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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 -
The Ryukyuanist a Newsletter on Ryukyu/Okinawa Studies No
The Ryukyuanist A Newsletter on Ryukyu/Okinawa Studies No. 67 Spring 2005 This issue offers further comments on Hosei University’s International Japan-Studies and the role of Ryukyu/Okinawa in it. (For a back story of this genre of Japanese studies, see The Ryukyuanist No. 65.) We then celebrate Professor Robert Garfias’s achievements in ethnomusicology, for which he was honored with the Japanese government’s Order of the Rising Sun. Lastly, Publications XLVIII Hosei University’s Kokusai Nihongaku (International Japan-Studies) and the Ryukyu/Okinawa Factor “Meta science” of Japanese studies, according to the Hosei usage of the term, means studies of non- Japanese scholars’ studies of Japan. The need for such endeavors stems from a shared realization that studies of Japan by Japanese scholars paying little attention to foreign studies of Japan have produced wrong images of “Japan” and “the Japanese” such as ethno-cultural homogeneity of the Japanese inhabiting a certain immutable space since times immemorial. New images now in formation at Hosei emphasize Japan’s historical “internationality” (kokusaisei), ethno-cultural and regional diversity, fungible boundaries, and demographic changes. In addition to the internally diverse Yamato Japanese, there are Ainu and Ryukyuans/Okinawans with their own distinctive cultures. Terms like “Japan” and “the Japanese” have to be inclusive enough to accommodate the evolution of such diversities over time and space. Hosei is a Johnny-come-lately in the field of Japanese studies (Hosei scholars prefer -
Glories of the Japanese Music Heritage ANCIENT SOUNDSCAPES REBORN Japanese Sacred Gagaku Court Music and Secular Art Music
The Institute for Japanese Cultural Heritage Initiatives (Formerly the Institute for Medieval Japanese Studies) and the Columbia Music Performance Program Present Our 8th Season Concert To Celebrate the Institute’s th 45 Anniversary Glories of the Japanese Music Heritage ANCIENT SOUNDSCAPES REBORN Japanese Sacred Gagaku Court Music and Secular Art Music Featuring renowned Japanese Gagaku musicians and New York-based Hōgaku artists With the Columbia Gagaku and Hōgaku Instrumental Ensembles of New York Friday, March 8, 2013 at 8 PM Miller Theatre, Columbia University (116th Street & Broadway) Join us tomorrow, too, at The New York Summit The Future of the Japanese Music Heritage Strategies for Nurturing Japanese Instrumental Genres in the 21st-Century Scandanavia House 58 Park Avenue (between 37th and 38th Streets) Doors open 10am Summit 10:30am-5:30pm Register at http://www.medievaljapanesestudies.org Hear panels of professional instrumentalists and composers discuss the challenges they face in the world of Japanese instrumental music in the current century. Keep up to date on plans to establish the first ever Tokyo Academy of Japanese Instrumental Music. Add your voice to support the bilingual global marketing of Japanese CD and DVD music masterpieces now available only to the Japanese market. Look inside the 19th-century cultural conflicts stirred by Westernization when Japanese instruments were banned from the schools in favor of the piano and violin. 3 The Institute for Medieval Japanese Studies takes on a new name: THE INSTITUTE FOR JAPANESE CULTURAL HERITAGE INITIATIVES The year 2013 marks the 45th year of the Institute’s founding in 1968. We mark it with a time-honored East Asian practice— ―a rectification of names.‖ The word ―medieval‖ served the Institute well during its first decades, when the most pressing research needs were in the most neglected of Japanese historical eras and disciplines— early 14th- to late 16th-century literary and cultural history, labeled ―medieval‖ by Japanese scholars. -
Spring 2005 Curriculum
Spring 2005 Curriculum ART HISTORY AH 2125.01 Art History Documentary Series: “The Shock of the New” Jon Isherwood We will review the acclaimed BBC Art in Civilization documentary series by Robert Hughes, art critic and senior writer for Time magazine. The videos will be a starting point for discussion in regard to the major art movements in the 20th century, why they occurred and what cultural, social and political conditions were influencing these movements. Prerequisites: None. Credits: 1 Time: M 9 - 10am AH 2133.01 Introduction to Minimalism: Art, Dance, Music Laura Heon This course offers an overview of the American art movement of the 1960s and 70s called “Minimalism,” also known as “ABC Art” and “Primary Structures.” Characterized by extreme simplicity of form and a literal, objective approach, Minimalism gave rise to a vibrant exchange among the visual arts, dance, and music. Thus, this course will be divided evenly among visual artists (including Donald Judd, Robert Morris, Sol Lewitt, Dan Flavin), choreographers (Yvonne Rainer, Merce Cunningham, Trisha Brown) and the composers (La Monte Young, Phillip Glass, Terry Riley). It will include a trip to Dia:Beacon in nearby Beacon, NY, where an important collection of minimalist art is on view. The course will touch on the Abstract Expressionist movement, which laid the groundwork for Minimalism, as well as post-minimalist tendencies in the art of our time. Prerequisites: None. Credits: 4 Time: M 6:30 - 9:30pm - 1 - Spring 2005 Curriculum AH 4395.01 Art History Survey Seminar Andrew Spence This course will follow E.H. Gombrich’s The Story of Art. -
Hoiku Shoka and the Melody of the Japanese National Anthem Kimi Ga Yo
Hoiku shoka and the melody of the Japanese national anthem Kimi ga yo Hermann Gottschewski It is well known that Kimi ga yo君 が 代, although recognized as the Japanese national anthem by law only in 1999, was chosen in the summer of 1880 as a ceremonial piece for the navy. Its melody was composed by reijin1伶 人, i.e. members of the gagaku department of the court ministry宮 内 省 式 部 寮 雅 楽 課, and harmonized by Franz Eckert. It replaced an earlier piece by John William Fenton with the same text.2 Summe 1880 was Precisely when the newly founded Institute of Music(音 楽 取 調 掛)began the compilation of song books for elementary school (Shogaku shoka shu, 小 学 唱 歌 集)under the musical direction of Luther Whiting Mason, and many of the reijin took part in this new adventure. At about the same time, the reijin were engaged in the composition of hoiku shoka保 育 唱 歌, a collection of educational songs composed between 1877 and 1883 for the Tokyo Women's Normal School東 京 女 子 師 範 学 校and its afHliated kindergarten. While the songs of the Shogaku shoka shu mainly use Western melodies and are notated in Western staff system, the hoiku shoka are based on the music theory of gagaku and written in hakase墨 譜, the traditional notation for vocal pieces. Up to the present, the hoiku shoka have mainly been seen as an experiment in music education, which was abandoned when Mason's songs appeared. Indeed, historical sources show that the compilation of hoiku shoka stopped immediately after the reijin began to work with Mason. -
Society for Ethnomusicology 58Th Annual Meeting Abstracts
Society for Ethnomusicology 58th Annual Meeting Abstracts Sounding Against Nuclear Power in Post-Tsunami Japan examine the musical and cultural features that mark their music as both Marie Abe, Boston University distinctively Jewish and distinctively American. I relate this relatively new development in Jewish liturgical music to women’s entry into the cantorate, In April 2011-one month after the devastating M9.0 earthquake, tsunami, and and I argue that the opening of this clergy position and the explosion of new subsequent crises at the Fukushima nuclear power plant in northeast Japan, music for the female voice represent the choice of American Jews to engage an antinuclear demonstration took over the streets of Tokyo. The crowd was fully with their dual civic and religious identity. unprecedented in its size and diversity; its 15 000 participants-a number unseen since 1968-ranged from mothers concerned with radiation risks on Walking to Tsuglagkhang: Exploring the Function of a Tibetan their children's health to environmentalists and unemployed youths. Leading Soundscape in Northern India the protest was the raucous sound of chindon-ya, a Japanese practice of Danielle Adomaitis, independent scholar musical advertisement. Dating back to the late 1800s, chindon-ya are musical troupes that publicize an employer's business by marching through the From the main square in McLeod Ganj (upper Dharamsala, H.P., India), streets. How did this erstwhile commercial practice become a sonic marker of Temple Road leads to one main attraction: Tsuglagkhang, the home the 14th a mass social movement in spring 2011? When the public display of merriment Dalai Lama. -
Context and Change in Japanese Music Alison Mcqueen Tokita and David Hughes
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by SOAS Research Online ASHGATE RESEARCH 1 COMPANION Context and change in Japanese music Alison McQueen Tokita and David Hughes 1. What is ‘Japanese music’? Increasingly, the common view of Japan as a mono-cultural, mono-ethnic society, whether in modern or ancient times, is being challenged (Denoon et al. 1996). The category ‘Japan’ itself has been questioned by many (for example Amino 1992; Morris-Suzuki 1998). Amino insists that when discussing the past we should talk not about Japan or the Japanese people, but about people who lived in the Japanese archipelago. If Japan itself is not a solid entity, neither can its musical culture be reduced to a monolithic entity. If the apparently simple label ‘music of Japan’ might refer to any music to be found in Japan, then the phrase ‘music of the Japanese’ would cover any music played or enjoyed by the Japanese, assuming we can talk with confidence about ‘the Japanese’. The phrase ‘Japanese music’ might include any music that originated in Japan. This book would ideally cover all such possibilities, but must be ruthlessly selective. It takes as its main focus the musical culture of the past, and the current practices of those traditions as transmitted to the present day. A subsidiary aim is to assess the state of research in Japanese music and of research directions. The two closing chapters cover Western-influenced popular and classical musics respectively. At least, rather than ‘Japanese music’, we might do better to talk about ‘Japanese musics’, which becomes one justification for the multi-author approach of this volume. -
Shinto Gagaku Flyer.Pdf
Institute for Japanese Studies Lecture Series An Introduction to Shinto and Gagaku: Japan's Traditional Religion and Music Moriyasu Ito, Atsuki Katayama, Takanaga Tsutsumi Meiji Jingu Shrine (Tokyo, Japan) Monday, September 24, 2018 Lecture & Performance 5:15-7:00pm Doors Open at 5:00pm Jennings Hall 001 (1735 Neil Ave.) Many in contemporary Japan enjoy the occasions of Halloween and Christmas while the patterns of their daily life honor the traditions of Buddhism and Shintoism. Indeed, Japan is best known to the rest of the world for its Buddhist temples and Shinto shrines, especially in the ancient capitals of Kyoto and Nara, together with cultural legacies such as Zen practices, gardens and other forms of art. Today’s presentation will focus on Shinto and gagaku music that goes with Shinto ceremonies. Shinto is Japan’s indigenous religion that long predates the arrival of Buddhism in the sixth century via China and Korea. To this day, a vast majority of Japanese people visit Shinto shrines on seasonal and auspicious occasions throughout the year. Unlike most organized religions, however, Shinto has no original founder, no formal doctrines, and no holy scriptures. One of the best ways to learn about Shinto is to attend a presentation, and to experience some aspects of it first-hand, by those who practice it. For today’s presentation, three priests from Meiji Jingu¸ one of the best known shrines to both Japanese and foreigners, will discuss the relationship among Shinto, nature, and the way of Japanese life. They will also perform gagaku, Japan’s traditional music, which can transport the audience in the echo of time and space from the ancient to the present. -
Japan's Nineteen Unesco World Heritage Sites
Feature JAPANESE WORLD HERITAGE JAPAN’S NINETEEN UNESCO 8 WORLD HERITAGE SITES In 1993, Horyu-ji, Himeji Castle, Shirakami Sanchi and Yakushima were registered as Japan’s first four UNESCO World Heritage sites—a list that has now expanded to include fifteen World Cultural Heritage sites and four World Natural Heritage sites. Japan further boasts twenty-two items on UNESCO’s Intangible Cultural Heritage List, which aims to protect aspects of intangible culture such as traditional music, dance, theater and industrial arts. ITSUKUSHIMA SHINTO SHRINE Location 13 4 Hiroshima Prefecture 1996 Year Inscribed Together with the surrounding sea and 4 the primeval forests of nearby Mount 16 19 Misen, the entire shrine complex has been 17 2 6 registered as a World Heritage Site. 5 10 © MINISTRY OF THE ENVIRONMENT GOVERNMENT OF JAPAN 18 SHIRAKAMI-SANCHI Aomori Prefecture, Akita 9 19 14 17 19 Prefecture 1993 12 Hosting a diverse variety of flora and fauna, the area 7 1 is exemplary of the forests of Siebold’s beech trees 19 8 9 that flourished in East Asia immediately following 3 12 the last ice age. 5 11 15 HISTORIC MONUMENTS OF ANCIENT NARA Nara Prefecture 1998 These monuments embody the cultural 1 heritage of the Nara Period, during which the foundations of Japan as a nation were established. Architectural elements such HISTORIC MONUMENTS OF ANCIENT KYOTO as Todai-ji Temple and natural landscapes, [KYOTO, UJI AND OHTSU CITIES] including Kasugayama Primeval Forest, form Kyoto Prefecture, Shiga Prefecture 1994 a synergistic environment. From its foundation by Emperor Kanmu in 794 AD, BUDDHIST MONUMENTS IN THE HORYU-JI Kyoto flourished as the imperial capital of Japan for a 10 AREA Nara Prefecture 1993 thousand years. -
Winter Delights
WINTER DEC–MAR 2018/19 No. 220 Free WESTERN JAPAN’S PREMIER VISITOR’S GUIDE Winter Delights Sake, skiing, spas and snowcrab Plus Inside… WHAT’S ON Explore Sights Food & Drink Discover EAT & DRINK A PERFECT LONG BEST SPOTS HOW SAKE IS KINOSAKI’S SEVEN SIGHTSEEING WEEKEND IN NARA FOR WINTER MAKING ITS HEALING SPRINGS SNOWSCAPES COMEBACK MAPS Discover Hiroshima’s Scenic Beauty YOICHI SHIDAREZAKURA CHERRY BLOSSOM A stunning 12m tall weeping cherry sitting atop a small in Akiota-cho hillock is lit up during its brief, but spectacular spring bloom OSORAKAN SNOW PARK Japan’s southernmost ski resort, offering long runs for all Breathtaking views, fabulous levels of skiers and snowboarders, as well as snow trekking and igloo building hiking, exciting snow sports and relaxing hot spring accommodation await SANDANKYO GORGE A stunning 13km river gorge, awarded 3 stars by the French travel guide Blue Guide and selected as one of the top 100 scenic beauty spots in Japan INI TANADA Picture-perfect terraced paddy fi elds, offering stunning photo opportunities year-round Nukui Springs Hotel Offers traditional outdoor hot spring baths overlooking Lake Ryuki in Kyoto Hiroshima’s Akiota-cho. Relax in comfortable western style or Japanese Himeji Okayama Osaka tatami mat rooms and enjoy our award-winning French dining. Akiota-cho Kobe Hiroshima Address: 4692-7, Kake, Akiotacho, Yamgatagun, Hiroshima 731-3501, Japan Tel: +81 (0)826-22-1200 Access: 1 hour by car from Hiroshima IC RESERVATIONS www.nukui-sp.com CONTENTS 26 Winter Dec / Jan / Feb 10 30 Features KANSAI FINDER 08 23 32 Events & Festivals Kansai’s Snowy Vistas Nara’s Cocktail Kings Where to experience the best of the region’s RASTA MUSICK winter snowscapes. -
Brochure Final
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University of Cincinnati
UNIVERSITY OF CINCINNATI _____________ , 20 _____ I,______________________________________________, hereby submit this as part of the requirements for the degree of: ________________________________________________ in: ________________________________________________ It is entitled: ________________________________________________ ________________________________________________ ________________________________________________ ________________________________________________ Approved by: ________________________ ________________________ ________________________ ________________________ ________________________ PUCCINI’S USE OF JAPANESE MELODIES IN MADAMA BUTTERFLY A thesis submitted to the Division of Research and Advanced Studies of the University of Cincinnati in partial fulfillment of the requirements for the degree of MASTER OF MUSIC in the Division of Composition, Musicology, and Theory of the College-Conservatory of Music 2003 by Kunio Hara B.M., University of Cincinnati, 2000 Committee Chair: Dr. Hilary Poriss ABSTRACT One of the more striking aspects of exoticism in Puccini’s Madama Butterfly is the extent to which the composer incorporated Japanese musical material in his score. From the earliest discussion of the work, musicologists have identified many Japanese melodies and musical characteristics that Puccini used in this work. Some have argued that this approach indicates Puccini’s preoccupation with creating an authentic Japanese setting within his opera; others have maintained that Puccini wanted to produce an exotic atmosphere