- BA, music and mathematics, Yale University
- MBA, Stanford University
- PhD, ethnomusicology and music theory, CUNY Graduate Center
Noriko Manabe joined the Boyer faculty in January 2016. She previously taught at Princeton University, University of Pennsylvania, and CUNY, and she has held visiting research positions at SOAS, the Library of Congress, Tokyo University of the Arts, and International Research Center for Japanese Studies. She received her PhD from CUNY Graduate Center, where she completed doctoral requirements for both ethnomusicology and music theory. Her research draws from the social sciences, ethnography, and musical analysis.
Manabe’s research centers on music and social movements and on popular music. Her first monograph, The Revolution Will Not Be Televised: Protest Music After Fukushima (Oxford University Press, 2015/2016), addresses the different roles of musicians in the performance spaces of cyberspace, demonstrations, festivals, and recordings. The book won the John Whitney Hall Book Prize (for the best book in Japanese studies) from the Association for Asian Studies and Honorable Mention for the Alan Merriam Prize (for the best book in ethnomusicology) from the Society for Ethnomusicology. Manabe has also published journal articles and book chapters on Japanese hip-hop, rap and language, ringtones, online radio, children’s songs as propaganda, Cuban modernists, and Cuban singer-songwriter Silvio Rodríguez. Her articles have appeared inEthnomusicology, Popular Music, Asian Music, Latin American Music Review, Oxford Handbook of Mobile Music Studies, Oxford Handbook of Children’s Musical Cultures, Cambridge Companion to Hip-Hop,and other publications. Many of her publications can be seen at temple.academia.edu/NorikoManabe.
Manabe is currently revising her second monograph, Revolution Remixed: Intertextuality in Protest Music (Oxford, under contract), which considers the prevalence of intertextuality in protest culture and analyzes musical cases drawn from the Japanese antinuclear movement. She is co-editing The Oxford Handbook of Protest Music (with Eric Drott, under contract) and the book of essays, Nuclear Music (with Jessica Schwartz, under contract with Oxford). She is also writing a monograph on the role of Japanese children’s songs in shaping national identity from the Meiji Era to the Allied Occupation, and another on transnational identity in Japanese hip-hop, reggae, and techno.
Manabe is series editor for 33-1/3 Japan, a series of books on Japanese popular music from Bloomsbury Publishing and an extension of its popular 33-1/3 book series. She serves on editorial boards for Twentieth-Century Music, Music and Politics, and the SOAS Musicology Book Series; as contributing editor for the Asia-Pacific Journal; as Chair of the Investment Committee for the Society for Ethnomusicology (SEM); and on the Diversity Committee for the Society for Music Theory (SMT). In 2016, she served on the Program Committee for the SMT annual conference.
Manabe’s research has been funded by fellowships from NEH, Kluge Center, Japan Foundation, and SSRC/JSPS. In addition to the John Whitney Hall and Alan Merriam Prizes, her first book won subventions from SEM and the Barr-Feree Foundation, and the second book won subventions from SMT. The article, “Music in Japanese Antinuclear Demonstrations” (Asia-Pacific Journal2013) won the Waterman Prize from SEM. Conversant in several languages, she has conducted field and archival work in Cuba, Spain, Brazil, Mexico, Bali, Germany, and the Netherlands in addition to Japan.
Learn more about Manabe on her website.
Works and Publications
The Revolution Will Not Be Televised: Protest Music after Fukushima. Oxford University Press, 2015/2016.
John Whitney Hall Book Prize, best book on Japan, Association for Asian Studies, 2017.
Alan Merriam Prize, Honorable Mention, best book, Society for Ethnomusicology, 2016.
Revolution Remixed: Intertextuality in Protest Music. Under contract with Oxford University Press.
Molding Citizens in War and Peace: Japanese Children’s Songs, 1877–1947. In preparation.
Transnational Japan: Japanese Hip-Hop, Reggae, and Techno in the Global Club. In preparation.
Oxford Handbook of Protest Music, co-edited with Eric Drott. Under contract.
Nuclear Music: Sonic Responses to War, Disaster, and Power, co-edited with Jessica Schwartz. Under contract with Oxford University Press.
Series editor, 33-1/3 Japan book series. Books edited:
Supercell ft. Hatsune Miku by Keisuke Yamada (pub. Aug 2017)
Yoko Kanno's Cowboy Bebop by Rose Bridges (in press, pub. date Nov 2017)
Perfume's GAME by Patrick St. Michel (in press, pub. date Feb 2018)
Cornelius’s Fantasma by Martin Roberts (under contract, ms. under review)
AKB48, by Patrick Galbraith and Jason Karlin (under contract)
“Music as Data in the Twenty-First Century.” In “Forum: Defining Twentieth and Twenty-First Century Music,” ed. David Clarke, Twentieth-Century Music. Invited submission; in press.
“The Unending History of Protest Music.” Music and Politics XI/1 (Winter 2017).
“Japanese Elections: The Ghost of Constitutional Revision and Campaign Discourse.” Asia-Pacific Journal 14/15/8 (August 1, 2016).
“Uprising: Music, Youth, and Protest against the Policies of the Abe Shinz? Government.” The Asia-Pacific Journal 12, no. 32/3 (August 11, 2014).
“Music in Japanese Antinuclear Demonstrations: The Evolution of a Contentious Performance Model.” The Asia-Pacific Journal, 11/42 (October 21, 2013) -- Waterman Prize, Popular Music Section, Society for Ethnomusicology, 2014.
“Representing Japan: ‘National’ Style Among Hip-Hop DJs.” Popular Music 32/1 (2013): 35–50.
“Straight Outta Ichimiya: The Rise of a Rural Japanese Rapper.” The Asia-Pacific Journal 11/5 (February 4, 2013).
“The No Nukes 2012 Concert and the Role of Musicians in the Anti-Nuclear Movement.” The Asia-Pacific Journal Vol. 10, Issue 29, No. 2, July 16, 2012.
“Reinterpretations of the Son: Guillén’s Motivos de son as Interpreted by Grenet, García Caturla, and Roldán." Latin American Music Review 30/2 (Fall/Winter 2009): 115–158.
“New Technologies, Industrial Structure, and the Consumption of Music in Japan.” Asian Music 39/1 (2008): 81–107.
“Lovers and Rulers, the Real and the Surreal: Harmonic Metaphors in Silvio Rodríguez’s Songs.”Transcultural Music Review 10 (2006).
"Globalization and Japanese Creativity: Adaptation of Japanese Language to Rap." Ethnomusicology 50/1 (Winter 2006): 1–36.
Chapters in Edited Volumes
“Monju-kun: Children’s Culture as Protest.” Child’s Play: Multi-sensory Histories of Children and Childhood in Japan, ed. Sabine Frühstück and Anne Walthall. Berkeley: University of California Press, 2017. Invited submission; peer-reviewed. In press.
“Streaming Music in Japan: Corporate Cultures as Determinants of Listening Practice.” In Networked Music Cultures: Contemporary Approaches, Emerging Issues, ed. Raphael Nowak and Andrew Whelan, 67–76. New York: Palgrave Macmillan, 2016. Invited submission.
“La musique dans le mouvement antinucléaire japonais après Fukushima: quatre espaces de manifestation.” Politiques des musiques populaires au XXIe siècle, ed. Elsa Grassy and Jedediah Sklower, 161–186. Saffré, France: Éditions Seteun, 2016. Invited submission; peer-reviewed.
“Hip-Hop and Reggae in Recent Japanese Social Movements.” In Two Haiku and a Microphone: Traveling Texts and the Work of Afro-Japanese Cultural Production, ed. William H. Bridges IV and Nina Cornyetz, 209–22. Lanham, MD: Lexington Books, 2015. Invited submission.
“Japanese Hip-Hop: Alternative Stories.” In Cambridge Companion to Hip-Hop, ed. Justin Williams, 243–55. Cambridge: Cambridge University Press, 2015. Invited submission.
"A Tale of Two Countries: Online Radio in the United States and Japan.” In Oxford Handbook of Mobile Music and Sound Studies, Vol. 1, ed. Sumanth Gopinath and Jason Stanyek, 456–95. New York: Oxford University Press, 2014. Invited submission.
“Songs of Japanese School children During World War II.” In Oxford Handbook of Children’s Musical Cultures, ed. Patricia Campbell and Trevor Wiggins, 96–113. New York: Oxford University Press, 2012. Invited submission.
“Going Mobile: Ringtones, the Mobile Internet, and the Music Market in Japan.” In Internationalizing Internet Studies: Beyond Anglophone Paradigms, ed. Gerard Goggin and Mark McLelland, 316–32. New York: Routledge, 2009.
Articles in Conference Proceedings
“How Music and Musicians Communicate the Antinuclear Message” and “The Revolution Will Not Be Televised: Anti-Nuclear Protest Music in Post-Fukushima Japan.”
3.11 Virtual Conference: Looking Back to Look Forward, STS Forum on Fukushima, March 11–15, 2013.
“Ring My Bell: Cell Phones and the Japanese Music Market.” Music in Japan Today, ed. E. Michael Richards and Kazuko Tanosaki, 257–67. Newcastle upon Tyne, UK: Cambridge Scholars Publishing, 2008.
“Reinterpretaciones del son: Versiones de Motivos de son de Guillén por Grenet, García Caturla, y Roldán.” In El son y la salsa en la identidad del Caribe, ed. Darío Tejeda and Rafael Yunén, 515–32. Santo Domingo, Dominican Republic: Centro León, Instituto de Estudios Caribeños, Secretaría de Estado de Cultura, 2008.
“Don Giovanni’s Elvira: Analysis of the Evolution of a Mezzo Carattere.” In Interpretare Mozart: Atti del convegno, ed. Mariateresa Dellaborra, Guido Salvetti, and Claudio Toscani, 127–46. Lucca, Italy: Libreria Musicale Italiana, 2007.
Susan Thomas’ Cuban Zarzuela: Performing Race and Gender on Havana’s Lyric Stage (University of Illinois Press). Latin American Music Review 33/1 (Spring/Summer 2012): 124–30.
“Japanese Elections: Constitutional Revision and the Anxiety of Free Speech.” Oxford University Press Blog. August 4, 2016. http://blog.oup.com/2016/08/japanese-elections-constitutional-revision-free-speech/.
“Five Years After: The Legacy of the Japanese Anti-Nuclear Movement.” Oxford University Press Blog. March 16, 2016. http://blog.oup.com/2016/03/fukushima-accident-japanese-protest-music/.
“Hip-Hop, Japan,” “DJ Krush.” In Pop Culture in Asia and Oceania, ed. Jeremy Murray and Kathy Nadeau, 20–24. Santa Barbara, CA: Greenwood Publishing, 2016.
Bloomsbury Publishing, 333sound, “33 1/3 Global Editor Highlight: Noriko Manabe,” August 31, 2017.
Spex: Magazin für Popkultur, No. 375 (July/August 2017), “Schwerpunkt: Wut & Widerstand: Anger Is an Energy,” by Dennis Pohl, p. 114. Full online version.
Temple News, “Learning Japanese Culture Through Music,” by Asata Bamba, October 4, 2016.
Japan Times, “Injecting a Little Music into Japanese Politics,” by Ian Martin, August 7, 2016.
ABC (Australia) News Radio, Japan in Focus, “Japan in Focus Reaches Episode 50: North Korea Launches Ballistic Missiles, the Emergence of Post-Fukushima Protest Music, the Life of a Manga Artist,” by Eleni Psaltis, March 21, 2016.
Sound American, “Noriko Manabe on Carnivalization and Japanese Anti-Nuclear Protests,” by Nathan Wooley, March 13, 2015.
Princeton Magazine, “Group Chemistry: Where There’s a Will, There’s aWayside Shrine,” by Stuart Mitchner, May 2013.
Museum of Modern Art Podcast, “Antinuclear Protest Music in Japan,” by David Novak, April 26, 2013.
HOT FM 102, Kingston, Jamaica, “Reggae Music in Japan,” by Richard Burgess, March 22, 2012, 4:30–5:00pm.
Reviews of The Revolution Will Not Be Televised: Protest Music After Fukushima:
Johnson, Henry. “The Revolution Will Not Be Televised: Protest Music after Fukushima by Noriko Manabe (Review).”The Journal of Japanese Studies 43, no. 2 (July 22, 2017): 471–75.
DiNitto, Rachel. 2017. "The Revolution Will Not Be Televised: Protest Music after Fukushima, by Noriko Manabe."Journal of Popular Music Studies 29 (3).
Nappi, Carla. “Noriko Manabe, ‘The Revolution Will Not Be Televised: Protest Music After Fukushima’ (Oxford UP, 2015).” New Books Network: East Asian Studies, July 9, 2016.
Sasaki-Uemura, Wesley. “The Revolution Will Not Be Televised: Protest Music after Fukushima, Noriko Manabe, New York: Oxford University Press, 2015, Xvii, 363 Pp. + Notes, Bibliography, Index, ISBN 978-0-19-933469-8 Pb.”Japanese Studies (December 8, 2016).
Atkins, E. T. “Review of Manabe, Noriko, The Revolution Will Not Be Televised: Protest Music after Fukushima.” H-Review,August 2017.
Kingston, Jeff. 2015."Recommended Reading for the Holidays and beyond | The Japan Times.” Japan Times, December 19.
McNair, James. 2016. “Book Review: The Revolution Will Not Be Televised: Protest Music After Fukushima| The National.”The National, January 7.
La rédaction de books. 2016. “Quand La Musique Défie L’atome.” March 11.
Komi Kaoru. 2016. "Books: The Revolution Will Not Be Televised: Protest Music After Fukushima." New York Seikatsu, March 19.
illcommonz (Oda Masanori). 2016. “ノリコ・マナベ著「レヴォリューション・ウィル・ノット・ビー・テレヴァイズド」.”イﾉﾚコモンズのふた。. March 23.
Gordon, Nicholas. 2016. “The Revolution Will Not Be Televised: Protest Music After Fukushima by Noriko Manabe.”Asian Review of Books. April 5.
Mitchner, Stuart. 2016. “‘Protest’ Is the Word on the Street in Noriko Manabe’s ‘The Revolution Will Not Be Televised.’”Town Topics, April 13.
Chong Lau, Alan. 2016. “Arts Etc.”The International Examiner, May 21.
St. Michel, Patrick. 2016. “Music in the Post-Fukushima Era.” Red Bull Music Academy Daily. March 12.
Santarcangelo, Vincenzo. 2016. “Le Orecchie Dei Kamikaze Sensibili Alle Note Incendiarie.”La Lettura (Corriere Della Sera), August 14, p. 49.
Black Box, Wayside Shrines, 5-track EP, 2012.