DOCSLIB.ORG

Noh Reimagined the Contemporary Art of Classical Japanese Theatre

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Noh Reimagined the Contemporary Art of Classical Japanese Theatre Art, Music, Dance & The Divine Noh Reimagined the contemporary art of classical japanese theatre Performances, Talks & Workshops Featuring master Noh performers and musicians from Japan Yoshimasa Kanze (shite main actor),Yukihiro Isso (nohkan flute), Tatsushi Narita (kotsuzumi shoulder drum), Mitsuhiro Kakihara (otsuzumi hip drum), Kiyoshi Yoshitani (taiko stick drum), Masaki Umano (shite and koken), with Prof. Richard Emmert (lecture & workshops). 13–14 May 2016 Curated and produced by mu:arts Kings Place, London noh.muarts.org.uk Noh Reimagined Crossing into Another World, 13–14 May 2016 Events are individually ticketed. Festival passes are available from the Kings Place Box Office. 6–7pm 7.30pm–9.30pm 9.45pm–11pm Pre-concert Talk: Knowing Noh Yugen – The Mysterious Evan Parker Meets Noh Music Pre-concert talk by Prof. Elegance of Classical Noh World-renowned jazz saxophonist Evan Richard Emmert about the Highlights from the classic plays Parker and Noh flautist Yukihiro Isso, history, aesthetics, stories and Tenko and Toru, and classical Noh joined by Noh musicians, combine for performance traditions of Noh. ensemble pieces featuring master Noh an evening of virtuoso improvisation. actors and musicians from Japan. Free event, but ticketed* FRI 13 MAY EVENING 11.30am–1pm 2pm–3.15pm 3.30pm–5.30pm Workshop: Movement in Noh Workshop: Music of Noh Masking and Enmasking: – The Dynamism of Stillness A workshop offering insight Noh Theatre as a Strategy Master Noh actor, Yoshimasa into the unique features of Noh in Contemporary Art Kanze, supported by Prof. Emmert, music, which consists of chant and Performance teaches the stylised movements accompanied by the Nohkan Including contributions by: Simon of Noh. No experience required. flute and three drums to create a Starling, Ignacio Jarquin, Ami Skånberg Participants are requested to bring distinctive sense of ‘ma’ (or ‘space’). Dahlstedt and Palle Dahlstedt, a pair of white socks or tabi. David Toop and Wiebke Leister, followed by a panel discussion. SAT 14 MAY DAYTIME 6pm–7pm 7.30pm–9.30pm 9.45pm–11pm Cross-Cultural Collaboration Johakyu – From Classical Noh Remixed and Contemporary Music to Contemporary Award-winning DJ/composer Pre-concert discussion with Highlights from the most popular Mariam Rezaei premieres OM, a Portfolio composers Andrew classical Noh masterpieces, an live remix of traditional Noh stories Thomas and Nicholas Morrish- original composition by Yukihiro with experimental improvisation Rarity, composer Nicola LeFanu Isso, and premieres of works by from Noh musicians/dancer and and librettist Ruth Fainlight, chaired British composers on Sound and electric guitarist Adam Denton. by Richard Whitelaw, Director of Music’s Portfolio programme SAT 14 MAY EVENING Programmes at Sound and Music. who have been working closely with Noh professionals. Free event, but ticketed* *To book please call the Box Office. Flyer image credits: Calligraphy by Yukiko Ayres. Photos on front, left to right: Yukihiro Isso (nohkan), photo from Echoes and Afterlives by Wiebke Leister, Yoshimasa Kanze (shite). 90 York Way Follow us: Twitter: #nohreimaginedTickets from London N1 9AG Tickets available£9.50 fromonline 020 7520 1490 kingsplace.co.uk/nohkingsplace.co.uk.
Load more

Recommended publications
  • Freebern, Charles L., 1934
    THE MUSIC OF INDIA, CHINA, JAPAN AND OCEANIA: A SOURCE BOOK FOR TEACHERS Item Type text; Dissertation-Reproduction (electronic) Authors Freebern, Charles L., 1934- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 06/10/2021 06:04:40 Link to Item http://hdl.handle.net/10150/290233 This dissertation has been microfilmed exactly as received 70-6670 FREEBERN, Charles L., 1934- IHE MUSIC OF INDIA, CHINA/JAPAN AND OCEANIA: A SOURCE BOOK FOR TEACHERS. [Appendix "Pronounciation Tape Recording" available for consultation at University of Arizona Library]. University of Arizona, A. Mus.D., 1969 Music University Microfilms, Inc., Ann Arbor, Michigan CHARLES L. FREEBERN 1970 ALL RIGHTS RESERVED • a • 111 THE MUSIC OP INDIA, CHINA, JAPAN AND OCEANIA: A SOURCE BOOK FOR TEACHERS by Charles L. Freebern A Dissertation Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 19 6 9 THE UNIVERSITY OF ARIZONA. GRADUATE COLLEGE I hereby recommend that this dissertation prepared under my direction by Charles L, Freebern entitled THE MUSIC OF INDIA, CHINA, JAPAN AND OCEANIA: A SOURCE BOOK FOR TEACHERS be accepted as fulfilling the dissertation requirement of the degree of Doctor of Musical Arts &• 7?)• as. in? Dissertation Director fca^e After inspection of the final copy of the dissertation, the following members of the Final Examination Connnittee concur in its approval and recommend its acceptance:" _ ^O^tLUA ^ AtrK.
    [Show full text]
  • Britten's Acoustic Miracles in Noye's Fludde and Curlew River
    Britten’s Acoustic Miracles in Noye’s Fludde and Curlew River A thesis submitted by Cole D. Swanson In partial fulfillment of the requirements for the degree of Master of Arts in Music TUFTS UNIVERSITY May 2017 Advisor: Alessandra Campana Readers: Joseph Auner Philip Rupprecht ii ABSTRACT Benjamin Britten sought to engage the English musical public through the creation of new theatrical genres that renewed, rather than simply reused, historical frameworks and religious gestures. I argue that Britten’s process in creating these genres and their representative works denotes an operation of theatrical and musical “re-enchantment,” returning spiritual and aesthetic resonance to the cultural relics of a shared British heritage. My study focuses particularly on how this process of renewal further enabled Britten to engage with the state of amateur and communal music participation in post-war England. His new, genre-bending works that I engage with represent conscious attempts to provide greater opportunities for amateur performance, as well cultivating sonically and thematically inclusive sound worlds. As such, Noye’s Fludde (1958) was designed as a means to revive the musical past while immersing the Aldeburgh Festival community in present musical performance through Anglican hymn singing. Curlew River (1964) stages a cultural encounter between the medieval past and the Japanese Nō theatre tradition, creating an atmosphere of sensory ritual that encourages sustained and empathetic listening. To explore these genre-bending works, this thesis considers how these musical and theatrical gestures to the past are reactions to the post-war revivalist environment as well as expressions of Britten’s own musical ethics and frustrations.
    [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]
  • A Performer's Guide to Minoru Miki's Sohmon III for Soprano, Marimba and Piano (1988)
    University of Cincinnati Date: 4/22/2011 I, Margaret T Ozaki-Graves , hereby submit this original work as part of the requirements for the degree of Doctor of Musical Arts in Voice. It is entitled: A Performer’s Guide to Minoru Miki’s _Sohmon III for Soprano, Marimba and Piano_ (1988) Student's name: Margaret T Ozaki-Graves This work and its defense approved by: Committee chair: Jeongwon Joe, PhD Committee member: William McGraw, MM Committee member: Barbara Paver, MM 1581 Last Printed:4/29/2011 Document Of Defense Form A Performer’s Guide to Minoru Miki’s Sohmon III for Soprano, Marimba and Piano (1988) A document submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the Performance Studies Division of the College-Conservatory of Music by Margaret Ozaki-Graves B.M., Lawrence University, 2003 M.M., University of Cincinnati, 2007 April 22, 2011 Committee Chair: Jeongwon Joe, Ph.D. ABSTRACT Japanese composer Minoru Miki (b. 1930) uses his music as a vehicle to promote cross- cultural awareness and world peace, while displaying a self-proclaimed preoccupation with ethnic mixture, which he calls konketsu. This document intends to be a performance guide to Miki’s Sohmon III: for Soprano, Marimba and Piano (1988). The first chapter provides an introduction to the composer and his work. It also introduces methods of intercultural and artistic borrowing in the Japanese arts, and it defines the four basic principles of Japanese aesthetics. The second chapter focuses on the interpretation and pronunciation of Sohmon III’s song text.
    [Show full text]
  • Shakespeare, Madness, and Music
    45 09_294_01_Front.qxd 6/18/09 10:03 AM Page i Shakespeare, Madness, and Music Scoring Insanity in Cinematic Adaptations Kendra Preston Leonard THE SCARECROW PRESS, INC. Lanham • Toronto • Plymouth, UK 2009 46 09_294_01_Front.qxd 6/18/09 10:03 AM Page ii Published by Scarecrow Press, Inc. A wholly owned subsidiary of The Rowman & Littlefield Publishing Group, Inc. 4501 Forbes Boulevard, Suite 200, Lanham, Maryland 20706 http://www.scarecrowpress.com Estover Road, Plymouth PL6 7PY, United Kingdom Copyright © 2009 by Kendra Preston Leonard All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without written permission from the publisher, except by a reviewer who may quote passages in a review. British Library Cataloguing in Publication Information Available Library of Congress Cataloging-in-Publication Data Leonard, Kendra Preston. Shakespeare, madness, and music : scoring insanity in cinematic adaptations, 2009. p. cm. Includes bibliographical references and index. ISBN 978-0-8108-6946-2 (pbk. : alk. paper) — ISBN 978-0-8108-6958-5 (ebook) 1. Shakespeare, William, 1564–1616—Film and video adaptations. 2. Mental illness in motion pictures. 3. Mental illness in literature. I. Title. ML80.S5.L43 2009 781.5'42—dc22 2009014208 ™ ϱ The paper used in this publication meets the minimum requirements of American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI/NISO Z39.48-1992. Printed
    [Show full text]
  • Front Matter
    ETH NOMU $ 10 LOGY JOURNAL OF THE SOCIETY FOR ETHNOMUSICOLOGY NOW INDEX VOLUMES I-X 1953-1966 Society for Ethnomusicology , University of Illinois Press are collaborating with JSTOR to digitize, preserve and extend access to Ethnomusicology www.jstor.org SOCIETY FOR ETHNOMUSICOLOGY, INC. Board of Directors President: Mantle Hood, Institute of Ethnomusicology, University of Califor- nia, Los Angeles, California 90024 Past President: David P. McAllester, Laboratory of Ethnomusicology, Wes- leyan University, Middletown, Connecticut 06457 First Vice-President: Klaus Wachsmann, Institute of Ethnomusicology, Uni- versity of California, Los Angeles, California 90024 Second Vice-President: Gertrude P. Kurath, Dance Research Center, 1125 Spring Street, Ann Arbor, Michigan 48103 Secretary: Theodore C. Grame, Dept. of Music, Yale University, New Haven, Connecticut 06520 Treasurer: William P. Malm, School of Music, University of Michigan, Ann Arbor, Michigan 48105 Directors-at-large: Nicholas M. England, Dept. of Music, Columbia Univer- sity, New York, New York 10027; J. H. Kwabena Nketia, Institute of African Studies, University of Ghana, Legon, Ghana. Council: Term ending 1967: Robert A. Black, Rose Brandel, K. P. Etzkorn, Frank J. Gillis, Theodore C. Grame, Mieczyslaw Kolinski, Jan LaRue, Alan Lomax, George List, David P. McAllester, Roxane McCollester, Norma McLeod, Wil- liam P. Malm, Wilton Mason, Nadia Chilkovsky Nahumck, Bruno Nettl, Sirvart Poladian, Gustave Reese, Barbara B. Smith, Klaus Wachsmann. Term ending 1968: Willem Adriaansz, William K.Archer, Samuel P. Bayard, Judith O. Beck- er, Viktor M. Beliaev, David L. Burrows, Dieter Christensen, Zygmunt Estrei- cher, Edith Gerson-Kiwi, Charles Haywood, K. G. Izikowitz, Shigeo Kishibe, Barbara L. Krader, Juana de Laban, Jose Maceda, J.
    [Show full text]
  • A Set of Performance Practice Instructions for a Western Flautist Presenting Japanese and Indian Inspired Works
    Edith Cowan University Research Online Theses : Honours Theses 2007 Blowing east : A set of performance practice instructions for a western flautist presenting Japanese and Indian inspired works Asha Henfry Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/theses_hons Part of the Music Practice Commons Recommended Citation Henfry, A. (2007). Blowing east : A set of performance practice instructions for a western flautist presenting Japanese and Indian inspired works. https://ro.ecu.edu.au/theses_hons/1301 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses_hons/1301 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. Where the reproduction of such material is done without attribution of authorship, with false attribution of authorship or the authorship is treated in a derogatory manner, this may be a breach of the author’s moral rights contained in Part IX of the Copyright Act 1968 (Cth). Courts have the power to impose a wide range of civil and criminal sanctions for infringement of copyright, infringement of moral rights and other offences under the Copyright Act 1968 (Cth). Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form.
    [Show full text]
  • Medium of Performance Thesaurus for Music
    A clarinet (soprano) albogue tubes in a frame. USE clarinet BT double reed instrument UF kechruk a-jaeng alghōzā BT xylophone USE ajaeng USE algōjā anklung (rattle) accordeon alg̲hozah USE angklung (rattle) USE accordion USE algōjā antara accordion algōjā USE panpipes UF accordeon A pair of end-blown flutes played simultaneously, anzad garmon widespread in the Indian subcontinent. USE imzad piano accordion UF alghōzā anzhad BT free reed instrument alg̲hozah USE imzad NT button-key accordion algōzā Appalachian dulcimer lõõtspill bīnõn UF American dulcimer accordion band do nally Appalachian mountain dulcimer An ensemble consisting of two or more accordions, jorhi dulcimer, American with or without percussion and other instruments. jorī dulcimer, Appalachian UF accordion orchestra ngoze dulcimer, Kentucky BT instrumental ensemble pāvā dulcimer, lap accordion orchestra pāwā dulcimer, mountain USE accordion band satāra dulcimer, plucked acoustic bass guitar BT duct flute Kentucky dulcimer UF bass guitar, acoustic algōzā mountain dulcimer folk bass guitar USE algōjā lap dulcimer BT guitar Almglocke plucked dulcimer acoustic guitar USE cowbell BT plucked string instrument USE guitar alpenhorn zither acoustic guitar, electric USE alphorn Appalachian mountain dulcimer USE electric guitar alphorn USE Appalachian dulcimer actor UF alpenhorn arame, viola da An actor in a non-singing role who is explicitly alpine horn USE viola d'arame required for the performance of a musical BT natural horn composition that is not in a traditionally dramatic arará form. alpine horn A drum constructed by the Arará people of Cuba. BT performer USE alphorn BT drum adufo alto (singer) arched-top guitar USE tambourine USE alto voice USE guitar aenas alto clarinet archicembalo An alto member of the clarinet family that is USE arcicembalo USE launeddas associated with Western art music and is normally aeolian harp pitched in E♭.
    [Show full text]
  • Traditional Japanese Musical Instruments 1 Traditional Japanese Musical Instruments
    Traditional Japanese musical instruments 1 Traditional Japanese musical instruments Traditional Japanese musical instruments comprise a wide range of string, wind, and percussion instruments. String Plucked • Biwa (琵琶) - pear-shaped lute • Ichigenkin (kanji: 一絃琴) - one-string zither • Koto (琴, 箏) - long zither • Junanagen (十七絃) - 17-stringed zither • Taishogoto (大正琴) - zither with metal strings and keys • Kugo (箜篌) - an angled harp used in ancient times and recently revived • Sanshin (三線) - three-string banjo from Okinawa • Shamisen (三味線) - A banjo-like lute with three strings, the shamisen was brought to Japan from China in the 16th century. Popular in Edo's pleasure districts, the shamisen was often used in Kabuki theater. Made from red sandalwood and ranging from 1.1 to 1.4 meters long, the Kitagawa Utamaro, "Flowers of Edo: Young Woman's shamisen has ivory pegs, strings made from twisted silk, Narrative Chanting to the Shamisen", ca. 1880 and a belly covered in cat or dog skin. The strings, which are of different thickness, are plucked or struck with a tortoise shell pick. • Yamatogoto (大和琴) - ancient long zither; also called wagon (和琴) • Tonkori (トンコリ) - plucked instrument used by the Ainu of Hokkaidō Bowed - bowed lute with three (or, more rarely, four) strings and a skin-covered body Wind Flutes Japanese flutes are called Fue. there are eight different flutes • Hocchiku (法竹) - vertical bamboo flute • Nohkan (能管) - transverse bamboo flute used for noh theater • Ryūteki (龍笛) - transverse bamboo flute used for gagaku • Kagurabue (神楽笛)
    [Show full text]
  • Flute Scale Chart Pdf, Epub, Ebook
    FLUTE SCALE CHART PDF, EPUB, EBOOK Ryan Janus | 4 pages | 18 Oct 2006 | Mel Bay Publications,U.S. | 9780786606542 | English | United States Flute Scale Chart PDF Book Francis Poulenc. Every flute is unique because of the natural bore of the bamboo. Example of solos: Sarabande from J. Brass Exams. Let it be noted that the Raga format has to be in ascending order of frequencies. Paul Murtha. There are other flute fingering charts. Skip the next key. A-Z by Composer. Piano Solo. Use a different arrangement for pipe that is 1 inch or wider, so you can move the mouthhole farther from the end. Young Concert Band. Ukulele Tuition. Example: "Emeryville, CA". It never decomposes! A Cappella. When you play these two notes, they will sound the same. A heavy-duty scouring pad will also work, with some patience. Trinity College London: Singing Syllabus. There are more fingerings for the major scale than are shown on the opposite page. It depends on who made your flute. To create a music list, please sign in. Christmas Piano. Make a wish list for gifts, suggest standard repertoire, let students know which books to buy, boast about pieces you've mastered: Music Lists are as unique as the musician! Flutes Jam aims to help you answer these questions with a series of scale charts for quick reference whether playing the flute, pennywhistle, or 6-hole Shakuhachi flute. Flute Scale Chart Reference Tuition. Think of the first or lowest note on your flute as a C or a do as in do, re, mi.
    [Show full text]
  • Cal Instruments and Some Aspects of Timbre Taste in Japanese Music Common
    J. Acoust. Soc. Jpn.(E) 14, 6 (1993) Several peculiar structural devices of Japanese musi cal instruments and some aspects of timbre taste - in Japanese music common with western ones Yoshinori Ando Kyushu Institute of Design, 9-1 Shiobaru, 4-chome, Minami-ku, Fukuoka, 815 Japan In structure of Japanese musical instruments, there are several devices which reflect special features of traditional Japanese music. On the other hand, common aspects of taste in timbre between Japanese and western instruments can be observed. This is regarded as an expression of the similar sense of beauty in sounds with each other's music. As examples of those peculiar devices, this paper describes (1) those for delicate and smooth pitch change observed in tall bridges and the frets of string instruments as well as in the large mouth holes and dented surface of wind instruments, (2) the pecu liar bore shape of a Nohkan formed by insertion of a slender pipe called the "throat,"- and (3) a device called the "Sawari" which generates inharmonic components and pro longs the decay time of harmonic components and can be observed in a Biwa- and a Shamisen. The common taste in the timbre described here are (1) similarity in frequency characteristic of bodies of a violin and a Biwa, both of which are evaluated as superior and (2) desirable features of spectrum pattern observed in Baroque recorder music and classical shakuhachi music. Key words:Japanese musical instrument, Structure of musical instrument , Nohkan, Shamisen, Biwa, Shakuhachi PACS number:43.75.Ef, 43.75.Gh, 43.75.Cd A "Soh" (called the "Koto" commonly), a rep 1.
    [Show full text]
  • Recorders and Electronics
    COPYRIGHT AND USE OF THIS THESIS This thesis must be used in accordance with the provisions of the Copyright Act 1968. Reproduction of material protected by copyright may be an infringement of copyright and copyright owners may be entitled to take legal action against persons who infringe their copyright. Section 51 (2) of the Copyright Act permits an authorized officer of a university library or archives to provide a copy (by communication or otherwise) of an unpublished thesis kept in the library or archives, to a person who satisfies the authorized officer that he or she requires the reproduction for the purposes of research or study. The Copyright Act grants the creator of a work a number of moral rights, specifically the right of attribution, the right against false attribution and the right of integrity. You may infringe the author’s moral rights if you: - fail to acknowledge the author of this thesis if you quote sections from the work - attribute this thesis to another author - subject this thesis to derogatory treatment which may prejudice the author’s reputation For further information contact the University’s Director of Copyright Services sydney.edu.au/copyright RECORDERS AND ELECTRONICS: An Introduction to the Performance of Electroacoustic Music Joanne Arnott A thesis submitted in partial fulfilment of requirements for the degree of Masters of Music (Performance) Sydney Conservatorium of Music University of Sydney 2014 ii iii Abstract The development of the electroacoustic genre has presented modern recorder players with a myriad of new and exciting repertoire, but many acoustic musicians are reluctant to explore these new works due to the barriers of technology.
    [Show full text]