The myth of Misora: Considering authenticity and imitation in Japanese popular song

The myth of Misora: Considering authenticity and imitation in Japanese popular song

Brunt, S 2008, 'The myth of Misora: Considering authenticity and imitation in Japanese popular song', in Bendrups, Dan (ed.) Music on the Edge: Selected Papers from the 2007 IASPM Australia/New Zealand Conference, Dunedin, New Zealand, November 30 to December 2, 2008, pp. 22-28.

Document type:	Conference Paper
Collection:	Conference Papers

Title	The myth of Misora: Considering authenticity and imitation in Japanese popular song
Author(s)	Brunt, S
Year	2008
Conference name	Select Proceedings of the 2007 Conference of IASPM-ANZ
Conference location	Dunedin, New Zealand
Conference dates	November 30 to December 2, 2008
Proceedings title	Music on the Edge: Selected Papers from the 2007 IASPM Australia/New Zealand Conference
Editor(s)	Bendrups, Dan
Publisher	International Association for the Study of Popular Music
Place of publication	Dunedin, New Zealand
Start page	22
End page	28
Total pages	7
Abstract	On 25 June 1989, the career of Japan's famous singer Misora Hibari (1937-1989) drew to a close. For 40 years, Misora (real name Kato Kazue) had entertained the masses with her sentimental enka ballads. Widely regarded as 'the songs of Japan' (nihon no uta) that reveal 'the heart/soul of the Japanese' (nihonjin no kokoro) (Anderson, 2002: 124; Yano 1999: 159, 2000: 60, 2005: 194), enka is a popular genre associated with nostalgia, emotion and the nation. Although its origins lie in the early twentieth-century, the genre can be considered 'a product of the 1970s' (Yano 2002a: 77) and it features a variety of contemporary Western instruments, as well as Japanese scales, lyric themes and vocal embellishments.
Subjects	Musicology and Ethnomusicology Asian Cultural Studies
Copyright notice	© 2008 Author
ISBN	9780975774731

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