DOCSLIB.ORG

A Location-Based and Augmented Reality Hidden Object Game

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Location-Based and Augmented Reality Hidden Object Game A Location-Based and Augmented Reality Hidden Object Game Interactive Media and Game Development A Major Qualifying Project Report submitted to the faculty of WORCESTER POLYTECHNIC INSTITUTE In partial fulfillment of the requirements for the Degree of Bachelor of Science By: Marco Duran LilyAnne Lewis Sienna McDowell Advised by: Professor Jennifer deWinter Abstract This report describes the design and creation process of Step Symphony, a location-based hidden object game using directional sound and augmented reality developed to fulfill the Major Qualifying Project requirement for Worcester Polytechnic Institute's Interactive Media and Game Development (IMGD) and Professional Writing majors. This project was developed over the course of three months at Ritsumeikan University's Biwako-Kusatsu Campus in Shiga Prefecture, Japan. This game intends to encourage exploration of the many historical sites of Japan, and to experience joy while collecting different kyokubou with different instruments. This report covers all aspects of the team's development process, including research, playtesting, and the creation of the various features the game possesses, as well as the possibility of future work on the project. We also developed a testing system that could be utilized to evaluate the usability and learnability of all key components of Step Symphony, and thereby refine each gameplay component to make them easier and more fun to use while exploring Central Kyoto. i Acknowledgments The creators of Step Symphony would like to thank the many people who have helped us on the creation of this game. First, we would like to give a heartfelt thanks to Professor deWinter, our adviser, for her help and monitoring our progress. Without her advice and input, this game would be a completely different beast. We would also like to thank Professor Lopez and Professor Noma who oversaw our work while in the care of Ritsumeikan BKC. Their warm welcomes and assistance helped shape the game's core concepts. An especially warm thanks goes out to the other students in the Media and Design Lab—their enthusiasm made this difficult undertaking bearable, and we hope to be able to keep in contact with them. Another thanks goes out to Ritsumeikan University Biwako-Kusatsu Campus, for housing us while in Japan, and giving us a space in the lap and providing everything we needed to make this project a reality. Last and certainly not least, a deep thanks to our families, without whom we would not have been able to do this at all. ii Table of Contents 1 Introduction ................................................................................................................................................ 1 2 Design and Gameplay ................................................................................................................................ 5 2.1 Platform and Hardware Requirements ................................................................................................ 5 2.2 Target Audience .................................................................................................................................. 6 2.3 Kyokubou ............................................................................................................................................ 6 2.4 Kyokubou Locations ........................................................................................................................... 9 3 Visual Assets ............................................................................................................................................ 17 3.1 Art Style ............................................................................................................................................ 17 3.1.1 Color Meanings .......................................................................................................................... 20 3.2 2D Assets .......................................................................................................................................... 23 4. Audio ...................................................................................................................................................... 26 4.1 Composition ...................................................................................................................................... 26 4.1.1 Composition Style ...................................................................................................................... 27 4.2 Instruments ........................................................................................................................................ 29 4.3 Incorporation into Step Symphony .................................................................................................... 35 5 Technology .............................................................................................................................................. 37 5.1 Unity ................................................................................................................................................. 37 5.2 Player Map and Augmented Reality ................................................................................................. 37 5.3 Directional Sound ............................................................................................................................. 40 5.4 Snapshot Mode .................................................................................................................................. 41 5.5 Rhythm Capture Mechanic ............................................................................................................... 43 5.5.1 Creation of Beat Maps ............................................................................................................... 45 5.5.2 Creation of the Rhythm Based Mechanic .................................................................................. 46 5.6 Databases .......................................................................................................................................... 52 5.6.1 Player Database .......................................................................................................................... 53 5.6.2 Kyokubou Database ................................................................................................................... 56 5.7 Collection Screen .............................................................................................................................. 59 6 Testing Methods for Step Symphony ........................................................................................................ 61 6.1 Challenges of Testing ....................................................................................................................... 61 6.1.1 Working Around the Language Barrier ..................................................................................... 63 6.2 Testing Directional Audio ................................................................................................................. 64 6.3 Two Types of Tests ........................................................................................................................... 65 6.3.1 Testing in a Controlled Environment ......................................................................................... 66 6.3.2 Testing in an Uncontrolled Environment ................................................................................... 66 iii 6.4 Controlled Environment Testing ....................................................................................................... 67 6.4.1 Preparation ................................................................................................................................. 67 6.4.2 Introduction and Pre-test ............................................................................................................ 68 6.4.3 Playtest ....................................................................................................................................... 69 6.4.4 Post-test ...................................................................................................................................... 72 6.5 Uncontrolled Environment Testing ................................................................................................... 74 6.5.1 Preparation ................................................................................................................................. 74 6.5.2 Introduction and Pre-test ............................................................................................................ 75 6.5.3 Playtest ....................................................................................................................................... 76 6.5.4 Post-test ...................................................................................................................................... 78 6.6 Revisions Based on Results .............................................................................................................. 80 6.6.1 Revision of Snapshot Mode ....................................................................................................... 81 6.6.2 Other Forms of Feedback for Players ........................................................................................ 81 6.6.3 Testing Error .............................................................................................................................
Load more

Recommended publications
  • 5Th Competition Award Ceremony Program 2010
    The Japan Center at Stony Brook (JCSB) Annual Meeting JCSB-Canon Essay Competition Award Ceremony 10:00 – 11:15 a.m. (Chapel) 12:15 -1 p.m. (Chapel) Opening Remarks: Opening Remarks: Iwao Ojima, JCSB President Iwao Ojima, JCSB President & Chair of the Board Greetings: Mark Aronoff, Vice Provost, Stony Brook University Financial Report: Joseph G. Warren, Vice President & General Manager, Canon U.S.A.; Chairman & COO, Patricia Marinaccio, JCSB Treasurer & Executive Committee Canon Information Technology Services, Inc. Result of the Essay Competition: Eriko Sato, Organizing Committee Chair Public Relations: JCSB Award for Promoting the Awareness of Japan: Roxanne Brockner, JCSB Executive Committee Presenter: Iwao Ojima Patrick J. Cauchi (English teacher at Longwood Senior High School) The Outreach Program: Best Essay Awards: Gerry Senese, Principal of Ryu Shu Kan dojo, JCSB Outreach Program Director Moderator: Sachiko Murata, Chief Judge Presenters: Mark Aronoff, Joseph Warren, and Iwao Ojima High School Division Best Essay Award The Long Island Japanese Association: st Eriko Sato, Long Island Japanese Association (LIJA), JCSB Board Member 1 Place ($2,000 cash and a Canon camera) A World Apart by Gen Ishikawa (Syosset High School) nd 2 Place ($1,000 cash and a Canon camera) Journey to a Japanese Family by Ethan Hamilton (Horace Mann High School) Pre-College Japanese Language Program: rd Eriko Sato, Director of Pre-College Japanese Language Program, JCSB Board Member 3 Place ($500 cash and a Canon camera) What Japan Means to Me by Sarah Lam (Bronx High School of Science) Honorable Mention ($100 cash) Program in Japanese Studies: Life of Gaman by Sandy Patricia Guerrero (Longwood Senior High School) (a) Current Status of the Program in Japanese Studies at Stony Brook University: Origami by Stephanie Song (Fiorello H.
    [Show full text]
  • Dayton C. Miller Flute Collection
    Guides to Special Collections in the Music Division at the Library of Congress Dayton C. Miller Flute Collection LIBRARY OF CONGRESS WASHINGTON 2004 Table of Contents Introduction...........................................................................................................................................................iii Biographical Sketch...............................................................................................................................................vi Scope and Content Note......................................................................................................................................viii Description of Series..............................................................................................................................................xi Container List..........................................................................................................................................................1 FLUTES OF DAYTON C. MILLER................................................................................................................1 ii Introduction Thomas Jefferson's library is the foundation of the collections of the Library of Congress. Congress purchased it to replace the books that had been destroyed in 1814, when the Capitol was burned during the War of 1812. Reflecting Jefferson's universal interests and knowledge, the acquisition established the broad scope of the Library's future collections, which, over the years, were enriched by copyright
    [Show full text]
  • 1 WHAT's in a SUBTITLE ANYWAY? by Katherine Ellis a Thesis
    WHAT’S IN A SUBTITLE ANYWAY? By Katherine Ellis A thesis Presented to the Independent Studies Program of the University of Waterloo in fulfillment of the thesis requirements for the degree Bachelor of Independent Studies (BIS) Waterloo, Canada 2016 1 剣は凶器。剣術は殺人術。それが真実。薫どのの言ってる事は．．．一度も自分 の手血はがした事もないこと言う甘えだれ事でござる。けれでも、拙者は真実よ りも薫どのの言うざれごとのほうが好きでござるよ。願あくはこれからのよはそ の戯れ言の真実もらいたいでござるな。 Ken wa kyouki. Kenjutsu wa satsujinjutsu. Sore wa jijitsu. Kaoru-dono no itte koto wa… ichidomo jishin no te chi wa gashita gotomonaikoto iu amae darekoto de gozaru. Keredomo, sessha wa jujitsu yorimo Kaoru-dono no iu zaregoto no houga suki de gozaru yo. Nega aku wa korekara no yo wa sono zaregoto no jujitsu moraitai de gozaru na. Swords are weapons. Swordsmanship is the art of killing. That is the truth. Kaoru-dono ‘s words… are what only those innocents who have never stained their hands with blood can say. However, I prefer Kaoru- dono’s words more than the truth, I do. I wish… that in the world to come, her foolish words shall become the truth. - Rurouni Kenshin, Rurouni Kenshin episode 1 3 Table of Contents Abstract……………………………………………………………………………………………………………….5 Body Introduction………………………………………………………………….……………………………………..6 Adaptation of Media……………………………………………….…………………………………………..12 Kenshin Characters and Japanese Archetypes……………………………………………………...22 Scripts Japanese………………………………………………………………………………………………….29 English……………………………………………………………………………………………………35 Scene Analysis……………………………………………………………………………………………………40 Linguistic Factors and Translation………………………………………………………………………53
    [Show full text]
  • An Analysis of Twentieth-Century Flute Sonatas by Ikuma Dan, Hikaru
    Flute Repertoire from Japan: An Analysis of Twentieth-Century Flute Sonatas by Ikuma Dan, Hikaru Hayashi, and Akira Tamba D.M.A. Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Daniel Ryan Gallagher, M.M. Graduate Program in Music The Ohio State University 2019 D.M.A. Document Committee: Professor Katherine Borst Jones, Advisor Dr. Arved Ashby Dr. Caroline Hartig Professor Karen Pierson 1 Copyrighted by Daniel Ryan Gallagher 2019 2 Abstract Despite the significant number of compositions by influential Japanese composers, Japanese flute repertoire remains largely unknown outside of Japan. Apart from standard unaccompanied works by Tōru Takemitsu and Kazuo Fukushima, other Japanese flute compositions have yet to establish a permanent place in the standard flute repertoire. The purpose of this document is to broaden awareness of Japanese flute compositions through the discussion, analysis, and evaluation of substantial flute sonatas by three important Japanese composers: Ikuma Dan (1924-2001), Hikaru Hayashi (1931- 2012), and Akira Tamba (b. 1932). A brief history of traditional Japanese flute music, a summary of Western influences in Japan’s musical development, and an overview of major Japanese flute compositions are included to provide historical and musical context for the composers and works in this document. Discussions on each composer’s background, flute works, and compositional style inform the following flute sonata analyses, which reveal the unique musical language and characteristics that qualify each work for inclusion in the standard flute repertoire. These analyses intend to increase awareness and performance of other Japanese flute compositions specifically and lesser- known repertoire generally.
    [Show full text]
  • Talismans and Amulets in the Japanese Collection1
    ANNALS OF THE NÁPRSTEK MUSEUM 35/1 • 2014 • (p. 39–68) TALISMANS AND AMULETS IN THE JAPANESE COLLECTION1 Alice Kraemerová2 ABSTRACT: This article describes all types of amulets and talismans present in the Náprstek Museum Japanese collection and uncovers their symbolic meaning. These are mostly talismans from shrines and temples dating to the beginning of the 20th century, traditional hand-crafted items from famous places of pilgrimage and toys used as talismans. KEY WORDS: Japan – Buddhist temple – Shintǀ shrine – shamanism – talisman – amulet– ofuda – ema – omamori – collecting – Náprstek Museum of Asian, African and American Cultures (Prague) 1. Defining terminology Amulet is considered to have protective or otherwise salutary effects while talisman primarily attracts fortune. Various authors describe different classifications of amulets and talismans according to their functional principles: homeopathic principle, contact principle, the principle of the magic of the written word, principle of colour magic, the principle of magic substances, the principle of the personifies higher power and the combinatorial principle (Nuska 2012). In this article we shall not use this division as for such a detailed analysis it would be necessary to acknowledge all types of amulets and talismans, not just those collected by the Czech travellers and brought into the NpM collections. Most of the available literature deals with the European view on amulets and talismans; the furthest it gets is the Near East. The Far East is usually not that well mapped due to the geographical distance and the language barrier. For the Japanese talismans, there are several often used terms: mayoke (㨱 㝖ࡅ) or yakuyoke (གྷ㝖ࡅ), omamori (࠾Ᏺࡾ) and ofuda (ᚚᮐ) or gofu (ㆤ➢).
    [Show full text]
  • Chapter 5: Music
    CHAPTER 5 MUSIC Revised October 2010 5.1. TITLE AND STATEMENT OF RESPONSIBILITY AREA 5.1B. Title proper 5.1B1. Transcribe the title proper as instructed in 1.1B. If a title consists of the name(s) of one or more type(s) of composition, or one or more type(s) of composition and one or more of the following: medium of performance key date of composition number treat type of composition, medium of performance, etc., as the title proper. In all other cases, if one or more statements of medium of performance, key, date of composition, and/or number are found in the source of information, treat those elements as other title information (see 5.1E). In case of doubt, treat statements of medium of performance, key, date of composition, and number as part of the title proper. If the title proper is not taken from the chief source of information, give the source of the title in a note (see 5.7B3). 245 10 $a “Dou E yuan” ge ju xuan qu 245 10 $a Gasshō no tame no konpojishon. $n II 245 10 $a 合唱のためのコンポジション. $n II 245 10 $a Gagaku uchimono sōfu 245 10 $a 雅楽打物奏譜 245 10 $a Yongun no tame no keishō 245 10 $a 四群のための形象 245 10 $a Yŏn’gagok piga 245 10 $a 連歌曲 悲歌 Title main entry: 1 245 00 $a Pi pa du zou qu ji 245 00 $a 琵琶独奏曲集 245 00 $a Shandong min jian qi yue ju xuan 245 00 $a 山東民間器樂曲選 245 00 $a Zhongguo zhu di du zou qu jing xuan 245 00 $a 中國竹笛獨奏曲精選 245 00 $a Ikuta-ryū sōkyoku senshū 245 00 $a 生田流箏曲選集 245 00 $a P’iri kuŭm chŏngakpo 245 00 $a 피리 口音 正樂譜 5.1D.
    [Show full text]
  • Reopening the Center MESSAGE from the EXECUTIVE DIRECTOR
    QUARTERLY NEWSLETTER FALL 2020 | VOLUME 65 Reopening the Center MESSAGE FROM THE EXECUTIVE DIRECTOR When Will The Center Reopen? n March some people to feel comfortable getting BOARD OFFICERS 12, 2020, it or participating in indoor activities. Myron Okada | President Obefore the We realize that things are continually Scott Okamoto | Senior Vice President mandated city- changing, and we hope for the best. Donna Kimura | Vice President wide Shelter-in- Taking all of this into account, the Kelly Yuka Walton and Hillary Nakano | Place (SIP) started, Center developed a plan based on Corporate Secretaries we closed our nine months. The plan is based on Robert Sakai | Chief Financial Officer, doors and ceased the following assumptions: Ex Officio all programs for Executive Director • a vaccine is approved by the BOARD OF DIRECTORS the health and PAUL OSAKI end of 2020 or early 2021. Terry Akiyama safety concerns of Sherilyn Chew our community. Although everyone knew • the vaccine will be widely David Fukuda the COVID-19 virus was deadly, at the available to the public within the Judy Hamaguchi time, none of us realized just how much first and second quarter of 2021. Chris Hirano and to what extent. Most of us had never • even with a vaccine, it may take 3-6 Stephen Katayama even heard the phrase "Shelter-in-Place." Ryan Kimura months for some individuals to feel Susan Kobayashi We were hoping to reopen, possibly comfortable participating in indoor group Rumi Okabe in June or July. Little did we know, in activities, programs and special events. Allen Okamoto the months ahead, that over 250,000 Our primary concern is the health Marilyn Oshiro people would die in the United States and safety of the community.
    [Show full text]
  • 9 Ways to Elevate Your Fue Playing
    Eien Hunter-Ishikawa DRUMSET - TAIKO - SHINOBUE ! Performer - Educator - Composer 9 Ways to Elevate Your Fue Playing ! Fue is the broad Japanese word for flute, but this label is commonly used to refer to the shinobue (horizonal flutes made from the shino bamboo). In general, there are two main categories under which shinobue are sold: 1. koten joushi (also called hayashi bue or matsuri bue) are used in Japanese traditional and folk music, where the finger holes are uniform in size; 2. uta you (or uta bue) are tuned to the Western scale and the finger holes vary in size to accommodate this tuning. The number on the plugged end of the instrument designates the key – the higher the number, the higher the pitch and shorter the length – and each numerical increase raises the key by one half-step. For example, the number 6 fue is in B-flat major, while the number 7 is in B major and the number 5 is in A major. With its high-pitched projection and range of possible timbres, the shinobue is a natural partner to taiko and can substantially add life and variety to taiko and other ensembles. Leaning how to play fue will boost a taiko player’s musicianship because this new perspective provides better melodic awareness and listening skill. Here are 9 ways to help elevate your fue playing: ! 1. Own a quality instrument – there is no substitute for leaning on a proper instrument. While plastic or cheap bamboo fue are better than nothing, decent ones can be purchased for slightly over $100 and very good ones start at around $200.
    [Show full text]
  • KAKEHASHI Project (United States of America) Inbound Program for Japanese Americans the 1St Slot Program Report
    KAKEHASHI Project (United States of America) Inbound program for Japanese Americans the 1st Slot Program Report 1. Program Overview Under the “KAKEHASHI Project” of Japan’s Friendship Ties Programs, 100 Japanese- Americans and supervisors from the U.S. visited Japan from December 17 to December 24, 2019 to participate in the program aimed at promoting their understanding of Japan with regard to Japanese politics, economy, society, culture, history, and foreign policy. Through the lectures, observations and interactions with Japanese people etc., the participants enjoyed a wide range of opportunities to improve their understanding of Japan and shared their individual interests and experiences on social media. Based on their findings and learning in Japan, each group of participants made a presentation in the final session and reported on the action plans to be taken after returning to the U.S. [Participating Countries and Numbers of Participants] United States of America: 100 participants, [Prefectures Visited] Tokyo and Kanagawa (All), Aichi and Fukui (Group A/B, 50 Participants), Fukushima (Group C/D, 50 Participants) 2. Program Schedule 12/17 【Arrival】 (Tue) 12/18 【Orientation】 (Wed) 【Lecture】Mr. KOJIMA Shigeru, The Association of Nikkei & Japanese Abroad 【Observation】Japanese Overseas Migration Museum Move to Aichi from Kanagawa (Group A/B) 12/19 （1） Group A/B: Aichi, Fukui （2） Group C/D: Fukushima (Thu) 【School Exchange】 Move to Fukushima from Tokyo Chukyo University 【Lecture】Mr. FUKUCHI Seiji, 【Observation】Osu Kannon, Director, Department of Industry, Shopping District Kitakata City Move to Fukui from Aichi Group C Group D 【Observation】 【Culture Yamatogawa Experience】 Brewery Akabeko (red cow) painting experience 1 12/20 【Lecture】Mr.
    [Show full text]
  • Žarko Pai Žarko Paić
    ISSN 1331-7970 dvotjednik za kulturna i društvena zbivanja • zagreb, 8. siječnja 2,,9., godište XI, broj 247/8 cijena 12,00 kn; za BiH 2,5 km; za Sloveniju 320 sit Žarko Paić - Poredak lakrdije Erik Davis - Led Zeppelin Proza - Babić, Clément, Federman, McNeil Autorski strip cmyk 2 XI/247/8, 8. siječnja 2,,9. info/najave Gdje je što? Info i najave 2 Esej Zaručnici neba Predrag Vrabec 3 Intimni rječnik Claudea Lévi-Straussa Claude Lévi-Strauss 6-7 APOKALIPTIČKO IZVJEŠĆE No 1002. Akademije Planeta Konja o neobičnim događajima na Planetu Majmuna Ante Armanini 16-17 Upoznajte sisoseksualce Rachel Kramer Bussel 34 Satira Crkva za koju je Google bog? The Church of Google 4-5 U žarištu Premijera predstave Karusel - tamo gdje tu je Kultura i civilno društvo Biserka Cvjetičanin 7 Poredak lakrdije Žarko Paić 8-9 Peticija protiv slobode Saša Šimpraga 10 Premijera: 8. siječnja 2009. u 20 h, polukružna dvorana Teatra &TD Izvedbe: 9. i 10. siječnja 2009. u 20 h, polukružna dvorana Teatra &TD Tema: Led Zeppelin Led Zeppelin IV Erik Davis 11-13 Autori i izvođači: Darko Japelj i Silvia Marchig Razgovor s Erikom Davisom Mark Dery 14-15 Ilustracije: Igor Hofbauer Socijalna i kulturna antropologija Koncept: Silvia Marchig Knjiga amuleta i talismana Claude Lecouteux 18-19 Koprodukcija:Kik Melone uz potporu Gradskog ureda za kulturu, obrazovanje Vizualna kultura i šport Grada Zagreb i Ministarstva Kulture Republike Hrvatske.Ostvareno kroz Dokumentacija ili ritual? Branko Cerovac 20 ARP radnu platformu EkS-scene Višestruki načini gledanja Igor Marković 20 Umjetnost svakog čovjeka je sakralna Jasna Jakšić 21 i Studentski centar u Zagrebu – Kultura promjene – Teatar &TD Sjesti pod stablo Boris Greiner 22 Prikaze u dva čina Petra Vidović 23-24 Svijet poput penduluma Ana-Marija Koljanin 24 Karusel je iluzija putovanja, vrtoglava vrtnja, uvijek iz istog početka i s istim ishodom.
    [Show full text]
  • Wye---A-History-Of-The-Flute.Pdf
    A History of the Flute Trevor Wye 1. Whistles What a daunting prospect to write a simple flute history without missing anything. Looking at a pamphlet a few years ago, it stated that in the South Pacific Islands, those tiny islands south of Hawai, there are about 1300 different named flutes. Our modern flute is just one of thousands of flutes worldwide of all shapes and sizes from miniature ocarinas to giants like the Slovakian Fujara. A sensible way to begin would be to understand how flutes are made to emit sound and so we will look at the four main varieties. These are Endblown where the player blows across the end of the tube; Sideblown as in our modern flute; a Fipple or encapsulated such as is found in a referee's whistle and a Globular flute such as in ocarinas and gemshorns. In all cases, the air is directed against a sharp edge which causes the air to alternate between entering the tube where it meets resistance, then shifting to going outside the tube. This alternation takes place at great speed causing the air inside the tube or vessel to vibrate and so make a sound. In the endblown flute shown below, the tube is held upright and the air directed across the cutaway top of the tube. The fipple flute is sounded by the player directing air through a tube or windway against the sharp edge. An example is the recorder and the pitch is changed by covering the holes down the tube in succession. Globular flutes are sounded either by blowing across a hole or via the fipple which is connected to the 'globe' shown above, though the way the instrument responds is unlike the whistle; the notes can be changed by uncovering any hole, no matter in what position it is placed.
    [Show full text]
  • Liner Notes, Japanese (PDF)
    Japan_Arbiter_4 7/2/12 9:13 PM Page 2 Japanese Traditional Music: A historical background of the period of this recording. Shamisen and songs • Kokusai Bunka Shinkokai 1941 1. Jiuta: Yashima 3:32 16. Sairei bayashi (Edo bayashi): Kamakura, An extensive anthology of traditional Japanese music was created sometime around 1941- 2. Ogie-bushi: Fukagawa hakkei 3:10 Okazaki byôshi, Nageai 3:25 42 by the Kokusai Bunka Shinkôkai (KBS), International Organization for the Promotion of 3. Utazawa-bushi: Aki no yo 3:22 Culture. KBS was established under the Ministry of Education and the Ministry of Foreign Komori-uta (cradle songs): 4. Utazawa-bushi: Washi ga kuni sa 3:38 Affairs in 1934 for cultural exchange between Japan and foreign countries. It later in 1972 17. Komoriu-uta from Nanbu, Aizu, 5. Kouta: Samidare, Kyara no kaori 3:15 developed into the Japan Foundation, an organization under the Ministry of Foreign Affairs. Sendai 3:12 6. Kouta: Yae hitoe, Aki no KBS activities ranged from holding lectures and concerts, artistic and academic exchange, 18. Komori-uta from Kantô, Nagoya, nanakusa 3:13 publishing books and photos, to producing films and records, establishing libraries and relat- Osaka 3:25 7. Hauta: Harusame 3:11 ed cultural facilities abroad, among them this record set of traditional Japanese music. 19. Komori-uta from Chûgoku, Shikoku, 8. Hauta: Kyo no shiki 2:49 According to a description in the KBS journal Kokusai Bunka (vol. 16, October 1941), two Kita-kyûshû 3:05 9. Hauta: Ozatsuki sansagari, ethnomusicologists Tanabe Hisao (1883-1984) and Machida Kashô (1888-1981), a phoneti- 20.
    [Show full text]