DOCSLIB.ORG

Musical Instruments Consultants: Ricardo D

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Musical Instruments Consultants: Ricardo D The East-West Center Arts Program in Exhibition: February 2—May 17, 2020 cooperation with the University of Hawai‘i East-West Center Gallery, Honolulu, Hawai‘i at Mānoa, Music Department presents Curators: Annie Reynolds, Kirk Sullivan, Eric Chang Musical Instruments Consultants: Ricardo D. Trimillos, Lynn Martin, Michael Schuster Sounds of the Installation Design: Lynne Najita Asia Pacific herself surrounded by musical cultures from across Asia and the Pacific. Her exploration into those musics led her to begin acquiring instruments from non-Western musical traditions and establish a graduate program in Ethnomusicology in 1960. By 1970, the instrument collection had become so large that a catalog of instruments was established. Through the years, instruments have been donated by ethnomusicologists, graduate students who traveled to carry out studies and fieldwork, visiting performers who preferred to leave their instruments rather than ship them home, and others who have donated family heirlooms. The East-West Center has showcased many of the Music Department’s Asia Pacific ensembles and performers from the region. Many of the instruments displayed reflect performances presented by EWC or locally-based ensembles. Others Zakir Hussain performs Indian tabla presented by EWC, 2019. Photographer: Eric Chang. Instrument above: sitar, India are highlighted as unique and notable for their beautiful craftsmanship, history, or an his exhibition features Asia Pacific collection are used in the various musical interesting element of charm or surprise. T musical instruments from the Ethno - ensembles at the university including This exhibition also features musicology Instrument Collection at the Indonesian gamelan (traditional ensemble costumes, masks, other performing University of Hawai‘i at Mānoa, Music comprised primarily of metallophones arts materials, photographs, sound Department. The collection has been and gongs) and Japanese gagaku examples, and video to assist in acquired over the past 70 years, initially (ancient court music), as well as understanding the fuller cultural context established by Professor Barbara B. Hawaiian and Tahitian dance, koto of the instruments. Music in the Asia Smith, and continues today under the (Japanese zither), Chinese, Korean, Pacific region is closely associated supervision of Professor Ricardo D. Okinawan, and Philippine ensembles. with dance, theatre, and/or other Trimillos. This collection is an invaluable The collection is comprised of nearly cultural practices and this exhibition resource for the community because 2,500 instruments from across the globe. underscores these relationships. the instruments are meant to be utilized Professor Barbara Smith first came The instruments are displayed in rather than to be displayed as museum to Hawai‘i in 1949 intending to teach three sections: Pacific Islands, East pieces. Many of the instruments in the Western classical music but found Asia, and South & Southeast Asia. East Asia This exhibition features instruments from China, Japan, Korea, and Okinawa. Much of the music of East Asia is associated with highly-stylized theatrical traditions. Some music has its roots in royal courts while other music accompanies communal dances. The Chinese yangqin, also known as the “butterfly harp,” is played with two small Kumu hula sisters Pualani Kanaka‘ole Kanahele and Nalani Kanaka‘ole. Photographer: Lynn Martin. elongated hammers, like the hammer Photo courtesy of the State Foundation on Culture and the Arts and Hawai‘i State Archives dulcimer. The music of the butterfly harp accompanies vocal music, chamber REGIONS music, and various Chinese theatre traditions. The Korean changgo is a Pacific Islands double-headed hourglass-shaped drum The Hawaiian that is used in various performance This exhibition features pahu drum commonly genres. In some traditional styles, instruments from accompanies the the dancers themselves drum while Aotearoa (New most sacred mele dancing. The buk drum is used Zealand), Australia, hula dances to accompany unique p’ansori dramatic Cook Islands, Hawai‘i, in Hawaiian epic storytelling performances. Papua New Guinea, performances. In Japan the taiko drums Solomon Islands, Tahiti, The pahu are used for a wide variety of and Vanuatu. The Pacific is a single- performances, from traditional Islands, headed kabuki theatre to energetic as linked drum choreographed stage shows regionally, and the to accompaniment for communal, are drum- seasonal bon odori festival dances. comprised head on The sanshin is a plucked three- of diverse the pahu featured in string lute and is the iconic island this exhibition is made instrument of Okinawan nations of of sharkskin. In Tahitian performance traditions. great cultural music the to‘ere is the Musicians often play the variety that finely-crafted slit log sanshin to accompany span a vast drum made from hollowed themselves in song. geographical area. out branches or tree trunks. The The instruments tend The to‘ere is primarily used to body to be made of natural accompany dance but secondarily of the materials such as wood, used to call meetings in the Okinawan bamboo, gourds, seeds, community. Panpipes are sanshin is shells, and various iconic to the Solomon Islands. covered with animal skins. Voice and Panpipes are commonly made of snakeskin. rhythm are essential bamboo and range in various sizes. to music of the Pacific Some are blown into to produce Instruments Islands and in many sound; larger ones are struck on clockwise from far left: contexts the music’s one open end, using materials such kundu drum, Papua New Guinea; primary function is to as rubber slippers as mallets to pahu drum, Hawai‘i; sogo drum, Korea; accompany dance. create a unique sound. sanshin, Okinawa South & Southeast Asia This exhibition features instruments from Burma (Myanmar), India, Indonesia, Malaysia, the Philippines, and Thailand. Across the Southeast Asia region there are various ensembles that are comprised of tuned bronze kettles and various-sized gongs. There is a similarity in instrument form and their geographic distribution is linked with waterways and trade routes. Yet, the context and function of these instruments vary widely from one cultural context to another. Some performances are based in localized animist beliefs or in historical Hindu royal courts while others are based in Islamic culture. The Javanese gamelan ensemble from Indonesia was acquired for the collection in 1970. While the entire The Family Camarillo Rondalla. Photographer: Tibor Franyo. Photo courtesy of the State Foundation on Culture and the Arts set consists of over thirty and Hawai‘i State Archives. Instruments below, left to right: gabbang, Philippines; sapeh, Malaysia instruments, only the gender (metal- associated lophone) and kendang with a mood, (double-headed drum) are time of day, season, displayed in this exhibition. and color. The gender ornaments the This exhibition central melody and the musicians play features a beautifully hand- with two mallets, one in each hand in a crafted sitar which is a large refined technique that involves damping stringed instrument that the sound with the side of the hand as plays ornamented melodies the next bar is struck. The kendang dramatic cues when accompanying in Hindustani music. There player is the leader of the gamelan dance or shadow puppetry performances. are seven primary strings ensemble, signaling tempo and dynamic The musics of India reflect the that are plucked while the changes. The kendang player follows the incredible diversity of the country, sympathetic strings, which ranging from classical to folk traditions. are never touched, resonate Classical music in India is highly to add a richness to the complex. Classical music of Northern sound. The sitar is commonly India is called Hindustani music while combined with the tabla classical music of Southern India is drum pair which provides called Carnatic music. The two primary the rhythm. In training, components of Hindustani music are the tabla rhythms are the raga (melodic system) and the tala vocalized prior to being (rhythmic system). Raga do not just applied to the instrument. specify a scale of notes but often are The tabla are capable of complex rhythms with an extensive vocabulary of striking techniques with individual fingers. Representing folk traditions, the Chhau drum is played to accompany masked dance performances of eastern India. The masks and drums featured in this exhibition were donated to the collection following a Masatoshi Shamoto, Gagakucho for the Hawai‘i Gagaku performance at the Kenkyukai, plays ryuteki, bamboo transverse flute. Photographer: Tibor Franyo. Photo courtesy of the State East-West Center in Foundation on Culture and the Arts and Hawai‘i State Archives. Instrument: yangqin or “butterfly harp,” China the 1980s. The East-West Center promotes better relations and understanding among the people and nations of the United States, Asia, and the Pacific through cooperative study, research, and dialogue. Established by the U.S. Congress in 1960, the Center serves as a resource for information and analysis on critical issues of common concern, bringing people together to exchange views, build expertise, and develop policy options. The Center is an independent, public, nonprofit organization with funding from the U.S. government, and additional support provided by private agencies, individuals, foundations, corporations, and governments in the region. A Korean farmer’s dance performed at the 1993 Waipahu
Load more

Recommended publications
  • 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.
    [Show full text]
  • Sada Borneo Band Profile
    SADA BORNEO BAND PROFILE “KEEP OUR LEGACY” OFFICIAL BAND WEBSITE: www.sadaborneo.wix.com/official FACEBOOK PAGE: www.facebook.com/sadaborneo INSTAGRAM: sadaborneo TWITTER: @Sada_Borneo OFFICIAL EMAIL: [email protected] / +6012-682 4449 (Andy Siti - Manager) SADA BORNEO is a Malaysian band formed in Penang in 2013 and consists of 8 members from different parts of Malaysia. Aspired to create a new sound for Malaysian music to show the beauty of Malaysia, their music is a fusion of traditional, modern, ethnic and nature elements blend in together. The meaning behind the name 'SADA BORNEO' is 'the sound of Borneo', borrowing Sarawak's Iban ethnic word 'Sada', which means 'sound'. SADA BORNEO gained popularity for representing Malaysia in AXN's ASIA’S GOT TALENT 2015 and being the only Malaysian that made it to Semi Final stage. The show was aired in 20 countries across Asia. Sada Borneo has also received the IKON NEGARAKU 2017 AWARD by the Prime Minister Office. From left: Hilmi, Allister, Julian (behind), Nick (front), Hallan (front), Bob (behind), Wilker and Alvin “We create new sounds by fusing modern western, traditional Malaysian, ethnic-oriented elements and sounds of nature in our musical arrangement and composition. Instrumentation-wise, we featured various traditional music instruments such as Sapeh and recreate the sounds of nature elements to produce a contemporary sound.” – SADA BORNEO From left (sitting) : Alvin, Bob, Hallan, Wilker, Hilmi, Julian From left (standing) : Allister, Nick ABOUT THE BAND SADA BORNEO'S music formula includes reviving traditional music, fresh and contemporary elements into their music arrangement and composition. The band loves to experiment with various kinds of musical instruments, ranging from traditional to modern musical instruments.
    [Show full text]
  • 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.
    [Show full text]
  • '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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Performing Okinawan
    PERFORMING OKINAWAN: BRIDGING CULTURES THROUGH MUSIC IN A DIASPORIC SETTING 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 ASIAN STUDIES MAY 2014 By Lynette K. Teruya Thesis Committee: Christine R. Yano, Chairperson Gay M. Satsuma Joyce N. Chinen Keywords: Okinawans in Hawai‘i, diasporic studies, identity, music, performance © Copyright 2014 by Lynette K. Teruya All Rights Reserved i ACKNOWLEDGMENTS Okage sama de, ukaji deebiru, it is thanks to you… It has taken many long years to reach this point of completion. I could not have done this project alone and my heart is filled with much gratitude as I acknowledge those who have helped me through this process. I would like to thank my thesis committee -- Drs. Christine Yano, Gay Satsuma, and Joyce Chinen -- for their time, patience, support and encouragement to help me through this project. Finishing this thesis while holding down my full-time job was a major challenge for me and I sincerely appreciate their understanding and flexibility. My thesis chair, Dr. Yano, spent numerous hours reviewing my drafts and often gave me helpful feedback to effectively do my revisions. I would also like to thank my sensei, Katsumi Shinsato, his family, and fellow members of the Shinsato Shosei Kai; without their cooperation and support, this particular thesis could not have been done. I would also like to thank Mr. Ronald Miyashiro, who produces the Hawaii Okinawa Today videos, for generously providing me with a copy of the Hawaii United Okinawa Association’s Legacy Award segment on Katsumi Shinsato; it was a valuable resource for my thesis.
    [Show full text]
  • Bodies of Sound, Agents of Muslim Malayness: Malaysian Identity Politics and The
    Bodies of Sound, Agents of Muslim Malayness: Malaysian Identity Politics and the Symbolic Ecology of the Gambus Lute Joseph M. Kinzer A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2017 Reading Committee: Christina Sunardi, Chair Patricia Campbell Laurie Sears Philip Schuyler Meilu Ho Program Authorized to Offer Degree: Music ii ©Copyright 2017 Joseph M. Kinzer iii University of Washington Abstract Bodies of Sound, Agents of Muslim Malayness: Malaysian Identity Politics and the Symbolic Ecology of the Gambus Lute Joseph M. Kinzer Chair of the Supervisory Committee: Dr. Christina Sunardi Music In this dissertation, I show how Malay-identified performing arts are used to fold in Malay Muslim identity into the urban milieu, not as an alternative to Kuala Lumpur’s contemporary cultural trajectory, but as an integrated part of it. I found this identity negotiation occurring through secular performance traditions of a particular instrument known as the gambus (lute), an Arabic instrument with strong ties to Malay history and trade. During my fieldwork, I discovered that the gambus in Malaysia is a potent symbol through which Malay Muslim identity is negotiated based on various local and transnational conceptions of Islamic modernity. My dissertation explores the material and virtual pathways that converge a number of historical, geographic, and socio-political sites—including the National Museum and the National Conservatory for the Arts, iv Culture, and Heritage—in my experiences studying the gambus and the wider transmission of muzik Melayu (Malay music) in urban Malaysia. I argue that the gambus complicates articulations of Malay identity through multiple agentic forces, including people (musicians, teachers, etc.), the gambus itself (its materials and iconicity), various governmental and non-governmental institutions, and wider oral, aural, and material transmission processes.
    [Show full text]
  • The Journal the Music Academy
    Golden Jubilee Special Number THE JOURNAL OF THE MUSIC ACADEMY MADRAS DEVOTED TO THE ADVANCEMENT OF THE SCIENCE AND ART OF MUSIC Voi. x lv iii 1977 31? TElfa TfM 3 I msife w*? ii ■“ I dwell not in Vaikuntha, nor in the hearts of Yogins nor in the Sun; (but) where my bhaktas sing, there be I, Narada! ” Edited by T, S. PARTHASARATHY 1980 The Music Academy Madras 306, Mowbray’s Road, Madras - 600 014 Annual Subscription - Rs, 12; Foreign $ 3.00 Golden Jubilee Special Number THE JOURNAL OF THE MUSIC ACADEMY MADRAS DEVOTED TO THE ADVANCEMENT OF THE SCIENCE AND ART OF MUSIC Vol. XLVIII 1977 TOlfil 51 ^ I to qprfo to fogifa urc? u ** I dwell not in Vaikuntha, nor in the hearts of Yogins nor in the Snn; (ftK| fheiV my bhaktas sirig, there fa I, NaradS f ** Edited by TiS. PARTHASARATHY 1980 The Musitf Academy Madras 366, Mowbray’s Road, Madras - 600 014 Annual Subscription - Rs. 12; Foreign $ 3.00 From Vol. XLVII onwards, this Journal is being published as an Annual. All corresnojd?nc£ sh ^ l^ ^ addressed ^ri T. S. Partha- sarathy, Editor* journal of the Music Academy, Madras-600014. Articles on subjects o f music and dance are accepted for publioation on the understanding that they are contributed solely to *he |*Wf M&P' All manuscripts should be legibly written or preferably type­ written (double-spaced on one side o f the paper only) and should be |^gn|d by the y^iter (giving bis address jn fpll). The Editor of the Journal is not responsible for the views ^expressed by individual contributors.
    [Show full text]
  • Research Article Investigation of the Acoustic Properties of Chemically Impregnated Kayu Malam Wood Used for Musical Instrument
    Hindawi Advances in Materials Science and Engineering Volume 2018, Article ID 7829613, 6 pages https://doi.org/10.1155/2018/7829613 Research Article Investigation of the Acoustic Properties of Chemically Impregnated Kayu Malam Wood Used for Musical Instrument Md. Faruk Hossen ,1,2 Sinin Hamdan,1 and Md. Rezaur Rahman1 1Faculty of Engineering, Universiti Malaysia Sarawak, 94300 Kota Samarahan, Sarawak, Malaysia 2Faculty of Science, University of Rajshahi, Rajshahi 6205, Bangladesh Correspondence should be addressed to Md. Faruk Hossen; [email protected] Received 12 October 2017; Accepted 22 November 2017; Published 29 April 2018 Academic Editor: Aniello Riccio Copyright © 2018 Md. Faruk Hossen et al. )is is an open access article distributed under the Creative Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited. )e chemical modification or impregnation through preparing the wood polymer composites (WPCs) can effectively reduce the hygroscopicity as well as can improve the acoustic properties of wood. On the other hand, a small amount of nanoclay into the chemical mixture can further improve the different properties of the WPCs through the preparation of wood polymer nano- composites (WPNCs). Kayu Malam wood species with styrene (St), vinyl acetate (VA), and montmorillonite (MMT) nanoclay were used for the preparation of WPNCs. )e acoustic properties such as specific dynamic Young’s modulus (Ed/γ), internal friction (Q−1), and acoustic conversion efficiency (ACE) of wood were examined using free-free flexural vibration. It was observed that the chemically impregnated wood composite showed a higher value of Ed/γ than raw wood and the nanoclay-loaded wood nanocomposite showed the highest value.
    [Show full text]
  • Musical Taiwan Under Japanese Colonial Rule: a Historical and Ethnomusicological Interpretation
    MUSICAL TAIWAN UNDER JAPANESE COLONIAL RULE: A HISTORICAL AND ETHNOMUSICOLOGICAL INTERPRETATION by Hui‐Hsuan Chao A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music: Musicology) in The University of Michigan 2009 Doctoral Committee: Professor Joseph S. C. Lam, Chair Professor Judith O. Becker Professor Jennifer E. Robertson Associate Professor Amy K. Stillman © Hui‐Hsuan Chao 2009 All Rights Reserved ACKNOWLEDGEMENTS Throughout my years as a graduate student at the University of Michigan, I have been grateful to have the support of professors, colleagues, friends, and family. My committee chair and mentor, Professor Joseph S. C. Lam, generously offered his time, advice, encouragement, insightful comments and constructive criticism to shepherd me through each phase of this project. I am indebted to my dissertation committee, Professors Judith Becker, Jennifer Robertson, and Amy Ku’uleialoha Stillman, who have provided me invaluable encouragement and continual inspiration through their scholarly integrity and intellectual curiosity. I must acknowledge special gratitude to Professor Emeritus Richard Crawford, whose vast knowledge in American music and unparallel scholarship in American music historiography opened my ears and inspired me to explore similar issues in my area of interest. The inquiry led to the beginning of this dissertation project. Special thanks go to friends at AABS and LBA, who have tirelessly provided precious opportunities that helped me to learn how to maintain balance and wellness in life. ii Many individuals and institutions came to my aid during the years of this project. I am fortunate to have the friendship and mentorship from Professor Nancy Guy of University of California, San Diego.
    [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]