{"id":{"repo_id":"uiuc","oai_identifier":"oai:www.ideals.illinois.edu:2142/84718"},"canonical_url":"https://search.dev.ndltd.org/etd/uiuc/oai:www.ideals.illinois.edu:2142/84718","repository":{"repo_id":"uiuc","name":"University of Illinois - Urbana-Champaign","base_url":"https://www.ideals.illinois.edu/oai-pmh"},"display":{"title":"This Is Our Music: Authenticating Japanese Jazz, 1920-1980","abstract":"\"The third theme problematizes the concept of marginality by demonstrating how the jazz subculture shares the concerns, values, and tensions that characterize the mainstream. The search for cultural authenticity and a national voice in the arts has been a major endeavor of twentieth-century Japanese, not limited to the jazz culture. In the adoption and adaptation of a \"\"foreign\"\" art, in the cultural tensions provoked by that art, in the anxieties over \"\"authenticity\"\" and cultural identity, and in the authenticating strategies developed to assuage those tensions and anxieties, we can see not only the history of jazz but the history of modern Japan.\"","abstract_html":""The third theme problematizes the concept of marginality by demonstrating how the jazz subculture shares the concerns, values, and tensions that characterize the mainstream. The search for cultural authenticity and a national voice in the arts has been a major endeavor of twentieth-century Japanese, not limited to the jazz culture. In the adoption and adaptation of a ""foreign"" art, in the cultural tensions provoked by that art, in the anxieties over ""authenticity"" and cultural identity, and in the authenticating strategies developed to assuage those tensions and anxieties, we can see not only the history of jazz but the history of modern Japan."","abstract_has_math":false,"creators":["Atkins, Everett Taylor"],"institution":"University of Illinois at Urbana-Champaign","degree_name":"Ph.D.","degree_level":"Dissertation","degree_discipline":"History","degree_department":null,"school":null,"contributors":["Dissertation Abstracts International, Volume"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2015,"date_issued":"2015-09-25T22:24:12Z","date_published":"2015-09-25T22:24:12Z","updated_at":"2026-07-22T22:26:23Z","subjects":["Anthropology, Cultural"],"languages":["eng"],"rights":[],"rights_urls":[],"identifier_entries":[{"key":"dc:identifier","label":"Identifier","values":["(MiAaPQ)AAI9717250"],"render_values":[{"text":"(MiAaPQ)AAI9717250","href":null,"code":true}]}]},"links":{"outbound_url":"http://hdl.handle.net/2142/84718","outbound_label":"Handle","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["Dissertation Abstracts International, Volume"]},{"key":"dc:creator","label":"Author","values":["Atkins, Everett Taylor"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date","label":"Dc Date","values":["2015-09-25T22:24:12Z","10000-01-01","1997"]},{"key":"dc:type","label":"Dc Type","values":["text"]},{"key":"thesis:degree_discipline","label":"Discipline","values":["History"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Dissertation"]},{"key":"thesis:degree_name","label":"Degree Name","values":["Ph.D."]},{"key":"thesis:institution_name","label":"Thesis Institution Name","values":["University of Illinois at Urbana-Champaign"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["Anthropology, Cultural"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language","label":"Dc Language","values":["eng"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["http://hdl.handle.net/2142/84718","(MiAaPQ)AAI9717250"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description","label":"Description","values":["\"The third theme problematizes the concept of marginality by demonstrating how the jazz subculture shares the concerns, values, and tensions that characterize the mainstream. 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The search for cultural authenticity and a national voice in the arts has been a major endeavor of twentieth-century Japanese, not limited to the jazz culture. In the adoption and adaptation of a \"\"foreign\"\" art, in the cultural tensions provoked by that art, in the anxieties over \"\"authenticity\"\" and cultural identity, and in the authenticating strategies developed to assuage those tensions and anxieties, we can see not only the history of jazz but the history of modern Japan.\"","Made available in DSpace on 2015-09-25T22:24:12Z (GMT). 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