Hugh De Ferranti

Biographic Data

ID203150
NAMEHugh De Ferranti
GIVEN NAMESHugh
FAMILY NAMEDe Ferranti
SIGNATUREDE FERRANTI H
AFFILIATIONSTokyo Institute of Technology
VERIFIEDNo
TOTAL WORKS18
TOTAL CITATIONS10
AUTHOR COUNT16
EDITOR COUNT2
FIRST PUBLICATION YEAR1994
LATEST PUBLICATION YEAR2020
H-INDEX2

  • Biwa

    Komoda Haruko, Hugh De FerrantiCHAPTERThe new Grove dictionary of music…2020

  • Music, Modernity and Locality in Prewar Japan

    Alison Tokita, Hugh De FerrantiBOOKMusic, Modernity and Locality in…2016

    Contents: Preface Part I Osakan Modernity: the Context: Locating the musics of modern Osaka, Hugh de Ferranti and Alison Tokita Aural Osaka: listening to the modern city, Jeffrey E. Hanes. Part II Creation of a Modern Musical Culture: Marketing the performing arts in Osaka before the 20th century, Gerald Groemer The growth of Western art music appreciation in Osaka during the 1920s, Ueno Masaaki The piano as symbol of modernity in prewar Kansai, …

  • Songs from the Edge of Japan

    Hugh De FerrantiARTICLESocial Science Japan Journal2013Cited by: 1

    The matter of Okinawa impresses itself upon any researcher concerned with Japan’s historical and contemporary musical culture. The southern island region’s traditional music is immediately aurally identifiable through its melodic resources, singing styles and instrumental accompaniment, and this distinctiveness is itself a constant reminder of the ambiguity of the music’s status as ‘Japanese’, given that Okinawa was created as a prefecture in the…

  • Music and Diaspora in the Second Metropolis

    Hugh De FerrantiARTICLEJapanese Studies2009Cited by: 3References: 3

    Greater Osaka, a hub of commerce and industrial production during the interwar period, was the site for rapid development of diaspora communities, whose significant contribution to the regional music-culture has been little documented. This article describes three contexts for music-making among the largest ethnic minorities, the Koreans and Okinawans, on the basis of primary textual, oral and musical sources, as well as an emerging body of writi…

  • Transmission and Textuality in the Narrative Traditions of Blind Biwa Players

    Hugh De FerrantiARTICLEYearbook for Traditional Music2003

    Biwa narrative music continues to be practised in the major cities of modern Japan, but its rural counterpart in Kyushu (south-western Japan), a tradition known as zatô biwa, has all but ceased. Zatô biwa practice is unlike the styles that have developed in urban contexts in both musical and literary aspects. Heike biwa, the tradition of chanting episodes of the medieval Tale of the Heike with biwa accompaniment, and the Chikuzen biwa and Satsuma…

  • Yoshinori Fumon Satsumabiwa

    Silvain Guignard, Fumon Yoshinori et al.ARTICLEYearbook for Traditional Music2003

  • Japanese music' can be popular

    Open AccessHugh De FerrantiARTICLEPopular Music2002Cited by: 6References: 2

    Traditional genres, modern popular music, 'classical' concert music and other styles of music-making in Japan can be viewed as diverse elements framed within a musical culture. Bourdieu's concept of habitus, and Williams' of dominant, residual and emergent traditions, are helpful in formulating an inclusive approach, in contrast to the prevailing demarcation between traditional and popular music research. Koizumi Fumio first challenged the discip…

  • Japanese Instruments and instrumental genres

    Hugh De FerrantiCHAPTERThe new Grove dictionary of music…2001

  • Japan

    Hugh De Ferranti, Shigeo Kishibe et al.CHAPTERThe new Grove dictionary of music…2001

  • Biwa

    Hugh De FerrantiCHAPTERThe new Grove dictionary of music…2001

  • Japanese Musical Instruments

    Bruno Deschênes, Hugh De Ferranti et al.ARTICLEAsian Music2001

  • The Beginnings of Western Music in Meiji Era Japan

    Hugh De Ferranti, Ury Eppstein et al.ARTICLEYearbook for Traditional Music2000

  • Licence to laugh

    Hugh De FerrantiARTICLEMusicology Australia1996References: 1

    In Kyushu, the southernmost of Japan's four main islands, the biwa has been played by blind males both in ritual contexts and as entertainment. The latter, secular narrative tradition continued beyond the early twentieth century only in the central region of Kumamoto, the former domain of Higo. Whereas elsewhere the biwa has been played for rites of various kinds by blind Buddhist priests (mōsō), in rural central Kyushu musicians called biwa hiki…

  • The Way of the Pipa

    Hugh De Ferranti, John Edmund MyersARTICLEEthnomusicology1996

  • Theater as Music

    Hugh De Ferranti, C Andrew Gerstle et al.ARTICLEYearbook for Traditional Music1994

  • The Autobiography of Takahashi Chikuzan. Adventures of a Tsugaru-jamisen Musician

    Hugh De Ferranti, Gerald GroemerARTICLEYearbook for Traditional Music1994

  • Gagaku

    Hugh De Ferranti, Steven G NelsonARTICLEYearbook for Traditional Music1994

  • "Relations between Music and Text in "Higo Biwa

    Hugh De FerrantiARTICLEAsian Music1994

    Hugh de Ferranti, Relations between Music and Text in "Higo Biwa": The "Nagashi" Pattern as a Text-Music System, Asian Music, Vol. 26, No. 1, Musical Narrative Traditions of Asia (Autumn, 1994 - Winter, 1995), pp. 149-174