The Last Biwa Singer : : A Blind Musician in History—Imagination and Performance / / Hugh Ferranti.

• Superior document: Title is part of eBook package: De Gruyter Cornell University Press Archive Pre-2000
• VerfasserIn: Ferranti, Hugh,
• Place / Publishing House: Ithaca, NY : : Cornell University Press, , [2010]; ©2010
• Year of Publication: 2010
• Language: English
• Physical Description: 1 online resource (336 p.)
• Other title: Frontmatter --; CONTENTS --; List of Figures, Tables and Examples --; Notes on Conventions in the Text --; INTRODUCTION --; 1 IMAGES AND HISTORIES --; 2 BIWA MUSIC OF THE HIGO REGION --; 3 IMAGINING, ENCOUNTERING AND DOCUMENTING YAMASHIKA --; 4 TALES IN PERFORMANCE --; 5 THE LIFE OF THE ROAD: Yamashika Remembers --; 6 BLIND BIWA SINGERS FORGOTTEN, REMEMBERED AND REHABILITATED --; ACKNOWLEDGEMENTS --; APPENDICES --; APPENDIX 1 --; APPENDIX 2 First shōdan of Dōjōji (Yamashika Yoshiyuki; performance of October 14, 1989) --; BIBLIOGRAPHY --; AUDIOGRAPHY and VIDEOGRAPHY --; INDEX
• Format: Mode of access: Internet via World Wide Web.
• ISBN: 9781942242437; 9783110536171
• DOI: 10.1515/9781942242437
• Access: restricted access
• Hierarchical level: Monograph
• Statement of Responsibility: Hugh Ferranti.

This work is an exposition of the traditions of Japanese blind singers who accompanied themselves on the biwa, and of the complex identity of Yamashika Yoshiyuki (1901–1996), a man widely portrayed as the last such "living relic" of the medieval bards called biwa hoshi. The author draws upon approaches from Japanese historical and literature studies, performance studies and ethnomusicology in an examination of history, which yielded on the one hand images of blind singers that still circulate in Japan, and on the other a particular tradition of musical story-telling and rites in regional Kyushu, of representations of Yamashika in diverse media, of his experience training for and making a living as a professional performer and rituals from the 1920s on, and of the oral compositional process in performances made between 1989 and 1992.