Popular Music Pub Date : 2021-06-04 , DOI: 10.1017/s0261143021000088 Lasse Lehtonen
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.
随着松藤屋由美、中岛美雪、竹内麻屋等高人气艺人的出道，1970年代的日本流行音乐出现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，而且还被视为富有创造力的艺术家。从性别的角度来看，这种对女性职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。