紀要論文

紀要論文

text

阪大音楽学報. 2020, 16・17, p. 45-62

日本語

text

2020-09-30

This essay aims to provide additional information and further discussion for Moritz Sommet's “Intermediality and the discursive construction of popular music genres：the case of ‘Japanese City Pop,'” which I translated into Japanese. The concept of City Pop, which emerged in the 1980s as mere a commercial catchphrase, has been recontextualized since the 2000s as if it could be traced back to the legendary Japanese rock band HAPPY END. This revival is due not so much to the City Pop musicians themselves as to substantial contributions of music writers who produced exhaustive disc guides on the genre and DJs who rediscovered and organized old recordings. Through this process, “City Pop” has been resurrected as a culturally authentic name for the genre. Today in Japan, secondhand vinyl records produced by those who were referred to as “City Pop” musicians are now fetching high prices, while “Neo City Pop” bands such as cero and Suchmos are also gaining popularity with the public and recognition from critics. Furthermore, in recent years, City Pop has attracted international listeners through YouTube and has been forming a stronger connection with Future Funk, which is an Internet-based dance music scene derived from Vaporwave. Finally, this essay presents further research possibilities for City Pop in light of Sommet's paper.

10.18910/98477

98477

<書評論文>「シティ」たらしめるものは何か？ : シティ・ポップ研究の現状と展望

加藤, 賢

大阪大学文学部・大学院文学研究科音楽学研究室

日本語

2020-09-30

阪大音楽学報

16・17

45

62

https://hdl.handle.net/11094/98477

10.18910/98477

https://doi.org/10.18910/98477