The Melody Web what each genre heard, and what it passed on

heard passed on Click or tap a node to recenter. Use a connecting line, or Influence, for the story.

Heard

Nothing in the corpus yet that this genre heard.

Ainu upopo

tradition · prehistoric–

Also called Ainu song, upopo

Seated choral song of the Ainu (upopo), often overlapping or canonic (ukouk), with small idiophones (mukkuri, later tonkori). Heroic recitation (yukar) is a different Ainu job, not an alias of this node. This is a northeast Asian indigenous seed. Empty extra Received/Given is historically checked. It is not Yayue and not Japanese court or folk song under another name. Yukar leftover as a neighbor job on this culture, not a parent or child. Revival leftover as this school still living, not a child genre. Japanese min’yō leftover as a different song school, not a parent.

Listen

  1. Upopo (seated song, often ukouk / canonic) Ainu oral tradition (traditional)
  2. Mukkuri solo Ainu jew's-harp tradition (traditional)

Passed on

Reggae genre · 1968–

Oki’s Dub Ainu Band takes upopo vocal ostinato and tonkori and seats them on a reggae/dub grid (bass, drums, delay).

Influence

Ainu upopo → Reggae

instrumentationtimbre and productionmelodystrength: mediumwell documented1999–2010recordingpatronage

Mechanism

Oki’s Dub Ainu Band takes upopo vocal ostinato and tonkori and seats them on a reggae/dub grid (bass, drums, delay). Strength medium for that named hybrid; not definitional of reggae. Village upopo is not a child. WOMAD bills leftover as the festival frame, not a second target.

Evidence

Oki’s Dub Ainu (2004) and band records; WOMAD UK 2005; Grove on Ainu revival instruments; tonkori as the branded lead.

Debate

Whether this is still upopo or already reggae. The edge applies when upopo/tonkori is hosted inside dub production, not when women sing seated canonic upopo at home. Japanese min’yō leftover as a different song school, not a parent.

Mediators

artist: Oki Kano; institution: WOMAD; Chikar Studio