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‘A new stereophonic sound spectacular’: Shibuya-kei as transnational soundscape

  • Martin Roberts (a1)
Abstract
Abstract

This paper focuses on Shibuya-kei, a style of independent popular music that emerged in Japan in the late 1980s and which has been influential in the popularisation of J-pop worldwide. Although usually treated as a uniquely Japanese musical genre, Shibuya-kei was from its inception defined by an ostentatious internationalism, fusing jazz, easy listening and bossa nova with British, American and French retro-pop styles. Tracing the international itineraries of Shibuya-kei musicians and the role of Western musicians and labels in promoting it outside Japan, this paper characterises Shibuya-kei not as just another J-pop genre but as a transnational soundscape, a collaborative project produced by a network of musicians circulating between Japan and the UK, the US, France, Germany, Spain and Brazil. As such, the paper suggests, it requires us to rethink the place of the national in relation to popular music.

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This list contains references from the content that can be linked to their source. For a full set of references and notes please see the PDF or HTML where available.

J. Connell , and C. Gibson 2003. Sound Tracks: Popular Music, Identity and Place (London and New York, Routledge)

D. Morley , and K. Robbins 1995. ‘Techno-Orientalism: Japan panic’, in Spaces of Identity: Global Media, Electronic Landscapes and Cultural Boundaries (London, Routledge), pp. 147–73


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Popular Music
  • ISSN: 0261-1430
  • EISSN: 1474-0095
  • URL: /core/journals/popular-music
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