著者紹介

内容

目次

About this book.-Praises for The Palgrave Handbook of Music and Sound in Japanese animation.-Acknowledgements.-Editorial Note .-List of Contributors.-List of Images and Tables.-Foreword. Birth and structure of the Handbook.-Introduction. Tool kits / 0: Presenting Japanese animation and a summary of selected sources on music and animation.-Part I. Early history, theoretical framing, and practice of music and sound in Japanese animation.-Chapter 1. Tool kits / 1: Hearing moods, emotions, pictures. A basic overview on the rhetoric of music.-Chapter 2. Tool kits / 2: Key concepts of music language in anime.-Chapter 3. Tool kits / 3: A short outlook of anison from 1963 to the 21st century.-Chapter 4. Tool kits / 4: Mapping anime’s voice acting industry.-Chapter 5. Early history / 1: Introducing European music to Meiji Japan.-Chapter 6. Early history / 2: The early period of music in Japanese animation. From the 1930s to the advent of Tōei Dōga (1956).-Chapter 7. Early history / 3: Shifting practice, industry, and ideology in the first decade of TV anime songs (1962-72). From Torirō Miki to Michiaki Watanabe.-PART II. Music and sound for animation in Japan from the 1970s to the 2010s.-Chapter 8. Scoring Japan’s pasts and futures / 1: Legends, folklore, monsters, and his-torical drama.-Chapter 9. Scoring Japan’s pasts and futures / 2: Drama, trauma, and sonic eclecticism in mainstream music scores for giant armour-themed and SF animated se-ries of the 1970s.-Chapter 10. Scoring Japan’s pasts and futures / 3: The soundtrack of Shunsuke Kikuchi for UFO Robo Grendizer. Composition and selection criteria.-Chapter 11. Transcultural musical encounters / 1: Jō Hisaishi and Yūji Nomi. Variation, citation, and emulation.-Chapter 12. Transcultural musical encounters / 2: A cultural history of Dvořák’s Largo from Meiji era to anime.-Chapter 13. Transcultural musical encounters / 3: Kōji Morimoto, Yōko Kanno, and the Zagreb school of animation.-Chapter 14. Transcultural musical encounters / 4: The power of alternative music in Japanese animation. Can the beats and vibes of anime change the world?.-Chapter 15. Authorship in music and sound design / 1: Isao Takahata and his music di-rection.-Chapter 16. Authorship in music and sound design / 2: Geinō Yamashirogumi and Akira.-Chapter 17. Authorship in music and sound design / 3: The music and method of Kenji Kawai.-Chapter 18. Authorship in music and sound design / 4: Kōji Yamamura and Satoshi Kon.-Chapter 19. Authorship in music and sound design / 5: Tenmon and his musics for Ma-koto Shinkai’s films.-Chapter 20. Authorship in music and sound design / 6: Four outstanding cases in the anime industry, 1995-2016.-Chapter 21. Extra-musical sonic environments / 1: Voice actresses performing boy characters. Historical, political, social, and cultural significance in postwar Japan.-Chapter 22. Extra-musical sonic environments / 2: Sonic embedment and spatial “worlding”. Soundscapes, psychoacoustics, and post-human sonics in Shin-seiki Evangelion.-Part III. Musics, songs, and voices for Japanese animation beyond Japan.-Chapter 23. Re-written songs, musics, and dubbing for anime / 1: United States.-Chapter 24. Re-written songs, musics, and dubbing for anime / 2: Italy.-Chapter 25. Re-written songs, musics, and dubbing for anime / 3: Philippines.-Chapter 26. Re-written songs, musics, and dubbing for anime / 4: Indonesia.-Chapter 27. Re-written songs, musics, and dubbing for anime / 5: Latin America.-Chapter 28. Re-written songs, musics, and dubbing for anime / 6: Four outstanding cases in Europe and the United States.-Chapter 29. Re-written songs, musics and dubbing for anime / 7: Finland.-Chapter 30. Re-written songs, musics, and dubbing for anime / 8: Cultural strategies of anime’s re-dubbing in Italy, France, Germany, and Spain.-Chapter 31. Anime’s impact on pop music in the two European leading markets / 1: France.-Chapter 32. Anime’s impact on pop music in the two European leading markets / 2: Italy.-Part IV. Interviews, supplemental essays, appendixes.-Chapter 33. Brief guide on sound design in the anime industry.-Chapter 34. Isao Tomita and his collaborations with Osamu Tezuka: Music’s versatility between crosscultural epigonism and ultimate mastery.-Chapter 35. Ambiguities of post-dubbing in the United States.-Chapter 36. Interview with Shunsuke Kikuchi.-Chapter 37. Interview with Michiaki Watanabe.-Chapter 38. Interview with Mitsuko Horie.-Chapter 39. Interview with Kentarō Anai.-Chapter 40. Conversations with four outstanding animators: what they have to say.-Chapter 41. Interview with Takuya Imahori.-Chapter 42. Interview with Kenji Kawai.-Chapter 43. Appendix 1: The main music score composers in the history of anime.-Chapter 44. Appendix 2: The main vocal performers in the history of anison.-Chapter 45. Appendix 3: Historic composers for animation in Japan, 1920s-1950s.-Afterword.-Glossary. Basic keywords of Japanese animation, music, and sound.-Filmography and videography.-Discography and dubs.-Editor and Contributors.-Index.