN JAPANESE POPULAR SONG, 28-44.
YOUNG MEE LEE, 2006, “THE BEGINNINGS OF KOREAN POP: POPULAR MUSIC DURING THE JAPANESE OCCUPATION ERA (1910-45),” IN KEITH HOWARD ED., KOREAN POP MUSIC: RIDING THE KOREAN WAVE, GLOBAL ORIENTAL, 1-9.
SUPPLEMENTARY:
OKADA MAKI AND GERALD GROEMER, 1991, MUSICAL CHARACTERISTICS OF ENKA, POPULAR MUSIC, VOL. 10, NO. 3 (JAPANESE ISSUE), 283-303.
???, 1998, 《?? ?????》, ??? (LEE YOUNG MI, KOREAN POPULAR SONG: A HISTORY)
???, 2004, 《?? ???? ???》, ??? (KWON, DO HUI, THE SOCIAL HISTORY OF KOREAN MODERN MUSIC)
WEEK 7 ‘NEW FOLK SONGS’ IN JAPAN AND KOREA
READINGS:
DAVID W. HUGHS, 1990-91, “JAPANESE 'NEW FOLK SONGS,' OLD AND NEW,” ASIAN MUSIC, VOL.22, NO.1, UNIVERSITY OF TEXAS PRESS, 1-49.
HILARY FINCHUM-SUNG, 2006, “NEW FOLKSONGS: SHIN MINYO OF THE 1930S,” IN KEITH HOWARD ED., KOREAN POP MUSIC: RIDING THE KOREAN WAVE, GLOBAL ORIENTAL, 10-20.
SUPPLEMENTARY:
武田俊輔, ???, ??? (TBA)
WEEK 8 INTERWAR AMERICANISM AND JAZZ
READINGS:
TAYLOR ATKINS, 2001, CHAPTER 2 “THE SOUNDTRACK OF MODERN LIFE: JAPAN’S JAZZ REVOLUTION,” BLUE NIPPON : AUTHENTICATING JAZZ IN JAPAN, 45-91.
YOO SUN-YOUNG (TRANS. BY FRANCIS LEE DAE HOON), CHAPTER 10 “EMBODIMENT OF AMERICAN MODERNITY IN COLONIAL KOREA,” KUAN-HSING CHEN ED., THE INTER-ASIA CULTURAL STUDIES READER, ROUTLEDGE, 2007.
SUPPLMENTARY:
TAYLOR ATKINS, 2001, “TALKIN’ JAZZ: MUSIC, MODERNISM, AND INTERWAR JAPAN’S CULTURE WARS,” BLUE NIPPON: AUTHENTICATING JAZZ IN JAPAN, 93-126.
?川昌久, 2005 [1983], 〈???????─日本中?????〈青空〉〉, 《????踊??─舶?音?芸能史》, 清流出版 (SEGAWA MASAHISA, “[JAPANESE] JAZZ AGE: EVERYBODY SANG ‘THE BLUE SKY’ NATIONWIDE,” DANCING TO JAZZ: THE HISTORY OF IMPORTED MUSIC AND ENTERTAINMENT)
?田晃二, 1976, 《日本????史─?前??後》, ??????????? (UCHIDA KOJI, THE HISTORY OF JAZZ IN JAPAN: PREWAR AND POSTWAR ERAS)
PART III. MASS MEDIA AND AUDIO-VISUAL TECHNOLOGIES
WEEK 9 RADIO BROADCASTING AND VOICES IN THE AIR
READINGS:
吉見俊哉, 1995, 〈??????無線??〉, 《〈?〉?資本主義─電話?????蓄音機?社?史》, 講談社 (YOSHIMI SHUN’YA, “MODERNISM AND THE WIRELESS VOICES,” THE CAPITALISM OF VOICES: A SOCIAL HISTORY OF TELEPHONE, RADIO AND PHONOGRAPH)
MICHAEL ROBINSON, 1999, “BROADCASTING, CULTURAL HEGEMONY, AND COLONIAL MODERNITY IN KOREA, 1924-1945,” IN GI-WOOK SHIN AND MICHAEL ROBINSON EDS., COLONIAL MODERNITY IN KOREA, HARVARD UNIVERSITY ASIA CENTER.
SUPPLEMENTARY:
武田康孝, 2008, 〈???時代?洋?文化─洋?番組?形成過程?制作者?思想?中心?〉,??下達也?長木誠司編《?力??音?文化─音?????》, 青弓社 (TAKEDA YASUTAKA, “THE WESTERN MUSIC CULTURE IN THE RADIO AGE: FOCUSING ON THE FORMATION OF WESTERN MUSIC PROGRAMS AND THE THOUGHTS OF PRODUCERS,” IN TONOSHITA TATSUYA, CHOKI SEIJI EDS., THE TOTAL WAR AND MUSIC CULTURE: THE WARFARE OF SOUNDS AND VOICES)
金?熙, 2006, 〈植民地時期朝鮮???????放送?出現??取者〉, 貴志俊?他《???????記憶》, 勉誠出版, 156-179 (KIM YEONG HUI, THE EMERGENCE OF RADIO BROADCASTING AND AUDIENCES IN COLONIAL KOREA,” IN KISHI TOSHIHIKO ET AL., WAR, RADIO AND MEMORY) (THE KOREAN VERSION WAS ORIGINALLY PUBLISHED IN 2002)
WEEK 10 SOUND RECORDING AND THE MUSIC INDUSTRY
READINGS:
TORU MITSUI, 1997, CHAPTER 9 “INTERACTIONS OF IMPORTED AND INDIGENOUS MUSICS IN JAPAN: A HISTORICAL OVERVIEW OF THE MUSIC INDUSTRY,” IN ALISON J. EWBANK AND FOULI T. PAPAGEORGIOU EDS., WHOSE MASTER'S VOICE?: THE DEVELOPMENT OF POPULAR MUSIC IN THIRTEEN CULTURES, WESTPORT, CONN. : GREENWOOD PRESS. (ARRIVES AT NTU ON 4/23)
ANDREW JONES, 2001, CHAPTER 2 “THE GRAMOPHONE IN CHINA”, YELLOW MUSIC: MEDIA CULTURE AND COLONIAL MODERNITY IN THE CHINESE JAZZ AGE, DUKE UNIVERSITY PRESS, 53-72. (宋偉航譯, 2004, 《留聲中國:摩登音樂文化的形成》,台北:商務印書館)
SUPPLEMENTARY:
倉田善弘, 2006 [1979], 〈音?大?化〉, 《日本????文化史》, 岩波書店 (KURATA YOSHIHIRO, “THE POPULARLIZATION OF SOUND,” THE CULTURAL HISTORY OF RECORDINGS IN JAPAN)
森本敏克, 1975, 《音盤歌?史─歌?映???????》, 白川書院 (MORIMOTO TOSHIKATSU, THE HISTORY OF RECORDED POPULAR MUSIC: SONG, FILM, AND RECORD)
佐藤卓巳, 〈〈???〉????〉, 《〈???〉?時代─?民大??誌?公共性》, (SATO TAKUMI, “KING RECORD,” THE ERA OF KING: THE PUBLIC SPHERES OF A NATIONWIDE POPULAR MAGAZINE)
朴燦鎬, 1987, 〈歌?曲??金時代〉, 《韓?歌?史 1895-1945》, 晶文社, (PAK CHAN HO, “THE GOLDEN AGE OF [KOREAN] POP SONGS,” THE HISTORY OF KOREAN POPULAR MUSIC, 1895-1945) (KOREAN TRANSLATION PUBLISHED IN 1992)
王櫻芬, 2008, 〈聽見臺灣:試論古倫美亞唱片在臺灣音樂史上的意義〉。《民俗曲藝》160:169-196.
SHZR EE TAN, 2008, RETURNING TO AND FROM “INNOCENCE”: TAIWAN ABORIGINAL RECORDINGS
JOURNAL OF AMERICAN FOLKLORE, VOLUME 121, NUMBER 480, SPRING, 222-235.
TAN SOOI BENG, 1996, THE 78 RPM RECORD INDUSTRY IN MALAYA PRIOR TO WORLD WAR II, ASIAN MUSIC.
WEEK 11 FILM TIE-INS
READINGS:
古川隆久, 2008, 〈流行歌?映?〉, ??下達也?長木誠司編《?力??音?文化─音?????》, 青弓社, 55-77 (FURUKAWA TAKAHISA, “POPULAR SONG AND FILM,” IN TONOSHITA TATSUYA, CHOKI SEIJI EDS., THE TOTAL WAR AND MUSIC CULTURE: THE WARFARE OF SOUNDS AND VOICES)
DONG HOON KIM, 2009, “SEGREGATED CINEMAS, INTERTWINED HISTORIES: THE ETHNICALLY SEGREGATED FILM CULTURES IN 1920S KOREA UNDER JAPANESE COLONIAL RULE,” JOURNAL OF JAPANESE AND KOREAN CINEMA, VOL.1, NO.1, 7-25.
SUPPLEMENTARY:
???, 2007, 〈?? ?? ??????〉《??????? ??》, ???, 15-118 (LEE JIN WEON, “KOREAN FILM MUSIC BEFORE THE LIBERATION,” A STUDY OF THE HISTORY OF KOREAN FILM MUSIC)
???????? (PETER HIGH), 1995, 《帝??銀幕─15年???日本映?》, 名古屋大?出版?
PETER B HIGH, 2003, THE IMPERIAL SCREEN: JAPANESE FILM CULTURE IN THE FIFTEEN YEARS' WAR, 1931-1945, MADISON: UNIVERSITY OF WISCONSIN PRESS.
PART IV. CULTURAL IDENTITIES AND POLICIES
WEEK 12 NATIONAL IDENTITY AND POPULAR MUSIC
READINGS:
CHRISTINE YANO, 1998, “DEFINING THE MODERN NATION IN JAPANESE POPULAR SONG, 1914-1932,” IN SHARON MINICHIELLO ED., JAPAN'S COMPETING MODERNITIES: ISSUES IN CULTURE AND DEMOCRACY, 1900-1930, UNIVERSITY OF HAWAII PRESS.
MIN-JUNG SON, 2006, REGULATING AND NEGOTIATING IN T’UROT’U, A KOREAN POPULAR SONG STYLE, ASIAN MUSIC (WINTER/SPRING), 51-74.
SUPPLEMENTARY:
菊池清?, 2008, 〈歌?曲?美????時代〉, 《日本流行歌?遷史》, 論創社 (KIKUCHI KIYOMARO, “WHEN POP SONGS WERE BEAUTIFUL,” THE HISTORICAL TRANSFORMATIONS IN JAPANESE POPULAR SONG)
???, 2006, 〈20?? ??? ??????? ??? ??? ??〉, 《??? ?????: ????? ? ??? ??》, ??IN (ZHANG YU JEONG, “THE PHASES AND SIGNIFICANCES OF KOREAN POP SONG IN THE EARLY TWENTIETH CENTURY,” MY BROTHER IS A STREET PERFORMER: MODERN LANDSCAPES SEEN FROM [KOREAN] POP SONG)
WEEK 13 CULTURAL POLICIES AND THEATRIC PERFORMANCES
READINGS:
JENNIFER ROBERTSON, 1995, “MON JAPON: THE REVUE THEATER AS A TECHNOLOGY OF JAPANESE IMPERIALISM,” AMERICAN ETHNOLOGIST, VOL. 22, NO. 4, 970-996.
ANDREW KILLICK, 2003, “JOCKEYING FOR TRADITION: THE CHECKERED HISTORY OF KOREAN CH'ANGG?K OPERA,” ASIAN THEATRE JOURNAL, VOL. 20, NO. 1, 43-70.
SUPPLEMENTARY:
JENNIFER ELLEN ROBERTSON, 1998, TAKARAZUKA: SEXUAL POLITICS AND POPULAR CULTURE IN MODERN JAPAN, UNIVERSITY OF CALIFORNIA PRESS.
CHAN E. PARK, 2003, VOICES FROM THE STRAW MAT: TOWARD AN ETHNOGRAPHY OF KOREAN STORY SINGING, UNIVERSITY OF HAWAII PRESS.
WEEK 14 WARTIME MOBILIZATION OF MUSIC AND CULTURE (1)
READINGS:
??下達也, 2008, 〈第1章 音???動員体制〉, 《音??動員??》, (TONOSHITA TATSUYA, CHAPTER 1 “MUSIC AND THE TOTAL WAR SYSTEM,” MOBILIZING MUSIC)
TAYLOR ATKINS, 1998, “THE WAR ON JAZZ, OR JAZZ GOES TO WAR: TOWARD A NEW CULTURAL ORDER IN WARTIME JAPAN,” POSITIONS 6:2 FALL, 365-392.
SUPPLEMENTARY:
矢??, 1995,《???流行歌》, 社?思想社 (YAZAWA HIROSHI, WAR AND POPULAR MUSIC)
赤?史朗?北河賢三編, 1993, 《文化??????─?時期日本????文化?光芒》, 日本??評論社 (AKAZAWA SHIRO, KITAGAWA KENZO EDS., CULTURE AND FASCISM: THE CULTURAL RADIANCE IN WARTIME JAPAN)
坪井秀人, 1997, 《??祝祭─日本近代詩???》, 名古屋大?出版? (TSUBOI HIDETO, THE FESTIVAL OF VOICES: JAPANESE MODERN POEM AND THE WAR)
櫻本富雄, 2005, 〈?時下?音?社?〉, 《歌???─????軍歌?歌????》, ???書房 (SAKURAI TOMIO, “MUSIC SOCIETY DURING THE WARTIME,” SONGS AND THE WAR: EVERYBODY WAS SINGING MILITARY SONGS)
菊池清?, 2007, 〈???????????女王〉, 《流行歌手?????》, 光人社 (KIKUCHI KIYOMARO, “THE QUEEN OF CHINA MELODIES,” THE WAR EXPERIENCED BY POPULAR SINGERS)
加藤厚子, 2003, 《?動員体制?映?》, 新曜社 (KATO ATSUKO, THE TOTAL WAR SYSTEM AND FILM)
???, 2003, 〈??? ????? ????? ??〉, 《??? ??》25, 51-129 (NO DONG EUN, “THE PRO-JAPANESE LOGIC OF MUSICIANS AND THEIR GROUPS UNDER THE JAPANESE OCCUPATION,” MUSIC AND KOREAN NATION)
LOUISE YOUNG, 1999, JAPAN’S TOTAL EMPIRE: MANCHURIA AND THE CULTURE OF WARTIME IMPERIALISM, UNIVERSITY OF CALIFORNIA PRESS.
WEEK 15 WARTIME MOBILIZATION OF MUSIC AND CULTURE (2)
READINGS:
??下達也?長木誠司編, 2008, 〈序章─〈????????音?〉?????〉, 《?力??音?文化─音?????》, 青弓社, 55-77 TONOSHITA TATSUYA, CHOKI SEIJI EDS., “INTRODUCTION: SEEING FROM A WAR-MEDIA-MUSIC PERSPECTIVE,” THE TOTAL WAR AND MUSIC CULTURE: THE WARFARE OF SOUNDS AND VOICES)
王櫻芬, 2004, 〈戰時臺灣漢人音樂的禁止和「復活」:從一九四三年「臺灣民族音樂調查團」的見聞為討論基礎〉, 《臺大文史哲學報》61: 1-24.
PART V. CLASS PRESENTATIONS AND DISCUSSIONS
WEEK 16 CLASS PRESENTATION (1)
WEEK 17 CLASS PRESENTATION (2)
WEEK 18 TERM PAPER DUE 
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