With the debuts of highly popular artists such as Matsutōya Yumi, Nakajima Miyuki and Takeuchi Mariya, Japanese popular music of the 1970s saw a rise of young female singer-songwriters. Not only were they notably successful commercially but they were also respected as creative artists. This recognition and valuation of female professional creativity was extraordinary from a gender point of view. Furthermore, their position as active social agents defied the social expectations for women in Japan at that time. In this respect, they can be conceptualised as a musical embodiment of the movements pursuing female emancipation in the 1970s. While the musical significance of these female singer-songwriters has been recognised in previous studies, the gender point of view has remained largely unaddressed. By drawing from theories about female musicians and canon formation, this article re-assesses the social significance of Japanese female singer-songwriters of the 1970s.

中文翻译：

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1970 年代日本女性创作歌手：女性机构、音乐影响和社会变革

随着松藤屋由美、中岛美雪和竹内玛丽亚等高人气艺人的首次亮相，1970 年代的日本流行音乐见证了年轻女性创作歌手的崛起。他们不仅在商业上取得了显着的成功，而且作为创意艺术家也受到尊重。从性别的角度来看，这种对女性专业创造力的认可和评价是非同寻常的。此外，她们作为积极的社会代理人的地位违背了当时日本对女性的社会期望。在这方面，它们可以被概念化为1970年代追求女性解放运动的音乐体现。虽然这些女性创作歌手的音乐意义在之前的研究中已经得到认可，但性别观点在很大程度上仍未得到解决。