ABSTRACT
It has often been said that one cannot talk about the modern history of Japan without also talking about Korean history. That may be stating the obvious, but in music research it is a dictum that has been almost universally ignored, apart from work on the most recent chapter in Japan–Korea musical interaction, the hanryū (hallyu) wave of Korean popular culture that has swept Japan during the last 10 to 15 years. Research on the history of twentieth-century Japanese music culture has included little about its impact on musical practices in the adjacent country that Japan annexed and then ruled from 1910 until 1945, nor the impact that Korean music may have had on Japanese musicians and music researchers, especially those who settled or were long-term residents in the colony of Chōsen (Korea), and still less on the musical activities of Koreans who came or were brought to Japan during the colonial period. 1 This lacuna in East Asian historical musicology has begun to be addressed since the turn of the century, as some music researchers have become receptive to ideas from colonial and postcolonial studies, but published work on such issues is still rare.
