This handbook fills a substantial gap in the international academic literature on animation at large, on music studies, and on the aural dimensions of Japanese animation more specifically. It offers a unique contribution at the intersection between music and popular culture studies on the one hand, and research on Japanese animated productions (often called anime) as popular art forms and formats of entertainment, on the other. The book is designed as a reference work consisting of an organic sequence of theory-grounded essays on the development of music, sounds, and voices in Japanese animation for cinema and television since the 1930s. Each chapter deals with a phase of this history, focusing on composers and performers, films, series, and genres used in the soundtracks for animations made in Japan. The chapters also offer valuable interviews with prominent figures of music in Japanese animation, as well as chapter boxes clarifying specific aspects.
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 animes 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 Tei Dga (1956).-
Chapter
7. Early history / 3: Shiftingpractice, industry, and ideology in the
first decade of TV anime songs (1962-72). From Torir Miki to Michiaki
Watanabe.- PART II. Music and sound for animation in Japan from the 1970s to
the 2010s.
Chapter
8. Scoring Japans pasts and futures / 1: Legends,
folklore, monsters, and his-torical drama.
Chapter
9. Scoring Japans 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 Japans pasts and futures / 3: The soundtrack of Shunsuke Kikuchi
for UFO Robo Grendizer. Composition and selection criteria.
Chapter
11.
Transcultural musical encounters / 1: J Hisaishi and Yji Nomi. Variation,
citation, and emulation.
Chapter
12. Transcultural musical encounters / 2: A
cultural history of Dvoįks Largo from Meiji era to anime.
Chapter
13.
Transcultural musical encounters / 3: Kji Morimoto, Yko 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: Gein 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: Kji Yamamura
and Satoshi Kon.
Chapter
19. Authorship in music and sound design / 5:
Tenmon and his musics for Ma-koto Shinkais 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 animes re-dubbing in
Italy, France, Germany, and Spain.
Chapter
31. Animes impact on pop music
in the two European leading markets / 1: France.
Chapter
32. Animes 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: Musics 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 Kentar 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.
Marco Pellitteri is associate professor of Media and Communication at Xian Jiaotong-Liverpool University, China. He is the author of several monographs, among which The Dragon and the Dazzle (2010), Mazinga Nostalgia (1999; 4th revised edition 2018), and I manga. Introduzione al fumetto giapponese (Manga: An introduction to Japanese comics, 2021); with H.-w. Wong, he is the editor of Japanese Animation in Asia: Transnational Industry, Audiences, and Success (2021).
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