¹ For a few examples see Mehl, Margaret, “Music after the Tōhoku Disaster (1-5)”. For Japan, see Oshio, Satomi, “Higashi Nihon daishinsai no ongaku katsudō ni kansuru chōsa: ‘Kahoku shinpō’ no kiji (2011.3.12 - 2011.12.9) kara miru 9 ka getsu kan no dōkō,” in Heisei 23 nendo Miyagi Kyōiku Daigakuin Ongaku Kyōiku Senshū “Ongakugaku tokuron” hōkokusho (Sendai: Miyagi Kyōiku Daigaku Oshio Kenkyūshitsu, 2013), ———, “Higashi Nihon daishinsai no ongaku katsudō ni kansuru chōsa (sono 2): Shinsai kara 1 nen 5 ka getsu kan no katsudō o kangaete,” in Heisei 24 nendo Miyagi Kyōiku Daigakuin Ongaku Kyōiku Senshū “Ongakugaku enshū” hōkokusho (Sendai: Miyagi Kyōiku Daigaku Oshio Kenkyūshitsu, 2013), ———, “Higashi Nihon daishinsai no ongaku katsudō ni kansuru chōsa (sono 3): Intabyū chōsa o chūshin ni,” in Heisei 24 nendo Miyagi Kyōiku Daigakuin Ongaku Kyōiku Senshū “Ongakugaku tokuron” hōkokusho (Sendai: Miyagi Kyōiku Daigaku Oshio Kenkyūshitsu, 2013). Also Kudō, Ichirō, Tsunagare kokoro, tsunagare chikara: 3.11. Higashi Nihon daishinsai ni tachimukatta ongakukatachi, (Tokyo: Geijutsu Gendaisha, 2013).

² Since the subject of my book and this article is Japan, I will not discuss comparable developments in other Asian countries, although today winners of international competitions (to give one example) are just as likely to be from South Korea, Taiwan and mainland China as from Japan. In Korea, colonized by the Japanese, many school children may well have seen and heard the violin in the hands of a Japanese school teacher, as did the Korean-born Japanese luthier Chin Shōgen (1929-2012). See Chin, Shôgen, Kaikyô o wataru baiorin, (Tokyo: Kawade Shobô, 2007). I should also mention that my study does not deal with Okinawa, where, compared to Japan, indigenous music was not displaced to the same extent.

³ Miyagi, Michio, Sōkyoku gakufu Miyagi Michio sakkyoku shū: Haru no umi, (Fukuoka: Dai Nihon Katei Ongaku Kai, 1931). On the reception of the performance in 1932, see Watanabe, Hiroshi, Nihon bunka modan rapusodi, (Tokyo: Shunjūsha, 2002): 39-43, Chiba, Yūko, Doremi o eranda Nihonjin, (Ongaku no Tomosha, 2007): 6.

⁴ Schoenbaum, David, The Violin: A Social History of the World's Most Versatile Instrument, (New York: W.W. Norton & Company, 2012), Cooke, Peter, “The violin -instrument of four continents,” in The Cambridge Companion to the Violin, ed. Stowell, Robin (Cambridge: Cambridge University Press, 1992).

⁵ I have not yet been able to confirm the identity of the performer. It may be Fukuoka Utaji福岡詩二. If so, he is still going strong. The following links to Youtube videos show (1) A short explanation and demonstration of what he calls “Taishō enka”, including remarks about his garb and 2) A comic performance where he pokes fun at iconic names in the world of classical music: Stradivari violins and Carnegie Hall (both accessed 22 August 2014).

⁶ Seidensticker, Edward, Low City, High City: Tokyo from Edo to the Earthquake: How the Shogun's Ancient Capital Became a Great Modern City, 1867-1923, (Tokyo: Tuttle, 1983): 163-64. See also Mitsui, Toru, “Interaction of Imported and Indigenous Music in Japan: A Historical Overview of the Music Industry,” in Whose Master's Voice: The Development of Popular Music in Thirteen Cultures, ed. Ewbank, Alison J. and Papageorgiu, Fouli T. (Westport, Connecticut: Greenwood Press, 1997).

⁷ Lewis, Michael, ed. A Life Adrift: Soeda Azembō, Popular Song, and Modern Mass Culture in Japan (London: Routledge,2009), xxi, 136-37. Gondō, Atsuko, “Meiji, Taishō no enka ni okeru Yōgaku juyō,” Tōyō ongaku kenkyū. 53 (1988): 15-17. A search for ヴァイオリン演歌on Youtube will produce several examples.

⁸ Mehl, Margaret, Not by Love Alone: The Violin in Japan, 1850-2010, (Copenhagen: The Sound Book Press, 2014): 305-16. Similarly, the original members of the Tokyo Quartet were formed at least as much by their early training in Japan under Saitō Hideo as by their years at Juilliard: Not by Love Alone: The Violin in Japan, 1850-2010, (Copenhagen: The Sound Book Press, 2014): 373-74.

⁹ See Mehl, Margaret, “Cultural Translation in Two Directions: The Suzuki Method in Japan and Germany,” Research and Issues in Music Education 7. 1 (2009).

¹⁰ Hotta, Eri, “Tokyo's Soft Power Problem. The Suzuki Method: Japan's Best Overlooked Cultural Export,” The New York Times (Online version), 24 October 2014. For details about the organization of the Suzuki Method worldwide, see the International Suzuki Association's website with links to regional associations.

¹¹ Cooke, “The violin - instrument of four continents.”

¹² For descriptions of Mason's work and the beginnings of music teaching in schools, see Howe, Sondra Wieland, Luther Whiting Mason: International Music Educator, (Warren, Michigan: Harmonie Park Press, 1997), Eppstein, Ury, The Beginnings of Western Music in Meiji Era Japan, (New York: Edwin Mellen, 1994).

¹³ Even so, the number of accessible studies in English is hardly excessive. Useful, if brief, older overviews are Nomura, Kōichi, “Occidental Music,” in Japanese Music and Drama in the Meiji Era, ed. Komiya, Toyotaka (Tokyo: ōbunsha, 1956), Malm, William P., “The Modern Music of Meiji Japan,” in Tradition and Modernization in Japanese Culture, ed. Shively, Donald (Princeton: Princeton University Press, 1971). The most comprehensive treatment of the significant contributions by German and Austrian musicians in Japan is still Suchy, Irene, “Deutschsprachige Musiker in Japan vor 1945. Eine Fallstudie eines Kulturtransfers am Beispiel der Rezeption abendländischer Musik” (doctoral thesis, University of Vienna, 1992). For the education system, see Eppstein, Beginnings of Western Music. Recent overviews include Wade, Bonnie C., Music in Japan, (Oxford: Oxford University Press, 2005), Herd, Judith Ann, “Western-influenced ‘classical’ music in Japan “ in The Ashgate Research Companion to Japanese Music, ed. Hughes, David W. and Tokita, Alison McQueen (Aldershot, UK: Ashgate, 2008). Mehl, Margaret, “Introduction: Western Music in Japan: A Success Story?,” Nineteenth-Century Music Review 10. 2 (2013).

¹⁴ ———, “Japan's Early Twentieth-Century Violin Boom,” Nineteenth-Century Music Review 7. 1 (2010). Kajino, Ena. “A Lost Opportunity for Tradition: The Violin in Early Twentieth-Century Japanese Traditional Music.” Nineteenth-Century Music Review 10, no. 2 (2013): 293-321. In fact by the nineteenth-century the violin had undergone a sex-change in European perception.

¹⁵ Yuasa, Yasuo, The Body: Toward an Eastern Mind-Body Theory, trans. Kasulis, Thomas P. and Nagatomo, Shigenori (Albany: State University of New York Press, 1987), Hahn, Tomie, Sensational Knowledge: Embodying Culture through Japanese Dance, (Middletown, Connecticut: Wesleyan University Press, 2007).

¹⁶ Quoted in Suenobu, Yoshiharu, Terada Torahiko: Baiorin o hiku butsurigakusha, (Tokyo: Heibonsha, 2009): 217.

¹⁷ McNeill, William, Keeping Together in Time: Dance and Drill in Human History, (Cambridge, Massachusets: Harvard University Press, 1997). The significance and meanings of the symphony-orchestra concert and its relationship with the Western–style scientific-industrial culture and the rising middle classes worldwide are discussed in Small, Christopher, Musicking: The Meanings of Performing and Listening, (Middletown, CT: Wesleyan University Press, 1998). About the military connotations of violin playing: Kawabata, Maiko, “Virtuoso Codes of Violin Performance: Power, Military Heroism and Gender (1789-1830),” 19th-Century Music 28 (2004).

¹⁸ An example of an early report: Henahan, Donal, “Young Violinists From Asia Gain Major Place on American Musical Scene,” The New York Times, 2 August 1968. More recently, David Schoenbaum has commented on the phenomenon: Schoenbaum, The Violin: A Social History of the World's Most Versatile Instrument: 450 and “Sunrise, Sunset,” (2014).

For North America: Horowitz, Joseph, Classical Music in America: A History of Its Rise and Fall, (New York: Norton, 2005): 328 ff. For America and Germany see also Gienow-Hecht, Jessica C. E., Sound Diplomacy: Music and Emotions in Transatlantic Relations, 1850-1920, (Chicago: University of Chicago Press, 2009).

¹⁹ Shikama Totsuji 四竈訥治（ 訥堂、 1853-1928), one of the early pioneers of Western music, was the editor of Ongaku zasshi, the first journal dedicated to music. Iwamoto Shōji (巌本捷治, 1885-1954) was the brother of Iwamoto Yoshiharu (1863-1942), educator and founder of the women's magazine Jogaku zasshi. About playing Japanese music on the violin see Kajino, Ena, “A Lost Opportunity for Tradition: The Violin in Early Twentieth-Century Japanese Traditional Music,” Nineteenth-Century Music Review 10. 2 (2013).

²⁰ Indeed, it has been argued that one of the main characteristics of modern globalization is the increasing uniformity: Bayly, Christopher Alan, The Birth of the Modern World 1780-1914: Global Connections and Comparisons, (Malden, MA: Blackwell, 2004).

²¹ On Kishi, see Kajino, Ena, Seiji Chōki, and Heruman Gochefusuki, eds., Kishi Kōichi to ongaku no kindai: Berurin firu o shiki shita Nihonjin (Tokyo: Seikyūsha, 2011). Kishi's life and career is treated in detail in Not by Love Alone.

²² Japanese period films search for the essence of Japaneseness: Mellon, Joan, The Waves at Genji's Door: Japan Through Its Cinema, (New York: Pantheon Books, 1976).

²³ Studio concertmaster Israel Baker, quoted in Heiles, Anne Mischakoff, “The Golden Fiddlers of the Silver Screen,” The Strad. November (2009).

²⁴ Furukawa, Takahisa, Kōki, Banpaku, Orinpikku: Kōshitsu burando to keizai hatten, (Tokyo: Chūō Kōronsha, 1998).

²⁵ Mehl, Margaret. “Cultural Translation in Two Directions: The Suzuki Method in Japan and Germany.” Research and Issues in Music Education 7, no. 1 (2009).

²⁶ Yokoyama, Shin'ichi, Sutoradivariusu, (Tokyo: Ascii Media Works, 2008): 156.

²⁷ Details in Not by Love Alone, Part 2 Chapter 12. In late 1981 the violinist and Geidai Professor Unno Yoshio and the violin dealer Kanda Yūk were arrested and charged with corruption in connection with the sale of master violins to Tokyo University of Fine Arts (Geidai). Both were subsequently sentenced, and Unno, in many ways a scapegoat in the whole affair, lost his post at Geidai.

²⁸ Ongaku no Tomosha, “Tokubetsu zadankai: Vaiorin mondai ni hata o hasshita Nihon kurashikku ongakukai no genjō o tou,” Ongaku no tomo. February (1982): 125.

²⁹ See, for example, the “family tree” in Campbell, Margaret, The Great Violinists, (London: Granada, 1980): xx-xi. or at violinist.com: V.com weekend vote: Who is in your violin family tree? August 16, 2008 at 12:12 AM

³⁰ Watanabe, Kazuhiko, Vaiorinisuto 33: Meiensōka o kiku, (Tokyo: Kawade Shobô, 2002): 276-77, Lebrecht, Norman, “Comment (lack of globally famous string players),” The Strad. October (2011).

³¹ See Yoshihara, Mari, Musicians from a Different Shore: Asians and Asian Americans in Classical Music, (Philadelphia: Temple University Press, 2007).

³² As was the case with the Suzuki Method, gaining fame in the West can pave the way to fame in Japan. Midori would be another case in point. In the early days of her career, however, the Japanese did not quite know what to make of her: she seemed too “American” to be truly Japanese. More recently this preoccupation seems to have faded into the background: Not by Love Alone, 316.

³³ Not by Love Alone, Part 3.

³⁴ Parakilas, James, “Classical Music as Popular Music,” The Journal of Musicology 3. 1 (1984): 1, 18-19, Ross, Alex, The Rest is Noise: Listening to the Twentieth Century, (New York: Picador, 2007): 562-67.

³⁵ Watanabe, Nihon bunka modan rapusodi.