Gamma-emitting radionuclides in tuna samples from the Tokyo Central Fish Market, 1962.

Mode of access: Internet.

Notice sur l'Ecole des beaux-arts de Tokyo.

Mode of access: Internet.

Journal of the Faculty of Engineering, University of Tokyo.

Mode of access: Internet.

Annals of the Tokyo Astronomical Observatory.

Publication suspended 1923-36 and 1940-48.

The Tokyo Round trade agreements.

Vol. 1 prepared by Andrew L. Stoler.

Bulletin of the College of Agriculture, Tokyo Imperial University.

Volume for 1887-1890 issued by college under an earlier name: Imperial College of Agriculture and Dendrology.

Journal of the College of Science, Imperial University of Tokyo.

Title varies slightly.

明治四十三年東京商業会議所統計年報 The annual statistical report of the Tokyo Chamber Commerce. 1910

Mode of access: Internet.

東京市物価及賃銀指数表 最近20ヶ年間 : The Index Numbers of Prices and Wages in The City of Tokyo

Mode of access: Internet.

U-M baseball vs Waseda University in Tokyo, 1932

[U-M runner sliding in to home plate]

Taylor Drysdale, UM Swimming, with trophy for 100-meter backstroke from U.S.-Japan meet in Tokyo, 1935

L-R: Kawatzu (Japan), Russell Branch (U.S.), Taylor Drysdale (U.S.)

Journal of the College of Agriculture, Imperial University of Tokyo.

Added title in Japanese.

Shika gakuhō. The Journal of the Tokyo Dental College Society.

Chemical abstracts

The botanical magazine, Tokyo = Shokubutsugaku zasshi

Title in English only,

Ideals, Aesthetics, and Practices of Professionalization in the Tokyo Jazz Scene

In the early twenty-first century, jazz has a history in Japan of approximately 100 years. In contemporary Tokyo, Japanese musicians demonstrate their right to access jazz performance through a variety of musical and extra-musical techniques. Those accepted as fully professional and authentic artists, or puro, gain a special status among their peers, setting them apart from their amateur and part-time counterparts. Drawing on three months of participant-observation in the Tokyo jazz scene, I examine this status of puro, its variable definition, the techniques used by musicians to establish themselves as credible jazz performers, and some obstacles to achieving this status. I claim two things: first, aspiring puro musicians establish themselves within a jazz tradition through musical references to African American identity and a rhetoric of jazz as universal music. Second, I claim that universalism as a core aesthetic creates additional obstacles to puro status for certain musicians in the Tokyo scene.