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In Silent Homage to Amaterasu: Kagura Secret Songs at Ise Jingū and the Imperial Palace Shrine
In Silent Homage to Amaterasu: Kagura Secret Songs at Ise Jingū and the Imperial Palace Shrine in Modern and Pre-modern Japan Michiko Urita A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2017 Reading Committee: Patricia Shehan Campbell, Chair Jeffrey M. Perl Christina Sunardi Paul S. Atkins Program Authorized to Offer Degree: Music ii ©Copyright 2017 Michiko Urita iii University of Washington Abstract In Silent Homage to Amaterasu: Kagura Secret Songs at Ise Jingū and the Imperial Palace Shrine in Modern and Pre-modern Japan Michiko Urita Chair of the Supervisory Committee: Professor Patricia Shehan Campbell Music This dissertation explores the essence and resilience of the most sacred and secret ritual music of the Japanese imperial court—kagura taikyoku and kagura hikyoku—by examining ways in which these two songs have survived since their formation in the twelfth century. Kagura taikyoku and kagura hikyoku together are the jewel of Shinto ceremonial vocal music of gagaku, the imperial court music and dances. Kagura secret songs are the emperor’s foremost prayer offering to the imperial ancestral deity, Amaterasu, and other Shinto deities for the well-being of the people and Japan. I aim to provide an understanding of reasons for the continued and uninterrupted performance of kagura secret songs, despite two major crises within Japan’s history. While foreign origin style of gagaku was interrupted during the Warring States period (1467-1615), the performance and transmission of kagura secret songs were protected and sustained. In the face of the second crisis during the Meiji period (1868-1912), which was marked by a threat of foreign invasion and the re-organization of governance, most secret repertoire of gagaku lost their secrecy or were threatened by changes to their traditional system of transmissions, but kagura secret songs survived and were sustained without losing their iv secrecy, sacredness, and silent performance. -
5Th Competition Award Ceremony Program 2010
The Japan Center at Stony Brook (JCSB) Annual Meeting JCSB-Canon Essay Competition Award Ceremony 10:00 – 11:15 a.m. (Chapel) 12:15 -1 p.m. (Chapel) Opening Remarks: Opening Remarks: Iwao Ojima, JCSB President Iwao Ojima, JCSB President & Chair of the Board Greetings: Mark Aronoff, Vice Provost, Stony Brook University Financial Report: Joseph G. Warren, Vice President & General Manager, Canon U.S.A.; Chairman & COO, Patricia Marinaccio, JCSB Treasurer & Executive Committee Canon Information Technology Services, Inc. Result of the Essay Competition: Eriko Sato, Organizing Committee Chair Public Relations: JCSB Award for Promoting the Awareness of Japan: Roxanne Brockner, JCSB Executive Committee Presenter: Iwao Ojima Patrick J. Cauchi (English teacher at Longwood Senior High School) The Outreach Program: Best Essay Awards: Gerry Senese, Principal of Ryu Shu Kan dojo, JCSB Outreach Program Director Moderator: Sachiko Murata, Chief Judge Presenters: Mark Aronoff, Joseph Warren, and Iwao Ojima High School Division Best Essay Award The Long Island Japanese Association: st Eriko Sato, Long Island Japanese Association (LIJA), JCSB Board Member 1 Place ($2,000 cash and a Canon camera) A World Apart by Gen Ishikawa (Syosset High School) nd 2 Place ($1,000 cash and a Canon camera) Journey to a Japanese Family by Ethan Hamilton (Horace Mann High School) Pre-College Japanese Language Program: rd Eriko Sato, Director of Pre-College Japanese Language Program, JCSB Board Member 3 Place ($500 cash and a Canon camera) What Japan Means to Me by Sarah Lam (Bronx High School of Science) Honorable Mention ($100 cash) Program in Japanese Studies: Life of Gaman by Sandy Patricia Guerrero (Longwood Senior High School) (a) Current Status of the Program in Japanese Studies at Stony Brook University: Origami by Stephanie Song (Fiorello H. -
Dayton C. Miller Flute Collection
Guides to Special Collections in the Music Division at the Library of Congress Dayton C. Miller Flute Collection LIBRARY OF CONGRESS WASHINGTON 2004 Table of Contents Introduction...........................................................................................................................................................iii Biographical Sketch...............................................................................................................................................vi Scope and Content Note......................................................................................................................................viii Description of Series..............................................................................................................................................xi Container List..........................................................................................................................................................1 FLUTES OF DAYTON C. MILLER................................................................................................................1 ii Introduction Thomas Jefferson's library is the foundation of the collections of the Library of Congress. Congress purchased it to replace the books that had been destroyed in 1814, when the Capitol was burned during the War of 1812. Reflecting Jefferson's universal interests and knowledge, the acquisition established the broad scope of the Library's future collections, which, over the years, were enriched by copyright -
Syllabus Cambridge IGCSE Music Syllabus Code 0410 For
www.XtremePapers.com Syllabus Cambridge IGCSE Music Syllabus code 0410 For examination in June 2011 Note for Exams Officers: Before making Final Entries, please check availability of the codes for the components and options in the E3 booklet (titled “Procedures for the Submission of Entries”) relevant to the exam session. Please note that component and option codes are subject to change. Contents Cambridge IGCSE Music Syllabus code 0410 1. Introduction .....................................................................................2 1.1 Why choose Cambridge? 1.2 Why choose Cambridge IGCSE Music? 1.3 Cambridge International Certificate of Education (ICE) 1.4 How can I find out more? 2. Assessment at a glance .................................................................. 5 2.1 Assessment structure 2.2 Examination timing – Important information 3. Aims and assessment objectives ....................................................6 3.1 Aims 3.2 Assessment objectives 4. Assessment in detail .......................................................................8 4.1 Scheme of assessment 4.2 Components: 4.2.1 Component 1: Listening 4.2.2 Component 2: Performing 4.2.3 Component 3: Composing 5. Content of Component 1 ...............................................................14 6. Set works – guidance notes .......................................................... 16 7. Assessment criteria for coursework ..............................................44 7.1 Component 2: Performing 7.2 Component 3: Composing 8. Making and submitting -
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. -
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. -
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. -
EL-700/500 Owner'smanual Japanese
SPECIAL MESSAGE SECTION PRODUCT SAFETY MARKINGS: Yamaha electronic prod- ENVIRONMENTAL ISSUES: Yamaha strives to produce ucts may have either labels similar to the graphics shown products that are both user safe and environmentally below or molded / stamped facsimiles of these graphics on friendly. the enclosure. The explanation of these graphics appears on We sincerely believe that our products and the production this page. methods used to produce them, meet these goals. In Please observe all cautions indicated on this page and those keeping with both the letter and the spirit of the law, we want indicated in the safety instruction section. you to be aware of the following: BATTERY NOTICE: This product MAY contain a small nonrechargeable battery which (if applicable) is soldered in CAUTION place. The average life span of this type of battery is RISK OF ELECTRIC SHOCK. DO NOT OPEN approximately five years. When replacement becomes necessary, contact a qualified service representative to perform the replacement. CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK, DO NOT REMOVE WARNING: Do not attempt to recharge, disassemble, or COVER (OR BACK). NO USER-SERVICEABLE incinerate this type of battery. Keep all batteries away from PARTS INSIDE. REFER SERVICING TO children. Dispose of used batteries promptly and as QUALIFIED SERVICE PERSONNEL. regulated by applicable laws. Note: In some areas, the servicer is required by law to return the defective parts. However, you do have the option of having the servicer See the name plate for graphic symbol markings. dispose of these parts for you. DISPOSAL NOTICE: Should this product become damaged beyond repair, or for some reason its useful life is considered to be at an end, please observe all local, state, The exclamation point within the and federal regulations that relate to the disposal of equilateral triangle is intended to alert products that contain lead, batteries, plastics, etc. -
QUICK START MANUAL Never Before Was There Such a Comprehensive and the INSTRUMENTS High-Quality Library of Ethnic Instruments and Vo- Ices
QUICK START MANUAL ETHNO WORLD 6 T he ULTI M AT E S A mp L E -LI B RARY F O R E T H NIC IN S TRU me NT S AND vo IC es FR om ALL ove R T he W O RLD P R O DUC E D B Y MARC E L BAR so TTI QUICK START MANUAL Never before was there such a comprehensive and THE INSTRUMENTS high-quality library of ethnic instruments and vo- ices. Awarded film-composer Marcel Barsotti (e. There are various types of instruments which beco- g. Pope Joan, The Miracle of Bern) has gathered a mes apparent in the layout of the Quick Edit Page: gigantic selection of instruments from all over the • TM SYNC: musical phrases and licks are synced word and has additionally recorded a wide choice to the tempo automatically. Be mindful that ext- of solo-voices and choirs from widely varying cul- reme deviation from the original file may lead to tures. ETHNO WORLD 6 Complete is the summit distortion of the audio signal. The more overtones of a library that has continuously grown and been and polyphony a signal has, the sooner the distor- improved over a period of 16 years. In this sixth edi- tion occurs. tion, 80 new instruments and voices with a volume • TM: The TM-Patches also have Time-machine, of 13 gigabytes have been added to the library. but all samples play in original tempo and tuning. However you can edit every note or sample sepa- OPERATION rately. -
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. -
Ensemble Are Exceptions, but I Feei"'T'hat Sonority (By Which
RR-14 INFLUENCE 25 December 1968 28 Uguisud ani-machi Shibuya-ku, Tokyo Mr. Richard NolZe Institute of Current World Affairs 535 Fifth Avenue New York, N.Y. 10017 Dear Dick With over two years of residency in Japan, we are thought of as "knowledgeable" on a broad range of Japanese phenomena. This only by virtue of the fact that we have slightly more experience than those who have not visited this contradictory land of urgency and restraint. The most frequent qUestion addressed to me, as a composer, during our recent travel in the United States was "how has your work been influenced by Japanese music?" It was an irritating and difficult question for several reasons, foremost of which was my aversion for the practice of deliberately "adopting" influences (as opposed to the conviction that diverse influences naturally assimilated are an honorable resource that ought to be more regularly drawn upon). My response to the question usually be,an something like, "what do you mean, 'influence'?" as though the questioner suspected something intentional on my part. There are at least three or four composers whose economic positions have been enhanced by exotic materials that they adopted in calculated fashion during an artificially brief acquaintance. My instinct is to avoid the implication, however remote, and, in any case, I am inhibited from such practices by a musical style that does not depend on melodies or rhythms of any sort. There are, of course, other less obvious materials, "influences," that one might commandeer', exotic instruments, unfamiliar instrumental or vocal styles| esthetic attitudes; forms; and so on. -
Chapter 5: Music
CHAPTER 5 MUSIC Revised October 2010 5.1. TITLE AND STATEMENT OF RESPONSIBILITY AREA 5.1B. Title proper 5.1B1. Transcribe the title proper as instructed in 1.1B. If a title consists of the name(s) of one or more type(s) of composition, or one or more type(s) of composition and one or more of the following: medium of performance key date of composition number treat type of composition, medium of performance, etc., as the title proper. In all other cases, if one or more statements of medium of performance, key, date of composition, and/or number are found in the source of information, treat those elements as other title information (see 5.1E). In case of doubt, treat statements of medium of performance, key, date of composition, and number as part of the title proper. If the title proper is not taken from the chief source of information, give the source of the title in a note (see 5.7B3). 245 10 $a “Dou E yuan” ge ju xuan qu 245 10 $a Gasshō no tame no konpojishon. $n II 245 10 $a 合唱のためのコンポジション. $n II 245 10 $a Gagaku uchimono sōfu 245 10 $a 雅楽打物奏譜 245 10 $a Yongun no tame no keishō 245 10 $a 四群のための形象 245 10 $a Yŏn’gagok piga 245 10 $a 連歌曲 悲歌 Title main entry: 1 245 00 $a Pi pa du zou qu ji 245 00 $a 琵琶独奏曲集 245 00 $a Shandong min jian qi yue ju xuan 245 00 $a 山東民間器樂曲選 245 00 $a Zhongguo zhu di du zou qu jing xuan 245 00 $a 中國竹笛獨奏曲精選 245 00 $a Ikuta-ryū sōkyoku senshū 245 00 $a 生田流箏曲選集 245 00 $a P’iri kuŭm chŏngakpo 245 00 $a 피리 口音 正樂譜 5.1D.