1923 Great Kantō earthquake divine punishment to admonish the Japanese people for their self-centered, immoral, and extravagant lifestyles. In the long run, the response to the disaster was a strong sense that Japan had been given an unparalleled opportunity to rebuild the city, and to rebuild Japanese values. In reconstructing the city, the nation, and the Japanese people, the earthquake fostered a culture of catastrophe and reconstruction that amplified discourses of moral degeneracy and national renovation in interwar Japan. After the earthquake, Gotō Shinpei organized a reconstruction plan of Tokyo with modern networks of roads, trains, and public services. Parks were placed all over
Kanto (music) combined with lyrics that described the tensions between men and women, or explored love themes, or just reflected local events of the time. The compositions were in well-known makams such as Rast, Hüzzam, Hicaz, Hüseyni and Nihavent. Kanto songs are remembered both by the names of their interpreters and their creators. There occurred a new change of trends after the late 1930s: there was a revival of interest in the kanto form. Although rather far from its fundamental principles a new type of kanto was önce again popular. Kanto was not anymore exclusively limited to stage performances; there began to