Made in Japan: Studies in Popular Music Edited by Toru Mitsui

Made in Japan: Studies in Popular Music
Edited by Toru Mitsui (Routeledge 2014)


Introduction: Embracing the West and Creating a Blend Tōru Mitsui
Part 1. Putting Japanese Popular Music in Perspective
1. The Takarazuka Revue: Its Star System and Fans’ Support Naomi Miyamoto
2. “The Infinite Power of Song”: Uniting Japan at the 60th Annual Kōhaku Song Contest Shelley Brunt
3. The Culture of Popular Music in Occupied Japan Mamoru Tōya
4. The Birth of Enka Yūsuke Wajima
5. Songs in Triple Time Are Still Sung in Duple TimeTōru MitsuiPart 2. Rockin’ Japan
6. From Covers to Originals: “Rockabilly” in 1956-1963 Terumasa Shimizu
7. The Development of Japanese Rock: A Bourdieuan Analysis Katsuya Minamida
8. A History of Japanese Rock Festivals and Live Music Venues Jun’ichi Nagai
Part 3. Japanese Popular Music and Visual Arts
9. Tōru Takemitsu’s Seigenki: An Anti-experimental, Tonal Film Score Kyōko Koizumi
10. The Interaction Between Music and Visuals in Animated Movies: A Case Study of Akira Hideko Haguchi
11. The Emergence of Singing Voice Actors/Actresses: The Crossover Point of the Music Industry and the Animation Industry Akira YamasakiCoda: Japanese Music Reception
12. J-pop Goes the World: A New Global Fandom in the Age of Digital Media Yoshitaka Mōri
13. Maintaining Artistic Integrity and Creative Control: A Conversation with Tatsurō Yamashita Kiyoshi Matsuo and Tōru Mitsui
A Selected Bibliography on Japanese Popular Music
Notes on Contributors

Sonic Multiplicities: Hong Kong Pop and the Global Circulation of Sound and Image by Yiu Fai Chow and Jeroen de Kloet

Sonic Multiplicities: Hong Kong Pop and the Global Circulation of Sound and Image

by Yiu Fai Chow and Jeroen de Kloet


List of Figures and TableIntroduction: Sonic Multiplicities
Sonic disappearances
What is going on?
1. Me and the Dragon: A Lyrical Engagement with the Politics of Chineseness
Nationalistic songs
Another approach
Re-nationalization I: Descendants of the dragon
Re-nationalization II: Home and nation
Re-nationalization III: Performing acts (i)—writing against the grain
Re-nationalization IV: Performing acts (ii)—writing with a  twist
Shoot the dragon
2.  The Production of Locality in Global Pop—A comparative Study of Pop Fans in the Netherlands and Hong Kong
Globalization: A sense of locality
Fandom: On fans of local stars
Production of locality: The linguistic and the heroic
Production of locality: The social, the charitable and the personal
3. Blowing in the China Wind: Engagements with Chineseness in Hong Kong’s Zhongguofeng Music Videos
Destabilizing Chineseness
Feminizing Chineseness
Whither China Wind?
4. Sex, Morality and Cantopop
Picture Gate
The Edison Chen scandal
The Confucian cum Victorian ethics and the spirit of global capitalism
Spectacle and image
Eye see you as I see you
5. Building Memories—A Study of Pop Venues in Hong Kong
Fluid sounds
Monumental buildings
Building memories
The Coliseum
Belonging and temporality
6. Olympic Celebrations and Performative Contestations
The conservative and the performative
Welcome to Olympic Beijing
Performing Olympic China from Hong Kong
Shanghai also welcomes you!
Criticality and popular culture
7. Music, Desire and the Transnational Politics of Chineseness: Following Diana
Following Diana
Diasporic hope: Rewriting migration narrative
Musical hope: Rewriting modernity narrative
Methodological endnoteBibliography

Globalization and Popular Music in South Korea: Sounding Out K-Pop by Michael Fuhr

Globalization and Popular Music in South Korea: Sounding Out K-Pop
by Michael Fuhr


1. Introduction: Rising K-Pop, Pursuing the Hyphen
Part I: Configuring K-Pop: Histories and Production
2. Inventing Korean Popular Music: Historical Formations and Genres (1885–2000)
3. Producing the Global Imaginary: A K-Pop Tropology Part
II: Complicating K-Pop: Flows, Asymmetries, and Transformations
4. Temporal Asymmetries: Music, Time, and the Nation-State
5. Spatial Asymmetries: Imaginary Places in the Transnational Production of K-Pop
6. Asymmetries of Mobility: Immigrant Stars and the Conjuncture of Patriotism, Anti-American Sentiment, and Cyberculture
7. Conclusion: “Oppan, Korean Style!”: An Imaginary Horse Ride around the Globe


Hello all~
If you are looking for accommodation nearby the 2014 IAPMS Conference venue, CMU, please check out the list below. You can also find so many hotels in downtown Chiang Mai through major hotel booking services, such as Chiang Mai, or Mai.

Inter-asia pop has posted a new item, ‘Hotels and Hostels nearby 2014 IAPMS Conference Venue’

The hotel was listed according to their room rate which should check directly through their websites.

Mid-range Hotels

Kantary Hills, Chiang Mai
Address:44, 44/1-2 Nimmanhaemin Road, Soi 12, Suthep,
Muang, Chiang Mai 50200, Thailand.
Tel: +66 (0)53 22 2111, +66 (0)53 40 0877
Fax: +66 (0)53 22 3244

Amari Rincome Hotel
Address:1 Nimmanhemin Rd.T. Suthep A. Muang Chiang Mai 50200 Thailand
Telephone: +66 (0)53 894884 93, +66 (0)53 22 1915

Chiang Mai Hill Hotel
Address:18 Huai Kaew Rd. T. Suthep A. Muang Chiang Mai 50200 Thailand
Telephone: +66(0)53-210030-4, +66(0)53 21 5958
Fax: +66(0)53-210035

Lotus Pangsuankaew
Address:54 HuayKeaw Road, Muang Chiang Mai 50300
Phone: +66(0)53 224 333

Nimmanmai Design Hotel
Address: Nimmanheamin-Sukasem Road, Suthep, Muang, Chiangmai 50200 Thailand
Tel. +66 (0)53 400 567

The Empire Residence Nimman
Address: 22/3 Nimmanhemin Road, Sutep, Muang, Chiang Mai, Thailand
Phone: +66(0)53 28 9288

Budget Hotel

Sinthana Resort Chiang Mai:

Sirinart Garden:

Chiang Mai University UNISERV Hostel


[CFP] 18th Biennial IASPM Conference

Call for papers
Back to the Future: Popular Music and Time
18th Biennial IASPM Conference
29 June – 3 July 2015
Universidade Estadual de Campinas
São Paulo, Brazil

*Versão em português abaixo*
*Versión en español abajo*

Whether in relation to rhythms, eras, live performances, lyrics, identities, politics, scenes, production, or changing technologies, the topic of time can be linked to popular music in a variety of ways. The compartmentalising of sounds into genres, the ageing of audiences, and the shifting sands of the music industry all invoke notions of the temporal. For the 18th Biennial IASPM Conference, we invite researchers and practitioners to submit proposals for presentations that engage with the theme of time. We encourage proposals dealing with one of the following strands:

– Ageing Times: fandom and memory; musicians’ biographies; archiving and remastering; ageing bodies; ageing technologies; recycling repertoires.
– Historical and Social Times: contextual times; local and global histories and counter-histories; fashion, retro and revival trends; timelessness; sampling and other forms of sonic genealogies, re-circulations and surrogations.
– Modern Times: new sounds; new technologies; futurism; music industry strategies; mobile media.
– Phenomenological Times: creative process; performance deployment; gesture, affect and listening experience; cross time productions, collaborations and performances.
– Structural Times: rhythm, tempo, groove, swing, beat and the various ways of conceptualizing the duration of sound; periodicity and repetition; flow and cadence; being in/out of time and sync; relationships between noise and silence(s).

There will be the options of: panels (of 3 or 4 presenters), individual papers, film/video presentations, or poster sessions.

Proposals of organized panels are strongly recommended (two-hour long sessions with four papers, or three papers and a discussant). Each session should leave at least 30 minutes for discussion or for comments by a discussant immediately following the presentations. The panel organizer should submit the panel abstract and all individual abstracts (200 words each) in one document, with a full list of participant names and email addresses. Where an independently submitted abstract appears to fit a panel, the Academic Committee may suggest the addition of a panelist.

We invite abstracts of no longer than 200 words, including five keywords for programming purposes. Individual paper presentations are 20 minutes long to be followed by 10 minutes of discussion.

Film/video session
Recently completed films introduced by their author and discussed by conference participants may be proposed. Submit a 200-word abstract including titles, subjects, and formats, and indicate the duration of the proposed films/videos and introduction/discussion.

Poster session
A space where presenters can exhibit posters, that remain on hand for a scheduled period for discussion, will be provided. A 200-word abstract by the poster’s author, including five keywords for programming purposes, must be submitted.

Please email your abstract as a Word doc attachment to iaspm15[at] Please name the file with your surname. The following format should be used:

– Name, affiliation and contact email address
– Type of presentation (select one from: panel, individual paper, film/video, poster)
– Title of presentation (and panel if applicable)
– Strand (select one from: Ageing Times / Historical and Social Times / Modern Times / Phenomenological Times / Structural Times)
– Abstract
– Five keywords
– Bio (80 words maximum)

Papers will be accepted in English, IASPM’s official language, and Portuguese and Spanish, IASPM Latin America’s official languages. For submissions in Portuguese and Spanish, an additional abstract in English is required, and, if selected, an English visual presentation is to be screened while presenting.

Questions about the organization of panels should be directed to the Chair of the Academic Committee, Goffredo Plastino: chair[at] Suggestions for other possible events at the Conference should be directed to the Chair of the local Organizing Committee, Rafael dos Santos: rdsantos[at]

Each participant must be a member of IASPM: Each participant may present only one paper at the Conference, but may also preside over a panel or serve as a discussant.

Deadline for receiving abstracts: 31 May 2014
Acceptance/rejection letters: 30 September 2014
Opening registration: 1 October 2014
Deadline for “early bird” registration (US$ 150): 1 February 2015
Program draft: 1 March 2015
Conference fee payment deadline (US$ 200): 2 April 2015
Final program: 31 May 2015

CFP: The 4th Inter-Asia Popular Music Studies Conference 2014 in Chiang Mai (Thailand)

CFP: The 4th Inter-Asia Popular Music Studies Conference2014 in Chiang Mai (Thailand)

Date: 8-9 August 2014, (Friday-Saturday)

Venue: College of Arts, Media and Technology, Chiang Mai University, Chiang Mai, Thailand

Campus Map:

Organized by:

Inter-Asia Popular Music Studies Group (IAPMS group),

College of Arts, Media and Technology, Chiang Mai, Thailand


We are pleased to announce the 4th Inter-Asia Popular Music Studies Conference, which will take place on August 8-9, 2014 in Chiang Mai, in collaboration with College of Arts, Media and Technology, Chiang Mai University, Thailand. Following the first conference in Osaka in 2008, the second conference in Hong Kong in 2010, and the third conference in Taipei in 2012, we move our next meeting to Thailand—hub of vibrant Southeast Asian popular music and music industry.

Founded in 2008, Inter-Asia Popular Music Studies Group (IAPMS group) is a research network that at the moment includes 120 scholars not only in Asia but also in Europe, America and Oceania. Through its biennial conferences and related activities, the group provides a platform to foster scholarly conversations and collaborations arising from the growing academic interest in Asian popular music both inside and outside Asia.


How to PerformInter-AsiaPopular MusicStudies

Nowadays, Asian popular music is strong and  serious investigation on it is growing, in the academy and elsewhere. More importantly, the cultural economy of popular music in Asia has become transnational or border-crossing in a literal sense. There are  quite a few case studies that show that the consumption and mediation as well as the production and distribution easily cross national borders.

However, most of ‘inter-Asia’ popular music studies restrict themselves to  a ‘national’ base. Most researchers are specialized in the popular music of one nation or language group and it has proven to be quite a challenge to adopt a truly ‘inter-Asia’ perspective. This perspective of comparative or cross-cultural research is unfortunately still  a somewhat distant ideal, with only a handful successful texts that light the way. Given this situation, is it enough for each researcher to write about his/her ‘own’ music and leave the comparison to the readers of a ‘special issue’ or ‘edited volume’ that covers different ‘cases’? Or should we rather find out a‘collective’ or ‘collaborative’ approach to doing research and writing papers? How can it be done, when you do not have sufficient international connections, when there is no agreed upon vocabulary and periodization, when your time schedule or life cycle does not match? Finally, is collective or collaborative writing really necessary?

The 4th Inter-Asia Popular Music Studies conference will address the possibilities and difficulties of adopting an ‘inter-Asia’ perspective. We especially welcome papers that consider comparative and/or collaborative research, in the future as well as in the present. The conference engages with all the scholarly debates of the emerging fields of Inter-Asia popular music studies, in the following categories or streams:

Stream 1: Theory and Methodology
Stream 2: Production, Circulation and Consumption
Stream 3: History,Geography, Politics
Stream 4: Genre, Identity, Ideology

The organizer of Inter-Asia Popular Music Studies Conference 2014 in Chiang Mai would like to invite paper presenters to send their abstract (not more than 250 words) to before 25 January 2014. Please don’t forget to write down the ‘stream’ in which you think your paper fits.

Please use the attached Proposal Form (right click to download) when submitting your proposal. Please use your surname as file name (ex. Chua.doc, Douglas.doc). If you plan to organize a panel with more than two people, please coordinate with the panelists to put all the necessary information on one form (e.g., panel title, paper titles, individual abstracts, panelists information). A panel description is not necessary.

Please email all inquiries to:

2014.1.25 Deadline for abstract submission

2014.02.25 Acceptance of papers

2014.04.25 Registration

2014.07.25 Submission of full paper

2014.08.08-09 Conference Days

Steering Committees

Viriya Sawangchot (API Fellow & Mahidol University, Thailand)

Siriporn Somboonbooran (Walailak University, Thailand)

Atchareeya Saisin (Chiang Mai University, Thailand)

Pitipong Yodmongkol (CAMT, Chiang Mai University)

Napaporn Reeveerakul (CAMT, Chiang Mai University)

Sumet Yodkaew (CAMT, Chiang Mai University)

Organizing Committees

Tunghung HO (Fu-jen Catholic University, Taiwan)

Eva TSAI (National Taiwan Normal University, Taiwan)

Anthony FUNG (Chinese University, Hong Kong/China)

Yoshitaka MORI (Tokyo University of the Arts, Japan)

Jeroen Groenwegen-Lau (Independent scholar, Netherlands-China)

Yukie HIRATA (Dokkyo University, Japan)

Sun JUNG (National University of Singapore, Singapore)

Kai Khiun LIEW (Nanyang Technological University, Singapore)

Aekyung PARK (Yonsei University, Korea)

Hyunjoon SHIN (Sungkonghoe University, Korea)

Jung-yup LEE (University of Massachusetts Amherst, USA/Korea)


English is the only language in the conference as there is no common language among Asia language. Translation service can be provided only during Q&A, in case  the presenters need it.

For the updated information about submission, registration, accommodation, transportation etc, please keep visiting our website: