Jay Keister

Biographic Data

ID203083
NAMEJay Keister
GIVEN NAMESJay
FAMILY NAMEKeister
SIGNATUREKEISTER J
AFFILIATIONSUniversity of Colorado Boulder
VERIFIEDNo
TOTAL WORKS6
TOTAL CITATIONS7
AUTHOR COUNT6
EDITOR COUNT0
FIRST PUBLICATION YEAR2004
LATEST PUBLICATION YEAR2022
H-INDEX2

  • Gagaku, Ensemble OnoTeruhisa Fukuda, maître de shakuhachi. Offrande musicale

    Jay KeisterARTICLEEthnomusicology2022

    These two recent recordings on CD of gagaku court music and shakuhachi honkyoku are reminders of just how demanding Japanese traditional music can be for listeners. Solo shakuhachi playing in the Zen style of the Fuke sect may lure the listener in simply by the unique tone of the five-holed bamboo flute, but such minimal music demands that the listener concentrate on individual sounds themselves. The primacy of the single sound is an essential pa…

  • Resonances of Chindon-ya: Sounding Space and Sociality in Contemporary Japan by Marié Abe

    Jay KeisterARTICLEJournal of Japanese Studies2022

    Reviewed by: Resonances of Chindon-ya: Sounding Space and Sociality in Contemporary Japan by Marié Abe Jay Keister (bio) Resonances of Chindon-ya: Sounding Space and Sociality in Contemporary Japan. By Marié Abe. Wesleyan University Press, 2018. xxvi, 288 pages. $85.00, cloth; $27.95, paper; $22.99, E-book. This is a welcome study of a genre that is routinely overlooked in the ethnomusicology of Japan. Chindon-ya, a modern genre of street band mu…

  • Musical ambition, cultural accreditation and the nasty side of progressive rock

    Open AccessJay Keister, Jeremy Smith et al.ARTICLEPopular Music2008Cited by: 5References: 2

    Progressive rock of the early 1970s has been demonised as a nadir in the history of rock primarily because of the ambitions of progressive rock musicians. Critics have interpreted these ambitions as attempts to elevate rock music to the level of high art in order to gain cultural accreditation from an unspecified cultural elite. This interpretation is further compounded by the common notion that progressive rock's subject matter is dominated more…

  • Okeikoba: Lesson Places as Sites for Negotiating Tradition in Japanese Music

    Jay KeisterARTICLEEthnomusicology2008Cited by: 2

    Research Article| April 01 2008 Okeikoba: Lesson Places as Sites for Negotiating Tradition in Japanese Music Jay Keister Jay Keister Search for other works by this author on: This Site Google Ethnomusicology (2008) 52 (2): 239–269. https://doi.org/10.2307/20174588 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation Jay Keister; Okeikoba: Lesson Places as Sites for Negotiating Tradition in Japanese Mus…

  • Walzenaufnahmen Japanischer Musik/Wax Cylinder Recordings of Japanese Music 1901-1913 (review)

    Jay KeisterARTICLEAsian Music2006

    Reviewed by: Walzenaufnahmen Japanischer Musik/Wax Cylinder Recordings of Japanese Music 1901–1913 Jay Keister (bio) Walzenaufnahmen Japanischer Musik/Wax Cylinder Recordings of Japanese Music 1901–1913. Berliner Phonogramm-Archiv Historische Klangdokumente [Historical Sound Documents]. Series Editor: Artur Simon; Co-editor: Susanne Ziegler. Recordings by Otto Abraham, Erich M. von Hornbostel, Erich Fischer, Erwin Walter, and Heinrich Werkmeister…

  • Shaped by Japanese Music: Kikuoka Hiroaki and Nagauta Shamisen in Tokyo

    Jay Keister, Jay Davis KeisterBOOKShaped by Japanese Music2004

    Shaped by Japanese Music is an in-depth analysis of the musical world of an individual performer, composer, and teacher. Using an ethnographic approach, this study situates musical analysis in the context of its creation, demonstrating that traditional Japanese music is hardly an archaic song form frozen in the present, but an active sociocultural system that has been reproduced in Japan from the seventeenth century to the present day. The dynami…