Paper short abstract:

With a primary focus on Hiroshima in classical music (although other genres and Nagasaki are discussed, too), this paper analyzes both the representations of the A-bombs in music and how music contributes to commemorative practices and “peace tourism” via “music tourism”.

Paper long abstract:

The atomic attacks on Hiroshima and Nagasaki at the end of World War II are central to Japanese memories of the conflict. With a primary focus on Hiroshima in classical music (although other genres and Nagasaki are discussed, too), this paper analyzes both the representations of the A-bombs in music and how music contributes to commemorative practices and “peace tourism” via “music tourism”.

First the paper catalogues the major works of classical music about Hiroshima by Japanese composers. Many are abstract/modern in the mould of “Western art music” (the widely used academic term for contemporary “classical” music). Contrasting these works with the neo-romantic Symphony No. 1 “Hiroshima” by disgraced composer Samuragochi Mamoru (actually his ghost writer Niigaki Takashi), the differing ways A-bomb-related music engages the intellect and emotions are discussed.

Then the paper examines how music in Hiroshima contributes to commemorative events within “peace tourism”. There are peace concerts and events organized by groups such as the Hiroshima Symphony Orchestra that commemorate the wartime past in music. The Peace Park itself has often been a musical stage with the A-bomb dome serving as a backdrop to open air performances. And in recent times, “hibaku pianos” (which were damaged in the bombing) have gathered attention, both as the subject of films/dramas and in touring activities, whether visitation to the recently-opened hibaku piano museum or the pianos being transported outside Hiroshima for concerts.

This paper, therefore, explores the multiple connections between (classical) music, war memories, and contemporary commemorations of the atomic bombs.