Professor

HOSOKAWA Shuhei (More info)

Books

1998: Karaoke Around the World. Global Technology and Local Singing (co-edited with Toru Mitsui), London-New York: Routledge.; Shinemaya Burajiru wo Yuku (Film Exhibitor Goes to Brasil), Shinchosha
1995: Samba no Kunini Enka wa Nagareru (Enka in the Country of Samba), Chuo Koronsha
1990: Rekodo no Bigaku (Aesthetics of Recorded Sound), Keiso Shobo
1989: Nostalgia Odōri (Nostalgia Boulevard) (essay), Shōbunsha.
1988: Soccer Gurui (Fool for Soccer) (essay), Tetsugaku Shobō.
1986: Miraiha 2009 (Futurismo 2009) (in collaboration with Ryuichi Sakamoto) (essay), Honhondo.
1985: Trans-Italia-Express (essay), Chikuma Chobo.
1981: Ongaku no Kigoron (Semiotics of Music), Asahi Shuppan.; Wallkman no Rhetoric (Rhetoric of Walkman) (essay), Asahi Shuppan.

Articles

2004: “The Atomic Overtones, the Primitive Undertones: the Sound Design of Godzilla”, Philip Hayward (ed.), Off the Planet: Music, Sound and Science Fiction Cinema, Sydney: John Libbedy, pp.42-60.
2003: “Speaking in the Tongue of the Antipode: Japanese-Brazilian Fantasy on the Origin of Language”, in Jeffrey Lesser (ed.), Searching for Home Abroad. Japanese-Brazilians and Transnationalism, Durham and London: Duke University Press; “From Lima to Koza: Diamantes and the Blurred Identity of Okinawan-Peruvian ‘Reverse Migrants’”, in Steven Loza (ed.), Musical Cultures of Latin America: Global Effects Past and Present, Department of Ethnomusicology and Systematic Musicology University of California, Los Angeles, pp.321-34.; “Walkman”, in John Shepherd et al. (eds.), Continuum Encyclopedia of Popular Music of the World, vol.1 (Media, Industry and Society), Continuum, London-New York, pp.524-25.; “Giant Steps in November: Three English Books on Takemitsu Toru (Book Review)”, Journal of Japanese Studies 29/2, pp.505-8.
2002: “Blacking Japanese:Experiencing Otherness from Afar”, in David Hesmondalgh & Keith Negus (eds.), Popular Music Studies, London: Arnold, pp.223-237.; “Martin Denny and the Development of Musical Exotica”, in Philip Hayward (ed.) Widening the Horizon: Exoticism in Post-war Popular Music, John Libbey, Sydney.; “Book review. E. Taylor Atkins, Blue Nippon Authenticating Jazz in Japan. Duke University Press, 2001”, IN Monumenta Nipponica, vol. 57/2, summer 2002, pp.263-65.; “Il Resto del Mondo”, in Aura. Scritti per Gianni Carchia, Edizioni Seb27, Torino, pp.124-25.
2001: “So Close and Yet So Far: Humanizing Celebrity in Japanese Music Variety Shows, 1960s-1990s”, with Carolyn Stevens, Asian Media Production, Brian Moeran (ed.), Curzon, Richmond, pp.223-246.
2000: “Rock and National Language: the Japanese Case”, in Tomy Mitchell & Peter Doyle (eds.),Changing Sounds: New Directions and Configurations in Popular Music, Prodeedings for the Conference of the International Association for the Study of Popular Music, Sydney, July 1999, Faculty of Humanities & Social Sciences, Univ. of Technology, Sydney, pp.98-101.; “Singing Contests in the Ethnic Enclosure of the Post-war Japanese-Brazilian Community”, British Journal of Ethnomusicology, 9(1), pp.95-118. Approches de l'opéra (Actes de Colloque AISS-IASPA à Royaumont, septembre 1984),André Helbo (ed.), Didier Erudition, Bruxelles, pp.89-93.; “Book review. Timothy J. Craig (ed.), Japan Pop! Inside the World of Japanese Popular Culture, NY & London, Armonk”, in Japanese Studies, 20/3, pp.334-36.
1999: “Martin Denny and the Development of Musical Exotica”, in Philip Hayward (ed.) Widening the Horizon: Exoticism in Post-war Popular Music, John Libbey, Sydney, pp. 72-93 (Italian translation: “Martin Denny e lo Sviluppo della Music Exotica”, Musica/Realtà, marzo 2004, N. 73, pp.69-98 (translated by Simona Montisci); “Soy Sauce Music: Haruomi Hosono and Japanese Self-Orientalism” in Philip Hayward (ed.) Widening the Horizon: Exoticism in Post-war Popular Music, John Libbey, Sydney, pp. 114-144.; “Okinawa Latina: la orquesta Diamantes y la errante identidad de los emigrantes nipón-peruanos”, Antropologia, n.15/16, pp.205-226.; “Strictly Ballroom. The Rumba in Pre-World War Two Japan”, Perfect Beat, 4(3), pp.3-23.; “'Salsa no tiene frontera': Orquesta de la Luz and the Globalization of Popular Music”,Cultural Studies, 13(3), pp.509-534. (reprinted in Lise Waxler, Situating Salsa)(Italian translation: “`Salsa no tiene frontera': Orquestra de la Luz e la globalizzazione della popular musica”, Musica/Realtà, Marzo 2003, No. 70, pp.91-122) (Spanish translation: “'Salsa no tiene frontera': La Orquesta de la Luz y la globalización de la música popular”, Criterios, 33, pp.218-249).; “Nationalizing Chō-Chō-San: The Signification of ‘Butterfly Singers’ in a Japanese-Brazilian Community”, Japanese Studies, 19(3), pp.253-682.
1998: “Introduction” (with Tōru Mitsui), in Karaoke around the World, pp. 1-27.; “Karaoke in East Asia; Modernization, Japanization, or Asianization?” (with Akiko Otake),in Karaoke around the World, pp.178-201.; “The Edisonian Era in Japan: The Early Years (1877-1914)”, in Joachim Braun & Uri Sharvit (eds.),Studies in Socio-Musical Sciences, Bar-Ilan Universtiy Press, Gamat-Gan (Israel), pp. 191-203.; “In Search for the Sound of the Empire: Hisao Tanabe and the Foundation of Japanese Ethnomusicology”, Japanese Studies, 18(1), pp.5-19.; “Singing in a Cultural Enclave: Karaoke in a Japanese-Brazilian community”, in Karaoke around the World, pp.139-165.
1996: “Pidgin Japanisch: Über Japano-Amerikanischen Sprachmischung in der Popmusik”,in Musik in Japan. Aufsäzte zu Aspekten der Musik im heutigen Japan, Sylvain Guignard (ed.), OAG, Tokyo, pp.107-123.
1995: “Le tango au Japon avant 1945. Formation, déformation, transformation”, in Tango nomade,Ramon Pelinski (ed.), Triptyque, Montréal, pp. 289-323 (tr. by Pierre Monette).(Spanish translation. 2000 “El Tango en Japón antes de 1945: Formación, Deformación, Transformación”, in Ramón Pelinski (ed.), El Tango Nomade. Ensayos sobre la Diáspora del Tango, Corregidor, Buenos Aires, pp. 347-85.); “Singing Not Together: Karaoke in São Paulo”, in Will Straw et al. (eds.),Popular Music-- Style and Identity. Proceedings of the Seventh Conference of the International Association for the Study of Popular Music (Stockton, California, 1993), Center for Research on Canadian Cultural Industries and Institutions, Montreal, pp.149-154.
1994: “East of Honolulu: Hawaiian Music in Japan from the 1920s to the 1940s”, Perfect Beat vol.2/1, pp.51-67.; Japanese Popular Music of the Past Twenty Years. Its Mainstream and Underground, The Japan Foundation, Tokyo. (Slovenian trans. in Muska, Nrs. 10&11 (Oct. and Nov. 99).; “Il canto e l'etnicità: il Karaoke a San Paolo del Brasile”, Musica/Realtà, n.43, pp.5-13.
1993: “L'abus du disque: Cage et Marclay”, Music, Ideas, and Society. Essays in Honor of Ivan Supicic,ed. by Stanislav Tuksar, Croatian Musicological Society, Zagreb, pp.89-102.; “A História da Música entre os Nikkei no Brasil- Enfocando as Melodias Japonesas”, Anais do IV Encontro Nacional de Professores Universitários de Língua, Literature e Cultura Japonesas”, Centro de Estudos Japoneses da Universidade de São Paolo, pp.125-148.
1990: “L'ascolto debole”, Estetiche del walkman, ed. by Angelo Ferrano & Gabriele Montagno, Flavio Pagano, Naples, pp.81-109. (Italian summary in Estetica News, 1988, vol.1/2, p.2). (French tr. (partial): “L'écoute vide”, Revue d'Esthétique (numéro spécial:John Cage), n.13-15, pp.247-50).; “Land of a Thousand Commercials: The Defeat of MTV in Japan”, What a Wonderful World! Music Videos in Architecture, Groningen Museum, Groningen, pp.69-72.
1989: “La Manipulation maudite: Rigoletto”, Semiotica, vol.74-1/2, pp.1-24.; “On Tokyo-Go: Pidgin Japanese”, Against Nature: Japanese Art in the Eighties, ICA, Nagoya,pp.35-41.
1987: “Fascinating Banality of the Hit Parade”, Onetwothreefour, vol.4, pp.66-73. (Finnish tr.“Hittilistan Kiehtova Banaalissus”, Etnomusikologian Vuosikirja 1986, Suomen etnomusikologinen seura, Helsinki, 1987, pp.12-21).
1986: “Technique/Technology of Reproduction in Music”, The Semiotic Web '86. An International Yearbook, ed. by Thomas A. Sebeok & Jean Umiker-Sebeok, Mouton de Gruyter, Berlin, pp.536-55.; “L'effet lyrique”, Semiotica, vol.66-1/3, pp.141-53.; “Opera”, Encyclopedic Dictionary of Semiotics, Thomas A. Sebeok (ed.), Mouton de Gruyter, Berlin-New York-Amsterdam, pp.649-51.; “La diva: un autre mythe de l'opéa”, Approches de l'opéa (Actes de Colloque AISS-IASPA - Royaumont, septembre 1984), André Helbo (ed.), Didier Erudition, Bruxelles, pp.89-93.; “The Gelato of Light”, Cultural Studies, vol.2/2, pp.217-22.
1985: “Distance, Gestus, Quotation: Aufstieg und Fall der Stadt Mahagonny of Brecht and Weill”, International Review of the Aesthetic and Sociology of Music, vol.16/2, pp.181-99.; “Dal jazz alla Yellow Magic Orchestra: breve storia della musica di consumo giapponese nel doppoguerra”, Giappone. Avanguardia del future (catalogo di manifestazione a Genova, aprile-maggio 1985), Electa, Milano, pp.266-69.
1984: “Les Yeux et le secret: le cas des Residents”, Traverses, n.30/31, pp.164-69.(Italian tr. “Gli occhi e i il segreto: il caso dei Residents”, Musica/Realtà, n.13, 1984, pp.77-87). (reprinted in Musiche/Realtà. Generi musicali/media/popular music, ed. by Franco Fabbri, Unicopli,Milan, 1990, pp.416-26).; “The Walkman Effect”, Popular Music, n.4, pp.165-80.2 (German tr. Der Walkman-Effekt, Merve, Berlin, 1987). (French tr. “L'effet walkman”, Sociétés, March 1989, n.22, pp.18-25).; “How Saussurian Is a Music?”, Musical Grammars and Computer Analysis (Atti del Convegno, Modena, 4-6 ottobre), Marioi Baroni & Laura Callegari (eds.), Olchiki, Firenze, pp.153-63.; “I segni imperiali”, Alfabeta, n.58, March, pp.3-4. (reprinted in Mitologie di Roland Barthes. I Testi e gli Atti(Convegno di Reggio Emilia, 13-14 Aprile 1984), Paolo Fabbri & Isabella Pezzini (eds.), Pratiche, Parma, 1986, pp.113-120.); “Umberto E...”, Il cavallo di Troia, n.5, pp.37-41.
1983: “The Walkman as Urban Strategy”, International Association of Music Education (IAME)Yearbook,vol.10 (ed. by Jack Dobbs), Pop and Folk Music: Stock-taking of New Trends, pp.129-33 (reprinted in Onetwothreefhour, n.6, summer 1988, pp.40-45).
1982: “Free jazz in Giappone”, Musica/Realtà, n.9, pp.18-24.
1981: “Considérations sur la musique mass-médiatisée”International Review of Aesthetics and Sociology of Music (IRASM), vol.12/1, pp.21-50.; “Compte-rendu: Entendre la musique, by Michel Imberty, Dunot, Paris, 1979”, IRASM, vol.12/1, pp.82-85.
1980: “Book Review: Myth and Music, by Eero Tatasti, Mouton, The Hague-Paris-New York, 1979”, IRASM, vol.11/2, pp.262-65.

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