Holdings Information

Bibliographic Record Display

• Title:The last biwa singer : a blind musician in history, imagination, and performance / Hugh De Ferranti.
  
•    
• Variant Title:Blind musician in history, imagination, and performance
  
• Author/Creator:De Ferranti, Hugh.
  
• Published/Created:Ithaca, N.Y. : East Asia Program, Cornell University, ©2009.
  

• Holdings

  Holdings Record Display

  • Location:MAA LIBRARY (IKB) stacksWhere is this?
    
  • Call Number: ML419.Y325 D44 2009
    
  • Number of Items:1
    
  • Status:Available
    

   
• Library of Congress Subjects:Yamashika, Yoshiyuki, 1901-1996.
  Biwa players--Japan--Biography.
  Blind musicians--Japan--Biography.
  
• Description:xii, 320 p. : ill. (some col.), maps, music ; 23 cm
  
• Series:Cornell East Asia series ; 143.
  
• Notes:Includes bibliographical references and index.
  
• ISBN:9781933947136 (hb)
  1933947136 (hb)
  9781933947433 (pb)
  1933947438 (pb)
  
• Contents:Machine generated contents note: Setting: Kyushu and Kumamoto
  Biwa Music Traditions
  Biwa and Biwa Hoshi in Modern-day Japan
  Biwa Hiki, Yamashika Yoshiyuki
  Characteristics of the Blind Biwa Traditions
  Biwa and Blindness
  Biwa and Sanctity
  Biwa and Gender
  Biwa and Musical Narrative
  Social Status of Blind Musicians and Itinerant Performers
  Images and Depictions of Biwa Hoshi
  Biwa Hoshi and Moso: Entangled Musical, Literary and Religious Figures
  Established Accounts
  New Approach: Moso as Biwa Hoshi Who Gained Buddhist Patronage
  Ancient and Medieval Period Biwa Hoshi
  Heike Recitation and the Biwa Hoshi Guild, the Todo-za
  Biwa Hoshi and Zato after the Waning of Heike Recitation's Popularity
  Moso and Mosobiwa Traditions
  Moso Groups' Dispute with the Todo and Its Consequences
  Varieties of Mosobiwa in Kyushu
  Terms That Identify the Biwa Traditions and the Musicians
  Writings on Zatobiwa, Higobiwa and Mosobiwa
  Populist Accounts and Depictions
  Performers' Consciousness of Tradition and Accounts of Origins
  Tradition and "History"
  Historical Evidence
  Repertories of the Kyushu Biwa Traditions
  Tales
  Rites
  Documentation of "The Last Biwa Hoshi"
  Academic Documentation
  Representations for the Broader Public
  Yamashika and His Interlocutors
  Scholars
  Kimuras
  Foreigners
  Kimura's Kikigaki Life History of Yamashika
  Kimura Riro and His Various Writings on Yamashika
  Text and Its Construction
  Performance Contexts and Procedures
  Settings and Audiences
  Kadobiki and Zashikibiwa
  Other Contexts: Myoon Ko, Nabiraki and Yogomori
  Concert Performances Since the 1960's
  Formal Elements in Narrative Performance
  Framing Tales
  Sonic Elements of Performance
  Tales in Performance: The Oral Compositional Process
  Performance and Narrative Units: The Shodan Model
  Fixity and Variability: Yamashika's Dojoji
  Dojoji (Performance of October 14, 1989)
  Becoming a Biwa Hiki
  Yamashika's Choice of Vocation in Context
  Apprenticeship
  Participation in Local Biwa Hiki Groups and Acquisition of a Professional Name
  Yamashika's Participation in the Tamagawa-ha
  Acquisition of Professional Status and a Performer's Name
  Making a Living as a Biwa Hiki
  Acquisition of Skills and Repertory from Other Biwa Hiki
  Kadozuke and Discrimination against Biwa Hiki
  Discrimination and Its Persistence
  Working Regions and Remuneration
  Effects of the Social Re-positioning of Biwa Hiki
  Fragmentary Transmission of Yamashika's Repertory
  Another "Last" Biwa Hoshi
  Contemporary Biwa Hoshi and Public Demand
  Map 1. Kyushu, showing prefectures and their approximate correlation with pre-Meiji provinces.
  Map 2. Principal places in central Kyushu that are mentioned in the text.
  Transcription of the First shodan of Dojoji (Yamashika Yoshiyuki; performance of October 14, 1989).