Рюкока: история японской популярной музыки 1920-1960-х годов.

Ryūkōka ([[wikt:流行) is a Japanese musical genre. The term originally denoted any kind of "popular music" in Japanese, and is the sinic reading of hayariuta, used for commercial music of Edo Period. Therefore, imayō, which was promoted by Emperor Go Shirakawa in the Heian period, was a kind of ryūkōka. Today, however, ryūkōka refers specifically to Japanese popular music from the late 1920s through the early 1960s. Some of the roots of ryūkōka were developed from Western classical music. Ryūkōka ultimately split into two genres: enka and poppusu. Unlike enka, archetypal ryūkōka songs did not use the kobushi method of singing. Ryūkōka used legato. Bin Uehara and Yoshio Tabata are considered to be among the founders of the modern style of kobushi singing. Many composers and singers of ryūkōka went on to earn official distinctions; Ichiro Fujiyama and composers Masao Koga and Ryoichi Hattori received the People's Honour Award in later years. Although enka branched off from ryūkōka, many singers of the latter genre proclaimed strong disdain for its stylistic descendant. In a 1981 interview, Noriko Awaya said "Whenever I hear enka, I have to get away from the music because I feel like vomiting."

In 1914, Sumako Matsui's song "Katyusha's song", composed by Shinpei Nakayama, was used as a theme of the rendition Resurrection in Japan. The record of the song sold 20,000 copies. One theory holds that this was the first ryūkōka song, which was made by Hogetsu Shimamura's order: "the tune between Japanese popular folk music and Western music". However, street performers called enka (演歌師) had been popular until record labels such as the Victor Company of Japan began to produce songs in the early Shōwa period. Although Matsui committed suicide after Shimamura's death, Nakayama continued to develop his music. During his career, he composed about 3,000 songs such as the 1921 song "Teru teru bozu". Nakayama transferred Japanese traditional music to staff style by main force. His 1921 song Sendō Kouta (船頭小唄) was later covered by various singers, but was at first best known for being covered by violin enka shi Shunyo Tottori (鳥取春陽) featuring Orchestra. The pentatonic scale used in this song was "Minor scale without forth and seventh degree". However, the music based on the scale had difficult in presenting chord and harmony because traditional Japanese music didn't adopt equal temperament. Nakayama's songs were based on Japanese folk music called min'yō, but also adopted Western musical style. Therefore, his music was called "Shin Min'yō" (新民謡).

Some of the country's first major stars were singer Ichiro Fujiyama and composer Masao Koga. Koga attempted to initiate fusion of Western jazz and Japanese dodoitsu. Fujiyama's 1931 song "Sake wa Namida ka Tameiki ka" (酒は涙か溜息か), composed by Koga, became a major hit in Japan. This song created a fusion of Fujiyama's crooning and Koga's guitar play. However, Fujiyama was an elite student, who specialized Western classical music in the Tokyo Music School. Ryūkōka songs often dealt with the "Ero Guro Nansensu" things. Since his school regarded ryūkōka as bad form at that time, Fujiyama was once suspended from the school, though Fujiyama was not dismissed from the school because Klaus Pringsheim Sr., a professor of the school, opposed the proposal of Fujiyama's expulsion. Katsutaro and Issei Mishima recorded duet song "Tokyo Ondo". The song was composed by Shinpei Nakayama and was released in 1933. The single "Tokyo Ondo" sold 1,200,000 copies. When Fujiyama sang Western classic lied songs, those songs were called "kayōkyoku", but the term "kayōkyoku" went on to be used as another name of ryūkōka in NHK. At first, Koga was a good co worker for Fujiyama but they moved apart from each other because Koga sought "Japanese" music. On the other hand, Yoshie Fujiwara drew a clear line between him and ryūkōka and established the Fujiwara Opera in 1934, launching the establishment of Japanese Opera. Soprano singer Noriko Awaya also sang ryūkōka, but the Toyo Music School once annulled her graduation. She was called "Queen of Blues", though term "blues" was just a song title. Koseki composed Roei no Uta (露営の歌) released in 1937. Although the song was a B side song, it sold 600,000 copies. The 1937 song Aikoku Kōshinkyoku (愛国行進曲) sold 1,000,000 copies. However, Japanese jazz musicians such as Ryoichi Hattori seemed to be vigorless to compose war songs. His son Katsuhisa Hattori claimed that he was not an antinationalist and he technically were hardly not able to compose war songs even if they wanted to make those because Japanese war songs were musically enka. Although many war songs were made after the beginning of the Pacific War, "Kōgen no Tsuki" (高原の月), sung by Noboru Kirishima and Akiko Futaba, became popular as a lyrical song. When the war was nearing an end, the theme included frightful spectacles such as the Battle of Attu, Guadalcanal Campaign and Marshall Islands Campaign. After the war, the songs during the war have been regarded as a taboo even in Japan despite those historical importance. After the war, Taro Shoji, who heard the Gyokuon hōsō in Nagano Prefecture, was once banned from singing many of his songs because those were regarded as nationalistic. Ryoichi Hattori, who moved to Shanghai in 1944, contributed to advancing Japanese poppusu music after the war. She made her debut with song "Kappa Boogie Woogie" in 1949. Hattori's composed song "Aoi Sanmyaku" (青い山脈), which was sung by Ichiro Fujiyama and Mitsue Nara, became a major hit in the early post war years in Japan. "Nagasaki no Kane", based on Takashi Nagai's book The Bells of Nagasaki, was sung by Fujiyama in 1949. Fujiyama became the final singer of all singers at the 1st Kōhaku Uta Gassen with "Nagasaki no Kane" in 1951. Chiemi Eri debuted in 1952 and Izumi Yukimura debuted in 1953. Fujiyama moved to NHK in 1954 and returned to his original style―classical music. He went on to become a conductor for "Hotaru no Hikari" at the Kōhaku Uta Gassen.

New singers such as Hibari Misora, Hachiro Kasuga, Michiya Mihashi and Chiyoko Shimakura became popular when old singers became unpopular. Around that time, Japanese composers went on to establish their own genres such as Toru Funamura and Minoru Endo's "Enka", Tadashi Yoshida's "Mood Kayō", and Hachidai Nakamura and Hiroshi Miyagawa's "Jazz". The song was composed by Masanobu Tokuchi, who came from the Ryukyu Islands. Kasuga's 1955 song "Wakare no Ipponsugi", composed by Funamura, also became a hit song. Funamura also composed Michiya Mihashi's 1955 song "Anoko Ga Naiteru Hatoba". Ryōkyōku singers such as Haruo Minami and Hideo Murata joined Japanese popular music. Hachiro Kasuga, Michiya Mihashi and Hideo Murata went on to form their genre later called enka. Sakamoto's 1961 single "Ue o muite arukō", composed by Nakamura, became a major hit in Japan. On the other hand, Hideo Murata's 1961 single "Ōsho" (王将), composed by Toru Funamura, sold over one million copies in Japan. On June 5, 1962, Saburō Kitajima made his debut with the single "Bungacha Bushi." Funamura composed Kitajima's 1962 hit song "Namida Bune" (なみだ船). Hiroshi Miyagawa composed The Peanuts' 1962 song "Furimukanaide." The Peanuts also sang "Mothra's Song". The song was composed by Yuji Koseki. In June 1963, Sakamoto's "Ue o muite arukō" reached the number one position in the U. S. Billboard Hot 100 under its alternative title "Sukiyaki". In 1963, Kitajima's song "Guitar Jingi" (ギター仁義) and Kazuo Funaki's song "Koko San Nen Sei" (高校三年生) also became popular. Both songs were composed by Minoru Endo. Hashi and Funaki became singers for youth music, making a new genre called "Seishun Kayō" (青春歌謡). Kitajima took part in the Kōhaku Uta Gassen for the first time on December 31, 1963. The audience share of the 14th Kōhaku Uta Gassen reached 81.4% in 1963. Koga was also an original composer of Hibari's 1966 cover song "Kanashii Sake" (悲しい酒). His music, called "Koga melody", became a base of modern enka and he became known as "the father of modern enka". On the other hand, Hachidai Nakamura also composed the Johnnys' 1964 debut single "Wakai Namida." Japanese guitarist Yūzō Kayama also produced his 1965 hit song "Kimi to Itsumademo" as a singer. British rock band The Beatles visited Japan and had a concert at the Nippon Budokan in 1966. With the aim of breaking the traditional style, Group Sounds band The Blue Comets' 1966 song "Aoi Hitomi" (青い瞳), originally released as an English song, was released as a Japanese song. In 1966, folk singer Ryoko Moriyama, a daughter of jazz musician Hisashi Moriyama, also released hit song "Kyō no Hi wa Sayōnara" (今日の日はさようなら). The Blue Comets' song "Blue Chateau" won the grand prix award at the Japan Record Award in 1967. The Folk Crusaders' 1967 song "I Only Live Twice" also had a big impact on Japanese popular music. New musical movement called "Kayō Pops" (歌謡ポップス) also a string of hits such as Ayumi Ishida's 1968 song "Blue Light Yokohama", composed by Kyohei Tsutsumi. Group Sounds became unpopular in the late 1960s in Japan. Then, Group Sounds was displaced by "New Rock" in Japanese underground rock music around 1970. Japanese language rock band Happy End became one of prototypes of modern J pop. Mickey Curtis formed rock band "Samurai" in 1969 in U. K. and later scouted the Japanese band "Carol" in which leader was Eikichi Yazawa.

A part of Ryoichi Hattori's Western style music during that period remained in Western style classical music of Japan and was transvalued in 2000s. His tribute album was released on October 17, 2007. Various musicians such as Hideaki Tokunaga (for "Wakare no Blues"), Kazumasa Oda (for "Suzhou Nocturne"), Masaharu Fukuyama (for "Tokyo Boogie woogie") and Tokyo Ska Paradise Orchestra (for "Aoi Sanmyaku") took part in the album. The tribute album debuted at the number ten position on the Japanese Oricon weekly album charts.