‘An excellent companion for anyone who wants to know about Japanese music’

The Ashgate Research Companion to Japanese Music covers in detail all genres of Japanese music including court music, Buddhist chant, theatre music, chamber ensemble music and folk music, as well as contemporary music and the connections between music and society in various periods.

The book is a collaborative effort, involving both Japanese and English speaking authors, and was conceived by the editors to form a balanced approach that comprehensively treats the full range of Japanese musical culture.

The Editors: Alison Tokita is Associate Professor in the School of Languages, Cultures and Linguistics, Monash University, Australia. David W. Hughes is Senior Lecturer in Ethnomusicology, Department of Music, School of Oriental and African Studies, University of London, UK.


‘An excellent companion for anyone who wants to know about Japanese music whether it is a court, religious, theatrical, folk or popular genre. It is filled with the results of current research by Japanese and Western specialists and enriched with extensive examples in notation and on audio tracks. The book opens a new era in Japanese music studies.’    William P. Malm, University of Michigan, USA

‘…covers all periods and genres in great detail, and is much more than an overview. …if you absorb the collected knowledge of this volume, you probably know more about the subject than the average Japanese. There are many music samples. … an extensive bibliography (featuring enough works in western languages) is given, and an audio/videography …The book’s accompanying CD features short excerpts, including folk music.’    FolkWorld

‘…Liberally illustrated and including a CD of examples…includes bibliographic review of materials in Japanese and Western languages…Recommended.’    Choice

‘… a book for poring over, both with regard to its texts and its music examples; and it rewards reading across its various chapters. It is an articulate, forward-looking companion demanding interaction, but assuming a certain amount of self-reliance in its partner. It goes without saying that it is clearly essential for graduates in the field, and accordingly for graduate library collections; but with the considerable lean towards the survey in many of its essays, it would be well placed too in undergraduate collections supporting performing-arts orientated Asian Studies programs, and in collections supporting (ethno)musicology programs with a focus on East Asia. A most welcome new friend!’    Notes

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