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The fact that much of what the Japanese regard as part of their culture originally came to Japan from the Asian continent in ancient and medieval times is well known and has been extensively researched. For the period after 1868, however, the attention of scholars has tended to concentrate on Japan’s comprehensive importation of Western civilization. This exploratory article suggests a different perspective. Taking music in modern Japan as an example and based in part on the author’s research for her recent book Not by Love Alone: The Violin in Japan, 1850-2010, the author will argue that music is a particularly rewarding fi eld for examining transnational fl ows. Research on music in modern Japan has tended to privilege the introduction of European art music from the West and this was undoubtedly one of the most important developments in the nineteenth and twentieth centuries. There are, however, aspects to this development that merit more attention than they have received so far, including the relationship between Western music and other musics practised in Japan in the nineteenth century and the interactions between Japan and non-Western countries and in particular its East Asian neighbours. In this article, four general themes for further enquiry are introduced: 1. The possible relation between Meiji statesmen’s and intellectuals’ kangaku education and their views on the role of music in the modern state. 2. The Chinese origins and the place of minshingaku (Ming and Qing music) in the musical culture of nineteenthcentury Japan. 3. Japan’s role in the dissemination of Western Music in East Asia. 4. The role of the East Asian continent (particularly the cities of Shanghai and Harbin) as a place of encounter between Asia and Europe.

European Art Music and Its Role in the Cultural Interaction between Japan and the East Asian Continent in the Nineteenth and Early Twentieth Centuries