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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 anime's 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 Tōei Dōga (1956) -- Chapter 7. Early history / 3: Shiftingpractice, industry, and ideology in the first decade of TV anime songs (1962-72) From Torirō Miki to Michiaki Watanabe -- PART II. Music and sound for animation in Japan from the 1970s to the 2010s -- Chapter 8. Scoring Japan's pasts and futures / 1: Legends, folklore, monsters, and his-torical drama -- Chapter 9. Scoring Japan's 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 Japan's pasts and futures / 3: The soundtrack of Shunsuke Kikuchi for UFO Robo Grendizer. Composition and selection criteria -- Chapter 11. Transcultural musical encounters / 1: Jō Hisaishi and Yūji Nomi. Variation, citation, and emulation -- Chapter 12. Transcultural musical encounters / 2: A cultural history of Dvořák's Largo from Meiji era to anime -- Chapter 13. Transcultural musical encounters / 3: Kōji Morimoto, Yōko 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: Geinō 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: Kōji Yamamura and Satoshi Kon -- Chapter 19. Authorship in music and sound design / 5: Tenmon and his musics for Ma-koto Shinkai's 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 anime's re-dubbing in Italy, France, Germany, and Spain -- Chapter 31. Anime's impact on pop music in the two European leading markets / 1: France -- Chapter 32. Anime's 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: Music's 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 Kentarō 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. |