DOCSLIB.ORG

Taiko: an Ancient Modern Art

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Taiko: an Ancient Modern Art Taiko: An Ancient Modern Art Welcome! The art of taiko drumming is a dynamic most beautifully decorated of all Japanese combination of choreography, fluidity, power instruments. and rhythm; an incredible experience that allows one to meet and interact with people It is speculated that taiko existed in Japan while having fun and relieving stress. and the playing style was influenced by the impact of Chinese culture and the entrance of Taiko groups all around the world are Buddhism. After the country became isolated contributing to what is quickly becoming a once again, development was attributed to global art form. It is estimated that there are native craftsmen to shape what is now a over 8000 taiko groups in Japan alone, and uniquely Japanese instrument. Until the 20th many more worldwide (There are more than century, taiko playing was generally limited a dozen Canadian groups). to ceremonies (shiki 式) and festivals (matsuri 祭り). We are the Midnight Taiko Kai, a group in Calgary devoted to improving ourselves, Modern Taiko History having fun, and bringing our love of Taiko to In 1951, jazz drummer Daihachi Oguchi the audiences who watch us perform. happened upon an old taiko piece and decided to play it in ensemble, building upon the base beat and kumi-daiko as we know it History of Taiko Drumming was born. In the 1970s the Japanese Kumi-daiko as an art form is relatively new, government gave communities money to but the taiko drum has a long history in preserve the intangible cultural assets that Japan. It is difficult to say when the first taiko were slowly disappearing in the post-war era. drums were used, but it is speculated they Many towns and villages used this money to were used as a signal for villages to help purchase taiko and start community taiko coordinate the activities of their daily lives. It groups. Some use the local taiko rhythms was believed that gods inhabited the drum, used in festivals; and others had pieces and the taiko therefore became a critical written for them. element in the Japanese religious landscape. Taiko were found only in Buddhist temples or Taiko has proven popular in North America, Shinto shrines, and only holy men were first introduced by Japanese-Americans in the allowed to beat them on special occasions. early 1900s. Following the war, and much cultural and racial tension, taiko lost its Taiko were also used as the drums of war, as following in the North America until 1968, their sound carries far and wide, effective for when Seiichi Tanaka brought the concept of issuing commands and coordinating kumi-daiko to the United States to form the movement. In addition to this, taiko were first North American taiko group - the San also used as court instruments. Gagaku (雅楽, Francisco Taiko Dojo. There, it immediately imperial court music) is played using the began to thrive, inspiring other groups, and is © 2006-2014 Ruth Ablett, Midnight Taiko Kai, www.midnight-taiko.ca now at the point where the art has evolved so daiko (lit. Shrine taiko), or wadaiko 和太鼓 (lit. that each of the many groups has its own Japanese taiko). unique style. There are also taiko groups all over the world. Chū-daiko 中太鼓 (lit. middle taiko) On the larger end of the nagado-daiko range, The most famous taiko group is Kodō, whose anywhere from 2-3 shaku in diameter. members train like Olympians on their private island called Sado. Their world tours bring Ko-daiko小太鼓 (lit. little taiko) The smaller taiko to all parts of the globe. drums in the nagado-daiko range, between 0.8 and 1.5 shaku in diameter. Here in Alberta there are a few groups, notably Kita no Taiko and Booming Tree in Ōdaiko 大太鼓 (lit. big taiko) A large drum, Edmonton, Hibikiya in Lethbridge, and with a diameter over 3 shaku. Midnight Taiko Kai here in Calgary. Shime-daiko締太鼓 (lit. rope-tensioned taiko) Playing Taiko A smaller taiko, usually 30-40cm in diameter As expressed above, there is far more to with a short body. It is tightened with rope or taiko drumming than simply hitting a drum bolts. Its tone is very sharp. with a stick. A piece must have a certain flow to it and the group must bring the piece alive Ō-shime-daiko大締太鼓 (lit. big rope- together. If one member is out of sync, the tensioned taiko) A very long-bodied shime- entire piece falls apart as the audience daiko. It is tightened with rope. Its tone is concentrates their attention on that one very sharp yet booming, used as a backup member, thus losing the flow of the piece. beat, often in place of an Ōdaiko. A piece consists of the base beat, usually by Okedo-daiko桶胴太鼓 (lit. barrel taiko) A an odaiko or o-shime-daiko. The shimedaiko longer, thinner, lighter, black-bodied drum, and chanchiki, with their high-pitched with skins held on both ends by an defining beats, play the jiuchi. Other rhythms elaborately tied crisscrossing rope. from different players and instruments layer Sometimes played while being held under the on top of this, weaving a complex pattern of arm (Okinawa style). beats and interconnecting rhythms that play off each other. Combine this with the Uchiwa-daiko 団扇太鼓 (lit. fan taiko) The dynamics of each strike and even the smallest of the skinned drums, it consists of a simplest rhythm can become complex and single piece of hide sewn onto a circular pleasing to the ear. metal frame, about 10cm in diameter and attached to a handle. It is held in one hand The icing on the cake, however, is the and struck with a bachi held in the other. choreography. The actions that accompany the beats are as important, if not more, than Kane 鉦 A gong or large bell, but can also the sound. The choreography, be it hand- refer to any instrument that produces a crossing, pointing, leaping, or simply metallic sound. bouncing, makes a piece spectacular. When all members of the group look identical and Hira-daiko 平太鼓 (lit. flat drum) Hira-daiko perform the proper beats with the correct are short and wide. Sometimes played choreography, the piece comes truly alive, horizontally on an angled stand, or hung from becoming a feast for the eyes and the ears. a frame and played vertically. Types of instruments Hyōshigi 拍子木 (lit. clapping wood) This Nagadō-daiko 長胴太鼓 (lit. long-bodied instrument usually consists of two wooden or taiko) The most common type of taiko. A bamboo blocks that are connected with a thin medium sized drum, anywhere from 1.5-3 ornamental rope. They can be struck against shaku in diameter. Also known as a miya- the ground, wall, each other, or any other similar surface. While traditionally it has been © 2006-2014 Ruth Ablett, Midnight Taiko Kai, www.midnight-taiko.ca used to announce the start of a traditional Raised horizontal (kagami-uchi 鏡打ち) This Japanese theatre performance, it is also a stand is usually used for Odaiko. The drum is wonderful addition to many taiko pieces. place horizontally on top of the stand, usually four or five feet high. Both sides of the drum Atarigane 当り鉦 (lit. metal for striking) This can be played in this position. small round instrument is made entirely out of metal, usually brass. It is in the shape of a Materials round bowl with a steep sides. It is struck Nagado-daiko 長胴太鼓 (lit. long-bodied taiko) with a small mallet (shumoku 撞木), made are taiko carved from a single piece of wood, usually of deer antler for a high, quick, and usually keyaki (zelkovia). The body is round delicate-sounding metallic tone. It is also and barrel-shaped, and the length is usually known as a chanchiki チャンチキ. equal to the playing surface of the drum. Many drums now have a trunk made from Chappa チャッパ A chappa consists of two paneled pine or oak (like a barrel), and are six-inch cymbal-like instruments that are hit therefore less expensive. The skin on the together in a similar fashion. Usually used drums is usually cowhide. while performing a dance. Also referred to as tebyōshi 手拍子 (lit. hand clapper). There are many different types of wood used to make taiko: 松（まつ）Pine, 樫（かし）Kashi Fue 笛 (also, shinobue, shakuhachi) Refers to (evergreen oak), 檜（ひのき）Hinoki a horizontal bamboo flute. Most have six or (Japanese cypress), 欅（けやき）Keyaki seven holes. Different styles are held (zelkovia), or 栴（せん）Sen (maple) horizontally or vertically. Parts of a Drum Shakuhachi 尺八 A large, vertical Japanese Byō 鋲－Tacks to hold the skin on the drum. recorder, usually made from bamboo. Drums with their skins held on with them are called byou-daiko. Taiko stands (dai 台) Angular (naname-dai 斜め台) An angular Hara 腹 (lit. belly) The round playable stand that places the drum about a foot off surfaces of the drum. Every drum has two. the ground at a 45 degree angle. The pitch depends on the tautness of the hide on both sides, as well as the size and depth Flat (beta-uchi 下手打ち) The drum is played of the body. either on a slightly raised stand or just on the floor. Dōu 胴 (lit. trunk) The body of the drum. This can be hit, resulting in a noticeably defined Square (shikaku-dai 四角台) This kind of stand sound. lifts the drum slightly off the floor, sometimes with a 5 or 10 degree slant. Kan かんThe ring-shaped handles on the sides of the drum.
Load more

Recommended publications
  • University of Nevada, Reno American Shinto Community of Practice
    University of Nevada, Reno American Shinto Community of Practice: Community formation outside original context A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in Anthropology By Craig E. Rodrigue Jr. Dr. Erin E. Stiles/Thesis Advisor May, 2017 THE GRADUATE SCHOOL We recommend that the thesis prepared under our supervision by CRAIG E. RODRIGUE JR. Entitled American Shinto Community Of Practice: Community Formation Outside Original Context be accepted in partial fulfillment of the requirements for the degree of MASTER OF ARTS Erin E. Stiles, Advisor Jenanne K. Ferguson, Committee Member Meredith Oda, Graduate School Representative David W. Zeh, Ph.D., Dean, Graduate School May, 2017 i Abstract Shinto is a native Japanese religion with a history that goes back thousands of years. Because of its close ties to Japanese culture, and Shinto’s strong emphasis on place in its practice, it does not seem to be the kind of religion that would migrate to other areas of the world and convert new practitioners. However, not only are there examples of Shinto being practiced outside of Japan, the people doing the practice are not always of Japanese heritage. The Tsubaki Grand Shrine of America is one of the only fully functional Shinto shrines in the United States and is run by the first non-Japanese Shinto priest. This thesis looks at the community of practice that surrounds this American shrine and examines how membership is negotiated through action. There are three main practices that form the larger community: language use, rituals, and Aikido. Through participation in these activities members engage with an American Shinto community of practice.
    [Show full text]
  • Teachers' Notes:Taiko Drums & Flutes of Japan Japanese Musical
    Teachers’ Notes: Taiko Drums & Flutes of Japan Japanese Musical Instruments Shakuhachi This Japanese flute with only five finger holes is made of the root end of a heavy variety of bamboo. From around 1600 through to the late 1800’s the shakuhachi was used exclusively as a tool for Zen meditation. Since the Meiji restoration (1868), the shakuhachi has performed in chamber music combinations with koto (zither), shamisen (lute) and voice. In the 20 th century, shakuhachi has performed in many types of ensembles in combination with non-Japanese instruments. It’s characteristic haunting sounds, evocative of nature, are frequently featured in film music. Koto (in Anne’s Japanese Music Show, not Taiko performance) Like the shakuhachi , the koto (a 13 stringed zither) ORIGINATED IN China and a uniquely Japanese musical vocabulary and performance aesthetic has gradually developed over its 1200 years in Japan. Used both in ensemble and as a solo virtuosic instrument, this harp-like instrument has a great tuning flexibility and has therefore adapted well to cross cultural music genres. Taiko These drums come in many sizes and have been traditionally associated with religious rites at Shinto shrines as well as village festivals. In the last 30 years, Taiko drumming groups have flourished in Japan and have become poplar worldwide for their fast pounding rhythms. Sasara A string of small wooden slats, which make a large rattling sound when played with a “whipping” action. Kane A small hand held gong. Chappa A small pair of cymbals Sasara Kane Bookings
    [Show full text]
  • Kodo Study Guide 1011.Indd
    2010–2011 SEASON SchoolTime Study Guide Kodo Friday, February 4, 2011 at 11 a.m. Zellerbach Hall, University of California, Berkeley Welcome to SchoolTime On Friday, February 4 at 11am, your class will att end a SchoolTime performance of Kodo (Taiko drumming) at Cal Performances’ Zellerbach Hall. In Japan, “Kodo” meana either “hearbeat” or “children of the drum.” These versati le performers play a variety of instruments – some massive in size, some extraordinarily delicate that mesmerize audiences. Performing in unison, they wield their sti cks like expert swordsmen, evoking thrilling images of ancient and modern Japan. Witnessing a performance by Kodo inspires primal feelings, like plugging into the pulse of the universe itself. Using This Study Guide You can use this study guide to engage your students and enrich their Cal Performances fi eld trip. Before att ending the performance, we encourage you to: • Copy the Student Resource Sheet on pages 2 & 3 for your students to use before the show. • Discuss the informati on on pages 4-5 About the Performance & Arti sts. • Read About the Art Form on page 6, and About Japan on page 11 with your students. • Engage your class in two or more acti viti es on pages 13-14. • Refl ect by asking students the guiding questi ons, found on pages 2,4,6 & 11. • Immerse students further into the subject matt er and art form by using the Resource and Glossary secti ons on pages 15 & 16. At the performance: Your class can acti vely parti cipate during the performance by: • Listening to Kodo’s powerful drum rhythms and expressive music • Observing how the performers’ movements and gestures enhance the performance • Thinking about how you are experiencing a bit of Japanese culture and history by att ending a live performance of taiko drumming • Marveling at the skill of the performers • Refl ecti ng on the sounds, sights, and performance skills you experience at the theater.
    [Show full text]
  • Perspectives in North American Taiko Sano and Uyechi, Spring 2004
    Music 17Q Perspectives in North American Taiko Sano and Uyechi, Spring 2004 M W: 2:15 – 4:05 p.m., Braun 106 (M), Braun Rehearsal Hall (W) 4 units Course Syllabus Taiko, used here to refer to performance ensemble drumming using the taiko, or Japanese drum, is a relative newcomer to the American music scene. The emergence of the first North American groups coincided with increased activism in the Japanese American community and, to some, is symbolic of Japanese American identity. To others, North American taiko is associated with Japanese American Buddhism, and to others taiko is a performance art rooted in Japan. In this course we will explore the musical, cultural, historical, and political perspectives of taiko in North America through drumming (hands-on experience), readings, class discussions, workshops, and a research project. With taiko as the focal point, we will learn about Japanese music and Japanese American history, and explore relations between performance, cultural expression, community, and identity. COURSE REQUIREMENTS Students must attend all workshops and complete all assignments to receive credit for the course. Reaction Papers (30%) Midterm (20%) Research Project (40%) Attendance/Participation (10%) COURSE FEE $30 to partially cover cost of bachi, bachi bag, concert tickets, workshop fees, gas and parking for drivers. READINGS 1. Course reader available at the Stanford Bookstore. 2. Strangers From a Different Shore: A History of Asian Americans. Ronald Takaki. 1989. Penguin Books. GENERAL INFORMATION Instructors Steve Sano Linda Uyechi Office Braun 120 Office Phone 723-1570 Phone 494-1321 494-1321 (8 a.m. – 10 p.m.) Email sano@leland [email protected] 1 COURSE OUTLINE WEEK 1 (March 31) Wednesday Introduction: What is North American Taiko? Reading Terada, Y.
    [Show full text]
  • Kanji-West-Notation-090214
    TaikoSource.Com Collected by Taiko.biz / 2014 Taiko Notation Project (…a work in progress)* Kuchi-shōga (“mouth writing,” also kuchi-shoka/kuchi-shouga/kuchi-showa depending on the area of Japan or tradition) is a phonetic system used to teach most Japanese instruments. Each note or sound that an instrument produces is assigned a different syllable. It is often said: "if you can say it, you can play it." For example, the syllable "Don" refers to striking the middle of the drumhead (hara), while "Ka" refers to striking the wood- backed edge of the drumhead (fuchi).1 Kanji > Kuchi-shōga2 > Western Notes: Quick reference chart When: =1 [or =1] (Fonts: MusiSync, Zapf Dingbats, MS PMingLiU) Chu / Sumo Quiet & Rest/Ma ドン Don [or ] ツ tsu ( ) [or ( )] ドコ DoKo [or ] ツク tsuku [or ] カ Ka [or ] イヤ i-ya Q Q [or Q ] カラ KaRa [or ] ス su Q [or E or S ] Shime Atarigane (Chan Chiki) 天 Ten [or ] m Cha [or ] テケ TeKe [or ] mン Chan [or ] l Chi [or ] l–l ChiKi [or ] *Always check TaikoSource.com for most up-to-date version. This is a living document and will change as information is gathered. The chart above is the most commonly used notation for quick reference. For more detailed and extended information, see next pages…. 1 Original text from Rolling Thunder: http://www.taiko.com/taiko_resource/learn.html 2 Some text from Kaoru Watanabe Taiko Center: http://www.taikonyc.com/kuchishouga/ September 2, 2014 1 TaikoSource.Com Collected by Taiko.biz / 2014 For the purposes of the following detailed charts, the “one” count in each group (ex.
    [Show full text]
  • Taiko and the Asian/American Body: Drums, "Rising Sun," and the Question of Gender Author(S): Deborah Wong Source: the World of Music, Vol
    Bärenreiter Florian Noetzel GmbH Verlag Schott Music GmbH & Co. KG VWB - Verlag für Wissenschaft und Bildung Taiko and the Asian/American Body: Drums, "Rising Sun," and the Question of Gender Author(s): Deborah Wong Source: The World of Music, Vol. 42, No. 3, Local Musical Traditions in the Globalization Process (2000), pp. 67-78 Published by: VWB - Verlag für Wissenschaft und Bildung Stable URL: http://www.jstor.org/stable/41692766 Accessed: 22-06-2016 16:14 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Bärenreiter, Florian Noetzel GmbH Verlag, Schott Music GmbH & Co. KG, VWB - Verlag für Wissenschaft und Bildung are collaborating with JSTOR to digitize, preserve and extend access to The World of Music This content downloaded from 138.23.232.112 on Wed, 22 Jun 2016 16:14:57 UTC All use subject to http://about.jstor.org/terms the world of music 42(3)- 2000 : 67-78 Taiko and the Asian/American Body: Drums, Rising Sun , and the Question of Gender Deborah Wong Abstract This essay addresses the Japanese tradition of taiko drumming as an Asian American practice inflected by transnational discourses of orientalism and colonialism. I argue that the potential in taiko for slippage between the Asian and the Asian American body is both problematic and on-going , and that the body of the taiko player is gendered and racialized in complex ways .
    [Show full text]
  • Court Music by Shiba Sukeyasu
    JAPANESE MIND Japan’s Ancient Court Music By Shiba Sukeyasu Photos: Music Department, Imperial Household Agency Origin of Gagaku : Ancient Gala Concert A solemn ceremony was held at Todai-ji – a majestic landmark Buddhist temple – in the ancient capital of Nara 1,255 years ago, on April 9 in 752, to endow a newly completed Great Buddha statue with life. The ceremony was officiated by a high Buddhist priest from India named Bodhisena (704-760), and attended by the Emperor, members of the Imperial Family, noblemen and high priests. Thousands of pious people thronged the main hall of the temple that houses the huge Buddha image to “Gagaku” is performed by members of the Music Department of the express their joy in the event. Imperial Household Agency. Traditionally, kakko (right in the front row) On the stage set up in the foreground is always played by the oldest band member. of the hall, a gala celebratory concert was staged and performing arts from Tang music that he aspired to learn the instruments various parts of Asia were introduced. music in Tang. Legend has it that his were three wind Outstanding among them was Chinese wish was finally granted in 835 when he instruments – music called Togaku (music of the Tang was aged 103. His willpower was sho (mouth organ), hichiriki (oboe) and Dynasty). Clad in colorfully unruffled by his old age and he returned ryuteki (seven-holed flute) –, two string embroidered gorgeous silk costumes, to Japan after learning music and instruments – biwa (lute) and gakuso Chinese musicians played 18 different dancing for five years.
    [Show full text]
  • Taiko Drumming
    Taiko drumming Taiko drums are the huge traditional Japanese ceremonial drums pictured above. The word Taiko literally means 'Fat drum' but 'taiko' is also used to describe the general style of Japanese drumming. Taiko drumming is thought to be an ancient tradition because historians know that the taiko drum existed and was used in ancient Japan over 2000 years ago. Types and styles of drums: Byou-daiko Byou-daiko (also called byou uchi-daiko) have bodies that are traditionally carved from a single log, and heads that are traditionally carved from a single log, and heads that are stretched onto the taiko and tacked in place. Hard wood like the Japanese elm is thought to be the best material for a full, rich drum sound. The drum skins are often made from cow hide that is stretched and tacked to the wooden shell. Odaiko Odaiko can reach huge sizes, sometimes weighing in at over three tons and spanning six feet wide. These Mammoth Odaiko are often built for shrines or temples, and their cost can run into the hundreds of thousands of dollars. The term is usually used for taiko drums that have a head over three feet in diameter. Odaiko are typically placed on a stand and played sideways horizontally, often by two people at once. one player will beat out a basic rhythm while the second player solos. Taiko Technique The way that Taiko is performanced is widely different across different groups in terms of the number of performers, instrument choices and stage techniques. Taiko drumming is similar to martial arts like karate.
    [Show full text]
  • Liner Notes, Japanese (PDF)
    Japan_Arbiter_4 7/2/12 9:13 PM Page 2 Japanese Traditional Music: A historical background of the period of this recording. Shamisen and songs • Kokusai Bunka Shinkokai 1941 1. Jiuta: Yashima 3:32 16. Sairei bayashi (Edo bayashi): Kamakura, An extensive anthology of traditional Japanese music was created sometime around 1941- 2. Ogie-bushi: Fukagawa hakkei 3:10 Okazaki byôshi, Nageai 3:25 42 by the Kokusai Bunka Shinkôkai (KBS), International Organization for the Promotion of 3. Utazawa-bushi: Aki no yo 3:22 Culture. KBS was established under the Ministry of Education and the Ministry of Foreign Komori-uta (cradle songs): 4. Utazawa-bushi: Washi ga kuni sa 3:38 Affairs in 1934 for cultural exchange between Japan and foreign countries. It later in 1972 17. Komoriu-uta from Nanbu, Aizu, 5. Kouta: Samidare, Kyara no kaori 3:15 developed into the Japan Foundation, an organization under the Ministry of Foreign Affairs. Sendai 3:12 6. Kouta: Yae hitoe, Aki no KBS activities ranged from holding lectures and concerts, artistic and academic exchange, 18. Komori-uta from Kantô, Nagoya, nanakusa 3:13 publishing books and photos, to producing films and records, establishing libraries and relat- Osaka 3:25 7. Hauta: Harusame 3:11 ed cultural facilities abroad, among them this record set of traditional Japanese music. 19. Komori-uta from Chûgoku, Shikoku, 8. Hauta: Kyo no shiki 2:49 According to a description in the KBS journal Kokusai Bunka (vol. 16, October 1941), two Kita-kyûshû 3:05 9. Hauta: Ozatsuki sansagari, ethnomusicologists Tanabe Hisao (1883-1984) and Machida Kashô (1888-1981), a phoneti- 20.
    [Show full text]
  • TAIKOPROJECT Study Guide
    TAIKOPROJECT Study Guide For use with TAIKOPROJECT educational programs Steven Nguyen Mari Nakano Steven Nguyen Yuta Kato TAIKOPROJECT PO Box 825 Monterey Park, CA 91754 213 268-4011 [email protected] www.TAIKOPROJECT.com youtube.com/TAIKOPROJECT facebook.com/TAIKOPROJECT twitter.com/TAIKOPROJECT This Study Guide was initially developed as TAIKOPROJECT is represented by: part of the “Big Drum: Taiko in the United Kamstar Artist Management States,” an exhibition curated by the 415.776.5522 Japanese American National Museum. [email protected] INTRODUCTION It is now more important than ever to acknowledge the need for art education. The materials in this study guide are designed to give your class supplementary infor- mation and activities to enhance the student’s appreciation of the TAIKOPROJECT while instilling a broader base of knowledge and understanding of our society’s diversity through different cultural perspectives. America is a country of widespread cultural diversity. Music, and drumming, is a part of every culture, and its function in each culture is integral to its life and vitality. What is an African dance without the drummers? What would Irish music sound like without the dohbran (hand drum)? And what is a Japanese matsuri (festival) without the taiko? Much can be learned about different cultural traditions and lifestyles by experiencing its music. The TAIKOPROJECT performs contemporary Japanese American taiko drum- ming. It is an artform drawn from our Japanese ancestry, but nurtured in America by multi-generational Asian Americans in search of a voice for their dual-culture identity. Through the sharing of our music and stories, we share our pride in our heritage and culture, and encourage others to have pride in and explore their own cultural back- grounds, and those of others.
    [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]
  • What Have We Been up To? What's New?
    Fall 2007 Bachi Beat Editor: Karri Barry What have we been up to? What’s New? Power Taiko for Kids Watsonville Taiko has been extremely busy this year with many wonderful performances, new classes and workshops filling up the calendar. Here are some of the things we have been up to since our last newsletter. You’ll read about some of these events inside and as always, we hope you will join us at our future performances and fundraising events and become part of our Watsonville Taiko Family. Here’s what we’ve been up to: July: JACL Annual Picnic Santa Cruz Wharf to Wharf Race Watsonville Obon Natsu Matsuri August: La Selva Beach Peace Day Cabrillo Music Festival Private Wedding Reception at the Coconut Grove New Brighton Beach – Music by Campfire September: Private Wedding Reception – Watsonville Start the New Year off with a “DON” Alzheimers Assoc. Memory Walk – La Selva Beach Tannery Art Center – Ground Breaking Ceremony Watsonville Taiko is hosting a children’s Taiko Kite Festival – Santa Cruz Beach Boardwalk workshop in Scotts Valley! This four week workshop United Health Workers West – San Jose Convention Center will be held at the Scotts Valley Tae kwon Do October/November: Academy, located at 5004 Scotts Valley Dr, on UCSC – Merrill College and Stevenson College Saturdays, starting January 19, 2008. Long Marine Lab –Celebration for 20 year cancer survivor Shaker Making with Bonnie Chihara Taiko is musical, but this music must be played with Camping at the Rock Quarry your body. Children have boundless energy and Taiko Teaching Taiko to Children – Workshop with Ikuyo Conant drumming is a great way to focus their energy.
    [Show full text]