"Malm's scholarship is impeccable... Of equal importance is the fact that he is an excellent performing musician who has studied extensively in Japan." -Choice

This interesting and authoritative book includes essential facts about the various forms of Japanese music and musical instruments and their place in the overall history of Japan. Japanese Music and Musical Instruments has three main orientations: The history of Japanese music Construction of the instruments Analysis of the music itself. The book covers in a lucidly written text and a wealth of fascinating photographs and drawings the main forms of musical expression. Many readers will find the useful hints on purchasing instruments, records, and books especially valuable, and for those who wish to pursue the matter further there is a selected bibliography and a guide to Tokyo's somewhat hidden world of Japanese music. It will be found an invaluable aid to the understanding and appreciation of an important, but little-known, and fascinating aspect of Japanese culture.

The unique sounds of the biwa, shamisen, and other traditional instruments from Japan are heard more and more often in works for the concert hall and opera house. Composing for Japanese Instruments is a practical orchestration/instrumentation manual with contextual and relevant historical information for composers who wish to learn how to compose for traditional Japanese instruments. Widely regarded as the authoritative text on the subject in Japan and China, it contains hundreds of musical examples, diagrams, photographs, and fingering charts, and comes complete with two accompanying compact discs of musical examples. Its author, Minoru Miki, is a composer of international renown and is recognized in Japan as a pioneer in writing for Japanese traditional instruments. The book contains valuable appendices, one of works Miki himself has composed using Japanese traditional instruments, and one of works by other composers -- including Toru Takemitsu and Henry Cowell -- using Japanese traditional instruments. Marty Regan is Assistant Professor of Music at Texas A&M University; Philip Flavin is a Research Fellow in the School of Languages, Cultures and Linguistics at Monash University, Australia.

Long seen as a source of ritual power, Japan's musical traditions continue to serve as a primary realm of aesthetic experience for the nation's people. Fully illustrated and including both historical and present-day images, Japanese Musical Instruments is a comprehensive survey of Japanese traditional instruments. Easy-to-use and concise, the book provides an overview of the nation's musical heritage while describing the historical meanings and uses of the full range of instruments.

Henry Johnson is an ethnomusicologist at the University of Otago, New Zealand, where he teaches and undertakes research in Ethnomusicology and Asian Studies.

Music in Japan is one of several case-study volumes that can be used along with Thinking Musically, the core book in the Global Music Series. Thinking Musically incorporates music from many diverse cultures and establishes the framework for exploring the practice of music around the world. It sets the stage for an array of case-study volumes, each of which focuses on a single area of the world. Each case study uses the contemporary musical situation as a point of departure, covering historical information and traditions as they relate to the present. Visit www.oup.com/us/globalmusic for a list of case studies in the Global Music Series. The website also includes instructional materials to accompany each study. Music in Japan offers a vivid introduction to the music of contemporary Japan, a nation in which traditional, Western, and popular music thrive side by side. Drawing on more than forty years of experience, author Bonnie C. Wade focuses on three themes throughout the book and in the musical selections on the accompanying CD. She begins by exploring how music in Japan has been profoundly affected by interface with both the Western (Europe and the Americas) and Asian (continental and island) cultural spheres. Wade then shows how Japan's thriving popular music industry is also a modern form of a historically important facet of Japanese musical culture: the process of gradual popularization, in which a local or a group's music eventually becomes accessible to a broader range of people. She goes on to consider the intertextuality of Japanese music: how familiar themes, musical sounds, and structures have been maintained and transformed across the various traditions of Japanese performing arts over time. Music in Japan is enhanced by eyewitness accounts of performances, interviews with key performers, and vivid illustrations. Packaged with an 80-minute CD containing examples of the music discussed in the book, it features guided listening and hands-on activities that encourage readers to engage actively and critically with the music.

The study moves from tradition to modernity, explores a range of topics such as: song life in the traditional village; rural–urban tensions; local min’yo ‘preservation societies’; the effects of national and local min’yo contests; the ‘new folk song’ phenomenon; min’yo and tourism; folk song bars; recruitment of professionals; min’yo’s interaction with enka popular songs and with Western-derived foku songu; the impact of mass mediation; and min’yo’s role in maintaining or creating local identity. The book contains a plate section, musical examples, and a compact disc.