Noriko Manabe
Biographic Data
| ID | 243488 |
|---|---|
| NAME | Noriko Manabe |
| GIVEN NAMES | Noriko |
| FAMILY NAME | Manabe |
| SIGNATURE | MANABE N |
| AFFILIATIONS | Temple University |
| ORCID | 0000-0002-6970-4570 |
| VERIFIED | Yes |
| TOTAL WORKS | 17 |
| TOTAL CITATIONS | 18 |
| AUTHOR COUNT | 15 |
| EDITOR COUNT | 2 |
| FIRST PUBLICATION YEAR | 2006 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 2 |
Coloquio. Palimpsestos de la resistencia: Memoria, intertextualidad y significación en las canciones políticas de América Latina
Noriko Manabe Indiana University, Jacobs School of Music [email protected] Eileen Karmy Departamento de Artes Integradas de la Facultad de Arte, Universidad de Playa Ancha Núcleo Milenio en Prácticas Actuales de la Música Clásica, Animupa [email protected] Catalina Sentis Pontificia Universidad Católica de Chile [email protected] Emanuel Ramírez Jaramillo Pontificia Universidad Católica de Chile [email protected] Cristóbal Allende Núcleo de Sociología…
The Oxford Handbook of Protest Music
This handbook is currently in development, with individual articles publishing online in advance of print publication. At this time, we cannot add information about unpublished articles in this handbook; however, the table of contents will continue to grow as additional articles pass through the review process and are added to the site. Please note that the online publication date for this handbook is the date that the first article in the title …
We Gon' Be Alright? The Ambiguities of Kendrick Lamar's Protest Anthem
The best-known track on Kendrick Lamar'sTo Pimp a Butterfly, "Alright" has come to be regarded as a protest anthem, fueled by Lamar's charged performances of the song at the BET Awards and the Grammys, and by accolades from the press that cite its political importance. This article argues that the actual musical track is ambiguous and open to several interpretations. To support this idea, I first explore the process through which the track came i…
It's Our Turn to Be Heard: The Life and Legacy of Rapper-Activist ECD (1960-2018)
History tends to memorialize the stars and leaders, yet both musical and social movements are also made possible by people who work in the background, organize, seed trends, and otherwise help make things happen. The Japanese rap pioneer and activist ECD, who passed away on January 24, 2018, was neither the earliest nor most commercially successful rapper, and he would have eschewed calling himself a leader of any protest group. Nonetheless, he w…
Supercell's Supercell featuring Hatsune Miku
The lead singer on Supercell’s eponymous first album is Hatsune Miku—a Vocaloid character created by Crypton Future Media with voice synthesizers. A virtual superstar, over 100,000 songs, uploaded mostly by fans, are attributed to her. Supercell is a Japanese creator music group with the composer Ryo leading ten artists, who design album illustrations and make music videos. These videos are uploaded onto Niconico and other video-sharing sites. By…
Streaming Music in Japan: Corporate Cultures as Determinants of Listening Practice
Although Japan led the world in the adoption of mobile-phone consumer culture (e.g. ringtones) in the 1990s to late 2000s, it now lags behind in the adoption of streaming formats. Why has streaming music been slower to catch on in Japan? Pre-existing conceptions of old media, such as a Japanese tendency to listen to radio less often and radio stations that do not specialise in a particular genre, made Pandora-style, DJ-less online radio a less co…
The Revolution Will Not Be Televised: Protest Music After Fukushima
Japan is a difficult place to express antinuclear views: Much of the media avoids antinuclear viewpoints, and the culture discourages controversial opinions. Drawing from the author's ethnography since 2011 and interviews with key musicians and activists, this book examines the structures that inhibit political expression, and how musicians work within or usurp the constraints of performance spaces. While American musicians regularly attract publ…
Japanese Elections: The Ghost of Constitutional Revision and Campaign Discourse
While the high drama of the Brexit vote and the U.S. presidential election has grabbed international headlines, Japan has quietly completed an election that may also have far-reaching implications. In the elections for the Upper House of the Diet (Japan's parliament) on July 10, the ruling Liberal Democratic Party (LDP) and its coalition partners won 162 seats, which, together with Diet seats not up for election and the seats of sympathetic but u…
Uprising: Music, youth, and protest against the policies of the Abe Shinzō government
The passage of the Act on Protection of Specified Secrets (Secrecy Law) in Japan on December 6, 2013 was a turning point for many antinuclear and anti-discrimination activists, causing them to shift their energies to protesting Prime Minister Abe Shinzō's policies. This law, which would jail people for inquiring about state secrets even if those secrets had not been so identified, has been flagged by the UN Human Rights Council and the Japan Fede…
Representing Japan: National' style among Japanese hip-hop DJs
Based on ethnographic interviews, this paper examines how Japanese hip-hop DJs distinguish themselves in the global marketplace in ways that reflect on Japan's two self-images: its impenetrable uniqueness and its adeptness at assimilating other cultures (cf. Ivy, Iwabuchi). Following the autoexoticist strategies of Takemitsu and Akiyoshi, DJ Krush and Shing02 draw on Japanese uniqueness by integrating Japanese instruments (e.g.shakuhachi, shamise…
Music in Japanese Antinuclear Demonstrations: The Evolution of a Contentious Performance Model
Since Japan's triple disaster of March 11, 2011, music has served to inform and give voice to unspoken opinions in several spaces-cyberspace, recordings, festivals and concerts, and public demonstrations. In particular, music has been an integral part of antinuclear demonstrations: here, music functions not only as an expression to be heard, but also-and perhaps more importantly-as a mechanism for encouraging participation and building solidarity…
Straight Outta Ichimiya: The Appeal of a Rural Japanese Rapper
Dengaryū (Tamura Takashi, b. 1982) is one of the breakout Japanese rappers of 2012. Several music journals, including Japan's longest-running popular music magazine, Music Magazine, as well as the web journal Ototoy, have anointed his second album, B kyū eiga no yōni 2, the best hip-hop album of the year. As the music critic Futatsugi Shin wrote in his year-end assessment in Music Magazine, "[Dengaryū] throws himself full-force, dealing with poli…
Cuban Zarzuela: Performing Race and Gender on Havana's Lyric Stage (review)
Reviewed by: Cuban Zarzuela: Performing Race and Gender on Havana's Lyric Stage Noriko Manabe Susan Thomas . Cuban Zarzuela: Performing Race and Gender on Havana's Lyric Stage. Urbana and Chicago, IL. University of Illinois Press, 2009. Photos, musical examples, notes, bibliography, discography, index. 250 pp. ISBN: 978-0-252-03331-5. The cover graphic of Susan Thomas's monograph neatly sums up its approach: it is a composite of four photos of Ri…
The No Nukes 2012 Concert and the Role of Musicians in the Anti-Nuclear Movement
On July 7-8, 2012, a two-day mass rock concert called No Nukes 2012 was held in the Makuhari Messe Convention Center in Chiba, near Tokyo. The organizer was Sakamoto Ryuichi, member of the groundbreaking Japanese technopop group Yellow Magic Orchestra (YMO) and Academy Award-winning composer. Profits from the concert were donated to Sayonara Genpatsu 1000 Man Nin Akushon (Citizens' Committee for the 10 Million People's Petition to say Goodbye to …
Reinterpretations of the Son: Versions of Guillén's Motivos de son by Grenet, García Caturla, and Roldán
This paper analyzes and compares the reinterpretations of the Cuban son by Nicolás Guillén in Motivos de son and their settings by Eliseo and Emilio Grenet, Alejandro García Caturla, and Amadeo Roldán. Their distinct interpretations reflect the composers' divergent conceptions of the Afrocubanismo movement of the 1920s and 30s. For the Grenets, Afrocubanismo was an exotic style to be incorporated into popular songs for the theater and the salon; …
New-Technologies, Industrial Structure, and the Consumption of Music in Japan
New Technologies, Industrial Structure, and the Consumption of Music in Japan Noriko Manabe (bio) Introduction As discussed by Wallis (2006), Burnett (1996), and others, the music business has had the power to influence what music is heard through collaboration with the media industries and access to marketing channels. Technological changes have often transformed these systems for both consumers and for corporations. The last eight years have br…
Globalization and Japanese Creativity: Adaptations of Japanese Language to Rap
Research Article| January 01 2006 Globalization and Japanese Creativity: Adaptations of Japanese Language to Rap Noriko Manabe Noriko Manabe Search for other works by this author on: This Site Google Ethnomusicology (2006) 50 (1): 1–36. https://doi.org/10.2307/20174422 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation Noriko Manabe; Globalization and Japanese Creativity: Adaptations of Japanese Lang…
The Revolution Will Not Be Televised: Protest Music After Fukushima
Japan is a difficult place to express antinuclear views: Much of the media avoids antinuclear viewpoints, and the culture discourages controversial opinions. Drawing from the author's ethnography since 2011 and interviews with key musicians and activists, this book examines the structures that inhibit political expression, and how musicians work within or usurp the constraints of performance spaces. While American musicians regularly attract publ…
Globalization and Japanese Creativity: Adaptations of Japanese Language to Rap
Research Article| January 01 2006 Globalization and Japanese Creativity: Adaptations of Japanese Language to Rap Noriko Manabe Noriko Manabe Search for other works by this author on: This Site Google Ethnomusicology (2006) 50 (1): 1–36. https://doi.org/10.2307/20174422 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation Noriko Manabe; Globalization and Japanese Creativity: Adaptations of Japanese Lang…
Representing Japan: National' style among Japanese hip-hop DJs
Based on ethnographic interviews, this paper examines how Japanese hip-hop DJs distinguish themselves in the global marketplace in ways that reflect on Japan's two self-images: its impenetrable uniqueness and its adeptness at assimilating other cultures (cf. Ivy, Iwabuchi). Following the autoexoticist strategies of Takemitsu and Akiyoshi, DJ Krush and Shing02 draw on Japanese uniqueness by integrating Japanese instruments (e.g.shakuhachi, shamise…
We Gon' Be Alright? The Ambiguities of Kendrick Lamar's Protest Anthem
The best-known track on Kendrick Lamar'sTo Pimp a Butterfly, "Alright" has come to be regarded as a protest anthem, fueled by Lamar's charged performances of the song at the BET Awards and the Grammys, and by accolades from the press that cite its political importance. This article argues that the actual musical track is ambiguous and open to several interpretations. To support this idea, I first explore the process through which the track came i…
Music in Japanese Antinuclear Demonstrations: The Evolution of a Contentious Performance Model
Since Japan's triple disaster of March 11, 2011, music has served to inform and give voice to unspoken opinions in several spaces-cyberspace, recordings, festivals and concerts, and public demonstrations. In particular, music has been an integral part of antinuclear demonstrations: here, music functions not only as an expression to be heard, but also-and perhaps more importantly-as a mechanism for encouraging participation and building solidarity…
New-Technologies, Industrial Structure, and the Consumption of Music in Japan
New Technologies, Industrial Structure, and the Consumption of Music in Japan Noriko Manabe (bio) Introduction As discussed by Wallis (2006), Burnett (1996), and others, the music business has had the power to influence what music is heard through collaboration with the media industries and access to marketing channels. Technological changes have often transformed these systems for both consumers and for corporations. The last eight years have br…
Globalization and Japanese Creativity: Adaptations of Japanese Language to Rap
Research Article| January 01 2006 Globalization and Japanese Creativity: Adaptations of Japanese Language to Rap Noriko Manabe Noriko Manabe Search for other works by this author on: This Site Google Ethnomusicology (2006) 50 (1): 1–36. https://doi.org/10.2307/20174422 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation Noriko Manabe; Globalization and Japanese Creativity: Adaptations of Japanese Lang…
New-Technologies, Industrial Structure, and the Consumption of Music in Japan
New Technologies, Industrial Structure, and the Consumption of Music in Japan Noriko Manabe (bio) Introduction As discussed by Wallis (2006), Burnett (1996), and others, the music business has had the power to influence what music is heard through collaboration with the media industries and access to marketing channels. Technological changes have often transformed these systems for both consumers and for corporations. The last eight years have br…
Reinterpretations of the Son: Versions of Guillén's Motivos de son by Grenet, García Caturla, and Roldán
This paper analyzes and compares the reinterpretations of the Cuban son by Nicolás Guillén in Motivos de son and their settings by Eliseo and Emilio Grenet, Alejandro García Caturla, and Amadeo Roldán. Their distinct interpretations reflect the composers' divergent conceptions of the Afrocubanismo movement of the 1920s and 30s. For the Grenets, Afrocubanismo was an exotic style to be incorporated into popular songs for the theater and the salon; …
Cuban Zarzuela: Performing Race and Gender on Havana's Lyric Stage (review)
Reviewed by: Cuban Zarzuela: Performing Race and Gender on Havana's Lyric Stage Noriko Manabe Susan Thomas . Cuban Zarzuela: Performing Race and Gender on Havana's Lyric Stage. Urbana and Chicago, IL. University of Illinois Press, 2009. Photos, musical examples, notes, bibliography, discography, index. 250 pp. ISBN: 978-0-252-03331-5. The cover graphic of Susan Thomas's monograph neatly sums up its approach: it is a composite of four photos of Ri…
The No Nukes 2012 Concert and the Role of Musicians in the Anti-Nuclear Movement
On July 7-8, 2012, a two-day mass rock concert called No Nukes 2012 was held in the Makuhari Messe Convention Center in Chiba, near Tokyo. The organizer was Sakamoto Ryuichi, member of the groundbreaking Japanese technopop group Yellow Magic Orchestra (YMO) and Academy Award-winning composer. Profits from the concert were donated to Sayonara Genpatsu 1000 Man Nin Akushon (Citizens' Committee for the 10 Million People's Petition to say Goodbye to …
Representing Japan: National' style among Japanese hip-hop DJs
Based on ethnographic interviews, this paper examines how Japanese hip-hop DJs distinguish themselves in the global marketplace in ways that reflect on Japan's two self-images: its impenetrable uniqueness and its adeptness at assimilating other cultures (cf. Ivy, Iwabuchi). Following the autoexoticist strategies of Takemitsu and Akiyoshi, DJ Krush and Shing02 draw on Japanese uniqueness by integrating Japanese instruments (e.g.shakuhachi, shamise…
Music in Japanese Antinuclear Demonstrations: The Evolution of a Contentious Performance Model
Since Japan's triple disaster of March 11, 2011, music has served to inform and give voice to unspoken opinions in several spaces-cyberspace, recordings, festivals and concerts, and public demonstrations. In particular, music has been an integral part of antinuclear demonstrations: here, music functions not only as an expression to be heard, but also-and perhaps more importantly-as a mechanism for encouraging participation and building solidarity…
Straight Outta Ichimiya: The Appeal of a Rural Japanese Rapper
Dengaryū (Tamura Takashi, b. 1982) is one of the breakout Japanese rappers of 2012. Several music journals, including Japan's longest-running popular music magazine, Music Magazine, as well as the web journal Ototoy, have anointed his second album, B kyū eiga no yōni 2, the best hip-hop album of the year. As the music critic Futatsugi Shin wrote in his year-end assessment in Music Magazine, "[Dengaryū] throws himself full-force, dealing with poli…
Uprising: Music, youth, and protest against the policies of the Abe Shinzō government
The passage of the Act on Protection of Specified Secrets (Secrecy Law) in Japan on December 6, 2013 was a turning point for many antinuclear and anti-discrimination activists, causing them to shift their energies to protesting Prime Minister Abe Shinzō's policies. This law, which would jail people for inquiring about state secrets even if those secrets had not been so identified, has been flagged by the UN Human Rights Council and the Japan Fede…
Streaming Music in Japan: Corporate Cultures as Determinants of Listening Practice
Although Japan led the world in the adoption of mobile-phone consumer culture (e.g. ringtones) in the 1990s to late 2000s, it now lags behind in the adoption of streaming formats. Why has streaming music been slower to catch on in Japan? Pre-existing conceptions of old media, such as a Japanese tendency to listen to radio less often and radio stations that do not specialise in a particular genre, made Pandora-style, DJ-less online radio a less co…
The Revolution Will Not Be Televised: Protest Music After Fukushima
Japan is a difficult place to express antinuclear views: Much of the media avoids antinuclear viewpoints, and the culture discourages controversial opinions. Drawing from the author's ethnography since 2011 and interviews with key musicians and activists, this book examines the structures that inhibit political expression, and how musicians work within or usurp the constraints of performance spaces. While American musicians regularly attract publ…
Japanese Elections: The Ghost of Constitutional Revision and Campaign Discourse
While the high drama of the Brexit vote and the U.S. presidential election has grabbed international headlines, Japan has quietly completed an election that may also have far-reaching implications. In the elections for the Upper House of the Diet (Japan's parliament) on July 10, the ruling Liberal Democratic Party (LDP) and its coalition partners won 162 seats, which, together with Diet seats not up for election and the seats of sympathetic but u…
Supercell's Supercell featuring Hatsune Miku
The lead singer on Supercell’s eponymous first album is Hatsune Miku—a Vocaloid character created by Crypton Future Media with voice synthesizers. A virtual superstar, over 100,000 songs, uploaded mostly by fans, are attributed to her. Supercell is a Japanese creator music group with the composer Ryo leading ten artists, who design album illustrations and make music videos. These videos are uploaded onto Niconico and other video-sharing sites. By…
It's Our Turn to Be Heard: The Life and Legacy of Rapper-Activist ECD (1960-2018)
History tends to memorialize the stars and leaders, yet both musical and social movements are also made possible by people who work in the background, organize, seed trends, and otherwise help make things happen. The Japanese rap pioneer and activist ECD, who passed away on January 24, 2018, was neither the earliest nor most commercially successful rapper, and he would have eschewed calling himself a leader of any protest group. Nonetheless, he w…
We Gon' Be Alright? The Ambiguities of Kendrick Lamar's Protest Anthem
The best-known track on Kendrick Lamar'sTo Pimp a Butterfly, "Alright" has come to be regarded as a protest anthem, fueled by Lamar's charged performances of the song at the BET Awards and the Grammys, and by accolades from the press that cite its political importance. This article argues that the actual musical track is ambiguous and open to several interpretations. To support this idea, I first explore the process through which the track came i…
The Oxford Handbook of Protest Music
This handbook is currently in development, with individual articles publishing online in advance of print publication. At this time, we cannot add information about unpublished articles in this handbook; however, the table of contents will continue to grow as additional articles pass through the review process and are added to the site. Please note that the online publication date for this handbook is the date that the first article in the title …
Coloquio. Palimpsestos de la resistencia: Memoria, intertextualidad y significación en las canciones políticas de América Latina
Noriko Manabe Indiana University, Jacobs School of Music [email protected] Eileen Karmy Departamento de Artes Integradas de la Facultad de Arte, Universidad de Playa Ancha Núcleo Milenio en Prácticas Actuales de la Música Clásica, Animupa [email protected] Catalina Sentis Pontificia Universidad Católica de Chile [email protected] Emanuel Ramírez Jaramillo Pontificia Universidad Católica de Chile [email protected] Cristóbal Allende Núcleo de Sociología…
Sociology (9 works) · Art (8 works) · Political science (6 works) · Asian Culture and Media Studies (5 works) · Computer Science (5 works) · Music History and Culture (5 works) · Aesthetics (4 works) · Law (4 works) · Literature (4 works) · Visual arts (4 works)