Lake Biwa: Interactions Between Nature and People
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The Science of String Instruments
The Science of String Instruments Thomas D. Rossing Editor The Science of String Instruments Editor Thomas D. Rossing Stanford University Center for Computer Research in Music and Acoustics (CCRMA) Stanford, CA 94302-8180, USA [email protected] ISBN 978-1-4419-7109-8 e-ISBN 978-1-4419-7110-4 DOI 10.1007/978-1-4419-7110-4 Springer New York Dordrecht Heidelberg London # Springer Science+Business Media, LLC 2010 All rights reserved. This work may not be translated or copied in whole or in part without the written permission of the publisher (Springer Science+Business Media, LLC, 233 Spring Street, New York, NY 10013, USA), except for brief excerpts in connection with reviews or scholarly analysis. Use in connection with any form of information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed is forbidden. The use in this publication of trade names, trademarks, service marks, and similar terms, even if they are not identified as such, is not to be taken as an expression of opinion as to whether or not they are subject to proprietary rights. Printed on acid-free paper Springer is part of Springer ScienceþBusiness Media (www.springer.com) Contents 1 Introduction............................................................... 1 Thomas D. Rossing 2 Plucked Strings ........................................................... 11 Thomas D. Rossing 3 Guitars and Lutes ........................................................ 19 Thomas D. Rossing and Graham Caldersmith 4 Portuguese Guitar ........................................................ 47 Octavio Inacio 5 Banjo ...................................................................... 59 James Rae 6 Mandolin Family Instruments........................................... 77 David J. Cohen and Thomas D. Rossing 7 Psalteries and Zithers .................................................... 99 Andres Peekna and Thomas D. -
Chapter 1-1 About Shiga Prefecture
Chapter 1-1 About Shiga Prefecture Abstract Shiga Prefecture is located more or less in the middle of the Japanese Archi- pelago. Surrounded by mountains, Shiga Prefecture forms the Omi Basin with Lake Biwa, the largest lake in Japan, located at the center of its lowland. With a history spanning some 4 million years, Lake Biwa is the oldest lake in Japan and one of the ancient lakes in the world. Keywords: Shiga Prefecture, Lake Biwa, Omi Basin 1. Features of Shiga Prefecture Shiga Prefecture is located more or less in the middle of the Japanese Archipelago. Close to the city of Kyoto to the west, Shiga Prefecture is located 86 minutes by limited express train from Kansai Interna- tional Airport. The land mass of Shiga Prefecture is approximately 1% of the total area of Ja- pan. About 1.4 million people reside in this prefecture. Fig. 1-1-2 Topography of Shiga Prefecture rounding mountains. The Seta River and the artificial Biwako (Lake Biwa) Canal form the lake’s outlets. Calculations have shown that it takes approximately 19 years for all the water in the lake to be completely renewed. Lake Biwa is the oldest lake in Japan. The lake in its present form began to Fig. 1-1-1 Location of Shiga Prefecture form more than 1 million years ago, and (http://en.biwako-visitors.jp/) its total history including its predecessors Shiga Prefecture forms a basin known spans some 4 million years, making Lake as the Omi Basin with mountains over Biwa one of the oldest in the world. -
Natural History of Japanese Birds
Natural History of Japanese Birds Hiroyoshi Higuchi English text translated by Reiko Kurosawa HEIBONSHA 1 Copyright © 2014 by Hiroyoshi Higuchi, Reiko Kurosawa Typeset and designed by: Washisu Design Office Printed in Japan Heibonsha Limited, Publishers 3-29 Kanda Jimbocho, Chiyoda-ku Tokyo 101-0051 Japan All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means without permission in writing from the publisher. The English text can be downloaded from the following website for free. http://www.heibonsha.co.jp/ 2 CONTENTS Chapter 1 The natural environment and birds of Japan 6 Chapter 2 Representative birds of Japan 11 Chapter 3 Abundant varieties of forest birds and water birds 13 Chapter 4 Four seasons of the satoyama 17 Chapter 5 Active life of urban birds 20 Chapter 6 Interesting ecological behavior of birds 24 Chapter 7 Bird migration — from where to where 28 Chapter 8 The present state of Japanese birds and their future 34 3 Natural History of Japanese Birds Preface [BOOK p.3] Japan is a beautiful country. The hills and dales are covered “satoyama”. When horsetail shoots come out and violets and with rich forest green, the river waters run clear and the moun- cherry blossoms bloom in spring, birds begin to sing and get tain ranges in the distance look hazy purple, which perfectly ready for reproduction. Summer visitors also start arriving in fits a Japanese expression of “Sanshi-suimei (purple mountains Japan one after another from the tropical regions to brighten and clear waters)”, describing great natural beauty. -
Pipa by Moshe Denburg.Pdf
Pipa • Pipa [ Picture of Pipa ] Description A pear shaped lute with 4 strings and 19 to 30 frets, it was introduced into China in the 4th century AD. The Pipa has become a prominent Chinese instrument used for instrumental music as well as accompaniment to a variety of song genres. It has a ringing ('bass-banjo' like) sound which articulates melodies and rhythms wonderfully and is capable of a wide variety of techniques and ornaments. Tuning The pipa is tuned, from highest (string #1) to lowest (string #4): a - e - d - A. In piano notation these notes correspond to: A37 - E 32 - D30 - A25 (where A37 is the A below middle C). Scordatura As with many stringed instruments, scordatura may be possible, but one needs to consult with the musician about it. Use of a capo is not part of the pipa tradition, though one may inquire as to its efficacy. Pipa Notation One can utilize western notation or Chinese. If western notation is utilized, many, if not all, Chinese musicians will annotate the music in Chinese notation, since this is their first choice. It may work well for the composer to notate in the western 5 line staff and add the Chinese numbers to it for them. This may be laborious, and it is not necessary for Chinese musicians, who are quite adept at both systems. In western notation one writes for the Pipa at pitch, utilizing the bass and treble clefs. In Chinese notation one utilizes the French Chevé number system (see entry: Chinese Notation). In traditional pipa notation there are many symbols that are utilized to call for specific techniques. -
Lake Biwa Canal
Lake Biwa Canal Following the relocation of Japan’s capital from Kyoto to Tokyo in 1869, the industry of Kyoto, which had served as the capital for more than a millennium from the era in which it was known as Heiankyo, suffered a rapid decline, and its population fell as well. The local government therefore launched the Lake Biwa Canal Project with the aim of restoring Kyoto’s prosperity. This project, which envisioned channeling water from Lake Biwa to Kyoto in order to boost waterway transportation and use the water for such purposes as waterwheels, irrigation, and fire-fighting, also later led to the operation of Japan’s first hydroelectric power generator and developed into water-supply services essential for the subsequent population growth and industrial development of the city. Moreover, since the project paid consideration to the preservation of Kyoto’s environment, the waterside scenery created by the canal further enhanced the city’s attractions. Let us take a look at the history of Lake Biwa Canal and some popular walking routes along the canal’s course. History of Lake Biwa Canal Kunimichi Kitagaki, who was appointed governor of Kyoto Prefecture in February 1881, devised a plan for the Lake Biwa Canal Project, by which water would be channeled from Lake Biwa to Kyoto and utilized for the city’s industrial development. At that time the design and supervision of large-scale infrastructure works in Japan were entrusted to foreign engineers, but for this project Kitagaki chose Sakuro Tanabe, who had only recently graduated from the Imperial College of Engineering (the present-day University of Tokyo). -
BUNRAKU Puppet Theater Brings Old Japan to Life
For more detailed information on Japanese government policy and other such matters, see the following home pages. Ministry of Foreign Affairs Website http://www.mofa.go.jp/ Web Japan http://web-japan.org/ BUNRAKU Puppet theater brings old Japan to life The puppet theater unraku is Japan’s professional puppet of the operators make the puppet characters stage B theater. Developed primarily in the 17th and their stories come alive on stage. The bunraku (puppet and 18th centuries, it is one of the four forms theater) stage is specially constructed of Japanese classical theater, the others being History of Bunraku to accommodate kabuki, noh, and kyogen. The term bunraku three-person puppets. The puppeteers operate comes from Bunraku-za, the name of the only Already in the Heian period (794–1185), from a pit behind a railing commercial bunraku theater to survive into at the front of the stage. itinerant puppeteers known as kugutsumawashi © Degami Minoru the modern era. Bunraku is also called ningyo traveled around Japan playing door-to- joruri, a name that points to its origins and door for donations. In this form of street essence. Ningyo means “doll” or “puppet,” entertainment, which continued up through and joruri is the name of a style of dramatic the Edo period, the puppeteer manipulated narrative chanting accompanied by the three- two hand puppets on a stage that consisted stringed shamisen. of a box suspended from his neck. A number Together with kabuki, bunraku developed of the kugutsumawashi are thought to have as part of the vibrant merchant culture of settled at Nishinomiya and on the island of the Edo period (1600–1868). -
Biwa Canal in Okazaki. © Olimpia Niglio 2015 !# !"#$%&"' ()#*$)+#"')+,-.'%$)+,- '/-0$12"#*1#%$*- 3*12)','45-+)6- 7%8#+")+9","#5 !',%:*-;
!" Biwa Canal in Okazaki. © Olimpia Niglio 2015 !# !"#$%&"' ()#*$)+#"')+,-.'%$)+,- '/-0$12"#*1#%$*- 3*12)','45-+)6- 7%8#+")+9","#5 !',%:*-; !"#$%&'$%()*$+,&-.&/0$1$02&2%&34-5- !"#$%#&'(#)"#*+,'(*-#.*'/0*123 +'4-&51&62'789**"'*:';1$&0'&05'<0=#-*0$206&"'7615#2>,'?@*6*'A0#=2->#6@ 3'!62$*0'4&.1#0'A0#=2->#6@,'!>&.& $%&'($)' Kyoto has been the capital of Japan from 794 until when the capital has moved in 1868 to Tokyo with the end of Tokugawa Shoguns and the beginning of the Meiji Restoration. The loss of the seat of government was a shock to citizens of Kyoto as the city had been the Imperial and Cultural center of the nation for over 1.000 years. The combination of the court and the great temples had enlivened and enriched the life of the city. At the beginning of the founding of the capital, in the Heian period (794- 1185) to east of Kyoto, was built a noble and religious place. T1his area is Okazaki. Here the Emperor Kammu (736-805) had created the city of Heian-kyo (Kyoto) in 794. This area was full of Temples and Shrines. Only in the Edo period (1603-1867) Okazaki area assumed the role of suburban agricultural zone which provided the food production to the urban habitants. But after the Meiji Restoration (1868- 1912), the role of Okazaki area changes completely. In 1885, Kyoto prefecture started the great public canalization project as the water supply between Kyoto and Otsu of Shiga prefecture. Kyoto prefecture also planed the industrial district construction in Okazaki area. From the late nineteenth century Okazaki area became a symbol of the modernization of Kyoto city. -
Plucked Stringed Instruments
Plucked Stringed Instruments Fig. 2.1: The Pipa 18 Pipa 2 琵琶 Pipa HISTORY The grand dame of plucked stringed instruments, the pipa is one of the most expressive instruments in the Chinese orchestra (Fig. 2.1). Recent moves by some major Chinese orchestras include removing the instrument entirely from the orchestral formation due to its overpowering character and inability to blend. Its techniques, however, are applied to almost every plucked stringed instrument and its concepts have been borrowed for the reformations of various plucked stringed instruments. The term pipa used today refers to the lute-shaped instrument which comprises of four strings and a fretted soundboard of 20 to 25 frets. In the ancient Chinese dynasties of Sui and Han, the term pipa was generic for any instrument that was plucked or had a plucked string aspect to it. The word pipa is made up of two Chinese characters – 琵 pi and 琶 pa1. The words describe how the instrument is played and the sounds it produced. The forward plucking of the string using one’s right hand was termed pi, and the backward plucking of the string with the right hand was termed pa. The first recorded connotation to the word pipa was found in 刘熙 Liu Xi’s <<释名>> Shi Ming, where it was recorded as piba2. Although greatly associated with the Chinese, the pipa is not native to China; the instrument was introduced to China by Asia Minor over 2000 years ago. As the instrument is foreign, its counterparts in the forms of lutes and mandolins can still be found in Central and Western Asia. -
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. -
Long-Term Light Environment Variability in Lake Biwa and Lake Kasumigaura, Japan: Modeling Approach
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Tsukuba Repository Long-term light environment variability in Lake Biwa and Lake Kasumigaura, Japan: modeling approach 著者 Terrel Meylin Mirtha, Fukushima Takehiko, Matsushita Bunkei, Yoshimura Kazuya, Imai Akio journal or Limnology publication title volume 13 number 2 page range 237-252 year 2012-08 権利 (C) The Japanese Society of Limnology 2012. The original publication is available at www.springerlink.com URL http://hdl.handle.net/2241/117515 doi: 10.1007/s10201-012-0372-x 1 Long-term light environment variability in Lake Biwa and Lake Kasumigaura, 2 Japan: Modeling approach 3 4 5 Meylin M. Terrel1*, Takehiko Fukushima1, Bunkei Matsushita1, Kazuya Yoshimura1, A. 6 Imai2 7 8 9 1Graduate School of Life and Environmental Sciences, University of Tsukuba 10 1-1-1 Tennoudai, Tsukuba, Ibaraki, 305-8572, Japan 11 E-mails: 12 [email protected] 13 [email protected] 14 [email protected] 15 [email protected] 16 17 2 National Institute for Environmental Studies 18 16-2 Onogawa, Tsukuba, Ibaraki, 305-8506, Japan 19 E-mail: [email protected] 20 21 *Corresponding Author 22 E-mail: [email protected] 23 24 25 26 27 28 29 30 31 32 “SCRIPTREVISION CERTIFICATION: This manuscript has been copyedited by 33 Scriptrevision, LLC and conforms to Standard American English as prescribed by the 34 Chicago Manual of Style. The Scriptrevision manuscript reference number is B428B618, 35 which may be verified upon request by contacting [email protected].” 36 37 1 38 Long-term light environment variability in Lake Biwa and Lake Kasumigaura, 39 Japan: Modeling approach 40 41 Abstract Light environment variability was investigated in the two Japanese Lakes Biwa 42 and Kasumigaura, which offer a broad range of optical conditions in the water bodies due 43 to their diverse morphometries and limnological characteristics. -
Fellowship of Makers and Restorers of Historical Instruments Bulletin and Communications
FELLOWSHIP OF MAKERS AND RESTORERS OF HISTORICAL INSTRUMENTS BULLETIN AND COMMUNICATIONS. JULY 1977 CONTENTS Page Bulletin no. 8. 2 Report on FoMRHI Seminar no. 2. 11 FoMRHI Book News no. 2. 12 List of Members, as at 23rd June 1977 14 Communications 65 On the sizes of Renaissance and baroque viols and violins. E. Segerman 18 / 66 The range of pitch with gut strings of a given length. William B. Samson 19 7 Principal instruments of fourteenth-century Italy and their structural V features. Howard Mayer Brown 20 68 Comments on technical drawings and photographs of musical instruments. R.K.Lee 28 69 On the dangers of becoming an established scholar. Ephraim Segerman 35 3^70 Profile turning of reamer blanks for use in woodwind*. Rod Cameron 38 71 Humidity cycling for stabilization of gut ?nd wood. Djilda Abbott, Ephraim Segerman and David Rolfe 45 72 Review of: The Manufacture of Musical Instruments, translated by Helen Tullberg. Jeremy Montagu 47 73 Review of: The Diagram Group, Musical Instruments of the World, an Illustrated Encyclopedia. Jeremy Montagu £TI 10a Comment on Com. 10 Attitudes to musical instrument conservation and restoration by G. Grant O'Brien. John Barnes 64 39b Comments on comments (Jan '77) on Com. 39. E.S. and D.A. 65 44c Detailed comments on "The World of Medieval and Renaissance Musical Instruments" by Jeremy Montagu, Part I. E.S. 67 58a On Prematurity of Communication. E.S. and D.A. 71 74 Medieval carvings of musical instruments in St. Mary's Church, Shrewsbury. Lawrence Wright 73 Book News. -
WAVES - Culture from Japan Azuma Barbershop in Asakusa Torigoe : Issue Number Autumn 2006 05
WAVES - Culture from Japan Issued by the Japan Foundation Cairo Office Contents Fascinated by Middle Eastern Noble Strings: The Oud Autumn 2006 Issue Number 05 by Yuji Tsunemi Autumn of Appetite - Do Firstling Fish Prolong One's Life?! Book News: Azuma Barbershop in Asakusa Torigoe: Full of Fun with No Expiry Date Event Key Word: Japanese Taiko: An Overview Information The Japanese Language Proficiency Test 2006 Date: (Sun.) 3rd Dec. 2006 Venue: Cairo (according to the level) Eligibility: non-native speaker of Japanese Announcement of Test Results: Beginning of Mar. 2007 Japanese Drums Group: HA YA TO Concert in Cairo Date: (Mon.) 11th Dec. at 8:00p.m. Venue: River Hall - El Sawy Culture Wheel (Tel: 02-7368881 Address: End of 26th of July St., Zamalek, Cairo) Ticket: 15L.E. Available at El Sawy Culture Wheel HA YA TO's Website: http://ha-ya-to.hp.infoseek.co.jp/ (Japanese only) Mieko Miyazaki Koto Concert: the Japanese Folk Instrument & Violin Date: (Mon.) 22nd Jan. 2007 at 8:00p.m. Venue: Small hall of Cairo Opera House For further information, please contact our office. The Japan Foundation Library Two Computers with Internet access are available on a trial basis Opening Hours: Daily from 10:00a.m. to 5: 30p.m. except Fridays and Saturdays Membership only (Annual Fee: Students = 20L.E., Adults = 40L.E.) The Japan Foundation Cairo Office 5F Cairo Center Bldg., 2 Abdel Kader Hamza St. Garden City, Cairo, EGYPT Tel. 02-794-9431/9719 Fax: 02-794-9085 Email: [email protected] Web site: http://www.jfcairo.org/home.html Why don’t you join our e-mail list? The Japan Foundation Cairo Office can send you information on future cultural events by e-mail.