DOCSLIB.ORG

干珠 満珠 the Tide Jewels

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
干珠 満珠 the Tide Jewels 干珠 満珠 The Tide Jewels for Orchestra [2016] Christopher LaRosa www.chrislarosa.com 干珠 満珠 The Tide Jewels for Orchestra [2016] Duration: 6' Christopher LaRosa www.chrislarosa.com 2 Instrumentation 3 Flutes (3rd doubles Picc.) 2 Oboes English Horn 2 Clarinets in B♭ Bass Clarinet 2 Bassoons Contrabassoon 4 Horns in F 3 Trumpets in C 2 Tenor Trombones, 1 Bass Trombone Tuba Timpani (4) 3 Percussion Celesta Harp Violin I Violin II Viola Violoncello Double Bass Percussion Requirements Percussion 1 glockenspiel marimba small triangle (shared with percussion 3) large tam-tam (shared with percussion 3) 5 woodblocks Percussion 2 vibraphone (with double bass bow) bass drum Percussion 3 crotales, C♯5 and A5 (high octave) chimes claves small triangle (shared with percussion 1) large tam-tam (shared with percussion 1) 3 Program Note In Japanese mythology, the tide jewels control the motions of the sea. Often depicted as two pearls, the kanju (干珠) controls the ebb-tide, and the manju (満珠) controls the flow-tide. The jewels appear in various legends recorded as early as the Nara period (710-794 CE.) The fable of Tamatori-hime, the “Princess Jewel Taker,” served as a popular subject for Ukiyo-e artists such as Utagawa Kuniyoshi. In this story, Fujiwara no Fuhito of the powerful Fujiwara clan embarks on a journey to recover the tide jewels, which were stolen by the dragon god of the sea, Ryūjin. During his travels, he marries a modest shell diver, Tamatori, who bears him a son. Out of love for Fuhito, Tamatori dives down to Ryūjin’s undersea palace, where she lulls the dragon and his cephalopod guards to sleep with her music. When Tamatori recovers the tide jewels, the creatures awaken and pursue her. She cuts open her breast to hide the tide jewels, and the blood-clouded water aids her escape. The princess dies from her wound after safely delivering the tide jewels back to her family. The Tide Jewels conveys an ebb and flow of musical energy. Washes of contrapuntal motion give way to suspended musical planes. Hollow textures accrue density, eventually yielding to their growing musical gravity. Yet a musical representation of ebb and flow cannot be one-dimensional. The tides participate in a complex interaction of simultaneous currents, moving at different speeds and with different forces. Therefore, the contrapuntal lines of my piece often move at different temporal rates. Flutes, clarinets, and bassoons whip with fleeting wind-like surface wavelets, while oboes, horns, and violins participate in a series of upwellings and downwellings. The vibraphone, harp, celesta, and muted trumpets capture an ever-changing reflection of light, while the violas, cellos, and double basses groan in an undertow. Transposed Score 쩲珠 満珠 The Tide Jewels Christopher LaRosa Delicate, fluid q = 60 bœ bœ œ œ Flute 1 œ œ œ œ bœ & 4 Œ ‰ 3 bœ ‰ ∑ Œ 3 3 ‰ 4 p π F π 2. bœ Flute 2.3 œ œ œ œ J bœ œ & Ó Œ ‰ 3 bœ ‰ Ó Œ 3 Œ p π F π bœ. Oboe 1 œ œ b œ & ∑ Œ œ œ bœ œ b Nœ œ ‰ Œ 3 œ 3 π p F Oboe 2 b & ∑ ∑ Œ bœ bœ œ œ Œ 3 3 F π English Horn ∑ ∑ œ Œ Ó & Nœ œ F murmurando 6 # œ Clarinet in Bb 1 bœ bœ œ nœ & Ó ‰ œ bœ Œ Œ ≈ Ó # œ n œ 3 œ nœ # œ # bœ œ nœ œ œ œ œ œ œ #œ œ. œ œ 6 π œ œ murmurando P F P π Clarinet in Bb 2 bœ & ∑ ‰ œ bœ r ‰. ≈ Œ Ó 3 œ nœ # œ # œ œ œ œ œ # œ. π œ œ . œ œ murmurando 6 6 F F Bass Clarinet ∑ Œ r ‰. Œ bœ œ. ‰. Œ & bœ bœ œ œ œ œ œ bœ #œ nœ œ nœ R œ œ œ œ bœ œ . œ œ p F p F P Bassoon 1 ? bœ œ œ œ r . ∑ ∑ œ #œ œ œ œ. ‰ Ó F . Bassoon 2 ? ∑ Ó Œ ‰ b œ bœ ‰. b œ œ ≈ Ó œ bœ bœ R œ bœ bœ . F Contrabassoon ? ∑ ∑ ∑ p 3 F Horn in F 1.2 Ó & 4 ∑ ∑ # ‰ Œ Œ #œ œ œ 4 3 3 p F Horn in F 3.4 & ∑ ∑ ∑ 3 p 3 F Trumpet in C 1.2 Œ j & ∑ ∑ Ó œ œ ‰ œ œ 3 p F Trumpet in C 3. & ∑ ∑ ∑ 1. Trombone 1.2 ? ˙ œ œ ∑ ∑ Œ 3 3 ‰ π F 3 Bass Trombone ? ∑ ∑ b˙ œ œ ‰ π F Tuba ? ∑ ∑ ∑ 3 Timpani ? 4 ∑ ∑ b˙æ œæ œæ ‰ 4 π glockenspiel F brass mallets 3 Percussion 1 & œ Œ Ó ∑ Ó ≈ œ #œ #œ œ œ #œ > π p F Percussion 2 ÷ ∑ ∑ ∑ & Percussion 3 ÷ ∑ ∑ ∑ & f bœ bœ P bœ bœ bœ œ b œ ∑ ∑ Ó bb œ b œ & œ 5 Celesta nœ œ œ œ ? ∑ ∑ & Ó nœ nœ œ œ œ œ 5 ° 3 3 p o o & Œ ‰ œ Œ ‰ œ ∑ ∑ Harp D♮ C♯ B♭ E♯ F♯ G♭ A♮ p ? ∑ ∑ Ó ˙ Delicate, fluid solo q = 60 √ solo œ outside half (inc. solo) tutti ≥ j œ bœ b bœ œ nœ b bœ Violin I bœ œ j ≤ œ bœ œ œ bœ J ‰ ‰ J ‰ œ b ‰ ‰ œ œ & 4 3 J 3 œ œ œ Nœ 3 3 3 J Nœ 3 4 p p p solo p P f 3 outside half (inc. solo) tutti œ b b bœ Violin II œ œ œ ≥ ≤ œ bœ Œ J ‰ œ œ ‰ bœ j ‰ Œ ‰ bœ œ nœ & 3 bœ œ œ bœ œ 3 Nœ 3 p p p P P f inside half outside half unis. I Viola O B œ œ b œ b & œ œ bœ œ b œ œ b œ . ‰ & 3 œ œ œ œ π p π P π Cello ? ∑ Ó Œ œ œ b œ œ bœ œ bœ œ œ œ p P π Double Bass ? œ ∑ ∑ Ó œ œ bœ 1 2 3 p π © 2016 Christopher LaRosa. All Rights Reserved. 6 bend b˙ œ (œ) b-˙. - #œ . Fl. 1 ˙. #œ œ œ & ∑ Œ 5 Ó Ó 4 Œ ‰ 3 Œ 2 4 4 4 π F (2.) π P π π P π p π - #œ Fl. 2.3 ˙. ˙- . #œ œ & ∑ ∑ Ó Ó Ó Œ 3 1. π P π π P bœ œ π p Ob. 1.2 & Ó Œ Œ Ó ∑ ∑ ∑ π p π E. Hn. & ∑ ∑ ∑ ∑ ∑ 3 b murmurando ˙ - Bb Cl. 1 n˙. - œ œ & ∑ Ó Ó Ó #˙. Ó ≈ nœ nœ bœ œ œ bœ bœ b π p π π P π π P π π œ B Cl. 2 b ∑ ∑ Ó b . Ó ∑ & ˙- ˙- . π P π π P π B. Cl. & ∑ ∑ ∑ ∑ ∑ Bsn. 1.2 ? ∑ ∑ ∑ ∑ ∑ C. Bn. ? ∑ ∑ ∑ ∑ ∑ Hn. 1.2 & ∑ ∑ 5 ∑ ∑ 4 ∑ 2 4 4 4 Hn. 3.4 & ∑ ∑ ∑ ∑ ∑ C Tpt. 1.2 & ∑ ∑ ∑ ∑ ∑ C Tpt. 3. & ∑ ∑ ∑ ∑ ∑ Tbn. 1.2 ? ∑ ∑ ∑ ∑ ∑ B. Tbn. ? ∑ ∑ ∑ ∑ ∑ Tuba ? ∑ ∑ ∑ ∑ ∑ Timp. ? ∑ ∑ 5 ∑ ∑ 4 ∑ 2 4 4 4 Perc. 1 & ∑ ∑ 5 ∑ ∑ ∑ vibraphone motor off 4 bowed #˙ Perc. 2 & Ó ∑ ∑ ∑ ∑ Ped.π P crotales small triangle bowed Perc. 3 œ œ & Ó #˙ ∑ 5 Ó Œ ÷ ‰ J Œ Ó Œ ‰ J Œ & ∑ π P 4 p p & ∑ ∑ ∑ ∑ ∑ Cel. ∑ ∑ ∑ ∑ ∑ & (Ped.) * f √ #œ o o o o o o & Œ Ó ∑ #œ Œ Ó Œ œ Œ Ó Œ Œ ‰ #œ Œ œ nœ œ 3 Hp. D♮ C♯ B♯ E♮ F♮ G♭ A♮ P o p nœ o #œo o ? ∑ ∑ Œ œ Ó Œ Œ bœ Ó Œ ∑ ord. solo (solo) outside half (inc. solo) espress. outside half (inc. solo) 3 a punta d'arco - œ œ ˙ bœ œ ˙. ˙ b˙- ˙- - bœ œ ‰ œ œ æJ æ æ ˙ J J œ bœ & Œ ‰ 5 Œ ‰ 4 3 3 ‰ bœ 2 4 p p 4 4 Vln. I π π P π F π F π p P p p div. inside half ord. a punta d'arco bœ œ ˙. espress. œ- - - - & Ó Œ ‰ æJ æ æ Œ ˙ Œ Œ #œ ˙ Œ ∑ 2 4 π P π P F π P F π solo espress. II outside half - - bœ #O O O O nœ. ˙ nœ-. n˙- J bœ œ ‰ œ J Œ ‰ Œ Œ 3 3 bœ ‰ & 3 Vln. II π F π p F π p F π p div. p espress. II inside half 3 o o #O O O O j j œ œ J ‰ ‰ Œ Œ ‰ j ‰ bO O J Œ & œ- #˙- #œ- #˙ n œ œ bbœO π P - unis. π F F div. π P F π outside half II Vla. œ & O O O O ‰ Œ Œ B ‰ bbœOO.. Ó Œ ‰ O. Ó Œ ‰ J J œ. œœO. π F π π F π F π div. #O O O O #O O Vc. # ˙ œ œ œ # œ œ ? Ó J ‰ Œ Œ ‰ œO. Ó Œ ‰ O. ∑ #œO. #Oœ. π P π # œ. π F π F Db. ? ∑ ∑ ∑ ∑ ∑ 4 5 6 7 8 7 11 meno mosso ( ) q = 50 œ œ œ #œ Fl. 1 #œ J J & 2 ∑ 4 Œ 3 3 ‰ ∑ 2 Œ ‰ 4 4 4 F π 4 p 4 (2.) Fl. 2.3 œ œ #˙ #œ & œ ‰ Œ Œ ∑ Œ ‰ J F p π 3 π Ob. 1 œ bœ œ bœ #œ nœ œ & bœ bœ Nœ bœ J 3 ‰ Œ ∑ ∑ 3 œ œ J π p F 3 Ob. 2 ∑ Œ Œ ∑ ∑ & #œ œ œ œ π 3 F E. Hn. ∑ bœ Œ Ó ∑ ∑ & œ œ F 6 œ bœ bœ Bb Cl. 1 bœ œ nœ & r ‰. Œ Ó œ œ bœ œ ∑ ∑ œ œ 6 œ.
Load more

Recommended publications
  • The Symbol of the Dragon and Ways to Shape Cultural Identities in Institute Working Vietnam and Japan Paper Series
    2015 - HARVARD-YENCHING THE SYMBOL OF THE DRAGON AND WAYS TO SHAPE CULTURAL IDENTITIES IN INSTITUTE WORKING VIETNAM AND JAPAN PAPER SERIES Nguyen Ngoc Tho | University of Social Sciences and Humanities, Vietnam National University – Ho Chi Minh City THE SYMBOL OF THE DRAGON AND WAYS TO SHAPE 1 CULTURAL IDENTITIES IN VIETNAM AND JAPAN Nguyen Ngoc Tho University of Social Sciences and Humanities Vietnam National University – Ho Chi Minh City Abstract Vietnam, a member of the ASEAN community, and Japan have been sharing Han- Chinese cultural ideology (Confucianism, Mahayana Buddhism etc.) and pre-modern history; therefore, a great number of common values could be found among the diverse differences. As a paddy-rice agricultural state of Southeast Asia, Vietnam has localized Confucianism and absorbed it into Southeast Asian culture. Therefore, Vietnamese Confucianism has been decentralized and horizontalized after being introduced and accepted. Beside the local uniqueness of Shintoism, Japan has shared Confucianism, the Indian-originated Mahayana Buddhism and other East Asian philosophies; therefore, both Confucian and Buddhist philosophies should be wisely laid as a common channel for cultural exchange between Japan and Vietnam. This semiotic research aims to investigate and generalize the symbol of dragons in Vietnam and Japan, looking at their Confucian and Buddhist absorption and separate impacts in each culture, from which the common and different values through the symbolic significances of the dragons are obviously generalized. The comparative study of Vietnamese and Japanese dragons can be enlarged as a study of East Asian dragons and the Southeast Asian legendary naga snake/dragon in a broader sense. The current and future political, economic and cultural exchanges between Japan and Vietnam could be sped up by applying a starting point at these commonalities.
    [Show full text]
  • Myths & Legends of Japan
    Myths & Legends Of Japan By F. Hadland Davis Myths & Legends of Japan CHAPTER I: THE PERIOD OF THE GODS In the Beginning We are told that in the very beginning "Heaven and Earth were not yet separated, and the In and Yo not yet divided." This reminds us of other cosmogony stories. The In and Yo, corresponding to the Chinese Yang and Yin, were the male and female principles. It was more convenient for the old Japanese writers to imagine the coming into being of creation in terms not very remote from their own manner of birth. In Polynesian mythology we find pretty much the same conception, where Rangi and Papa represented Heaven and Earth, and further parallels may be found in Egyptian and other cosmogony stories. In nearly all we find the male and female principles taking a prominent, and after all very rational, place. We are told in theNihongi that these male and female principles "formed a chaotic mass like an egg which was of obscurely defined limits and contained germs." Eventually this egg was quickened into life, and the purer and clearer part was drawn out and formed Heaven, while the heavier element settled down and became Earth, which was "compared to the floating of a fish sporting on the surface of the water." A mysterious form resembling a reed-shoot suddenly appeared between Heaven and Earth, and as suddenly became transformed into a God called Kuni-toko- tachi, ("Land-eternal-stand-of-august-thing"). We may pass over the other divine births until we come to the important deities known as Izanagi and Izanami ("Male-who-invites" and "Female-who-invites").
    [Show full text]
  • Fine Japanese and Korean Art I New York I March 20, 2019
    Fine Japanese and Korean Art and Korean Fine Japanese I New York I March 20, 2019 I March I New York 25415 Fine Japanese and Korean Art New York I March 20, 2019 Fine Japanese and Korean Art New York | Wednesday March 20 2019, at 1pm BONHAMS BIDS INQUIRIES CLIENT SERVICES 580 Madison Avenue +1 (212) 644 9001 Japanese Art Department Monday – Friday 9am-5pm New York, New York 10022 +1 (212) 644 9009 fax Jeffrey Olson, Director +1 (212) 644 9001 bonhams.com [email protected] +1 (212) 461 6516 +1 (212) 644 9009 fax [email protected] PREVIEW To bid via the internet please visit ILLUSTRATIONS www.bonhams.com/25415 Thursday March 14 Takako O’Grady, Front cover: Lot 247 10am to 5pm Administrator Inside front cover: Lot 289 Friday March 15 Please note that bids should be +1 (212) 461 6523 Back cover: Lot 390 10am to 5pm summited no later than 24hrs [email protected] Inside back cover: Lot 287 Saturday March 16 prior to the sale. New bidders 10am to 5pm must also provide proof of Sunday March 17 identity when submitting bids. REGISTRATION 10am to 5pm Failure to do this may result in IMPORTANT NOTICE your bid not being processed. Monday March 18 Please note that all customers, 10am to 5pm irrespective of any previous activity Tuesday March 19 LIVE ONLINE BIDDING IS with Bonhams, are required to 10am to 3pm AVAILABLE FOR THIS SALE complete the Bidder Registration Please email bids.us@bonhams. Form in advance of the sale. The SALE NUMBER: 25415 com with “Live bidding” in form can be found at the back the subject line 48hrs before of every catalogue and on our the auction to register for this website at www.bonhams.com CATALOG: $35 service.
    [Show full text]
  • Japan in History, Folk Lore and Art
    n. fCjr ^4 % PRINCETON, N. J. Purchased by the Hammill Missionary Fund. Division D3809 Section '.C353 Number. 'V / 2C^e Kiberstoe iLibrar? for IFoung peoplr Number 10 JAPAN: IN HISTORY, FOLK-LORE AND ART By william ELLIOT GRIFFIS JAPAN IN HISTORY, FOLK LORE AND ART BY WILLIAM ELLIOT GRIFFIS AUTHOR OF “the MIKADO’S EMPIRE,” “JAPANESE FAIRY WORLD ' “MATTHEW GALBRAITH PERRY,” ETC. BOSTON AND NEW^YORK HOUGHTON, MIFFLIN AND COMPANY i^itewiDc 12'rcss, Cambribfle 1894 Copyright, 1892, By william ELLIOT GRIFFIS. All rights reserved. The Riverside Press, Cambridge, Mass., U. S. A. Electrotyped and Printed by H. O. Houghton & Company. DEDICATED TO THE BOYS AND GIRLS OF CONSTITUTIONAL ' JAPAN PREFACE. ! In this contribution to the Riverside Library for Young People, I have told more about Kioto j than about Yedo. I have sketched in outline the Japan of ages rather than of our age. 1 own While political history is the chief theme, my aim has ! been to show how and why the Ja'panese see and think as they do. The adoption of Western civilization changes the outer, but does not greatly modify the inner man. Believing also that what the dignified historians write is only part of a people’s true history, I have sought, from their customs and folk-lore, as well as from the inter- pretation of their artists, material with which to brighten the narrative. Fact and fiction, however, are presented in separate chapters. No writer on Japan can fail to acknowledge deep obligations to that noble band of English students, Messrs. Satow, Aston, and Chamberlain, who have made such profound researches into the ! Vlll PREFACE ancient Japanese language and literature.
    [Show full text]
  • Japanese Fairy World
    J A P A NE S E FAI RY WO LD R . STO m ow TH E WONDE R— DORE O J RIES F APAN . WI L L I AM E L L I OT R F F G I IS , “ ’ A U TH OR OF TH E M I K AD O S E M P I R E . I L T Y F L U S W I . R A T E D B O Z A A , O T O K O S H E Y C EN C TAD , N. Y . H Y E . J A M E S H . B A R T E PRE FAC . - m The thirty four stor ies i n clud ed within this volu e d o not us e th e b oo r even efu or cen ou s ill trat l dy, g l li ti e emen s w whi ch Ja n ese o u a and uven e l t , ith pa p p l r, j il e a u Th ese h ve been c efu lit r t re i s saturated . a ar lly avo e id d . I t i s l h h a v ew to the s c h n to a so rat er wit i arti ti , t a th e e a o u c s Of th e ma n a on Of Ja n h a lit r ry, pr d t i gi ti pa , t t th e n n F om m fi ac u n sel ectio h as bee made .
    [Show full text]
  • Ōwatatsumi , Was the Tutelary Deity of the Sea in Japanese Mythology
    Ry ūjin - Wikipedia, the free encyclopedia https://en.wikipedia.org/wiki/Ryujin Ry ūjin From Wikipedia, the free encyclopedia (Redirected from Ryujin) Ry ūjin or Ry ōjin (龍神 "dragon god" ), also known as Ōwatatsumi , was the tutelary deity of the sea in Japanese mythology. This Japanese dragon symbolized the power of the ocean, had a large mouth, and was able to transform into a human shape. Ry ūjin lived in Ry ūgū-j ō, his palace under the sea built out of red and white coral, from where he controlled the tides with magical tide jewels. Sea turtles, fish and jellyfish are often depicted as Ry ūjin's servants. Ry ūjin was the father of the beautiful goddess Otohime who married the hunter prince Hoori. The first Emperor of Japan, Emperor Jimmu, is said to have been a grandson of Otohime and Hoori's. Thus, Ry ūjin is said to be one of the ancestors of the Japanese imperial dynasty. Contents 1 Alternative legends ū 2 In Shinto Princess Tamatori steals Ry jin's jewel, by Utagawa Kuniyoshi. 3 In popular culture 4 References 5 External links Alternative legends According to legend, the Empress Jing ū was able to carry out her attack into Korea with the help of Ry ūjin's tide jewels. Upon confronting the Korean navy, Jing ū threw the kanju (干珠 "tide-ebbing jewel" ) into the sea, and the tide receded. The Korean fleet was stranded, and the men got out of their ships. Jing ū then threw down the manju (満珠 "tide-flowing jewel" ) and the water rose, drowning the Korean soldiers.
    [Show full text]
  • Alice Williams the Production of Luck
    Alice Williams The Production of Luck: Learning to Act, in the Discipline of Theatre Anthropology. A thesis submitted to fulfil requirements for the degree of Doctor of Philosophy in the Faculty of Arts and Social Sciences, at the The University of Sydney, 2020 For little girls, everywhere. Acknowledgements Thank you to my associate supervisor Laleen Jayamanne for editing all of my drafts, and all the other unspeakable gifts you have given me over the years that you have been my teacher. Thankyou for encouraging me, and helping me learn how to let my experiences speak. Thank you to my supervisor Richard Smith for your patience, acceptance of my work, valuable guidance and feedback. Thank you to Marion Burford for reading my chapters, Grace Cochrane and others at 7 am for your advice, feedback and support. Lucy Watson for being a generous collaborator. Chris Jefferis for fixing my page numbers. Marcus Coombs for buying me dinner. Isadora Pei, Vilja Itkonen and all at Odin Teatret for your openness, rigour, generosity and support, I hope you find your work has been acknowledged in this thesis. Thesis Abstract The Production of Luck: Learning to Act, in the Discipline of Theatre Anthropology. Theatre Anthropology is a discipline with a unique place in the history of theatre. It is neither solely practical nor theoretical, but enacts and theorises the relationship between action and thought, reflecting how transformations in one area inform the development of the other. This field is the work of Eugenio Barba, actors of Odin Teatret, scholars and performers of the International School of Theatre Anthropology.
    [Show full text]
  • Sing, Dance, Storytelling Aspects of the Performing Arts in Japan
    SONG, DANCE, STORY'l'EI,IJNG Aspects theof PerformingArts Japan in SONG, DANCE, STORY'l'Eldl,ING Aspects theof Performing ArtsJapan in Frank Hoff EastAsia Program Cornell University Ithaca, NewYork 1485 3 TheCornell East Asia Series ispublished by the Cornell University East Asia Program (distinct fromCornell University Press). We publish affordablypriced books on a variety of scholarly topics relating to East Asia as a service to the academic community and the general public. Standing orders, which provide for automatic notificationand invoicing of each titlein the series upon publication, are accepted. Ifafterreview by internaland external readersa manuscript isaccepted for publication, it ispublished on the basis of camera-ready copy provided by the volume author. Each author isthus responsible for any necessarycopy-editing and for manuscript fo1·111atting. Address submissioninquiries to CEAS Editorial Board, East Asia Program, Cornell University, Ithaca, New York 14853-7601. Number 15 in the CornellEast Asia Series Online edition copyright© 2007, print edition copyright© 1978 Frank Hoff. All rights reserved ISSN 1050-2955 (formerly 8756-5293) ISBN-13 978-0-939657-15-5 / ISBN-10 0-939657-15-5 CAUTION: Except for brief quotations in a review, no part of this book may be reproduced or utilized in any for1n without per1nission in writing fromthe author. Please address inquiries to Frank Hoffin care of the East Asia Program, CornellUniversity, 140 Uris Hall, Ithaca, NY 14853-7601 FOREWORD The two collections of songs translated here were popular during the transitional era between Japan's Middle Ages and its Early Modern Period. The Kanginshu (1S18) and songs from the repertory of Women's Kabuki {whose text, the Odori collection, belongs to the Xan'ei period (1623-1643]), stand at either end of this period of one hundred and twenty years or so which ushered in important changes in the per­ forming arts of Japan as well as in other aspects of its culture.
    [Show full text]
  • The Fire-Fly's Lovers, and Other Fairy Tales of Old Japan
    gp:|pl|P'$?!i^]!^^ NY PUBLIC LIBRARY THE BRANCH LIBRARIES 3 3333 08109 7822 318 fiv^i-^4^u :io^?^t Digitized by the Internet Archive in 2007 with funding from IVIicrosoft Corporation http://www.archive.org/details/fireflysloversotOOgrif BOOKS BY WILLIAM ELLIOT GRIFFIS THE FIRE-FLY'S LOVERS; and Other Fairy Tales of Old Japan Illustrated in color. Cloth, 8vo, THE UNMANNERLY TIQER ; and Other Korean Stories Illustrated in color. Cloth, 8va. THOMAS Y. CROWELL COMPANY New York 'i rix- . PUB. TILDEN FvUNDaTIONS. O L_ Princess Fire-Fly is put in prison. - LOVEKS TAlfS Of Oil) ^KPm 19 ^ a He» YORK T. Y. CRO»SiJ. 6 Cl) PUBi.i St<gRS ^-— 'SO 4^4- Copyright, 1908, By THOMAS Y. CROWELL & COMPANY .• ' 'I ,'\ ; T ! ; FoSurth Printing Or To my classtnate ROBERT CLARENCE PRUYN who in student days opened for me the jewelled gates of JAPANESE FAIRY-LAND "OPEN SESAME" the old feudal days of Japan, a knight or INgentleman riding on horseback within city limits was always preceded by a groom, who ran ahead and shouted to the people to get out of the way, warning the children at play, lifting the babies out of danger, and thus mak- ing a clear track for the rider who followed him. His bare back was tattooed with wonderful figures of heroes, dragons and the many strange creatures that dwell in fairy-land. Indeed, when I lived in Japan I was first attracted into the wonder-world of the people by studying the legends and marvels thus pictured on human skin. Thence I went to the flower shows and tableaux, by which, in living blooms and in- geniously blended colors, the florists of Nippon set forth the national lore.
    [Show full text]
  • BATTLE for JAPAN Series
    BATTLE for JAPAN Series By G. Myles [email protected] BATTLE for JAPAN Serpents & Whales through the Gateway Orca (killer whale) pulsed calls, clicks, and whistles. Sea serpent hiss. One large bell's ring. FADE IN: Pacific Ocean map. We zoom in. INT./EXT. TWO-STORY CARNIVAL CRUISE SHIP DECK - NIGHT In male high school uniform, CHUJITSUNA sofa lounges poolside, thumbs through manga. He puts it down, begins reading military tactics encyclopedia instead. With female high school uniform on, Afro-Asian YORU sofa lounges poolside, plays video game. She stops, pulls notebook from her backpack, starts sketching yokai (Japanese folklore creatures) instead. Sad look on her face, gi with green belt rests on her lap. Other passengers seen on deck besides her and Chujitsuna. On naval destroyers, navy SEAMEN approach them. CHUJITSUNA (Asian accent) Uh-oh Yoru, we're in Dragon's Triangle, aka Devil's Sea. You'll vanish into another world, since this one bores you and you feel you don't belong here. YORU (After sigh) Hope you're right Chujitsuna, don't even wanna master martial arts anymore. She tosses gi and green belt down into ocean. Ghostly Japanese whispers, she nervously looks around. Ship's power goes out. YORU Ole wrinkly face spirits stalking me again; I can't stand being a medium. CHUJITSUNA Name-calling ain't nice, what spirits? SEAMEN (Through megaphones) Furimuku! Turn around now! Ship vibrates from seaquake rumble. Smothered in Japanese inscriptions, giant marble torii (Shinto gate) rises from ocean floor, towers out of waves. Screams from passengers. Large bell dangles under gate's bottom crosspiece, rings by itself.
    [Show full text]
  • The Tale of Matsura Michigan Monograph Series in Japanese Studies, Number 9
    The Tale of Matsura Michigan Monograph Series in Japanese Studies, Number 9 Center for Japanese Studies The University of Michigan The Tale of Matsura Teika's Experiment in Fiction Translated with an Introduction and Notes by Wayne P. Lammers Ann Arbor Center for Japanese Studies The University of Michigan 1992 Open access edition funded by the National Endowment for the Humanities/Andrew W. Mellon Foundation Humanities Open Book Program. © 1992 by the Center for Japanese Studies, The University of Michigan, 108 Lane Hall, Ann Arbor, MI 48109 The paper used in this publication meets the requirements of the ANSI Standard Z39.48-1984 (Permanence of Paper). Library of Congress Cataloging-in-Publication Data Matsura no Miya monogatari. English The tale of Matsura: Fujiwara Teika's experiment in fiction / translated with an introduction and notes by Wayne P. Lammers. p. cm.—(Michigan monograph series in Japanese studies ; no. 9) Translation of: Matsura no Miya monogatari. Includes bibliographical references and index. ISBN 0-939512-48-3 (alk. paper) I. Fujiwara, Sadaie, 1162-1241. II. Lammers, Wayne P., 1951-. III. Title. IV. Series. PL790.M34E5 1992 895.6'322—dc20 90-42197 CIP A Note on the Type This book was set in Caslon 540, a modern adaptation of a type designed by William Caslon (1692— 1766), greatest of English letter founders. The Caslon face, an artistic, easily read type, has enjoyed two centuries of ever-increasing popularity in our own country. The first copies of the Declaration of Independence and the first paper currency distributed to the citizens of the newborn nation were printed in this type face.
    [Show full text]
  • Victimage in the Kojiki of Japan
    Mikołajewska & Linton ● Victimage in the Kojiki of Japan Fragments: Part I ● In the place of pure beginning Supplements Appendix Victimage in the Kojiki of Japan Fragments Barbara Mikołajewska in cooperation with F.E.J Linton Wydanie II Internetowe (pliki PDF) The Lintons’ Video Press New Haven, CT, USA 2010 Copyright © 2008/9 by Barbara Mikolajewska. All rights reserved. Technical and editorial advisor: F. E. J. Linton. e-mail inquiries: tlvpress @ yahoo.com. Printed in the United States of America. History: First Internet Edition 2005.05.18. Last updated 2006.07.13, and now at the URL http://tlvp.net/~kojiki.tlvp/ . Look for further episodes, updates and corrections sporadically in the future. Typography and page layout accomplished using Microsoft Word 2000. Published in the United States in 2010 by The Lintons’ Video Press New Haven, CT USA ISBN-10: 1-929865-43-0 ISBN-13: Spis treści Part I: In the place of pure beginning Page 6 Chapter 1 Takachiho and its Yokagura: Reliving the Lore of Yesteryear 7 Chapter 2 Repetition of the Sun Goddess’s “restoration”: Takachiho Yokagura: 17 1. Before the dance begins …; 20 2. Dance of Tajikarao; 22 3. Dance of Ame-no-uzume; 23 4. Totorii dance; 24 5. Goshintai dance 26 Chapter 3 In worship of Ama-terasu 29 1. Amano-Iwato 29 2. Gyobo Iwaya 34 Chapter 4 Worshipping Amaterasu’s grandson Ninigi 40 1. Takamaga-hara and Kushifuru Shrine 42 2. Takachiho Shrine 43 3. Kirishima Shrine 45 Chapter 5 On kami, their shrines, and their worship 47 1. Kojiki 47 2.
    [Show full text]