Iemoto system: a psycho-cultural phenomenon in practice and its effect on musical transmission in Japan
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2007
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University of Hawaii at Manoa
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A wave of modernity affecting the populace of Japan is causing a tum towards Western and popular musical arts. Yet, underneath the trends towards "other" artistic pursuits is a "psycho-cultural" (Hsu 1975:xi) approach that permeates the artistic activities of Japan commonly referred to as the iemoto system. In contrast to the West, where its members of society act far more individualistically and are far less pliant to authority, in Japan, duties and obligation to others takes precedence over personal enjoyment and comfort. The iemoto system is a direct product of this all-important virtue in Japan. It touches every level of Japanese society with the title of "sensei" being given special reverence in any medium. The system itself even stands as a validation of the arts in its partial or full implementation. The objective of this paper is to present and compare the historical and the contemporary elements of the iemoto system as it is employed in the sankyoku (chamber music) tradition. The paper will show how the traditional model as a standard measures against present day practice. The paper is a result of the culmination of participation and first hand observation in the sankyoku iemoto infrastructure, direct interviews conducted in the fall of 2002 specifically soliciting insider perspectives, and the presentation of original source material collected from questionnaires disseminated at that time. Ultimately, such observation of the trends in the organization and transmission of the practice of music enriches the field of study of Japan and its cultural activities ~ well as a more nuanced view of modern and traditional identities.
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Theses for the degree of Master of Arts (University of Hawaii at Manoa). Music; no. 3462
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