WHAT SOILS ARE 17 Ries Within Itself a Record of Its History for Those Who Learn to Read It

Total Page:16

File Type:pdf, Size:1020Kb

WHAT SOILS ARE 17 Ries Within Itself a Record of Its History for Those Who Learn to Read It WHAT SOILS ARE 17 ries within itself a record of its history for those who learn to read it. A SOIL PROFILE consists of two or What Soils more layers lying one below the other and parallel to the land surface. The layers are known as horizons. The Are horizons dififer in one or more prop- erties such as color, texture, structure, Roy W. SImonson consistence, porosity, and reaction. Soil horizons may be thick or thin. Soil is continuous over the land Some are no more than a fraction of an inch. Others are several feet thick. surface of the earth, except for Few horizons are at either extreme. the steep and rugged mountain Generally they merge with one an- other and lack sharp boundaries. peaks and the lands of per- Horizons in a profile are like the petual ice and snow. parts of a layer cake without the clear bands of frosting between them. Soil is related to the earth much as Most soil profiles include three mas- the rind is related to an orange. But ter horizons, identified by the letters this rind of the earth is far less uniform A, B, and G. Some soils lack a B hori- than the rind of an orange. It is deep zon and are said to have AG profiles. in some places and shallow in others. When a soil is used without proper It may be red, as soils are in Hawaii, care, the A horizon and even the B or it may be black, as they are in North horizon may be eroded away. Dakota. It may be sand, or it may be The combined A and B horizons are clay. called the solum, sometimes the "true Be it deep or shallow, red or black, soil." Together they form the major sand or clay, the soil is the link between part of a profile. They are also direct the rock core of the earth and the living results of the processes by which soils things on its surface. It is the foothold are formed. for the plants we grow. Therein lies the All of the master horizons may be main reason for our interest in soil. subdivided in the scientific study of The soil mantle of the earth is far soils. Such subdivisions are identified from uniform, but all soils have some by the proper letter plus a subscript things in common. number, thus: Ai, A2, A3, Bi, B2, 63- Every soil consists of mineral and The subdivisions of master horizons organic matter, water, and air. The provide clues to the processes of soil proportions vary, but the major com- formation and are important to the use ponents remain the same. and management of soils. Every soil occupies space. As a The A horizon, the uppermost layer small segment of the earth, it extends in the soil profile, often is called the down into the planet as well as over surface soil. It is the part of the soil in its surface. It has length, breadth, and which life is most abundant in such depth. forms as plant roots, bacteria, fungi, Every soil has a profile—a succession and small animals. It is therefore the of layers in a vertical section down part in which organic matter is most into loose weathered rock. The nature plentiful. of the soil profile has a lot to do with Because it lies at the surface, the A the growth of roots, the storage of horizon is also the part of the soil that moisture, and the supplies of plant falling rain reaches first. Hence it nor- nutrients. The profile also is basic to mally is leached more than are the scientific studies of soil. The profile car- deeper horizons. Most A horizons have 406157°—57 3 i8 YEARBOOK OF AGRICULTURE 1957 /. A single area of a soil type as it occurs in nature. At the right is an enlarged sketch of the profile with its major horizons. lost soluble substances. Many have also the subsoil. Lying between the A and lost some clay—mineral particles finer C horizons, it partakes of the proper- than a pinpoint. (About lo thousand ties of both. Living organisms are fewer clay particles of average size laid end than in the A horizon but more abun- to end would equal i inch.) They may dant than in the C horizon. Color is also have lost iron and aluminum ox- often transitional between those of the ides, which soil scientists generally call A and C horizons. The B horizon gen- sesquioxides. Iron oxide is the familiar erally is harder when dry (and stickier rust on an old piece of steel. Aluminum when wet) than its neighbors. It is fre- oxide is the dark tarnish on aluminum quently higher in clay than either of kettles. them. It may have a blocky or pris- Two subdivisions of the A horizon matic structure, usually combined with are common in soil profiles, although greater firmness. Concentrations of only one of the two may be present in iron oxide or aluminum oxides or both, a given profile. If a soil has been usually in combination with organic formed under prairie vegetation, as in matter, mark B horizons of some soils. the Corn Belt, it has a thick, dark Aj and lacks an Aj horizon. If the soil THE C HORIZON is the deepest of the were formed under forest cover in the three major horizons. It consists of the same region, the A horizon has two upper part of the loose and partly de- distinct subdivisions, a thin, dark sur- cayed rock beneath the A and B hori- face layer (the Aj horizon) and a much zons. The rock material in the C hori- thicker, lighter colored layer beneath zon is of the same kind as that which it (the A2 horizon). The Aiand Ajhori- now forms the bulk of the soil above it. zons can be recognized in many un- The C horizon therefore is said to be eroded soil profiles in humid regions, the parent material of soils. It may but both exist in few soil profiles of dry have accumulated in place by the regions. breakdown of hard rock, or it may have The B horizon lies immediately be- been moved to where it now is by neath the A horizon and often is called water, wind, or ice. The C horizon has WHAT SOILS ARE 19 less living matter than overlying ones con, aluminum, oxygen, and hydro- and is therefore lower in organic mat- gen, but differ in atomic structure from ter. It is commonly lighter in color feldspars. than the A and B horizons. The G hori- Clay minerals may continue to be zon in most soils is more like the B than formed and oxides released within a the A horizon. Some profiles, however, soil as long as it exists. Minerals nor- lack B horizons. Such profiles usually mally continue to decompose in a soil consist of faint or distinct A horizons profile long after the distinct horizons grading downward into C horizons. form. Some processes in horizon differ- The differences between the A and C entiation, however, may begin only horizons may then be small, especially after there is a deep mantle of loose if the A horizon is faint. weathered rock. The two main steps in The master horizons and their sub- soil formation thus merge with one divisions, recognized in scientific stud- another. ies of soils, are shown in the second diagram. This hypothetical profile can- STAGES in each of the major steps of not be found in nature. All the hori- soil formation, like the steps themselves, zons and subhorizons in it do not exist are far from being distinct. in any actual soil. Yet some of the hori- The accumulation of soil parent ma- zons are part of every soil on earth. terials follows from the weathering of Moreover, the kinds and arrangement rocks, which is slow, gradual, and con- of horizons in a profile are a record of tinuous. It proceeds little by little from what has happened to that soil since the time that the first changes take it began to form. This history has place in the solid rock mass. Many meaning to the fertility, tilth, and pro- changes normally occur in a rock be- ductivity of soils for plants useful to fore it disintegrates. Decomposition of mankind. minerals usually proceeds long after a rock has disintegrated. Weathering SOIL FORMATION proceeds in steps continues without any sharp breaks. and stages, none of which is distinct. Thinking of it in stages is simply a way They are like the overlapping fibers in of looking at a continuous process one a piece of string—the eye can hardly piece at a time. tell where one fiber ends and another Horizons in soil profiles may be con- begins. Similarly, it is not possible to be sidered faint, distinct, and prominent, sure where one step or stage in soil for- although the stages in their difí'erenti- mation stops and another starts. ation are not clearly defined. Two or The two major steps in the forma- more faint horizons first appear when tion of soils are accumulation of soil a soil profile begins to form. The earli- parent materials and differentiation of est changes are small, and the horizons horizons in the profile. Each step can therefore are faint and hard to distin- be thought of as consisting of several guish. If conditions are favorable, these stages, which are hard to tell apart.
Recommended publications
  • RIAJ Yearbook 2018 1 Overview of Production of Recordings and Digital Music Sales in 2017
    Statistics RIAJ YEARBOOK Trends 2018 The Recording Industry in Japan 2018 Contents Overview of Production of Recordings and Digital Music Sales in 2017 .................. 1 Statistics by Format (Unit Basis — Value Basis) .............................................................. 4 1. Total Recorded Music — Production on Unit Basis ............................................... 4 2. Total Audio Recordings — Production on Unit Basis ............................................ 4 3. Total CDs — Production on Unit Basis .................................................................... 4 4. Total Recorded Music — Production on Value Basis ............................................. 5 5. Total Audio Recordings — Production on Value Basis .......................................... 5 6. Total CDs — Production on Value Basis ................................................................. 5 7. CD Singles — Production on Unit Basis .................................................................. 6 8. 5" CD Albums — Production on Unit Basis ............................................................ 6 9. Music Videos — Production on Unit Basis ............................................................. 6 10. CD Singles — Production on Value Basis................................................................ 7 11. 5" CD Albums — Production on Value Basis.......................................................... 7 12. Music Videos — Production on Value Basis ........................................................... 7 13. Digital
    [Show full text]
  • “PRESENCE” of JAPAN in KOREA's POPULAR MUSIC CULTURE by Eun-Young Ju
    TRANSNATIONAL CULTURAL TRAFFIC IN NORTHEAST ASIA: THE “PRESENCE” OF JAPAN IN KOREA’S POPULAR MUSIC CULTURE by Eun-Young Jung M.A. in Ethnomusicology, Arizona State University, 2001 Submitted to the Graduate Faculty of School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2007 UNIVERSITY OF PITTSBURGH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Eun-Young Jung It was defended on April 30, 2007 and approved by Richard Smethurst, Professor, Department of History Mathew Rosenblum, Professor, Department of Music Andrew Weintraub, Associate Professor, Department of Music Dissertation Advisor: Bell Yung, Professor, Department of Music ii Copyright © by Eun-Young Jung 2007 iii TRANSNATIONAL CULTURAL TRAFFIC IN NORTHEAST ASIA: THE “PRESENCE” OF JAPAN IN KOREA’S POPULAR MUSIC CULTURE Eun-Young Jung, PhD University of Pittsburgh, 2007 Korea’s nationalistic antagonism towards Japan and “things Japanese” has mostly been a response to the colonial annexation by Japan (1910-1945). Despite their close economic relationship since 1965, their conflicting historic and political relationships and deep-seated prejudice against each other have continued. The Korean government’s official ban on the direct import of Japanese cultural products existed until 1997, but various kinds of Japanese cultural products, including popular music, found their way into Korea through various legal and illegal routes and influenced contemporary Korean popular culture. Since 1998, under Korea’s Open- Door Policy, legally available Japanese popular cultural products became widely consumed, especially among young Koreans fascinated by Japan’s quintessentially postmodern popular culture, despite lingering resentments towards Japan.
    [Show full text]
  • Mixed-Layer Glay in the Pierre Shale and Equivalent Rocks, Northern Great Plains Region
    Mixed-Layer Glay in the Pierre Shale and Equivalent Rocks, Northern Great Plains Region GEOLOGICAL SURVEY PROFESSIONAL PAPER 1064-A Mixed-Layer Clay in the Pierre Shale and Equivalent Rocks, Northern Great Plains Region By LEONARD G. SCHULTZ GEOCHEMISTRY OF THE PIERRE SHALE AND EQUIVALENT ROCKS OF LATE CRETACEOUS AGE GEOLOGICAL SURVEY PROFESSIONAL PAPER 1064-A X-ray diffraction techniques for interpretation of mixed-layer illite-smectite clay, chemical composition of the clay, and developmental history of the clay UNITED STATES GOVERNMENT PRINTING OFFICE, WASHINGTON : 1978 UNITED STATES DEPARTMENT OF THE INTERIOR CECIL D. ANDRUS, Secretary GEOLOGICAL SURVEY H. William Menard, Director Library of Congress Cataloging in Publication Data Schultz, Leonard Gene, 1926- Mixed-layer clay in the Pierre Shale and equivalent rocks, northern Great Plains region. (Geochemistry of the Pierre Shale and equivalent rocks, northern Great Plains) (Geological Survey Professional Paper 1064-A) Bibliography: p. 27 1. Clay minerals Great Plains. 2. Geology, Stratigraphic Cretaceous. I. Title. II. Series. III. Series: United States Geological Survey Professional Paper 1064-A. QE389.625.S3 552'.5 77-26718 For sale by the Superintendent of Documents, U.S. Government Printing Office Washington, D.C. 20402 Stock Number 024-001-03115-9 CONTENTS Page Page Abstract ........................................................................................ 1 Chemistry of mixed-layer clays Continued Introduction .................................................................................
    [Show full text]
  • A Multi-Dimensional Study of the Emotion in Current Japanese Popular Music
    Acoust. Sci. & Tech. 34, 3 (2013) #2013 The Acoustical Society of Japan PAPER A multi-dimensional study of the emotion in current Japanese popular music Ryo Yonedaà and Masashi Yamada Graduate School of Engineering, Kanazawa Institute of Technology, 7–1 Ohgigaoka, Nonoich, 921–8501 Japan ( Received 22 March 2012, Accepted for publication 5 September 2012 ) Abstract: Musical psychologists illustrated musical emotion with various numbers of dimensions ranging from two to eight. Most of them concentrated on classical music. Only a few researchers studied emotion in popular music, but the number of pieces they used was very small. In the present study, perceptual experiments were conducted using large sets of popular pieces. In Experiment 1, ten listeners rated musical emotion for 50 J-POP pieces using 17 SD scales. The results of factor analysis showed that the emotional space was constructed by three factors, ‘‘evaluation,’’ ‘‘potency’’ and ‘‘activity.’’ In Experiment 2, three musicians and eight non-musicians rated musical emotion for 169 popular pieces. The set of pieces included not only J-POP tunes but also Enka and western popular tunes. The listeners also rated the suitability for several listening situations. The results of factor analysis showed that the emotional space for the 169 pieces was spanned by the three factors, ‘‘evaluation,’’ ‘‘potency’’ and ‘‘activity,’’ again. The results of multiple-regression analyses suggested that the listeners like to listen to a ‘‘beautiful’’ tune with their lovers and a ‘‘powerful’’ and ‘‘active’’ tune in a situation where people were around them. Keywords: Musical emotion, Popular music, J-POP, Semantic differential method, Factor analysis PACS number: 43.75.Cd [doi:10.1250/ast.34.166] ‘‘activity’’ [3].
    [Show full text]
  • Idols and Celebrity in Japanese Media Culture, Edited by Patrick W
    Copyright material from www.palgraveconnect.com - licensed to Murdoch University - PalgraveConnect - 2013-08-20 - PalgraveConnect University - licensed to Murdoch www.palgraveconnect.com material from Copyright 10.1057/9781137283788 - Idols and Celebrity in Japanese Media Culture, Edited by Patrick W. Galbraith and Jason G. Karlin Idols and Celebrity in Japanese Media Culture Copyright material from www.palgraveconnect.com - licensed to Murdoch University - PalgraveConnect - 2013-08-20 - PalgraveConnect University - licensed to Murdoch www.palgraveconnect.com material from Copyright 10.1057/9781137283788 - Idols and Celebrity in Japanese Media Culture, Edited by Patrick W. Galbraith and Jason G. Karlin This page intentionally left blank Copyright material from www.palgraveconnect.com - licensed to Murdoch University - PalgraveConnect - 2013-08-20 - PalgraveConnect University - licensed to Murdoch www.palgraveconnect.com material from Copyright 10.1057/9781137283788 - Idols and Celebrity in Japanese Media Culture, Edited by Patrick W. Galbraith and Jason G. Karlin Idols and Celebrity in Japanese Media Culture Edited by Patrick W. Galbraith and Jason G. Karlin University of Tokyo, Japan Copyright material from www.palgraveconnect.com - licensed to Murdoch University - PalgraveConnect - 2013-08-20 - PalgraveConnect University - licensed to Murdoch www.palgraveconnect.com material from Copyright 10.1057/9781137283788 - Idols and Celebrity in Japanese Media Culture, Edited by Patrick W. Galbraith and Jason G. Karlin Introduction, selection
    [Show full text]
  • Case 1:08-Cr-00213-JDB Document 106 Filed 06/30/09 Page 1 of 9
    Case 1:08-cr-00213-JDB Document 106 Filed 06/30/09 Page 1 of 9 UNITED STATES DISTRICT COURT FOR THE DISTRICT OF COLUMBIA UNITED STATES OF AMERICA v. Criminal Action No. 08-213 (JDB) WILLIAM GLAY, Defendant. MEMORANDUM OPINION & ORDER Before the Court is [72] defendant William Glay's motion to suppress tangible evidence seized during a March 6, 2007 search of 12504 Great Park Circle, Apartment #103 in Germantown, Maryland ("Great Park Circle address"). In February 2007, Montgomery County, Maryland police obtained an arrest warrant for Glay charging him with one count of theft, two counts of identity theft, and one count of theft conspiracy. On March 2, 2007, Detective Susan Mercer filed an application for a warrant to search the Great Park Circle address and attached a six-page affidavit in support of the application. The affidavit begins by describing two instances in July and September 2006 where suspects had unsuccessfully attempted to pass counterfeit checks. Mercer Aff. at 1-2. Evidence obtained from the investigation into those episodes revealed that Glay had supplied the counterfeit checks for the September 2006 attempt. Id. at 2. The affidavit then avers that Glay had been observed opening two bank accounts in September 2006 using false identification. Id. at 2-3. In December 2006, forged checks were deposited into those accounts, and in January 2007, a bank employee confessed to having provided Glay with signature cards and checks, thus Case 1:08-cr-00213-JDB Document 106 Filed 06/30/09 Page 2 of 9 enabling those forged checks to be created.
    [Show full text]
  • あゆみ Hamasaki Ayumi—Source of Strength for Young People Searching for a Place of Their Own
    The Japan Forum Newsletter No. 24 March 2002 Japanese Culture Now はまさき 浜崎あゆみ Hamasaki Ayumi—Source of strength for young people searching for a place of their own Hamasaki Ayumi (23) sold strength and solace they more CDs than any other offer. You can tell that the popular singer in the year adults in their lives aren’t of- 2001. Known as “ayu,” she is fering any support or ad- tremendously popular with vice—even moralistic—that young people. Until recently, really resonates in their her image was strongest as a hearts.” She continues to fashion icon of teenage girls, offer hope and companion- but today her popularity is ship to those frustrated by growing across a wider stra- what they feel is a world with tum—men and women in their twenties and thirties. no future, to those who can- Hamasaki writes her own lyrics, lyrics that express an not see where they belong. image of herself that is true to life. Her songs speak of Photo: Hongo Jin heartache, loneliness and despair, the importance of accepting Data■Ranking of Total CD Sales (singles + albums) by Artist and believing in ourselves just as we are, seeing failure in love Oricon Survey 12/4/2000-11/26/2001 as energy to go forward, and offering the encouragement that Rank Artist Total Sales (yen) “I (ayu) am right here with you.” 1 浜崎あゆみ [Hamasaki Ayumi] 24,370,000,000 2 宇多田ヒカル [Utada Hikaru] 15,830,000,000 In an article in the Asahi Shimbun newspaper on June 2, 3 GLAY 10,860,000,000 2001, copywriter Maeda Tomomi noted, “Today’s younger 4 Mr.
    [Show full text]
  • Bankruptcy Fraud March 2018 in This Issue Volume 66 Number 2 Part I: Executive Office for United States Attorneys
    Bankruptcy and Bankruptcy Fraud March 2018 In This Issue Volume 66 Number 2 Part I: Executive Office for United States Attorneys United States Introduction to Part I …………..………...............................................................3 Department of Justice Executive Office for By James A. Crowell IV, Acting Director, EOUSA United States Attorneys Washington, DC 20530 The Civil Division’s Role in Bankruptcy Litigation…………………………….5 James A. Crowell IV By Ruth A. Harvey Acting Director Dischargeability of Debt……………………………………………………..……9 Contributors’ opinions and statements should not be considered an By Jeffrey J. Lodge endorsement by EOUSA for any policy, program, or service. Collection of Criminal Restitution and the Automatic Stay…………………..15 The United States Attorneys’ Bulletin By Greg D. Stefan is published pursuant to 28 C.F.R. § 0.22(b). Direct Appeals of Bankruptcy Court Orders The United States Attorneys’ Bulletin Under 28 U.S.C. § 158(d)(2)……………………………………………………..21 is published by the By Matthew J. Troy Executive Office for United States Attorneys Office of Legal Education 1620 Pendleton Street Setoff and Recoupment Through the Lens of SSA Fraud Columbia, South Carolina 29201 Recovery in Bankruptcy………………………………………………………...29 By Michael J. Kelly Editor in Chief K. Tate Chambers Protecting the Medicare Program in Health Care Provider Lead Editor Bankruptcy Cases………………………………………………………………..43 Nikki Piquette By Leah V. Lerman Assistant Editors Becky Catoe-Aikey Federal Student Loan Debt in Bankruptcy: Recent Movement Brenda S. Mercer Towards Income-Driven Repayment Plans in Chapter 13……………………53 By Amanda L. Anderson and Mark A. Redmiles Law Clerks Gurbani Saini Brandy Sanderlin Part II: Executive Office for United States Trustees Internet Address https://www justice gov/usao/resources Introduction to Part II…………………………………….…………………….75 /united-states-attorneys-bulletins By Clifford J.
    [Show full text]
  • TRANSCULTURAL SPACES in SUBCULTURE: an Examination of Multicultural Dynamics in the Japanese Visual Kei Movement
    TRANSCULTURAL SPACES IN SUBCULTURE: An examination of multicultural dynamics in the Japanese visual kei movement Hayley Maxime Bhola 5615A031-9 January 10, 2017 A master’s thesis submitted to the Graduate School of International Culture and Communication Studies Waseda University in partial fulfillment of the requirements for the degree of Master of Arts TRANSCULTURAL SPACES IN SUBCULTURE 2 Abstract of the Dissertation The purpose of this dissertation was to examine Japanese visual kei subculture through the theoretical lens of transculturation. Visual kei (ヴィジュアル系) is a music based subculture that formed in the late 1980’s in Japan with bands like X Japan, COLOR and Glay. Bands are recognized by their flamboyant (often androgynous appearances) as well as their theatrical per- formances. Transculturation is a term originally coined by ethnographer Fernando Ortiz in re- sponse to the cultural exchange that took place during the era of colonization in Cuba. It de- scribes the process of cultural exchange in a way that implies mutual action and a more even dis- tribution of power and control over the process itself. This thesis looked at transculturation as it relates to visual kei in two main parts. The first was expositional: looking at visual kei and the musicians that fall under the genre as a product of transculturation between Japanese and non- Japanese culture. The second part was an effort to label visual kei as a transcultural space that is able to continue the process of transculturation by fostering cultural exchange and development among members within the subculture in Japan. Chapter 1 gave a brief overview of the thesis and explains the motivation behind conduct- ing the research.
    [Show full text]
  • Fairy Inc. Sheet Music Products List Last Updated [2013/03/018] Price (Japanese Yen) a \525 B \788 C \683
    Fairy inc. Sheet Music Products list Last updated [2013/03/018] Price (Japanese Yen) A \525 B \788 C \683 ST : Standard Version , OD : On Demand Version , OD-PS : Piano solo , OD-PV : Piano & Vocal , OD-GS : Guitar solo , OD-GV : Guitar & Vocal A Band Score Piano Guitar Title Artist Tie-up ST OD ST OD-PS OD-PV ST OD-GS OD-GV A I SHI TE RU no Sign~Watashitachi no Shochiku Distributed film "Mirai Yosouzu ~A I DREAMS COME TRUE A A A Mirai Yosouzu~ SHI TE RU no Sign~" Theme song OLIVIA a little pain - B A A A A inspi'REIRA(TRAPNEST) A Song For James ELLEGARDEN From the album "BRING YOUR BOARD!!" B a walk in the park Amuro Namie - A a Wish to the Moon Joe Hisaishi - A A~Yokatta Hana*Hana - A A Aa Superfly 13th Single A A A Aa Hatsu Koi 3B LAB.☆ - B Aa, Seishun no Hibi Yuzu - B Abakareta Sekai thee michelle gun elephant - B Abayo Courreges tact, BABY... Kishidan - B abnormalize Rin Toshite Shigure Anime"PSYCHO-PASS" Opening theme B B Acro no Oka Dir en grey - B Acropolis ELLEGARDEN From the album "ELEVEN FIRE CRACKERS" B Addicted ELLEGARDEN From the album "Pepperoni Quattro" B ASIAN KUNG-FU After Dark - B GENERATION again YUI Anime "Fullmetal Alchemist" Opening theme A B A A A A A A Again 2 Yuzu - B again×again miwa From 2nd album "guitarium" B B Ageha Cho PornoGraffitti - B Ai desita. Kan Jani Eight TBS Thursday drama 9 "Papadoru!" Theme song B B A A A Ai ga Yobu Hou e PornoGraffitti - B A A Ai Nanda V6 - A Ai no Ai no Hoshi the brilliant green - B Ai no Bakudan B'z - B Ai no Kisetsu Angela Aki NHK TV novel series "Tsubasa" Theme song A A
    [Show full text]
  • The Rise of J-Pop in Asia and Its Impact
    COVER STORY • 7 The Rise of J-Pop in Asia and Its Impact By Ng Wai-ming APANESE pop music is commonly music, but also their images. They are bases to make Asian editions of J-pop Jreferred to as “J-pop,” a term coined mostly handsome young boys and cute albums for the Asian market. by Komuro Tetsuya, the “father of J- and pretty young girls who know how to Compared to Japanese editions, Asian pop,” in the early 1990s. The meaning sing, dance, talk, act and dress. Many J- editions are more user-friendly and of J-pop has never been clear. It was pop fans in Asia enjoy music videos affordable. They usually come with the first limited to Euro-beat, the kind of (MVs) as much as CDs. Due to physical Chinese translation of the lyrics. These dance music that Komuro produced. and cultural proximities, Asian youths Asian editions are much cheaper (about However, it was later also applied to feel close to Japanese idols. Unlike 50% less) than the Japanese originals many other kinds of popular music in Western idols who are too out of this and are only permitted to circulate in the Japanese music chart, Oricon, world to Asians, J-pop idols adopt a Asia outside of Japan. They have a wide including idol-pop, rhythm and blues down-to-earth approach and present circulation in Asia. For example, in (R&B), folk, soft rock, easy listening and themselves like the people next door. 2000, the Asian edition of Kiroro’s sometimes even hip hop.
    [Show full text]
  • A Brief Description of the Japanese Recording Industry 2000
    A brief description of the A brief description of the Japanese recording industry Japanese recording industry 2000 Compiled and edited by Recording Industry Association of Japan 編・著者 日本レコード協会� June, 2000 Published by: Recording Industry Association of Japan 2F Nittetsu Kobiki Bldg., 7-16-3 Ginza, Chuo-ku, Tokyo 104-0061 Phone : 03-3541-4411 Fax : 03-3541-4460 http://www.jmusic.ne.jp/ 1.2Y 00.6 Recording Industry Association of Japan A brief description of the Japanese recording industry CONTENTS 1 Outline of the Japanese Record Production in 1999 1 2 Major Concerns of the Japanese Recording Industry 2 3 Production Trend 3 1� Production Quantity of Total Audio Records 3 2� Production Quantity of 5" CDs 3 3� Production Quantity of 3" CDs 3 4� Production Quantity of Total CDs (3"+ 5" CDs) 4 5� Production Quantity of Analogue Records 4 6� Production Quantity of Cassettes 4 7� Production Value of Total Audio Records 5 8� Production Value of 5" CDs 5 9� Production Value of 3" CDs 5 10�Production Value of Total CDs (3"+ 5" CDs) 6 11�Production Value of Analogue Records 6 12�Production Value of Cassettes 6 13�Production of CD Derivative Audio+Visual Records 7 14�Production of Video Records 7 15�Number of Audio New Releases in 1999 8 16�1999 Breakdown of Audio & CD-derivative audio+visual Record New Release Titles � by Repertoire & Format 8 17�Transition of Disk/Tape Production Units by format (table) 9 18 Transition of Disk/Tape Production Value by format (table) 10 4 Related Statistics 11 1� Import/Export of Audio Disks 11 2� Transition of Record
    [Show full text]