A Study On The Chikuzen Biwa And Inheritance System Of Japan With A Focus On The Yashima Biwa

This dissertation has chosen the Chikuzen Pipa of Biwa as its research target with a focus on the Yashima School of Biwa in Nagoya while exploring the unique succession system in Japan. It is consisted of five chapters in addition to the introduction chapter and the conclusion chapter.A literature review on the studies of the Japanese Chikuzen Biwa can be found in the Introductory Chapter. Moreover, I have briefly pointed out what needs to be improved on the topic and what contributions has been made by this dissertation.Chapter One gives an account of the historical development of Chikuzen Biwa, including its formation, musical types, the shape of Chikuzen Biwa, as well as its musical score. It emphasizes that all of these elements above had a great impact in terms of the formation of Chikuzen Biwa, especially its performance style which exhibits much similarities as compared with the Hike Biwa and the Japanese blinded monk Biwa. Similarities and differences between the Chikuzen Biwa music and other contemporary Japanese Biwa music are thus clearly presented.Chapter Two examines the unique succession system or Iemoto system in historical Japan and its practices in the Biwa music. Through a systematical account of and analysis on the relevant studies on the topic with large number of Biwa musical score amassed, this dissertation further explores the background and characteristics of Chikuzen Biwa Iemono system. It points out that the Chikuzen Biwa music has embraced different types and schools of Japanese music while maintaining its uniqueness. And similar to other Japanese performing arts, its major succession belongs to the Japanese Iemono system.Chapter Three observes and analyzes the formation of Yashima School of Biwa in Nagoya, the role played by the Iemoto system including its function and maintenance, organization, operation, musical score and composition, teaching and succession. Through such a case study, this dissertation demonstrates the important role played by the Iemoto system in the succession of Biwa music and performance in Japan.Chapter Four further explores the Iemoto system and its relation to the Yashima School of Biwa with a focus on the Kyokujyo Branch. The author has conducted extensive fieldwork to interview the members and head of this branch while collecting relevant musical scores and primary materials in order to have an in-depth examination of the operation and succession of this particular musical association, which is a new study that has never done before in the academic sector. A number of musical features exhibited by the Yashima School of Chikuzen Biwa in Japan are as a consequence summarized and presented.Chapter Five analyzes the relationship between Japanese performing arts culture, the Iemoto system, aesthetical concept and Chikuzen Biwa in modern Japan, aiming at revealing a wider and deeper social and historical background for the gradual decline of the Chikuen Biwa.The Conclusion Chapter summarizes the key points of previous chapters and the main academic contributions made by this particular study.