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[personal profile] nnozomi
Shugensha Hamako was born in 1881 in Yokohama, where her father was general manager of the Nozawaya department store; her original family name was Ogiwara. She began studying the koto at the age of four, mastering numerous different styles of performance and also showing an interest from early on in merging koto music and dance. Among others, she worked with the “father of modern koto music” Miyagi Michio. As well as becoming a leading koto performer, she wrote and arranged music in various styles.

In temperament she was extremely serious and meticulous, but with a dry sense of humor, a pampered only daughter of a rich family (who at age sixteen was given 100 yen as allowance for a trip to Tokyo, an absurdly huge sum equivalent to something like two or three thousand dollars now; she bought a boxful of books and hired someone to carry it home for her). Her hobby was collecting Japanese swords. She had a weak stomach and dined for years on steak and exactly six grapes, prepared by her mother.

Among Hamako’s musical compositions were a part of the poet Kujo Takeko’s “dance poem” “Four Seasons” as well as a section of the literary figure Tsubouchi Shoyo’s play New Urashima, both of which were well received. She also composed music for the dancer Takahashi Motoko (Fujima Kansoga), a close friend sometimes referred to as a lover in Hamako’s diary. After losing her home in the 1923 Great Kanto Earthquake, she lodged with Tsubouchi’s family and taught koto under the professional name Shugensha, acquiring numerous devoted students, mostly women. She died in 1937.

Sources
Mostly Hasegawa Shigure’s mini-biography of her in Modern Beauties (they were friends and collaborators on the Urashima performance among others, and the biographical portrait is presented in part as an adorable conversation about Hamako between Shigure and one of Hamako’s koto teachers)
nnozomi: (pic#16721026)
[personal profile] nnozomi
Koda Nobu was born in 1870 in Tokyo into a well-connected, high-achieving family. She began studying the koto and shamisen at the age of seven (first taught by her mother with a model mini shamisen), starting to learn Western music shortly thereafter. She attended the Tokyo Music School (now Tokyo University of the Arts) (specially selected by its founder Luther Whiting Mason, who had heard her sing in a children’s chorus), studying piano there with Nakamura Sen (Mason’s assistant, a Japanese woman pianist about whom little is known) and Uryu Shigeko (known to us as Tsuda Umeko and Oyama Sutematsu’s friend Shige). Graduating with two other women as part of the inaugural class in 1885, she next went to Boston in 1889 to attend the New England Conservatory, where she was reunited with Mason, who presented her with an Amati violin [unless it was given to her in Vienna by a charitable bookseller’s wife, accounts vary]; thereafter she studied in Austria and Germany until 1895, including violin lessons with Joseph Joachim.

In 1895 Nobu became a professor at her alma mater in Tokyo; she also gave piano lessons, composed, and performed as a concert violinist (staying so active that she was said at one point to have the second highest income of any woman in Japan, so that she was able to alarm her older brother, then a struggling writer, by sending him money). Her students included Suzuki Shin’ichi, creator of the famous or infamous if you’re me, I hated it Suzuki Method, composers Taki Rentaro and Kôsçak Yamada, pianist Kuno Hisa, and opera singer Miura Tamaki.

Around 1908, Nobu left the School of Music, having become an increasingly controversial figure therein, supported by her female colleagues (including her sister) and criticized by the men, who felt threatened by her success. Nothing daunted, she set off to visit the West and study further, returning in 1912 to give piano lessons from her own home-based music school, which numbered Empress Sadako and various other nobility among its students (Nobu composed a song for her birthday with lyrics by Shimoda Utako). She also established a small concert hall next door (with its walls painted gold), which featured a Steinway and a Pleyel and presented performances by Leopold Godowsky among others. In 1937 she became a founding member of the Japanese Art Academy (along with her brother Rohan, the writer, and her sister Koh, a violinist).

During the war, Western music was considered to belong to the enemy and its performances proscribed. Nobu survived the war only to die shortly after in 1946. In addition to her students, the large number of famous writers in her family, including Rohan and his daughter Aya, contributed to keeping her memory alive.

Sources
https://www.christinaknudson.com/violin-resources/female-composers-nobu-koda (English) Biographical article
https://wan.or.jp/article/show/9570 and http://pietro.music.coocan.jp/storia/koda_nobu_vita_opere.html (Japanese) Various pictures
https://www.youtube.com/watch?v=K6hBx-Ue6eg and https://www.youtube.com/watch?v=6I_p7kd00GE Nobu’s two violin sonatas, the first of their kind written by a Japanese composer

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Histories of women in and around Japan, 1868-1945

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Icon is Uemura Shoen's "Self-Portrait at Age 16," 1891

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