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Reception Hosted by the Okinawa G8 Summit Support Council [PDF]
Reference Materials Social Event: Welcome Reception OUTLINE ■Name of Event: Social Event of the Kyushu-Okinawa Summit 2000 "Welcome Reception for Summit Leaders" ■Hosting Organization: Okinawa G8 Summit Host Preparation Council ■Date: July 22, 2000 (Saturday) ■Time: 18:45 - 20:15 ■Venue: Hotel Nikko Naha Grand Castle, "Shuri Hall" Address: 1-132-1 Shuri Yamagawa-cho, Naha, Okinawa ■Participants: Summit leaderss Invited guests from the public (300 people) ■Welcome Reception Turning the Eyes of the World on Okinawa, Sending the Spirit of Okinawa to the World The Okinawa G8 Summit Host Preparation Council will host a welcome reception for the Summit leaders visiting Okinawa for the Kyushu-Okinawa Summit Meeting. From the days of old, Okinawa has been known to the world as the "land of courtesy and cordiality." The people of Okinawa will warmly welcome the Summit leaders in this reception, which features Okinawa's unique culture and regal traditional performing arts that were developed in the age of the Ryukyu Kingdom through trade and interaction with various Asian cultures. The Summit theme song, "NEVER END," which reflects contemporary Okinawa will also be performed. RECEPTION PROGRAM 1.Welcome ●Traditional Okinawan dress The Summit leaders will be welcomed by two high school students dressed in the traditional attire of the Ryukyu Kingdom of old. The clothing is made of bingata fabric whose bright color reminds of Okinawa. ■Welcomers: Yukino Matsuda and Takashi Toma, students of the Okinawa Prefectural Urasoe High School ●Traditional Okinawan music The reception features traditional Okinawan music performed with typical Okinawan instruments: the sa n s h i n (three-stringed plucked lute), ko t o (13-string zither), fu e (Japanese-style flute), ta i k o (J a p a n e s e - style drums), and k o k y u (three-stringed bowed lute). -
浜崎あゆみ Next Level Mp3, Flac, Wma
浜崎あゆみ Next Level mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic / Rock / Pop Album: Next Level Country: Japan Released: 2009 Style: J-pop, Techno, Pop Rock, Synth-pop MP3 version RAR size: 1324 mb FLAC version RAR size: 1492 mb WMA version RAR size: 1405 mb Rating: 4.9 Votes: 778 Other Formats: DXD VOC VQF AU AUD AIFF XM Tracklist Hide Credits Bridge To The Sky 1 1:40 Music By, Arranged By, Programmed By – Yuta Nakano Next Level 2 Arranged By, Programmed By – HAL Backing Vocals – Junko HirotaniGuitar – Takehito 4:28 ShimizuMusic By – D.A.I.Programmed By [Additional] – Mayuko Maruyama Disco-munication 3 1:30 Music By, Arranged By, Programmed By, Guitar, Bass – CMJK Energize 4 4:29 Arranged By, Programmed By, Guitar – CMJKMusic By – Yuta Nakano Sparkle 5 4:30 Arranged By, Programmed By, Guitar, Bass – CMJKMusic By – Kazuhiro Hara Rollin' 6 5:02 Arranged By, Programmed By, Guitar – CMJKMusic By – Yuta Nakano Green 7 Arranged By [Strings] – Gen IttetsuArranged By, Programmed By, Guitar – TasukuDrums – 4:46 Tom Tamada*Music By – Tetsuya YukumiStrings – Gen Ittetsu Strings* Load Of The Shugyo 8 1:30 Music By, Arranged By, Programmed By, Guitar, Bass – CMJK Identity Backing Vocals [Additional] – Sharlotte Gibson, Stephanie AlexandraBass – Chris 9 4:16 ChaneyDrums – Josh FreeseGuitar – Tim PierceGuitar [Additional] – KIKU , Ryota AkizukiMusic By, Arranged By, Programmed By – Yuta Nakano Rule Arranged By, Programmed By – HAL Bass – Junko KitasakaDrums – Tom Tamada*Guitar – 10 4:07 Takehito ShimizuMusic By – Miki WatanabeProgrammed -
Jae Blaze CREATIVE DIRECTOR/CHOREOGRAPHER
Jae Blaze CREATIVE DIRECTOR/CHOREOGRAPHER ____________________________________________________________________________________________________ AWARDS/NOMINATIONS MTV Hip Hop Video - Black Eyed Peas “My Humps” MTV Best New Artist in a Vide - Sean Paul “Get Busy” (Nominee) TELEVISION/FILM King Of The Dancehall (Creative Director) Dir. Nick Cannon American Girl: Saige Paints The Sky Dir. Vince Marcello/Martin Chase Prod. American Girl: Alberta Dir. Vince Marcello Sparkle (Co-Chor.) Dir. Salim Akil En Vogue: An En Vogue Christmas Dir. Brian K. Roberts/Lifetime Tonight SHow w Gwen Stefani (Co-Chor.) NBC The X Factor (Associate Chor.) FOX Cheetah Girls 3: One World (Co-Chor.) Dir. Paul Hoen/Disney Channel Make It Happen (Co-Chor.) Dir. Darren Grant New York Minute Dir. D. Gorgon American Music Awards w/ Fergie (Artistic Director) ABC/Dick Clark Productions Divas Celebrate Soul (Co-Chor.) VH1 So You Think You Can Dance Canada Season 1-4 CTV Teen Choice Awards w/ Will.I.Am FOX American Idol w/ Jordin Sparks FOX American Idol w/ Will.I.Am FOX Superbowl XLV Halftime Show w/ Black Eyed Peas (Co-Chor.) FOX/NFL Soul Train Awards BET Idol Gives Back w/ Black Eyed Peas (Co-Chor.) FOX Grammy Awards w/ Black Eyed Peas (Co-Chor.) CBS / AEG Ehrlich Ventures NFL Thanksgiving Motown Tribute (Co-Chor.) CBS/NFL American Music Awards w/ Black Eyed Peas (Co-Chor.) ABC/Dick Clark Productions BET Hip Hop Awards (Co-Chor.) BET NFL Kickoff Concert w/ Black Eyed Peas (Co-Chor.) NFL Oprah w/ Black Eyed Peas (Co-Chor.) ABC/Harpo Teen Choice Awards w/ Black Eyed Peas -
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 -
Billboard-1997-08-30
$6.95 (CAN.), £4.95 (U.K.), Y2,500 (JAPAN) $5.95 (U.S.), IN MUSIC NEWS BBXHCCVR *****xX 3 -DIGIT 908 ;90807GEE374EM0021 BLBD 595 001 032898 2 126 1212 MONTY GREENLY 3740 ELM AVE APT A LONG BEACH CA 90807 Hall & Oates Return With New Push Records Set PAGE 1 2 THE INTERNATIONAL NEWSWEEKLY OF MUSIC, VIDEO AND HOME ENTERTAINMENT AUGUST 30, 1997 ADVERTISEMENTS 4th -Qtr. Prospects Bright, WMG Assesses Its Future Though Challenges Remain Despite Setbacks, Daly Sees Turnaround BY CRAIG ROSEN be an up year, and I think we are on Retail, Labels Hopeful Indies See Better Sales, the right roll," he says. LOS ANGELES -Warner Music That sense of guarded optimism About New Releases But Returns Still High Group (WMG) co- chairman Bob Daly was reflected at the annual WEA NOT YOUR BY DON JEFFREY BY CHRIS MORRIS looks at 1997 as a transitional year for marketing managers meeting in late and DOUG REECE the company, July. When WEA TYPICAL LOS ANGELES -The consensus which has endured chairman /CEO NEW YORK- Record labels and among independent labels and distribu- a spate of negative m David Mount retailers are looking forward to this tors is that the worst is over as they look press in the last addressed atten- OPEN AND year's all- important fourth quarter forward to a good holiday season. But few years. Despite WARNER MUSI C GROUP INC. dees, the mood with reactions rang- some express con- a disappointing was not one of SHUT CASE. ing from excited to NEWS ANALYSIS cern about contin- second quarter that saw Warner panic or defeat, but clear -eyed vision cautiously opti- ued high returns Music's earnings drop 24% from last mixed with some frustration. -
ICA 2010 Paper
th Proceedings of 20 International Congress on Acoustics, ICA 2010 23-27 August 2010, Sydney, Australia Correlation between Groovy Singing and Words in Popular Music Yuma Sakabe, Katsuya Takase and Masashi Yamada Kanazawa Institute of Technology, Kanazawa, Japan PACS: 43.75.Rs, 43.75.Cd, 66.Mk ABSTRACT Musical critics often point out that some singers start to sing slightly after the accompaniment to give a groovy feel- ing. In our previous studies, we revealed that a Japanese Pop diva, Namie Amuro started to sing approximately 70-90 ms after the accompaniment for the initial notes of phrases. We then conducted perceptual experiments, using blass- like tone played the melody instead of Amuro’s singing. The results of the experiments showed that the 70-ms de- layed singing sounded “unnatural” and “not groovy”. This suggested that we have high tolerance for the delayed singing in the case that a singer sings words than in the case an instrument plays a melody. In the present study, we conducted perceptual experiments using synthesized word singing and scant singing stimuli, as well as human word singing and scat singing stimuli. The results showed that whether words are sung or not is crucial for the tolerance for the delayed singing. The scat singing stimuli showed consistent results to the case where a brass-like tone played the melody. INTRODUCTION Music critics point out that Namie Amuro is deeply influ- It has been often discussed how popular singers sing in a enced by Hip-Hop or Rap music, in which the singers or groovy way. -
Aya Hirano Bouken Desho Desho? Mp3, Flac, Wma
Aya Hirano Bouken Desho Desho? mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Pop / Stage & Screen Album: Bouken Desho Desho? Country: US Released: 2007 Style: J-pop, Karaoke, Theme MP3 version RAR size: 1330 mb FLAC version RAR size: 1975 mb WMA version RAR size: 1606 mb Rating: 4.5 Votes: 251 Other Formats: MIDI WAV MMF FLAC APE DXD VQF Tracklist 1 Bouken Desho Desho? 4:18 2 Kazeyomi Ribbon 3:47 3 Bouken Desho Desho? (Karaoke Version) 4:18 4 Kazeyomi Ribbon (Karaoke Version) 3:43 Companies, etc. Recorded At – Studio Magic Garden Credits Arranged By – Junpei Fujita (tracks: 1, 3), Takahiro Ando (tracks: 2, 4) Art Direction – Junya Imai Composed By – Akiko Tomita (tracks: 1, 3), Morihiro Suzuki (tracks: 2, 4) Directed By – Shigeru Saito Engineer – Atsushi Kobayashi , Haruhiko Shimokawa, Katsumi Moriya Executive-Producer – Kazuoki Ohnishi, Shunji Inoue Illustration – Shoko Ikeda Lyrics By – Aki Hata Mastered By – Yoshihiko Ando Painting – Naomi Ishida Photography By – Takahiro Yoshimoto Producer – Shigeru Saito Strings – Gen Ittetsu Strings* Tenor Saxophone – Kazuki Katsuta Trombone – Hiroki Sato Trumpet – Shirou Sasaki* Notes Tracks 1 and 3 are opening theme of TV anime "The Melancholy of Haruhi Suumiya". Tracks 2 and 4 are opening theme of radio drama "The Melancholy of Haruhi Suzumiya SOS Brigade Radio Division". Other versions Category Artist Title (Format) Label Category Country Year LACM-4255 Aya Hirano 冒険でしょでしょ? (CD, Maxi) Lantis LACM-4255 Japan 2006 Related Music albums to Bouken Desho Desho? by Aya Hirano Masayoshi Takanaka - T-Wave 山瀬まみ - 親指姫 Koda Kumi - Eternity ~Love & Songs~ Ai Otsuka - Love Is Best Taeko Ohnuki, Shigeru Suzuki, Haruomi Hosono, Kaze , Yuko Tomita, Ryohei Yamanashi, Haruomi Hosono - On The Beach Ayumi Hamasaki - A Ballads Takahiro Saito - Mandom-Lovers Of The World / 25 Minutes To Go Ayumi Hamasaki - Ayu-mi-x 7 -Version Acoustic Orchestra- Ai Otsuka - Love Fantastic Various - Carol Tribute Sam Morgan's Jazz Band / The Get-Happy Band / The Blue Ribbon Syncopators - Sam Morgan Etc. -
The Recording Industry in Japan 2005
RIAJ Yearbook 2005 The Recording Industry in Japan English Edition 2005 Statistics Analysis Trends CONTENTS Overview of Production of Recordings in 2004 ..................................1 Production Statistics by Format (Unit Basis•Value Basis) ............2 1. Total Recorded Music — Unit Basis......................................................................2 2. Total Audio Recordings — Unit Basis ..................................................................2 3. Total CDs — Unit Basis ........................................................................................2 4. Total Recorded Music — Value Basis....................................................................3 5. Total Audio Recordings — Value Basis ................................................................3 6. Total CDs — Value Basis......................................................................................3 7. CD Singles — Unit Basis ......................................................................................4 8. 5" CD Albums — Unit Basis ................................................................................4 0. Reference 1. Video Recordings — Unit Basis ................................................................4 9. CD Singles — Value Basis....................................................................................5 10. 5" CD Albums — Value Basis ..............................................................................5 0. Reference 2. Video Recordings — Value Basis ..............................................................5 -
This Project by Patricia J
TEACHING ADULT EFL LEARNERS IN JAPAN FROM A JAPANESE PERSPECTIVE SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE MASTER OF ARTS IN TEACHING DEGREE AT THE SCHOOL FOR INTERNATIONAL TRAINING BRATTLEBORO, VERMONT BY PATRICIA JEAN GAGE SEPTEMBER 2004 © PATRICIA JEAN GAGE 2004 This project by Patricia J. Gage is accepted in its present form. The author hereby grants the School for International Training the permission to electronically reproduce and transmit this document to the students, alumni, staff, and faculty of the World Learning Community. © Patricia Jean Gage, 2004. All rights reserved. Date _________________________________ Project Advisor _________________________________ (Paul LeVasseur) Project Reader _________________________________ (Kevin O’Donnell) Acknowledgements There are so many people that contributed to this project and without their help this project would not have been possible. First, I would like to thank my Sakae and Taiyonomachi classes for always being patient with me and for taking time out of their busy schedules to write feedback about each of the topics. Second, I am very grateful to Toshihiko Kamegaya, Mayumi Noda, Katsuko Usui, Terukazu Chinen and Naoko Ueda for providing the anecdotes in the section titled “Voices from Japan.” Third, I would like to give a special thanks to Paul LeVasseur, my advisor and teacher, whose Four Skills class inspired me to do this project and whose insightful comments about this paper were invaluable. I would also like to thank the summer faculty at SIT for their dedication and commitment to the teaching profession and to their students. Next, I would like to acknowledge my reader, Kevin O’Donnell, for guiding me in the right direction and for spending time, in his already hectic schedule, to read my paper. -
Arara Report ５May 16 Th , 2011 Arara Inc
arara report ５May 16 th , 2011 arara inc. “““ARAPPLI“ARAPPLIARAPPLI”””” is used for the national tour of worldworld----famousfamous Japanese singer, Ayumi Hamasaki. A character, “ayupan”, appears from the tour catalogcatalog as AR and introduces tour itemsitems.... arara inc.(Minato-ku, Tokyo/CEO Yosuke Iwai) announces that our AR application for smart phone, “ARAPPLI”, is used for the of famous Japanese singer, Ayumi Hamasaki’s national tour which began from May 7 th The promotional items’ AR catalog is distributed at Ayumi Hamasaki’s national wide tour which is called “ayumi hamasaki 〜POWER of MUSIC 〜 2011 A” and began from May 7 th . On the catalog, there are seven different QRAR marks. When a smart phone with “ARAPPLI” is held over the QRAR marks, “ayupan”, the character of Ayumi Hamasaki, appears as the AR and explains the promotional items. Since the downloaded AR contents are saved under the “Collection” of “ARAPPLI”, fans can enjoy after the concert. Moreover, the content is only distributed at the concert as original limited contents. By using “ARAPPLI” for tour items’ brochure, the promotional items can be introduced not only with the two dimensional information such as drawings and pictures, but also with sounds, movies, and 3D information. Those information can help introducing the items that cannot be explained only with catalog more attractively in detail. arara inc. is promoting our AR application for smart phone, “ARAPPLI”, and we aim to bring AR closer to everyone’s everyday life by providing various services with AR. Capture image of AR 「ayumi hamasaki ~Power of Music~ 2011 A 」 tour items’ brochure front page About AR (Augmented Reality) AR is a technology and the images that blended virtual graphics onto a physical reality. -
Investigating the Chronological Variation of Popular Song Lyrics Through Lexical Indices
Investigating the Chronological Variation of Popular Song Lyrics Through Lexical Indices Investigating the Chronological Variation of Popular Song Lyrics Through Lexical Indices Yuichiro Kobayashi１, Misaki Amagasa**, and Takafumi Suzuki** Abstract Popular songs can be regarded as a fine representation of modern society and culture. In particular, the lyrics of popular songs are the most important aspect for understanding the sense of values and linguistic sensitivity in a given generation and community. The purpose of the present study is to investigate the chronological variation of popular Japanese songs using stylometric techniques. This study draws on the lyrics of 858 songs, which appeared on the Oricon annual top 20 single hit chart between 1976 and 2015. The linguistic features investigated in this study include five different types of lexical indices, namely (a) number of words, (b) parts-of-speech, (c) word types, (d) character types, and (e) vocabulary level. Multiple regression analysis was conducted to explore the chronological change in the frequencies of lexical indices. The results showed that the frequencies of word types and character types dramatically changed before and after 1990. Moreover, the usages of auxiliary verbs as well as lower level vocabulary became more prominent, whereas the frequencies of adjectival nouns and conjunctions decreased. The findings suggest that a turning point in cultural trends corresponds with the historically significant political and economic events, such as the end of the Showa era and the burst of the bubble economy. 1. Introduction Popular songs provide a special kind of window into modern society and culture. In the United States, a number of people listen to top-ranked songs on the Billboard chart, and many songwriters make an effort to compose songs that can reach not just domestic listeners but also overseas fans. -
How Japanese Comic Books Influence Taiwanese Students A
UNIVERSITY OF CALIFORNIA Los Angeles Reading Comic Books Critically: How Japanese Comic Books Influence Taiwanese Students A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Education by Fang-Tzu Hsu 2015 © Copyright by Fang-Tzu Hsu 2015 ABSTRACT OF THE DISSERTATION Reading Comic Books Critically: How Japanese Comic Books Influence Taiwanese Students by Fang-Tzu Hsu Doctor of Philosophy in Education University of California, Los Angeles, 2015 Professor Carlos A. Torres, Chair Education knows no boundaries but hot button topics, like comic books, demonstrate school, teacher and parent limitations. Japanese comic books (manga) are a litmus test of pedagogical tolerance. Because they play an important role in the lives of most Taiwanese teenagers, I give them pride of place in this dissertation. To understand Japanese comic books and their influence, I use Paulo Freire’s critical pedagogy to combine perspectives from cultural studies, comparative education, and educational sociology. With the cooperation of the administration, faculty and students of a Taiwanese junior high school, I used surveys, a textual analysis of five student-selected titles and interviews with students and educators. I discovered that Japanese manga contain complex and sometimes contradictory ideologies of ethnicity, gender, class, and violence. From an ethnic perspective, although students may glean cultural content from manga heroes and their retinues, people of color and non-Japanese Asians are either caricatures or non-existent; although Taiwanese teenager readers seem unaware of this. From a gender standpoint, neither the female characters’ provocative representation nor the male characters’ slavering responses to it raise students’ and teachers’ concerns.