Hostname: page-component-76fb5796d-2lccl Total loading time: 0 Render date: 2024-04-26T16:00:12.130Z Has data issue: false hasContentIssue false

IFMC, Masu Genjiro, Kurosawa Takatomo, and Their Recordings of Taiwanese Music

Published online by Cambridge University Press:  18 January 2019

Extract

Masu Genjiro (1904-1995) and Kurosawa Takatomo (1895-1987) were two Japanese musicologists who were commissioned by the Government-General of Taiwan to form the Formosan Folk Music Investigation Team with Yamagata Takayasu, then recording engineer of Victor Company of Japan (hereafter Nippon Victor), to carry out a comprehensive survey and make recordings of Taiwanese music and musical life in the spring of 1943. The purpose of the survey was to establish a music cultural policy that adapted to the wartime needs of the people on the island, which became Japan's first colony in 1895, and could also be applied to Japan's newly acquired colonies in Southeast Asia and the Pacific after the outbreak of the Pacific War in December 1941. The team received full support from Taiwan's Government-General and was assisted by local experts, police officers in Aboriginal villages, and filming crews from both Japan and Taiwan. During its three-month stay in Taiwan, the team first conducted fieldwork around the island and then recorded and filmed Han Chinese and Aboriginal music and dance as well as rituals and ceremonies. They also collected data about Aboriginal musical instruments through questionnaires filled out by police officers in 155 Aboriginal villages.

Type
Articles
Copyright
Copyright © 2018 by the International Council for Traditional Music

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

References Cited

Baké, Arnold A. 1953. Review of Formosan Folkmusic. Journal ofthe International Folk Music Council 5:94.Google Scholar
Baké, Arnold A. 1954. Review of The Musical Bow of the Vunun Tribe in Formosa and Suggestion as to the Origin of the Pentatonic Scale by Takatomo Kurosawa. Journal of the International Folk Music Council 6:8384.Google Scholar
Barclay, Paul D. 2018. Outcasts of Empire: Japan's Rule on Taiwan's “Savage Borden,” 1874-1945. Oakland, CA: University of California Press.Google Scholar
Bibliotheque nationale de France. n.d. Kurosawa's letter to André Schaeffner. http://catalogue.bnf.fr/ark:/12148/cb39814226d (accessed 24 June 2017).Google Scholar
Blacking, John. 1988. Review of Collection Universelle de Musique Populaire Enregistrée, éditée by Constantin Brailoiu (1951-1958), 1984 edition. Yearbook for Traditional Music 20:243244.CrossRefGoogle Scholar
Brailoiu, Constantin. 1951-1958. Collection Universelle de Musique Populaire Enregistrée. Geneve: Musée d'Ethnographie (Museum of Ethnography).Google Scholar
Britannica Japan. n.d. “Nishizaki Midori.” (accessed 12 June. 2018).Google Scholar
Brown, Melissa. 2004. Is Taiwan Chinese? The Impact of Culture, Power, and Migration on Changing Identities. Berkeley and Los Angeles: University of California Press.Google Scholar
Collaer, Paul. 1957. Review of Collection Universelle de Musique Populaire Enregistrée by Constantin Brailoiu. Journal of the International Folk Music Council 9: 115.Google Scholar
De Azevedo, Luiz Heitor Correa. 1949. “UNESCO's Activities in the Field of Music.” Notes 6/3:373378.CrossRefGoogle Scholar
Engel, Carl. 1864. The Music of the Most Ancient Nations, Particularly of the Assyrians, Egyptians, and Hebrews: With Special Reference to Recent Discoveries in Western Asia and in Egypt. London: John Murray.Google Scholar
Garfias, Robert. 1987. Review of Collection Universelle de Musique Populaire Enregistrée/World Collection of Recorded Folk Music by Constantin Brailoiu, Laurent Aubert, Jean-Jacques Nattiez and Ernest Ansermet. Ethnomusicology 31/2:333339.CrossRefGoogle Scholar
Shinji, Higashiyama. 1954. “Kokunai gakkai doukou” [Domestic academic tendencies]. Toyo ongaku kenkyu [Journal of the Society for the Research of Asiatic Music] 12-13:239244.Google Scholar
Journal of the International Folk Music Council. 1954. “Editorial.” Journal of the International Folk Music Council 6:1.CrossRefGoogle Scholar
Karpeles, Maud. 1969. “The International Folk Music Council: Twenty-One Years.” Yearbook of the International Folk Music Council 1:1432.CrossRefGoogle Scholar
Eishi, Kikkawa. 1979. Kono hito nari: Miyagi Michio Den [The is the man: A biography of Miyagi Michio]. Tokyo: Hogakusha.Google Scholar
Kunst, Jaap. 1953. Sociologische Bindingen in de Muziek [Sociological bindings in music]. Inaugural oration. The Hague: Martinus Nijhoff.CrossRefGoogle Scholar
Kunst, Jaap. 1955. Ethnomusicology: A Study of Its Nature, Its Problems, Methods and Representative Personalities to Which Is Added a Bibliography. The Hague: Martinus Nijhoff.Google Scholar
Kunst, Jaap. 1958. Some Sociological Aspects of Music. Washington D.C.: Library of Congress. https://archive.org/stream/somesociological002601mbp/somesociological002601mbp_djvu.txt (accessed 1 Jan. 2018).Google Scholar
Kunst, Jaap. 1967. Music in New Guinea: Three Studies, translated and corrected by Jeune Scott-Kemball. The Hague: Martinus Nijhoff.Google Scholar
Takatomo, Kurosawa. 1952. “Takasago bununzoku no kyuqin to godan onkai hatsusei no shisa” [The musical bow of the Vunun tribe in Formosa and suggestion as to the origin of the pentatonic scale]. Toyo ongaku kenkyu (Journal of the Society for the Research of Asiatic Music) 10-11:132.Google Scholar
Takatomo, Kurosawa. 1953. The Musical Bow of the Vunun Tribe in Formosa and Suggestion as to the Origin of the Pentatonic Scale. Tokyo: Japan Music Institute.Google Scholar
Takatomo, Kurosawa. 1971a. “Gakki wo motomete” [In search of musical instruments] No. 60, “Yoropa hen” [Europe Series] No. 1. Gakki shoho 22 (May):8889.Google Scholar
Takatomo, Kurosawa. 1971b. “Gakki o motomete” [In search of musical instruments] No. 65, “Yoropa hen” [Europe Series] No. 7. Gakki shoho 22 (October):7475.Google Scholar
Takatomo, Kurosawa. 1971c. “Gakki o motomete” [In search of musical instruments] No. 66, “Yoropa hen” [Europe Series] No. 7. Gakki shoho 22 (November):7879.Google Scholar
Takatomo, Kurosawa. 1971d. “Gakki o motomete” [In search of musical instruments] No. 67, “Yoropa hen” [Europe Series] No. 8. Gakki shoho 22 (December):7273.Google Scholar
Takatomo, Kurosawa. 1972. “Gakki o motomete” [In search of musical instruments] No. 73, “Yoropa hen” [Europe Series] No. 14. Gakki shoho 23 (July):8081.Google Scholar
Takatomo, Kurosawa. 1973a. “Gakki o motomete” [In search of musical instruments] No. 88, “Yoropa hen” [Europe Series] No. 29. Gakki shoho 24 (July): 136137.Google Scholar
Takatomo, Kurosawa. 1973b. Taiwan takasagozoku no ongaku [The music of the Formosan Aborigines in Taiwan]. Tokyo: Yuzankaku.Google Scholar
Takatomo, Kurosawa. 1974a. “Gakki o motomete” [In search of musical instruments] No. 97, “Yoropa hen” [Europe Series] No. 38. Gakki shoho 25 (October): 116117.Google Scholar
Takatomo, Kurosawa. 1974b. Takasagozoku on ongaku [The music of the Formosan Aborigines]. Tokyo: Victor Company of Japan SJL-78/79. LP.Google Scholar
Takatomo, Kurosawa. 1978. Onkai no hassei yori mita ongaku kigenron (Kurosawa gakusetsu) [The cradleland of music (Kurosawa theory)]. Tokyo: Ongaku no Tomo.Google Scholar
Lin-yu, Liou. 2013. “Minzoku ongaku gakusha Masu Genjiro saikou: Nihon to Indo no ma no ashi'ato o tadoru” [The career of ethnomusicologist Genjiro Masu: A re-examination of his footprints between Japan and India]. Bulletin of Nara University of Education (Culture and Society) 62/1:97104.Google Scholar
Lomax, Alan. 1968. Folk Song Style and Culture. Washington, D.C.: American Association for the Advancement of Science. New Brunswick, NJ: Transaction Books.Google Scholar
Lomax, Alan, and Masu Genjiro, eds. 1955. The Columbia World Library of Folk and Primitive Music, Vol. XI, Folk Music from Japan, the Ryukyus, Formosa and Korea. n.p.: Columbia SL-214.Google Scholar
Genjiro, Masu. 1948. “UNESCO to Nippon ongaku” [UNESCO and Japanese music]. Philharmony 20/11:3235.Google Scholar
Genjiro, Masu. 1953. “The Place of Folk Music in the Cultural Life of the Present Day in Japan.” Journal of the International Folk Music Council 5:6465.Google Scholar
Genjiro, Masu. 1954. “Note: Music and Dance of Japan.” Journal of the International Council for Traditional Music 6:40.Google Scholar
Genjiro, Masu. 1963. Sekai minzoku ongaku shuusei [Anthology of world ethnic music]. Tokyo: Victor Company of Japan LV-577/82. LP.Google Scholar
Nipponica. n.d. “Sarashi.” (accessed 1 Jan. 2018).Google Scholar
Picard, Francois. 2009. Review of Collection Universelle de Musique Populaire/ The World Collection of Folk Music: Archives Constantin Brailoiu (1913-1953). Yearbook for Traditional Music 41:235237.Google Scholar
Royal Museum for Central Africa. 2009. Inventory of Paul Collaer Archives Maintained at the Royal Museum for Central Africa (RMCA). http://www.africamuseum.be/museum/research/publications/rmca/online/INVENTORY%20OF%20THE%20ARCHIVES%20PC%20_%20EN.pdf (accessed 1 Jan. 2018).Google Scholar
Sachs, Curt. 1962. The Wellsprings of Music, ed. Kunst, Jaap. The Hague: Martinus Nijhoff.CrossRefGoogle Scholar
Saikawa, Takashi. 2016. “Returning to the International Community: UNESCO and Post-war Japan, 1945-1951.” In A History of UNESCO: Global Actions and Impacts, ed. Duedahl, Poul, 116–30. London: Palgrave Macmillan UK.Google Scholar
Schaeffner, André. 1968. Origine des Instruments de Musique: Introduction Ethnologique à l'Histoire de Musique Instrumentale [Origin of Musical Instruments: Ethnological Introduction to the History of Musical Instruments]. Paris; La Haye (den Haag): Mouton.Google Scholar
Seeger, Charles. 1953. Review of Collection Universelle de Musique Populaire Enregistrée by Constantin Brailoiu. Journal of the International Folk Music Council 5:93.Google Scholar
Surya Sena, Devar. 1954. “Impressions of the World Festival.” Journal of the International Folk Music 6:23.Google Scholar
Toyo Onggaku Kenkyu. 1951. “Ihou” [Miscellaneous]. Toyo ongaku kenkyu [Journal of the Society for the Research of Asiatic Music] 9: 175182.Google Scholar
Kenkyu, Toyo Onggaku. 1953. “Ihou” [Miscellaneous]. Toyo ongaku kenkyu [Journal of the Society for the Research of Asiatic Music] 9:89108.Google Scholar
Kenkyu, Toyo Onggaku. 1953. “Henshuu kouki” [Editorial]. Toyo ongaku kenkyu [Journal of the Society for the Research of Asiatic Music] 9: 183.Google Scholar
Ying-fen, Wang. 2008. Tingjian zhimindi: Heize Longchao yu zhanshi Taiwan yinyue diaocha (1943) [Listening to the Colony: Kurosawa Takatomo and the Wartime Survey of Taiwanese Music (1943)]. Taipei: National Taiwan University Library.Google Scholar
Ying-fen, Wang, and Lin-yu, Liou eds. 2008. Zhanshi Taiwan de shengyin (1943): Heize Longchao “Takasagozoku no ongaku fuke – Ji hanrenyinyue [Sounds from Wartime Taiwan (1943): Kurosawa and Masu's Recordings of Taiwan Aboriginal and Han Chinese Music]. Taipei: National Taiwan University Press.Google Scholar
Wolfram, Richard, translated by Kathleen Dale. 1954. “Dances and Music at the Festival and Conference.” Journal of the International Folk Music Council 6:46.CrossRefGoogle Scholar