The Palgrave handbook of music and sound in Japanese animation / Marco Pellitteri, editor.

Format:

Book

Contributor:

Pellitteri, Marco, 1974- editor.

ProQuest ebook central

Series:

Palgrave studies in sound 2633-5883

Palgrave studies in sound, 2633-5883

Language:

English

Subjects (All):

Anime (Motion pictures)--Japan.

Anime (Motion pictures).

Anime (Television programs)--Japan.

Anime (Television programs).

Sound in motion pictures.

Animated film music--Japan.

Animated film music.

Animated television music--Japan.

Animated television music.

Mass media.

Physical Description:

1 online resource (c, 1040 pages) : illustrations (some color).

Place of Publication:

Singapore : Palgrave Macmillan, [2024]

Contents:

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: Shiftingpractice, 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 inShin-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.

Notes:

Includes bibliographical references and index.

Electronic reproduction. Ann Arbor, MI Available via World Wide Web.

Online resource; title from PDF title page (SpringerLink, viewed September 20, 2024).

ISBN:

9789819704293

9819704294

Publisher Number:

90100873435

Access Restriction:

Restricted for use by site license.