ACE 2014 Conf Booklet
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Elementi Bonaventura Ruperti Storia Del Teatro Giapponese Dalle Origini All’Ottocento Dalle Origini All’Ottocento
elementi Bonaventura Ruperti Storia del teatro giapponese dalle origini all’Ottocento Dalle origini all’Ottocento frontespizio provvisorio Marsilio Indice 9 Introduzione 9 Alternanza di aperture e chiusure 11 Continuità e discontinuità 12 Teatro e spettacolo in Giappone 16 Scrittura e scena 17 Trasmissione delle arti 22 Dal rito allo spettacolo 22 Miti, rito e spettacolo 25 Kagura: musica e danza divertimento degli dei 29 Riti e festività della coltura del riso: tamai, taasobi, dengaku 34 Dal continente all’arcipelago, dai culti locali alla corte imperiale 34 Forme di musica e spettacolo di ascendenza continentale. L’ingresso del buddhismo: gigaku 36 La liturgia buddhista: shōmyō 39 Il repertorio 40 L’universo delle musiche e danze di corte: gagaku 43 Il repertorio 43 Bugaku in copertina 45 Kangen Sakamaki/Tsukioka Kōgyo (1869-1927), 46 Canti e danze Sahoyama, 1901 48 Gli strumenti 49 I dodici suoni e le dodici tonalità 50 Il grande territorio dello spettacolo e lo sviluppo del teatro di rappresentazione: sangaku e sarugaku 53 Jushi 53 Okina © 2015 by Marsilio Editori® s.p.a. in Venezia 54 Ennen 55 Furyuˉ Prima edizione mese 2015 ISBN 978-88-317-xxxx-xx 57 Il nō 57 Definizione e genesi www.marsilioeditori.it 58 Origini e sviluppo storico 61 I trattati di Zeami Realizzazione editoriale Studio Polo 1116, Venezia 61 La poetica del fiore 5 Indice Indice 63 L’estetica della grazia 128 Classicità e attualità - Kaganojō e Tosanojō 65 La prospettiva di un attore 129 Il repertorio 68 Il dopo Zeami: Zenchiku 130 Il palcoscenico 69 L’epoca Tokugawa 131 L’avvento di Takemoto Gidayū - I teatri Takemoto e Toyotake 71 Hachijoˉ Kadensho 131 Un maestro della scrittura: Chikamatsu Monzaemon 71 Palcoscenico e artisti 133 L’opera di Chikamatsu Monzaemon 72 Testo drammatico e struttura 133 I drammi di ambientazione storica (jidaimono) 73 Dialogo rivelatore 134 I drammi di attualità (sewamono): adulteri e suicidi d’amore 75 Tipologie di drammi 136 Ki no Kaion e il teatro Toyotake 82 Il senso del ricreare 136 Testo drammatico e struttura 84 Musica 139 Dopo Chikamatsu. -
Protection and Transmission of Chinese Nanyin by Prof
Protection and Transmission of Chinese Nanyin by Prof. Wang, Yaohua Fujian Normal University, China Intangible cultural heritage is the memory of human historical culture, the root of human culture, the ‘energic origin’ of the spirit of human culture and the footstone for the construction of modern human civilization. Ever since China joined the Convention for the Safeguarding of the Intangible Cultural Heritage in 2004, it has done a lot not only on cognition but also on action to contribute to the protection and transmission of intangible cultural heritage. Please allow me to expatiate these on the case of Chinese nanyin(南音, southern music). I. The precious multi-values of nanyin decide the necessity of protection and transmission for Chinese nanyin. Nanyin, also known as “nanqu” (南曲), “nanyue” (南乐), “nanguan” (南管), “xianguan” (弦管), is one of the oldest music genres with strong local characteristics. As major musical genre, it prevails in the south of Fujian – both in the cities and countryside of Quanzhou, Xiamen, Zhangzhou – and is also quite popular in Taiwan, Hongkong, Macao and the countries of Southeast Asia inhabited by Chinese immigrants from South Fujian. The music of nanyin is also found in various Fujian local operas such as Liyuan Opera (梨园戏), Gaojia Opera (高甲戏), line-leading puppet show (提线木偶戏), Dacheng Opera (打城戏) and the like, forming an essential part of their vocal melodies and instrumental music. As the intangible cultural heritage, nanyin has such values as follows. I.I. Academic value and historical value Nanyin enjoys a reputation as “a living fossil of the ancient music”, as we can trace its relevance to and inheritance of Chinese ancient music in terms of their musical phenomena and features of musical form. -
On the Proper Use of Niggunim for the Tefillot of the Yamim Noraim
On the Proper Use of Niggunim for the Tefillot of the Yamim Noraim Cantor Sherwood Goffin Faculty, Belz School of Jewish Music, RIETS, Yeshiva University Cantor, Lincoln Square Synagogue, New York City Song has been the paradigm of Jewish Prayer from time immemorial. The Talmud Brochos 26a, states that “Tefillot kneged tmidim tiknum”, that “prayer was established in place of the sacrifices”. The Mishnah Tamid 7:3 relates that most of the sacrifices, with few exceptions, were accompanied by the music and song of the Leviim.11 It is therefore clear that our custom for the past two millennia was that just as the korbanot of Temple times were conducted with song, tefillah was also conducted with song. This is true in our own day as well. Today this song is expressed with the musical nusach only or, as is the prevalent custom, nusach interspersed with inspiring communally-sung niggunim. It once was true that if you wanted to daven in a shul that sang together, you had to go to your local Young Israel, the movement that first instituted congregational melodies c. 1910-15. Most of the Orthodox congregations of those days – until the late 1960s and mid-70s - eschewed the concept of congregational melodies. In the contemporary synagogue of today, however, the experience of the entire congregation singing an inspiring melody together is standard and expected. Are there guidelines for the proper choice and use of “known” niggunim at various places in the tefillot of the Yamim Noraim? Many are aware that there are specific tefillot that must be sung "...b'niggunim hanehugim......b'niggun yodua um'sukon um'kubal b'chol t'futzos ho'oretz...mimei kedem." – "...with the traditional melodies...the melody that is known, correct and accepted 11 In Arachin 11a there is a dispute as to whether song is m’akeiv a korban, and includes 10 biblical sources for song that is required to accompany the korbanos. -
A POPULAR DICTIONARY of Shinto
A POPULAR DICTIONARY OF Shinto A POPULAR DICTIONARY OF Shinto BRIAN BOCKING Curzon First published by Curzon Press 15 The Quadrant, Richmond Surrey, TW9 1BP This edition published in the Taylor & Francis e-Library, 2005. “To purchase your own copy of this or any of Taylor & Francis or Routledge’s collection of thousands of eBooks please go to http://www.ebookstore.tandf.co.uk/.” Copyright © 1995 by Brian Bocking Revised edition 1997 Cover photograph by Sharon Hoogstraten Cover design by Kim Bartko All rights reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of the publisher. British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library ISBN 0-203-98627-X Master e-book ISBN ISBN 0-7007-1051-5 (Print Edition) To Shelagh INTRODUCTION How to use this dictionary A Popular Dictionary of Shintō lists in alphabetical order more than a thousand terms relating to Shintō. Almost all are Japanese terms. The dictionary can be used in the ordinary way if the Shintō term you want to look up is already in Japanese (e.g. kami rather than ‘deity’) and has a main entry in the dictionary. If, as is very likely, the concept or word you want is in English such as ‘pollution’, ‘children’, ‘shrine’, etc., or perhaps a place-name like ‘Kyōto’ or ‘Akita’ which does not have a main entry, then consult the comprehensive Thematic Index of English and Japanese terms at the end of the Dictionary first. -
Folk Music: from Local to National to Global David W
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by SOAS Research Online ASHGATE RESEARCH 12 COMPANION Folk music: from local to national to global David W. Hughes 1. Introduction: folk song and folk performing arts When the new word min’yō – literally ‘folk song’ – began to gain currency in Japan in the early twentieth century, many people were slow to grasp its intent. When a ‘min’yō concert’ was advertised in Tokyo in 1920, some people bought tickets expecting to hear the music of the nō theatre, since the character used for -yō (謡) is the same as that for nō singing (utai); others, notably the police, took the element min- (民) in the sense given by the left-wing movement, anticipating a rally singing ‘people’s songs’ (Kikuchi 1980: 43). In 1929 a music critic complained about the song Tōkyō kōshinkyoku (Tokyo March), which he called a min’yō. This was, however, not a ‘folk song’ but a Western-influenced tune written for a film soundtrack, with lyrics replete with trendy English (Kurata 1979: 338). The idea that a term was needed specifically to designate songs of rural pedigree, songs of the ‘folk’, was slow to catch on. In traditional Japan boundaries between rural songs of various sorts and the kinds of popular songs discussed in the preceding chapter were rarely clear. The ‘folk’ themselves had a simple and ancient native term for their ditties: uta, ‘song’; modifiers were prefixed as needed (for exampletaue uta, ‘rice-planting song’).1 The modern concept of ‘the folk’ springs from the German Romantics. -
A Japanese Tradition I Want to Share
A Japanese Tradition I Want To Share Sekioka Maika Hiroshima Prefectural Miyoshi High School The charm of the Sanshin is that it heals and soothes. The Sanshin has been loved in Okinawa for a long time. Nowadays, it is used for celebrations and festivals. The beautiful sound makes you feel nostalgic and gives a sense of security. So, I think the Sanshin is loved not only in Okinawa but also in Japan and around the world. The Sanshin was introduced to Japan from Mainland China in the 14th century. It has been improved over the years to become the present form. It was not a major instrument back then because it was expensive. However, some people made an instrument that imitates the Sanshin, out of cheap materials. After that, it became popular in the whole Okinawa area. That was the beginning of when the Sanshin became a traditional instrument in Okinawa. During World War Ⅱ, only Okinawa experienced ground combat. Many people were injured and killed. At that time, the Sanshin healed the hearts of the Okinawan residents. However, it was difficult for people to get the Sanshin, so they made it out of wood and empty cans. That was called the “Kankara Sanshin.” The Sanshin has been played for a hundred years. Thus, the Sanshin is more special than other instruments for Okinawans. I took a Sanshin class last year. I studied the history of the Sanshin, how to play it, and learned how it differs from the Shamisen. Before that, I did not know the difference between the Sanshin and Shamisen because their shapes are similar. -
Ethnomusicology a Very Short Introduction
ETHNOMUSICOLOGY A VERY SHORT INTRODUCTION Thimoty Rice Sumário Chapter 1 – Defining ethnomusicology...........................................................................................4 Ethnos..........................................................................................................................................5 Mousikē.......................................................................................................................................5 Logos...........................................................................................................................................7 Chapter 2 A bit of history.................................................................................................................9 Ancient and medieval precursors................................................................................................9 Exploration and enlightenment.................................................................................................10 Nationalism, musical folklore, and ethnology..........................................................................10 Early ethnomusicology.............................................................................................................13 “Mature” ethnomusicology.......................................................................................................15 Chapter 3........................................................................................................................................17 Conducting -
'Ukulele Musical,' Recent Forays Into World Music
imply put, Daniel Ho is one of the Music Album, Pop Instrumental Album, and most prolific and successful musi- (now-defunct) Hawaiian Music Album cate- cians Hawaii has ever produced. Born gories. He has also been a multiple winner at and raised on Oahu, he has spent most of his the Na Hoku Hanohano and Hawaii Music adult years living in the Los Angeles area, Awards (for everything from Studio Musician but the Islands have always exerted a strong of the Year to trophies for Inspirational/Gos- influence on his creative life, even when he pel Album, Slack Key Album, Folk Album, wasn’t playing explicitly Hawaiian music. New Age Album, even Best Liner Notes!), and Consider this seriously abridged recitation also at Taiwan’s Golden Melody Awards. He’s of some of his career highlights: written and published 14 music and instruc- In his early 20s, after studying music the- tional books, performed with the Honolulu ory and composition at the Grove School of Symphony, and toured the world as a solo Music in L.A. and then at the University of artist. Hawaii on Oahu, the gifted multi-instrumen- The past few years have been remarkably talist—he had already studied organ, ukulele, productive for this tireless artist: There are classical guitar, and classical piano by the his instrumental, production, composition, time he started high school—became a song- and arrangement contributions to a pair of writer/arranger and then keyboard player extraordinary discs featuring music and for the popular L.A.-based commercial jazz players from Mongolia (2017’s Between Sky & band Kilauea, a fixture on the contemporary Prairie) and China (the 2019 release Embroi- jazz charts through much of the 1990s. -
Shizuko Akamine and the So-Shin Kai: Perpetuating an Okinawan Music Tradition in a Multi-Ethnic Community
SHIZUKO AKAMINE AND THE SO-SHIN KAI: PERPETUATING AN OKINAWAN MUSIC TRADITION IN A MULTI-ETHNIC COMMUNITY A THESIS SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI‘I AT MĀNOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN MUSIC DECEMBER 2018 By Darin T. Miyashiro Thesis Committee: Ricardo D. Trimillos, Chairperson Frederick Lau Christine R. Yano ACKNOWLEDGEMENTS The author would like to thank, first and foremost, the thesis committee, Dr. Christine Yano, Dr. Frederick Lau, and especially the chairperson Dr. Ricardo Trimillos, for their patience in accepting this long overdue manuscript. Dr. Trimillos deserves extra thanks for initiating this project which began by assisting the author and the thesis subject, Shizuko Akamine, in receiving the Hawai‘i State Foundation on Culture and the Arts Folk & Traditional Arts Apprenticeship Grant with support from Arts Program Specialist Denise Miyahana. Special thanks to Prof. Emeritus Barbara B. Smith and the late Prof. Dr. Robert Günther for their support in helping the author enter the ethnomusicology program. The author would also like to thank the music department graduate studies chair Dr. Katherine McQuiston for her encouragement to follow through, and for scheduling extremely helpful writing sessions where a large part of this thesis was written. This thesis has taken so many years to complete there are far too many supporters (scholarship donors, professors, classmates, students, family, friends, etc.) to thank here, but deep appreciation goes out to each and every one, most of all to wife Mika for being too kind and too patient. Finally, the author would like to thank the late Shizuko Akamine for being the inspiration for this study and for generously sharing so much priceless information. -
Ro Musica Nipponia Nihon Ongaku Shudan 1988
RO MUSICA NIPPONIA NIHON ONGAKU SHUDAN 1988 日本音楽集団 ABOUT THE PRO MUSICA NIPPONIA Cities visited by the Pro Mttica Nlpponia (NIⅡ ON ONGAKU SIUDAN) 1972 EurO● (20 memb● rs) Chel,ti Brusselsi Colognei Berlin I Brno i Prague; The Nihon Ongaku Shudan knownin the West as Viennal Munich; Zagreb l BeOgrade: SombOri the Pro Musica Nipponia (formelly thc Ensemblc Provdiv:Sofia;Ca,ovo;Ruse;Craiova;Bucharest Nipponia), iS a grOup Of leading compOsers and top 1974 SOutheast Asia(18 nembers) rank musicians dcvoted lo the perormance of a wide Dlakarta l Denpasari saigOn i Manila ranging repertoire of clasical and modern contpOSi 1975 A‐ traⅢ a and New Zca]and(24 members) Vct The ottstanding tions iom bOth Japan and theヽ Perh: Adelaide, S,ancy i canberra i lrelbournei feattre of the ЯrOup is that music is perormcd Hobartiヽ Vellington i Auckland the traditional instruments of Japan The Pro 1976 Canada and U S A(6 7 members) ・ ″as Mtlsica Nipponia talSO Ca led [he Nippol,ia')ヽ Toronto; Ithaca l Richmond, Middlebury, New founded in 1964 with the expres intention of fOnnu York;Amher“ Washin,on:KnoxviJe Pit“ burgh lating a vital expretsiOn based upon ceJturies Old Ann Arboeri Chicagoi St Louis: ヽ4t Vernoni forms and instrumenヽ inTparably linkcd、 vitll tradi llllo:1lonolulu tional aesthetics and yet rsponsive to the spirit of ]978 Europe,Canada and U S A (26 members) the tim“ Old compositions have bcen re created Athena; I_ondon, Leipzigi Berlin i 14agdeburgi throu"vi■ d interpreta● On, ana new compOЫ ●ons Erurti Plauen i Dessau i Bucharesti Clu,, Satu incltlding -
Japan in the Meiji
en Japan in the Meiji Era The collection of Heinrich von Siebold Galleries of Marvel Japan in the Meiji Era Japan in the Meiji Era The collection of The collection of Heinrich von Siebold Heinrich von Siebold This exhibition grew out of a research Meiji period (1868–1912) as a youth. Through project of the Weltmuseum Wien in the mediation of his elder brother Alexan- co-operation with the research team of der (1846–1911), he obtained a position as the National Museum of Japanese History, interpreter to the Austro-Hungarian Diplo- Sakura, Japan. It is an attempt at a reap- matic Mission in Tokyo and lived in Japan praisal of nineteenth-century collections for most of his life, where he amassed a of Japanese artefacts situated outside of collection of more than 20,000 artefacts. He Japan. The focus of this research lies on donated about 5,000 cultural objects and Heinrich von Siebold (1852–1908), son of art works to Kaiser Franz Joseph in 1889. the physician and author of numeral books About 90 per cent of the items pictured in Hochparterre on Japan Philipp Franz von Siebold (1796– the photographs in the exhibition belong to 1866). Heinrich went to Japan during the the Weltmuseum Wien. Room 1 Ceramics and agricultural implements Room 2 Weapons and ornate lacquer boxes Room 3 Musical instruments and bronze vessels Ceramics and Room 1 agricultural implements 1 The photographs show a presentation of artefacts of the Ainu from Hokkaido, togeth- This large jar with a lid is Kutani ware from dynasty (1638–1644) Jingdezhen kilns, part of Heinrich von Siebold’s collection from er with agricultural and fishing implements Ishikawa prefecture. -
Resources for Learning How to Read Torah and Haftara at Shearith Israel
Resources for learning how to read Torah and Haftara at Shearith Israel Chumashim and Tikkunim: Etz Hayim: Torah and Commentary. ISBN 9780827607125. Available from www.rabbinicalassembly.org and other vendors. Etz Hayim: Torah and Commentary Travel Edition. ISBN 9780827608047. Available from www.rabbinicalassembly.org and other vendors. The JPS Tanakh. Jewish Publication Society (JPS), Philadelphia. Many editions and formats in Hebrew, and Hebrew/English. https://jps.org/resources/tanakh-customer-guide/ The Koren Tanakh, and The Koren Chumash. Koren Publishers, Jerusalem. Many editions and formats in Hebrew, Hebrew/English, and with other languages. www.korenpub.com The Koren Tikkun Kor'im. Koren Publishers, Jerusalem. ISBN 978-9653010574. Several editions and formats. www.korenpub.com The Kestenbaum Edition Tikkun. Artscroll publishers. ISBN 9781578193134. Several editions. Artscroll.com. Tikkun Torah Lakorim, ed. Asher Scharfstein. Ktav Publishing House. ISBN: 978-0870685484 1969 classic; priced well; less bulky than most. www.ktav.com and other vendors. Tikun Korim -Simanim (Nusach Ashkenaz). Nehora.com. Your best resource: Our CSI members. The Religious Life Committee and experienced ba’alim keria in our shul want to help you learn, and are available for tutoring, answering questions, giving feedback, or teaching classes. Andrea Seidel Slomka ([email protected]) is a great first point of contact. Websites with audio files intended for self-learning for ba’alei keriah and haftarah readers in Ashkenazi nusach: http://bible.ort.org/intro1.asp?lang=1 Navigating the Bible II software published by World ORT shows chumash and Torah text and gives recordings of each sentence. It can be used online without cost, or they say you can buy the software on CD.