BOOKS and ARTICLES

BOOKS

Gagaku no rizumu kozo: Heian jidai sue ni okeru togaku kyoku ni tsuite (Rhythmic structure of gagaku; focusing on tôgaku pieces in the late Heian period), Tokyo: Daiichi Shobo, 1996. ISBN: 4-8042-0102-5.

Gagaku no 'kindai' to 'gendai': keishô, fukyû, sôzô no kiseki (The 'modern' and the 'contemporary' in gagaku: continuity, dissemination and creative renewal). Tokyo: Iwanami shoten. 2010. ISBN:4-8042-0102-5.

Gagaku wo kiku: hibiki no niwa e no izanai (An invitation to gagaku: the topos of ancient and new reverberations). Tokyo: Iwanami shoten, 2011. ISBN978-4-00-431302-1.

Reirin gakuy û : Shiba Sukeyasu to gagaku no gendai (The universe of Sukeyasu Shiba: gagaku in the contemporary music scene). Tokyo: Artes Publishing. 2017. ISBN 978-4-86559-173-6- C1073

What the Doctor Overheard: Dr. Muller's Account of Music in Early Meiji Japan. Translated, edited, with preface and a Postface by Elizabeth Markham, Naoko Terauchi, and Rembrandt Wolpert, Ithaca: Cornell University East Asian Program, 2018. ISBN 9781939161659 Awarded Bruno Nettl Prize (Society for Ethnomusicology, 2018)

CHAPTER CONTRIBUTIONS

Nippon Min'yo Taikan (Okinawa-Amami) : Miyako Shoto-hen (A Survey of Japanese Folksongs; Okinawa-Amami Islands: Miyako islands)(co-authored), Tokyo: Nippon Hoso Shuppan Kyokai, 1990.

Nippon Min'yo Taikan (Okinawa-Amami) : Amami Shoto-hen (A Survey of Japanese Folksongs; Okinawa-Amami Islands: Amami islands)(co-authored), Tokyo: Nippon Hoso Shuppan Kyokai, 1993.

Nihon no oto no bunka (Culture of Japanese Sounds)(co-authored),Tokyo: Daiichi Shobo, 1994.

Eisa 360 do: rekishi to genzai (Eisa in 360 degrees: its history and today)(co-authored), Okinawa-shi kikaku-bu heiwa bunka shinko-ka ed., 1998.

Nihon no dento geinou no miryoku (vol.1) (co-authored), Tokyo:NHK software, 2003.

Geijutsu, bunka, shakai: geijutsu gainen no kakudai wo mezashite (Arts, cultures, and society), (Textbook for the University of Air) (co-authored), Tokyo: Hoso daigaku kyoiku shinkokai, 2003.

Geijutsu, bunka, shakai (Arts, cultures, and society) (2nd version), (Textbook for the University of Air) (co-authored), Tokyo: Hoso daigaku kyoiku shinkokai, 2006.

Kindai Nihon ni okeru dento ongaku no sai-ninshiki: gagaku no gosenfu-ka wo megutte (Recognition of traditional music in the modern period of Japan: focusing on the gagaku transcriptions with western notation), The report of the research project, grant-in-aid of scientific research 2000-2002, 2003.

Performing Japan: Contemporary Expressions of Cultural Identity (co-authored), J. Jaffe and H. Johnson, eds, Poole: Global Oriental, 2008.

Nihon no dentô geinô kôza: buyô, engeki(co-authored), Kokuritsu gekijô ed, Tokyo: Tankô sha. 2009.

Kanousei to shite no bunka jôhô riterashi (literacy) (co-authored), Tokyo: Hitsuji shobô, 2010.

Oto no mangekyô: ongakugaku ronsô. (co-authored), Tokyo: Iwata shoin, 2010.

Analytical and Cross-Cultural Studies in World Music (co-authored) . M. Tenzer; J. Roeder, eds, Oxford University Press, 2011.

Music, Modernity and Locality in Prewar Japan: Osaka and Beyond. (co-authored). Hugh de Ferranti; Alison. Tokita, eds, Surrey: Ashgate Publishing, 2013.

A history of Japanese Theatre, Jonah Salz, ed, Cambridge University Press, 2016.

Presence Through Sounds: Music and Place in East Asia. Keith Howard, Catherine Ingram eds., (共著、他12名、pp. 162-176 Gagaku and the Kasuga Wakamiya Onmatsuri Festival of Nara: from the Sound of Authority to the Sound of Local Identity), New York; London: Routledge, 2020.

Handbook of Japanese Music in the Modern Era. Henry Johnson ed, (共著、他25人、pp.54-69. Reigakusha Gagaku Ensemble: Mediating between Ancient and Contemporary Practice), Leiden: Brill, 2023.

ARTICLES

Nanto uchimonofu kifuho ni kansuru ichi kosatsu: gakusho to uchimonofu no setten (Notational system employed in scores for percussion of the Nara tradition: the relationship between percussion scores and theoretical treatises), Ongakugaku 33(2): 115-127, 1987.

Amami-oshima Tatsugô-chô Akina no 'hachigatsu odori' ( 'Hachigatsu odori' dance in Akina district, Tatsugô-town, Amami-ôshima island), Okinawa Geijutsu no Kagaku (Bulletin of Research Institute of Okinawa Prefectural University of Arts) 5:43-149, 1992.

Zamami-son Aka no nenchû gyôji: 'hamauri' wo chûshin to shite (Annual events in Aka district, Zamami Village of Okinawa; 　focusing on seaside picnic 'hamauri', Okinawa Geijutsu no Kagaku 6:35-102, 1993.

Gagaku tôgaku-kyoku no hensô ni kansuru ichi kousatsu: Jinchi yôroku ni okeru dôkyoku wo megutte (A study on arrangement of tôgaku piece: concerning dôkyoku pieces in Jinchi yoroku), Toyo Ongaku Kenkyu 56:1-28, 1993.

Tôgaku ni okeru 'Nobe' 'Haya' gainen no seritsu to sono ongaku yoshiki: Kofu Ryoritsu no Maki wo tegakari to shite (A study on the metrical specifications 'Nobe' and 'Haya' in the late Heian to the early Kamakura periods: through an analysis of Kofu Ryoritsu no Maki), Toyo Ongaku Kenkyu 60:1-19, 1995.

Los Angeles ni okeru Okinawa-kei Amerikajin no geino katsudo: shin 'eisa' to ekizochishizumu (Performing arts among Okinawan-Americans in Los Angeles: new eis and exoticism), Okinawa Bunka 87: 51-67, 1997.

Tôgaku to saibara ni okeru wagon no yôhô: Ayanokoji-ke kyuzo gakufu wo tegakari ni (On the function of wagon (zither) in saibara and tôgaku; observations in light of an analysis of sources of the Ayanokôji family), Toyo Ongaku Kenkyu 63:16-35, 1998.

Kindai ni okeru gagaku no 'fuhenka': Konoe Naomaro no gyôseki wo chushin ni (Modernization of gagaku; focusing on Konoe Naomaro's Achievement), Kokusai Bunkagaku Kenkyu 12:19-49, 1999.

Hawaii no Okinawa-kei bon odori: diasupora no geinô ni okeru sho-yôso no jûsô kôzô (Okinawan bon odori in Hawaii: multi-layered structure of performing arts in diaspora), Okinawa Bunka 91: 1-33 (98-130), 2000.

Tokyo Ongaku Gakkô Hôgaku Chôsa Gagari 'Gagaku Kifuhô Hikae' ('Notes on notating gagaku' made in the Institute for Investigation of Japanese Music, Tokyo Music School )", Nihon Bunkaron Nenpo 3: 1-19, 2000.

A Reconsideration of the traditional terms oze and yuri in tôgaku, as concepts concerning temporal structure. Ongakugaku (Journal of the Musicological Society of Japan) 46/1:26-39,2000.

A tentative reconstruction of tôgaku of the late 12th century: focusing on the temporal aspect. 2001 PNC Annual Conference & Joint Meetings 15-20 January, 2001, Hong Kong (CD-ROM).

Nijusseiki ni okeru gagaku no tempo to furêzingu no hnyou: Gaisberg rokuon to Hôgaku chôsa gagari no gosenfu (Tempo and phrasing of gagaku in the beginning of the twentieth century: based on the analysis of the recording by F. Gaisberg and the transcription by Hôgaku chôsa gagari). Kokusai Bunkagaku Kenkyu: 17:85-11, 2002.

The meaning of recent changes in bon odori: choices made by the people of Okinawan origin in Hawai'i. Ongakugaku 48/3: 207-221, 2003.

Western impact of traditional musics: "reform" and "universalization" in the modern period of Japan. Journal of Chinese Ritual, Theatre and Folklore 141: 13-53, 2003.

Umi wo wataru Okinawa no uta to odori (Okinawan dance and music traveling beyond the ocean. Asia Yûgaku 66: 70-81、Tokyo: Bensei shuppan, 2004.

Edo jidai ni okeru ryûteki shôga ni kansuru ichi kôsatsu (A study on the shôga score of ryûteki flute in the early Edo period). Kokusai bunkagaku kenkyû 22 & 23：1-27,2005.

Nijusseiki shotô ni okeru atarashii 'nihon ongaku' sôsei no kokoromi: Tôgi Tetteki no 'Shin-kokumin-gaku' (A creation of 'Japanese music': an idea of 'new national music' by Tôgi Tetteki). Nihon bunkaron nenp 8: 33-52,2005.

Nihon bunka no tenji: 1884 Rondon (London) eisei bankoku hakurankai ni tenji sareta nihon no ongaku shiryô 日本文化の展示：1884年ロンドン衛生万国博覧会に展示された日本の音楽資料(The way of presenting Japanese culture: the musical instruments and documents displayed in the World Hygiene Exposition in London 1884). Kokusai bunkagaku kenkyû 24: 1-29, 2005.

Taishô shoki no fukugen kenkyû: Tôgi Tetteki no 'Enkyoku no kenkyûteki fukkatsu' wo megutte (Historical meaning of a research on "enkyoku" by Tôgi Tetteki in the beginning of Taishô period). Nihon bunkaron nenpô 9: 1-16, 2006.

Kokuritsu gekijô no gagaku 'fukugen' purojekuto (project) ni okeru 'dentô' he no chousen (A challenge to the gagaku tradition: the 'reconstruction' project of National Theater Japan). 国立劇場の雅楽「復元」プロジェクトにおける「伝統」への挑戦Kokusai bunkagaku kenkyû 27:51-81, 2007.

'Chintai' to 'fukyû' to iu gensetsu: zasshi "Gagaku" kara shirareru Gagaku fukyûkai no katsudou to sono igi._ (Activities of Gagaku fukyûkai: the discourses of 'stagnation' and 'dissemination' of gagaku). Nihon bunkaron nenpô 10: 47-75, 2007.

1940 nendai zenhan no gagaku rokuon ni okeru tôgaku no tempo: Kokusai Bunka Shinkôkai seisaku record "Nihon Ongaku-shû" wo megutte 'Tempo and phrasing of the gagaku in 1940s: focusing on the 78-rpm records 'The Album of Japanese Music' produced by Kokusai Bunka Shinkôkai). 1940年代前半の雅楽録音における唐楽のテンポ: 国際文化振興会制作レコード『日本音楽集』をめぐってKokusai bunkagaku kenkyû 30:1-29, 2008.

Mou hitotsu no gagaku denshou: Garyô-kai to Osaka kindai (Another gagaku tradition: Garyôkai and modern period of Osaka). Nihon bunkaron nenpô 12: 1-22, 2009.

Edo jidai ni okeru gagaku denshou no ryûha (josetsu): Keichô hachinen Kyoto gakunin chizu (Schools of gagaku traditions: mapping musicians in 1603 Kyoto). Nihon bunkaron nenpô 13: 21-42, 2010.

Tôgi Kaneyori sen "Ryûteki suien no koto" to Edo jidai shoki no ryûteki no keitou (The musical treatise "Ryûteki suien no koto" and the schools of the ryûteki flute tradition in the Eearly Edo period. 東儀兼頼撰『龍笛吹艶之事』と江戸時代初期の龍笛の系統Kokusai bunkagaku kenkyû 34: 1-43, 2010.

Edo jidai no gakke to ongaku denshô no aidentiti (identity): ryûteki to hichiriki no shôga wo chûshin ni (Family lineage and musical tradition in the Edo period's gagaku: focusing on mnemonic sounds of ryûteki and hichiriki. 江戸時代の「楽家」と音楽伝承のアイデンティティ：龍笛と篳篥の唱歌を中心にKokusai bunkagaku kenkyû 37: 44-49, 2011.

Keiougannen saikou Gion rinjisai dokyumento (document): geinou ni shouten wo atete (A document of the revived Gion rinjisai in 1865: focusing on performing arts). 慶応元年再興祇園臨時祭ドキュメント：芸能に焦点を当ててNihon bunkaron nenpô 15: 15-43, 2012.

A study on "Einige Notizen über japanische Musik" written by Benjamin Karl Leopold Müller. レオポルト・ミュルレルの『日本音楽に関するノート』について Kokusai bunkagaku kenkyû. 40: 25-72. 2013.

Gendai baree (ballet) "Kaguyahime" wo meguru shoron: nihon no gakki wo mochiiru ongaku no ninshiki ni tsuite (A study on a contemporary ballet piece "Kaguyahime": how performers recognize Japanese sounds). 現代バレエ〈輝夜姫〉をめぐる小論〜日本の楽器を用いる音楽の認識についてKokusai bunkagaku kenkyû. 41: 55-85. 2013.

Robert Grafias-shi ni kiku (An interview with Robert Garfias). Nihon bunkaron nenpô 17: 41-75, 2014.

Gakunin no ryouchi kenbun: shishutsu shiryou Heguri-cho "Shimogawara-ke monjo" yori 楽人の領地検分〜新出史料・平群町「下河原家文書」より(A study on gagaku musicicians' economic activity as feudal lords: referring to the newly discovered documents of Shimogawara family in Heguri town). Kokusai bunkagaku kenkyû. 43: 47-101. 2015.

Nagoya ni okeru gagaku densho no ichidanmen: bakumatsu kara Meiji e 名古屋における雅楽伝承の一断面〜幕末から明治へ(A study on the gagaku tradition in Nagoya: from late Edo to early Meiji periods). Nihon bunkaron nenpô 18: 17-53, 2015.

Ekkyou suru gagaku: kaigai no daigaku karikyuramu ni oteru nihon dento ongaku 越境する雅楽〜海外の大学カリキュラムにおける日本伝統音楽 (Gagaku crossing boundaries: Japanese traditional music in the ethnomusiclogical programs at universities abroad) Kokusai bunkagaku kenkyû. 44: 1-28. 2015.

Edo jidai no gagaku densho: gakunin to gakudan no aidentiti (identity) no kanten kara (An analysis on the gagaku tradition in the Edo period: focusing on performing context and musicians' identity). Meiji seitoku kinen gakkai kiyou (Meiji Japan Society) . 52: 116-187. 2015.

Interview with Robert Garfias. Kokusai bunkagaku kenkyu. 46: 91-120. 2016.

Chiran-taihei no hibiki: Kigen nisen roppyakunen shinsaku bugaku "Yûkyû" and "Shôwaraku" (Sounds of 'war and peace': new bugaku pieces "Yûkyû" and "Shôwarak" created for Kigen nisen roppyakunen in 1940). Tôyô ongaku kenkyû. 81: 1-24. 2016.

'Be a costume hanger' : the aesthetics of imperial bugaku dance of Japan. Kokusai bunkagaku kenkyû. 49: 83-103. 2017.

Dento geino wo toru: Kokusai bunka shikokai seisaku bunka-eiga "Bugaku." 伝統芸能を撮る〜国際文化振興会製作文化映画『舞楽』 (Filming a traditional performing art: a cultural film "Bugaku" produced by Kokusai bunka shinkokai (KBS)). Kokusai bunkagaku kenkyu. 51: 1-19. 2018.

Edo-jo ni okeru bugaku joen no kiroku: Diaei hakubutsukanzo "Bugaku-no-zu" to gaka no me. 江戸城における舞楽上演の記録〜大英博物館蔵『舞楽之圖』と画家の眼 (A record of Bugaku performance at Edo Castle: "Bugaku-no-zu" preserved at British Museum and the painter's focus). Nihon bunkaron nenpô 22: 9-44. 2019.

Tsushimajinja 'daidaikô-kagura' no rekishiteki hensen: geino no 'chuoka' to 'chiikisei' 津島神社「太々講神楽」の歴史的変遷〜芸能の「地域性」と「中央化」(A study on the sacred dance daidaikô-kagura at Tsushima-jinja shrine: from the viewpoint of‘ locality’ and‘ centralization’ of performing arts). Kokusai bunkagaku kenkyû. 53: 1-36. 2019.

Toshi no hatten to ongaku kankyô no henka: kindai Nagoya ni okeru gakkishô no katsudô 都市の発展と音楽環境の変化〜近代名古屋における楽器商の活動 (Development of a city and musical circumstance: the activities of merchants and craftsmen of musical instruments in the modern period of Nagoya). Nihon bunkaron nenpô 23: 31-53, 2020.

'Gotôchi gagaku' no seisei: Nagoya ni okeru "Sakurabito" no hakken「ご当地雅楽」の生成〜名古屋における〈桜人〉の発見 ('Discovery' of a saibara song "Sakurabito" in Nagoya: creation of local gagaku tradition) . Nihon bunkaron nenpô 24: 35-49, 2021.

Meiji-ki gakunin sabaibaru: kyû Nanto-kata gakke Higashi-ke monjo kara 明治期楽人サバイバル : 旧南都方楽家・東家文書から (Gagaku musicians' survival in the Meiji period: a case study of Higashi family's activity in Nara). Kokusai bunkagaku kenkyû. 55: 39-76. 2021.

Kasugashaden "Yamato-uta" no ongaku kôzô: Nanto-kata gakke Higashi-ke kûyzô gakufu no bunseki ni motozuite 春日社伝〈倭歌〉の音楽構造〜南都方楽家・東家伝来楽譜の分析に基づいて (A study on the musical structure of the Yamato-uta songs of Kasuga-taisha shrine: focusing on the notations preserved in a gagaku musician Higashi famly in Nara). Kokusai bunkagaku kenkyû. 57: 1-36. 2022.

Kindai sôsaku miko-kagura no ongakuteki kôsatsu: "Yamato-mai," "Suzu-mai," "Urayasu-no-mai"wo chûshin ni 近代創作巫女神楽の音楽的考察：八雲舞、鈴舞（真澄鏡）、浦安の舞を中心に (A study on the musical characteristics of modern miko-kagura (shrine maiden dance): focusing "Yamato-mai," "Suzu-mai," and "Urayasu-no-mai" created by Ôno Tadatomo). 58: 1-57. 2022.

Momijiyama gakunin Tôgi Kanenaga-ke monjo "Kaden" to "Kaden ichiranki." 紅葉山楽人東儀兼長家文書『家傳』と『家傳一覧記』(On the genealogies 'Kaden' and 'Kaden ichiranki' preserved in Tôgi family of Momijiyama-gakunin served at Edo.)Kokusai bunkagaku kenkyû. 59: 1-33. 2023.

Koma Chikaie (Chikahiro) sen "Komashi shinroku" no seiritsu ni tsuite: Arai hakuseki to Chôsen tsûshinshi tono kankei kara saguru.狛近家（近寛）撰『狛氏新録』の成立について : 新井白石と正徳度朝鮮通信使との関係から探る (On the formationa of the gagaku document "Komashi shinroku" edited by Koma Chikaie (Chikahiro): explored in relation to Arai Hakuseki and Korean envoy arrived in 1711). Nihon bunkaron nenpô 26: 15-60, 2023.

A study on the historical documents "Kaden (Genealogy)" and "Kaden ichiranki (List of genealogies)" preserved in Tôgi Kanenaga family (「紅葉山楽人東儀兼長家文書『家傳』と『家傳一覧記』」 )Kokusai bunkagaku kenkyû 59: 1-33, 2023.

The process of the dissemination of gagaku in the Meiji period under Shizuoka prefecture: based on the analysis of the diary of Ōi Sugamaro (明治期、静岡県下の雅楽の広がりについて : 大井菅麿の日記を中心に)『国際文化学研究』61:1-46, 2024.

AUDIO-VISUAL MATERIALS

Japanese Traditional Music: Gagaku, Buddhist Chant Kokusai Bunka Shinkokai 1941 (CD, annotation). New York: World Arbiter Records, 2008.

Japanese Traditional Music: Noh, Biwa, Shakuhachi. Kokusai Bunka Shinkôkai 1941. (CD annotation) New York: World Arbiter Records. 2009.

Japanese Traditional Music: Koto Shamisen. Kokusai Bunka Shinkôkai 1941. (CD annotation) New York: World Arbiter Records. 2011.

Japanese Traditional Music: Shamisen and Songs. Kokusai Bunka Shinkôkai 1941. (CD annotation) New York: World Arbiter Records. 2013.

Japanese Traditional Music: Songs of people at work and play. Kokusai Bunka Shinkôkai (CD annotation) New York: World Arbiter Records. 2016.