J-POP THE ENERGY BEHIND MUSIC
日本流 行音乐 的能量 CAI SHU JUAN
蔡淑娟
First published 2011 by Asiapac Books Pte Ltd 999 Bendemeer Road #06-08-09 Singapore 339944 Tel: (65) 63928455 Fax: (65) 63926455 http://www.asiapac.com asiapacpteltd@asiapac.com Š 2011 Cai Shu Juan & Asiapac Pte Ltd All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Printed in Singapore 2011. ISBN 981-0-234-73591-4
CONTENTS 目录 1. 2. 3. 4. 5. 6. 7. 8.
MUSIC
音乐
Defining J-Pop Music
日本流行音乐的 定义
IDENTITY
日流音乐特性
Local and Globalized
当地和全球化
YELLOW MUSIC ORCHESTRA
黄乐团
Electro-pop
化工技术流行音乐
HAMASAKI AYUMI
浜崎 歩
Dance Music
舞蹈音乐
ORANGE RANGE
奥兰治范围
J-Rock
日本摇滚
FASHION
时尚
Influence
对时尚的影响
ALBUM COVER ART
专辑封面
Influence
对专辑封面的影响
COMMUNITY
社区
Influence
对社区的影响
1 5 7 11 13 17 19 23
MUSIC 音乐 From mid-1920s, kayokyoku become interchangeable with “mainstream pop”. Kayokyoku is popular music with a “known composer”, implying that previous musical traditions did not always have clear origins. This term is used in the immediate postwar ear and is still in use today to describe what one mostly hears on the television, on the radio and on the oricon charts. The term hogaku (domestic music) is used to some contexts to describe traditional or “classical” japanese music but it also used more widely to describe any music produced and distributed in japan.
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从20年代中 期，kayokyoku成为 可与“主流流行”。 Kayokyoku流行音乐 是一个“著名作曲家”， 这意味着，以前的音乐 传统并不总是有明确的 起源。这个词是用来在 眼前的耳朵，并在战后 沿用至今大多来描述一 个在电视上听到的广播 和在Oricon图表。这个 词Hogaku（国内音乐） 是用来形容某些情况下 传统的或“古典“日本音 乐，但它也更广泛地用 于描述任何在日本生产 和分配的音乐。
MUSIC 音乐
They generally follows the format of introduction, alternation between verses and chorus, verse progression and conclusion; occasional bridge and or change of key. This framework generally describes much of postwar pop music in japan. The surge in popularity of Japanese popular music given rise to yet another term: J-poppu (J-pop). The prefix- “J” is combined with other words to create a hybrid sign that signifies “a Japanese version of something trendy” through the combining of the Anglo signifier of Japanese-ness using Roman letter “J” and another noun. J-WAVE, a radio station was claiming to be the first organization to utilized this strategy in 1988.
一般情况下，他们引进格式在 诗词中的合唱，诗的进展和结 论，变更，或偶尔的桥梁和重 要变化。该框架一般介绍在日 本战后的流行音乐了。在日本 流行音乐的普及产生了长期上 升的又一：日本poppu（日本 流行）。该前缀的“J“是结合 其他的词来创建一个混合的 迹象意味着通过日中英内斯 用罗马字母“J“能和另一个 名词结合“的日文版时尚的东 西。 “日本波，是一家电台自称 是第一个组织利用这一战略在 1988年。
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MUSIC 音乐
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MUSIC 音乐
J-pop rose to fame in the late to early 1990s, when million-seller artists were no longer a rarity to the charts. J-pop as a genre also encompasses specific marketing strategies that utilize a variety of mass media, unavailable to many consumers before the mid-1990s. Technologies like Internet and mobile phone allows J-pop to become part of the global music scene, without its audience ever having to travel overseas to listen or buy the music. J-pop applies to the idol scene and encompasses boy groups and girl groups as well as individual artists. J-pop is constructed of many styles from mellower, folk based pop to funkier dance music and rap-influenced techno-pop. The length is generally three to five minutes. Verses and choruses are easily recognized and reproduced; rhythm is up-tempo for pop, rock or dance music but slower for love or sorrowful ballads. It is only through listening that one truly “feels” the music and interpretation. Another important attribute of J-pop is that its market is “fastpaced”, and its audience is “fickle” and there is a conscious global identity. “J-pop” is widely used by East Asian audiences to describe music from Japan and has become integrated in the wider consumer market that this terminology has recently been transformed to describe other Asian pop cultures like “K-poppu”(Korean popular music and culture).
日本流行一举成名后期到90 年代初，万卖家艺术家们不再 是稀罕的图表。日本作为一个 流派流行还包括具体的营销策 略，利用各种大众传播媒介的， 不可用前90年代中期，许多消 费者。像互联网和移动电话技 术使日本流行，成为全球乐坛 的一部分，没有它曾经聆听到 海外旅行或购买音乐的观众。 日本流行偶像适用于现场，包 括男孩和女孩组团体以及艺术 家个人。日本流行的圆润的构 造，民间流行的多种风格的音 乐和舞蹈来funkier说唱影响 的化工技术流行。 长度一般为 三到五分钟。诗句和合唱团是 容易识别，转载，节奏是注册为 流行，摇滚和舞蹈音乐，而是为 了爱或悲伤情歌慢节奏。只有 通过听，一个真正的“感觉“的 音乐和解释。另一种日本流行 的重要因素是，它的市场是“快 节奏“，它的观众是“善变“和 有意识地全球身份。 “日本流 行“被广泛用于描述东亚观众 来自日本的音乐，并已成为在 更广泛的消费市场整合，这术 语最近被转化为其他类似描述 的“K- poppu“亚洲流行文化 （韩国流行音乐和文化）。
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IDENTITY 特性 Japanese pop for most part is firmly rooted in the cultural capital of Tokyo and Osaka but musicians come from all over Japan. Moving from the periphery to the center, these acts bring an “authentic” representation of American-inspired pop music with the regional image of a sun-kissed, leisurely resortdominated lifestyle that appeals to mainland Japanese audience. The Okinawa Actors School has been successful in exporting a holiday atmosphere through its graduates, presenting a “vacation in a CD” for mainstream audiences.
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日本流行的大部分是牢 牢植根于东京和大阪的 音乐文化，但来自日本 各地来到首都。从外围 向中心移动，这些行为 带来的一个太阳亲吻， 悠然度假为主的生活区 域形象的“正宗”美国 授意的流行音乐的代 表，为内地的日本观众 的上诉。冲绳演员学院 已通过其毕业生在出 口节日气氛，呈现出主 流观众“在CD度假” 成功。
IDENTITY 特性
Regionalism, to this point, has been treated with reference to Tokyo as the center, and the national boundaries of Japan marking the boundary. Japanese music is defined as whenever royalties are paid through record companies, television studios or radio stations to musicians and copyright holders who are Japanese. The definition of Japanese pop music cannot be limited to that which is produced in Japan, because much of it is recorded, mixed and mastered overseas. The practice of recording overseas began n the 1980s when successful Japanese artists gained prestige by working with top engineers in the English-speaking music industry. Thus, Japanese identify of the singer or musician appears to be the most inclusive definition of Japanese-ness in this cultural field. Albums recorded overseas are no less a part of the J-pop repertoire. The focus now returns to the performer: the Japanese identity of the singer or musician appears to be the most inclusive definition of Japanese-ness in this music cultural field. This identity is based o a number of separate attributes. The most prominent is the concept of “Japanese blood” where the individual, through a blood relationship to another Japanese citizen, claims Japanese ethnicity. Fluency in language and culture, as well as residency within national boundaries contributes to the anchoring of an individual’s identity. A few examples are Yuna Ito and Utada Hikaru.
区域主义，这一点，已被视为 参考为中心，东京，日本的国界 标志的边界。日本音乐的定义 是当特许权使用费是通过唱片 公司，电影电视或电台支付给 音乐家和版权持有人谁是日本 人。日本流行音乐的定义不能 仅限于这是在日本生产的，因 为大部分被记录，混合和掌握 海外。海外的录音实践N的20 世纪80年代开始时所取得成功 的日本艺术家与英语为母语的 音乐行业顶尖的工程师工作的 威信。因此，日本确定的歌手 或音乐家，似乎是在这一文化 领域的日本性最具包容性的定 义。 张专辑在海外也同样是在 日本流行艺术的一部分。现在 的重点返回到表演者：在日本 的歌手或音乐家的身份出现在 这个音乐文化领域的日本性最 具包容性的定义。这种身份是 基于办公自动化的独立属性。 最突出的是“日本的血“，其中 通过血液关系到另一个日本公 民个人，声称日本民族的概念。 流利的语言和文化，以及在国 家边界居住有助于个人的身份 锚泊。 有几个例子是伊藤由奈 和宇多田光。
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YELLOW MAGIC ORCHESTRA 黄色魔术乐团 This band was considered one of the selected elite in J-pop to achieve significant international exposure, possibly because of their band’s explicit appeal to a Western taste for the Asian exotic. Yellow Magic Orchestra was active from 1979 to 1984 with a reunion tour in 1993.
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这个乐团是在日本流行 选择精英获得显着的 国际视野，可能是因为 他们的乐队的明确呼吁 亚洲奇特的西方口味之 一。黄色魔术乐团1979 至1984年活跃在1993年 与团聚之旅。
ELECTRO-POP 电子流行音乐
The band were made up of experience musicians, Hosono Harumi formerly from Happy end, Sakamoto Ryuichi who trained at the prestigious Tokyo National University of Fine Arts and Music, and Takahashi Yukihiro formerly from the 1970s glam rock Sadistic Mika Band. Their fans sought to identify with them by purchasing synthesizers to create their own Yellow Magic Orchestra sound at home. Yellow Magic Orchestra was one of the first Japanese artists to be in mainstream music industry while sampling in original composition, which was being integrated in international popular music scene from mid -1980s onwards.
乐队乐手的经验进行了注 册，Hosono晴以前从快乐的 结局，坂本龙一谁在著名的东 京国立大学美术和音乐训练， 和高桥幸以前从20世纪70年 代华丽摇滚虐待狂米卡乐团。 他们的球迷试图找出与他们通 过购买合成器来创建自己的黄 色魔术乐团在回家的声音。黄 色魔术乐团是第一个日本艺术 家之一，在主流音乐行业，同 时在原成分，这是被国际流行 乐坛的整合，从80年代中期开 始采样。
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ELECTRO-POP 电子流行音乐
They broke away from the standard “three chord/blues/guitar/band/love song” stereotype that had dictated both the structure and content of J-pop and rock music in the postwar era. And they had paved the way for other nonconventional bands to find audiences. They had change the way chart topping acts were presented. Their instrumental techno-pop gave them a trendy yet intellectual image that was unique. It also paved way for more avantgarde J-pop music to find substantial audiences as electronic instrumental music was increasingly accepted. 9
ELECTRO-POP 电子流行音乐
他们脱离了标准的“三和弦/ 布鲁斯/吉他/乐队/爱之歌“ 的刻板印象，民政事务总署在 战后支配的结构和歼-流行音 乐和摇滚音乐内容。他们已经 铺平了道路等非常规乐队找到 观众。他们改变金榜行为呈现 方式。他们的仪器化工技术流 行给了他们一个时髦的知识分 子形象，又是独一无二的。它 也铺平了道路，更前卫的方式 日本流行音乐找到大量的电子 器乐的观众越来越接受。
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HAMASAKI AYUMI 滨崎步 Hamasaki Ayumi cosmetic style, bejeweled and stenciled manicures and fashion sense are as much famed as her music. The Hamasaki phenomenon was a totally sensory experience. She is no constructed idol. Since 1999, she has written her own lyrics, allowing her to have creative control over her repertoire and having her say in all artistic and managerial decisions. She represents the adolescent struggle in Japan.
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滨崎步化妆品风格，宝 石和刷指甲和时尚的感 觉一样重要，都是著名 的是她的音乐。该滨崎 步现象是完全的感官体 验。她不是建造的偶像。 自1999年以来，她写了 她自己的歌词，让她在 她的剧目有创意控制和 有她在所有的艺术和管 理决策的机会。她代表 了日本青少年的斗争。
DANCE MUSIC 舞蹈音乐
Her first album, “A Song for XX”, the “XX” in the title suggest the listener to insert any name, personalizing the audience’s experience and also individualizing the singer. dealt mostly with themes of “loneliness and confusion”, as did her second album Loveppears. Duty likewise expressed feelings of disappointment and confusion. Hamasaki began to take on a more global outlook with her following albums I Am... and Rainbow, branching out to wider themes such as faith and peace. Hamasaki main appeal to teenage female audiences lies in her ability to connect with their struggle to reconcile their male side to the feminine identity to socially accepted expectation of their gender role. Her tough emotional side is balanced by her feminine appearance, making her controversial and easily acceptable by the j-pop fanbase. She connects to a collective imagination of young Japanese women who fight against the mainstream as representation by symbols of mature masculinity: the father, the teacher and the boss. In Japanese belief, warriors are of both male and female especially are cultural heroes.
她的第一张专辑“在XX之歌“ ，是“某某“的称号建议听者插 入任何名义，个性化观众的经 验，也是个体化的歌手。大多 以“孤独和混乱“的主题讨论， 就像她的第二张专辑Loveppears。职务也表达了失望和 困惑的感觉。滨崎步开始采取 与她的专辑我下面...更多全球 经济前景和彩虹，分支，如信 仰与和平的更广泛的主题。滨 崎步主要呼吁青少年女性观众 在于她能够与他们的斗争就可 以调和其男性对女性的身份一 边向社会接纳他们的性别角色 期待。她艰难的情感方面是平 衡的她的女性的外表，使她争 议，容易被日本流行球迷成分 可以接受的。她连接到谁作斗 争的青年代表对主流的阳刚之 气的象征成熟的日本妇女集体 想象：父亲，老师和老板。在日 本的信仰，战士是男性和女性 尤其是文化英雄。
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ORANGE RANGE 奥兰治范围 Orange Range is one of the more recent figures in the Okinawa music scene to break through to nationwide stardom. This 5-member band had taken the Okinawa notion of champuru mixed their Asian/Okinawa aesthetics with some American hip-hop and rock and roll. In their song, Rakuyo (setting sun), Okinawa instruments underlay with electric guitar. Orange range represents Japan’s youthful exuberance. Their cultural expressions are not limited to references to Okinawa.
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奥兰治范围是在冲绳乐 坛突破到全国明星更近 的人物之一。这5人乐队 已采取了混合的概念炒 苦瓜冲绳亚洲/冲绳与 一些美国的hip - hop 和摇滚美学。在他们的 歌，Rakuyo（夕阳）， 冲绳文书电吉他衬底。 奥兰治范围代表日本 的年轻的活力。其文化 表现形式不仅限于冲绳 引用。
J-ROCK 日本摇滚
In their album, 1st Contact, they had used some playful references to mainstream Japanese identity using stereotypes of the Self through the Other in tracks such as “Samurai Mania” and “Japaniizu Piipuru”.In the title, “Samurai Mania”, the Japanese word samurai is Anglicized by its representation in katakana rather than the accepted Chinese character. The lyrics revolve around the image of a postmodern “samurai” who crosses time and space effortlessly with sound acting as the blade he brandies. In other words, he is the rapper whose pen is mightier than the sword.
在标题中， “武士工坊”，日本 武士是英国化的词其代表性的 片假名，而不是公认的汉字。 歌词围绕着后现代的形象“武 士”谁跨越时间和空间，他的 声音，叶片白兰地行事费力。 换句话说，他是说唱歌手是谁 的笔比刀剑更强大。 在他们 的专辑，第一接触时，他们用了 一些好玩的参考日本的主流， 通过其他身份使用自定型， 如“武士工坊“和“Japaniizu Piipuru”轨道。
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J-ROCK 日本摇滚
The word play utilizes with somewhat archaic-sounding vocabulary, relying on Chinese character compounds rather than contemporary colloquialism or English jargon to create puns, juxtaposing a stiff historical “tradition” with a new playful definition of Japanese identity. On their second album, the instrumental ambient dance track “Jipangu2Jipangu” cleverly mixes sounds of a traditional Japanese stringed instrument plucking a pentatonic strand of sound against a synthesized backdrop of Westerntextured rhythms. This stands in contrast to other mainstream hits; Orange Range’s hybridization of sound is very different from the more orthodox. They appear to have mastered the synthesis of Japan/Asian identity with a Western pop tradition. 15
玩这个词有些古老的冠冕堂 皇的词汇，对汉字利用化合 物，依靠现代白话或英文术 语而是要创造双关语，并置有 一个新的日本身份俏皮的定 义僵硬历史的“传统”。 在他 们的第二张专辑，器乐环境舞 曲“Jipangu2Jipangu”巧 妙地混合了日本传统的弦乐器 采摘反对西方纹理合成的背 景节奏的声音五声音阶链乐器 声。这代表在 与其它主流大片; 橙范围的杂交是很健全，从不 同的更为正统。他们似乎已经 掌握了西方流行的传统日本/ 亚洲身份的合成。
J-ROCK 日本摇滚
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FASHION 时尚 J-pop influence goes beyond music; it is often a fashion icon and trendsetter. Popular fashion magazine frequently feature J-pop idols in fashion magazines, such as Vivi, Popteen, and Cawaii. These idols were often lauded for their trendy choices in apparels and accessories. And Oricon has their list of “Most Fashionable Female/Male Artist”. Many aspects of Japan’s fashions, including clothing, hair, nails, and accessories have in some way been influenced by the J-pop music culture.
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日本流行音乐的影响 力超越，它往往是一个 时尚偶像和潮流。流行 时尚杂志经常特点日本 流行偶像在时尚杂志 如维维，Popteen和 Cawaii。这些偶像常常 称赞他们的服装及配饰 时尚的选择。而Oricon 都有各自的“最时尚女/ 男歌手”名单。许多方面 日本的时装，包括服装， 头发，指甲，及配件，在 某种程度上受到日本流 行音乐文化的影响。
FASHION 对时尚的影响
One such influence was hime-kei started by Hamasaki Ayumi. Her constantly changing image is apparent not only in her fashion photo shoots and commercial endorsements but also in her record covers, an element she considers essential in conveying her message. While fellow J-pop singer Amuro Namie influenced the Kogal subculture. Kogal is a fashion that involves wearing an outfit based on a Japanese school uniform, but with a shortened skirt, loose socks, and often-dyed hair and a scarf as well.
一个这样的影响是姬祺由滨 崎步开始。她的形象是不断变 化明显，不仅在她的时装和商 业代言拍照，而且在她的唱片 封面，她认为重要的元素在传 达她的信息。另一位日本流行 歌手安室奈美惠影响Kogal次 文化。 Kogal是一种时尚，涉 及穿着校服的日本为基础的 装备，但有缩短的裙子，宽松 的袜子，并经常染的头发，围 巾以及。 18
ALBUM ART 专辑封面 J-pop serve to describe the energy behind music. The album cover art of J-pop music embraces elements from modern culture, manga, anime, the strange and the outrageously hilarious. A few approaches that were often used to design J-pop album covers were cartoon, illustration, manipulated photography, bold and bright and explosions. The album covers, which are full of energy, give the visual feel of the music. A wide range of styles, medium, angles and emotions were taken up in the design. These covers show the strong relationship between visual elements and typography. It also demonstrates the essence of eastern culture. The covers encapsulate the message of the music, it capture the music they are designed for.
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日本流行音乐服务来形容背后 的能量。这张专辑涵盖了日本 流行音乐与现代文化艺术的拥 抱，漫画，动画，奇怪的悍然 热闹的元素。一个经常被用来 设计日本流行专辑几种方法涵 盖了漫画，插图，操纵摄影，大 胆，明亮和爆炸。这张专辑封 面，这是充满活力，给了音乐的 视觉感受。的风格，中，角度和 情绪被带到了广泛的设计。这 些包括显示视觉元素和版式之 间牢固的关系。这也体现了东 方文化的精髓。封装的封面的 音乐信息，它捕捉到它们是专 为音乐。
ALBUM ART 对专辑封面的影响
Under the category of cartoon are the covers of, The Best of Sweets House, Japanese Pop by Imari Tones, Stereopony by Over the Border, Asian Kung-Fu Generation, Single Album by Sambo Master Love Song. These covers took the cartoon approach, perhaps influenced by the used of J-pop music in motion graphics like anime.
根据卡通类是对中，糖果行 最佳封面，日本的伊万里铃 声，Stereopony流行超过边 界，亚洲功夫世代，单册，页三 宝大师情歌。这些涵盖了漫画 的做法，也许是受了日本流行 音乐喜欢使用图形动画议案。
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ALBUM ART 对专辑封面的影响
Some covers took the illustrative approach for more detailed and a representation with different level of depth. They were covers like, Neuromantic by Yukihiro Takahashi, Black Album by VeltPunch, The Sum by The Last Alliance and Diorama by MUCC. While some artist would like their album cover to have a surrealist feel, they will employ the use of manipulated photography. Some clear examples were, Mothership by Lego Big Morl, Onelbum by Natsu Best, Serious Japanese by Teriyaki Boyz and Gazette by Dim. The album cover s like AntennaGo!Go!7188, Sotto Kyutto by SMAP, Bearbiscuit, Nudy Show by Anna Tsuchiya, Cosmetic by SID, Yusuke by Mitsubachi uses strong lines, brilliant colors and bold typography to enhance the energy behind music. With the use of explosion effects on album cover art; it creates dramatic result, which matches how the musician wants to portray his music as outburst of energy. This idea was shown in covers, Keep on Smashing the Blue by Last Alliance and Sign in to Disobey by Isobe Masabumi.
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涵盖了一些更详细的说明性 方法，并与深度不同程度的代 表性。它们涵盖了诸如，由高 桥幸，黑册，页VeltPunch， 总和Neuromantic由最后由 MUCC联盟西洋镜。 虽然有 些艺术家希望他们的专辑封 面有一个超现实的感觉，他们 将采用摄影的操作使用。一些 明显的例子是，由大Morl乐 高，Onelbum红烧男孩和由 香港特别行政区政府宪报由 夏最佳暗淡，严重日本母舰。 像AntennaG o！现在专辑封 面的！718 8，Sotto由SMAP 的，Bearbiscuit，Nudy显 示Kyutto由土屋安娜，化妆 品中的SID，由Mitsubachi 佑介使用有力的线条，绚丽的 色彩和大胆的版式，以加强 音乐背后的能量。 随着对爆 炸专辑封面设计艺术，它创造 戏剧性的结果，它匹配的音乐 家要如何描绘成能量爆发他 的音乐。这个想法被证明在封 面，不断粉碎了最后联盟的蓝 色，签到由矶Masabumi和 Shichiten哈吉Shijou Shugi 违抗！由Kotoko。
ALBUM ART 对专辑封面的影响
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COMMUNITY 社区 The interest in J-pop music moved away from collective political statements. There was a change to focus on the individual and desire for individuation. The Japanese audience thus preferred to consume music as an individualized, and an individuating activity rather than a collective one. J-pop continued to speak to the individual n a number of levels in the 1980s. The individual “idol” singer presented a gender –specific model, and techno-pop provided a cool image for those that felt that idols are too sentimental for their taste.
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在日本流行音乐的兴 趣，远离集体的政治声 明。有一个变化将重点 放在个人和个性化的愿 望。因此，日本观众的首 选消费作为一种个性化 的音乐，而不是一个集 体的个性化的活动。 日 本流行不断地诉说个人钠水平 在80年代数量。个别“偶像“ 的歌手提出了性别的具体型 号，和techno流行提供了那些 认为偶像是他们的口味太多愁 善感冷静的形象。
COMMUNITY 对社区的影响
Previously unequal relationship with American and British counterparts was turned upside down. Japan’s financial success also helped to de-domesticate the domestic music industry. J-pop music industry leveraged itself into the global community while maintaining a domestic market. This supposedly neutral postwar popular culture demonstrates the delicate tension between the two interpretative sphere of politicized and neutralized with reference to the JapanUS relationship. J-pop changed Japan from conquered to consumer. The increased music interest of female audience in J-pop brings about a whole new level of confidence for women. The development of Idol-music in J-pop brings about a break through in a male dominated music industry where male idol genre is the most important. A clear rise in social status of women was enabled by J-pop stars like Amuro Namie and Hamasaki Ayumi, who portrayed not only the feminine aspect of young Asian woman but the capable, confidence and professional qualities.
此前与美国和英国同行的不 平等关系被颠倒。日本金融成 功，也有助于解除驯化国内音 乐产业。日本流行音乐产业杠 杆融入国际社会本身，同时保 持国内市场。这理应中立战后 流行文化呈现出两者之间的微 妙张力解释性政治领域，并参 考了日美关系的瓦解。日本流 行改变日本的征服消费者。 对 女性观众增加音乐日本流行带 来的整体利益为妇女信任的新 水平。的偶像在日本流行音乐 的发展带来了通过在以男性为 主的行业，男性偶像音乐风格 是最重要的休息一下。以提高 妇女的社会地位明显上升，启 用日本明星喜欢安室奈美惠和 滨崎步，谁描绘不仅是亚洲青 年女子，但能干，自信和女性方 面的专业素质。
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GLOSSARY 词汇
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Kayokyoku
A Japanese pop music genre, which became a base of modern J-pop.
一位日本流行音乐流派，成为 了现代日本流行基地。
Oricon
The Japanese music industry’s hit chart(s), similar to the US’ Billboard; active since the late 1960s. The name is a contraction of the English phrase “Original Confidence,” and currently includes separate charts for kayokyoku, enka, yogaku, DVDs, computer game software, and TV commercials rating; the most recent addition includes independent label releases.
日本音乐产业的命中图（S） 和类似美国的广告牌，自20 世纪60年代末活跃。这个名 字是一个英文词组收缩“原 始的信心， “目前包括独立 的统计图kayokyoku，演 歌，yogaku，DVD光盘，电脑 游戏软件，电视广告评级;最近 除了包括独立厂牌发行。
J-Pop
Coined by the FM radio station J-WAVE in 1988, this term refers to Japanese popular music that is made and consumed digitally.
由FM广播电台的J -波的顺口 溜：1988年，这个术语指的是 日本流行音乐和消费而制作的 数字化。
Hime-kei
A fashion trend that is inspired by princesses and royalty from the 18th Century.
一种时尚潮流，是由公主，从 18世纪皇室的启发。
REFERENCES 参考
“JPop.” Japanese Info, Pictures, News, Forums, and a Wiki - VirtualJapan.com. Web. 16 Apr. 2011. <http://www.virtualjapan.com/wiki/JPop>. “Consulate-General of Japan I n New York : Japan Info.” Consulate General of Japan in New York. Web. 16 Apr. 2011. <http://www.ny.us.emb-japan.go.jp/en/c/vol_11-5/ title_01.html>. “Graphic Design Inspiration: 40 J-pop Album Covers | Naldz Graphics.” All Designs,Graphics and Web Resources-Naldz Graphics. Web. 16 Apr. 2011. <http:// naldzgraphics.net/inspirations/graphic-design-inspiration-40-j-pop-album-covers/>. Matsue, Jennifer. Making music in Japan’s underground : the Tokyo hardcore scene. New York London: Routledge, 2009. Author. Japan pop! : inside the world of Japanese popular culture. Armonk, N.Y: M.E. Sharpe, 2000. Schilling, Mark. The Encyclopedia of Japanese pop culture. New York: Weatherhill, 1997. Stevens, . Japanese popular music : culture, authenticity, and power. London New York: Routledge, 2008.
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J-POP music has experience steady increase of interest visibility both in Asia and beyond in recent years. This book explores how J-POP was being coined as a genre and its identity. J-pop applies to the idol scene and encompasses boy groups and girl groups as well as individual artists. This book provides an introduction to J-POP musicians like Yellow Magic Orchestra (Electro-pop music), Hamasaki Ayumi (Dance music) and Orange Range (J-rock). It also discusses how J-POP music had influences on fashion, album covers and the Japanese community. 日本流行音乐的兴趣有经验的知名度在亚洲和世界都在近几年稳步 增加。这本书探讨了如何日本流行被作为一个流派，其识别命名。日本 流行偶像适用于现场，包括男孩和女孩组团体以及艺术家个人。这本 书提供了一个介绍喜欢黄色魔术乐团（电流行音乐），滨崎步（舞蹈音 乐）和Orange范围（日本摇滚）日本流行音乐家。它还讨论了如何日 本流行音乐对时尚的影响，专辑封面和日本社会。
S$19.95