A history of Japanese music:
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
London
Oxford Univ. Pr.
1973
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | XVIII, 720 S. Ill., Notenbeisp. 3 Schallpl. (45 cm; 33 1/3 R.P.M.) |
| ISBN: | 0193162032 |
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| 245 | 1 | 0 | |a A history of Japanese music |c Eta Harich-Schneider |
| 264 | 1 | |a London |b Oxford Univ. Pr. |c 1973 | |
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Datensatz im Suchindex
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| adam_text | Contents
PART i
The Beginnings
chaptbr i The Jömon, Yayoi, and Tumuli Periods
Thejömon Period 3
The Yayoi Period 4
Instruments of the Yayoi period 4
The tumuli period. Haniwa 8
Early music and musical instruments on the Asiatic mainland 12
Earliest literary references: Kojiki and Nihongi 16
The Kume-uta 20
The Uta-gaki, and Ainu and Formosan folk-songs 24
Shintö ceremonies 27
Secular music 29
PART 2
Front the Introduction ofBuddhism to the end ofthe Nara Period
chapter 2 General. The Evidence ofthe Chronicles
The Buddhist background 36
The introduction of Buddhism into Japan 3 8
The Taikwa reform and its consequences 40
Music in the Buddhist rites 42
Music in the Shintö rites 45
Music at court 46
Military music 48
Dances 49
Types of music 50
chapter 3 Other Evidence
Pictorial evidence for Buddhist music 53
Pictorial evidence for secular music {gigaku and sangaku) 54
Instruments 59
1. Wind instruments 59
2. Stringed instruments 63
3. Percussion instruments 66
xii Contents
Masks 68
Costumes of dancers and musicians 69
Manuscripts 71
Musical Texts 75
PART 3
The Early Hexan Period (794-897)
chapter 4 General Developments in Politics and Music
The Emperor Kwammu 91
Music in Magic and Religion 93
Music at Court 97
Kwammu s Sons: Political Developments 100
Composers and Performers 101
chapter 5 Music and Musical Instruments of the Period
The Chinese Musical Background 104
Japanese Music of the Period: Percussion Instruments and
Rhythmic Patterns 107
Stringed Instruments 122
The Shö 124
Other Wind Instruments 131
Ensembles 132
Chinese and Japanese Music Theory 133
chapter 6 Pictorial Evidence
Bugaku 139
The Taema Mandala 141
The Shinzei-kogaku-zu 142
1. Instruments and Instrumentalists 144
2. Bugaku 149
The Kinka-fu 181
Netori 183
PART 4
The Later Heian Period: Fujiwara (897-1185)
chapter 7 The Tenth Century
Political background ^9
Hakuga ipi
Hakuga s Flutebook 192
Saibara 212
Röei 229
chapter 8 The Later Fujiwara Period
Political background 239
Literary evidence 242
Songs and Dances. Motomasa s Ryümeishö 253
Contents xiii
Moronaga s Jinchi-yöroku 262
Moronaga s Sango-yöroku 272
Other collections and treatises 274
Kagura 283
PART 5
Kamakura and Muromachi {1185-1573)
chapter 9 The Historical Background
Taira and Minamoto 295
The Höjö Regents 297
Ashikaga 301
The position of music 305
chapter 10 Buddhist Music
Buddhist attitudes to music 307
Buddhist music in China 309
The first Buddhist music in Japan 311
Ennin 312
Ennin s successors in the Tendai sect 315
The development ofshömyö in the Shingon sect 317
The earliest surviving musical manuscripts 318
Shichi-no-san 3J8
Ubaribai 3W
Inzei Amida-kyö 321
Sanjüni-sö 321
Gyosan Taigaishü 323
Music theory in the Gyosan Taigaishü 327
The melodic structure ofshömyö 333
Rhythm and metre 337
Instruments 339
chapter 11 Musical Manuscripts (1)
Röei collections 343
Saibara collections 358
Mikagura collections 362
Other musical manuscripts 3 58
chapter 12 Musical Manuscripts (2)
The Kyökunshö 376
The Zoku-Kyökunshö 38i
The Taigenshö 387
The shö 389
The öteki 391
The hichiriki and shakuhachi 394
The stringed Instruments ^95
Bamboo, earth, wood, metal, and stone instruments 4°o
Other topics 401
xiv Contents
chapter 13 Populär Music and die Rise ofthe Nö
Aristocratic and populär attitudes to music 410
Fuzoku 412
Imayö 413
Dengaku 417
Jöruri 418
Sarugaku-no-nö 420
The Kwadensho 422
Other treatises by Zeami 425
The Hachijö Kwadensho 429
The music of Nö 432
PART 6
The Christian Era and Tokugawa (154^1867)
chapter 14 The First Introduction of Western Music
Francis Xavier 445
The diffusion ofwestern music after Xavier s departure 449
Christian schools and seminaries 453
The misterios 455
Instrumental music 456
Frater Lourenco 458
Valignano s first visit, and later developments 460
The Japanese delegation to the Pope 463
The legates Latin diary 467
Hideyoshi: Valignano s second visit 471
Music printing and the making of Western musical instruments in Japan 473
Western views of Japanese music 476
Rodriguez Tcuzzu 479
The end ofthe missions and suppression of Christianity 482
chapter 15 Tokugawa
Historical survey 487
Cultural trends 488
Traditional music 493
Nö 493
Gagaku 494
The Gakkaroku 496
Some Shahon ofthe eighteenth and nineteenth centuries 502
Tradition and change in vocal notation 503
Bugaku 504
The revival of Shintö dances and kagura 505
Mikagura 508
The Yakumo-koto 510
Buddhist music 510
Semi-religious and secular itinerant musicians and their instruments 511
Contents xv
The Shakuhachi 512
The Biwa 513
The Shamisen 515
The Eika 517
The Zoku-koto (Zoku-sö) 518
The Nigen-kin and Ichigen-kin 520
The iCofyw 521
Transcriptions 521
Bunraku and Kabuki 524
PART 7
Mm^ c ö/ter the Restoration
chapter 16 The Re-introduction of Western Music 533
Military music 533
Other genres of Western music 534
Musical education 54°
Japanese and foreign musicians 542
Western and Eastern attitudes to music 545
Western and Eastern teaching methods 547
Other contrasts 548
chapter 17 The Condition of the Survivals
Gagaku 55°
The Meiji reforms 55°
After World War II 55«
Problems of research 57*5
Mikagura 579
Related Shintö music 5^2
Buddhist music 5^7
Nö 589
Other theatrical music: Kabuki and Bunraku 590
Zokugaku instrumental music 59*
Urban songs and regional folk-songs 594
Attitudes to tradition and change; the general outlook 595
Bibliography 598
General Index 6l9
Index of Musical Terms and Titles 629
Index of Names 652
ListofCharacters ^s
List ofPlates
Frontispiece: Prince Genji playing the flute before the door of his beloved. A detail
firom the eleventh-century picture scroll Genjitnonogatari(see p. 246)
Facing page
1 (a) A dötaku, showing the kesadasukimon pattern (see p. 7) 8
(b) Dötofe clappers(seep.7)
(c) The interior of a dötaku, showing the metal ear (see p. 7)
2 (a) Bronze mirror with six bells on the rim. Third to seventh Century a.D.
(seep.8) 9
(b) Bracelet with nine bells. Third to seventh Century a.D. (see p. 8)
3 Htmiwa (see pp. 9-10) 24
(a) Odoru-danjo, dancing couple
(b) Seated tnikanko, or shrine maiden
(c) (d) Front and rear views of a fragment of a wagon with five strings
4 Homutt (see pp. 10-11) 25
(a) Musician playing a stringed Instrument
(b) Musician beating a drum
(c) Dancer beating his ehest
(d) Musician shand holdingaplectrum
5 Music-making Bodhisattvas. Reliefs on the octagonal bronze lantern in
front of the Hall of the Great Buddha, Tödaiji, Nara, c. 752 (see p. 53)
(a) Playing the shakuhachi (b) Holding asistrum(?) 56
6 Scenes from the Nara dankyü (see pp. 56-7) 5 7
7 (a) Kuretake-(w)u. In the Shösöin (see p. 62) 72
(b) Shiragi-koto (reconstrueted). In the Shösöin (see p. 64)
8 (a) Gogen-biwa. In the Shösöin (see p. 66) 73
(b) The Kwanzeonji bell. A.D. 698 (see p. 67)
(c) Korean bell. In the Shikanoumi-jinja, Kyüshü (see p. 68)
9 Buddhist eultmasks (see p. 68) 88
(a) Daikoji
(b) Rikishi or Kongo Rikishi j
(c) Karura (Garuda)
(d) Baramon (Brahmin)
(e) Go-jo
List o/Plates xvii
Facing page
io The Tempyö-biwa-fu, fragment of a lute tablature (see p. 76) On the 89
original die first column of characters, on the right, is much paler than
the rest, and thus believed to be much older. The photographer, not
realizing the importance of this fact, did his best to soften the contrast.
r 1 (a) The Azuma Asobi dance performed by Shintö priests before the sanctuary
of Kamigamo, Kyoto (see p. 94) 104
(b) Ennin (Jikaku Daishi). The Statue in the Ryüshukuji, Yamagataken (see
p.312)
12 (a) A page from the Shichi-no-San. A I9th-century lithograph of the
original of inointheDainembutsuji, Osaka(seep. 318) 105
(b) Ubaribai. A I3th-century scroll showing the oldest neumes of Buddhist
chant(seep. 319)
13 Hikyoku from the Inzei Amida-kyö (see p. 321). Traced from the original
by the Right Rev. Genyü Nakayama 328
14 Standard patterns of motives in modern Buddhist chant (see p. 334)
Chart drawn by the Right Rev. Genyü Nakayama 329
15 Kashinreigetsu 344
(a) Yöshö 1 (see p. 343)
(b) Yöshö 2 (see p. 347)
16 Kashinreigetsu (seep. 348) 345
(a) The Kyüjisshushö version of the first page ofhakase
(b) The Meiji Version. Note the divergencies
Between pp. 432 and 433
17 (a) A mikanko playing the meigen (see p. 420)
(b) Players of biwa and hand-drum. Illustration by Tosa Mitsunobu from
the Shokunin Zukushi Uta-awase (1744) (see p. 420)
| 18-19 Dancers. From the Hachijö Kwadensho (see p. 429)
20 From the Hachijö Kwadensho (see pp. 431-2)
(a) Choreography of the ha dances
(b) Choreography of thsjo dances
(c) Arrangement of the stage in the kyü dances
(d) Choreography of the waki dances. The placing of the orchestra is shown
at the bottom of the diagram
Facing page
21 (a) The iruman Lourenco (see p. 449). The picture in the Christian Museum,
Nagasaki. 456
(b) The Pope receives reports on the Japanese seminaries (see p. 465). From
; the painting in the Gregoriana, Rome
22 The first Western music to be printed in Japan. Pages from the Jesuit
Mm«fl/ofi605(seep.473) 457
xviii List ofPlates
Facing page
23 (a) Woman with guitar. A i6tfa-century Japanese painting in European
style (secp. 475) 472
(b) Hidalgo with shamisen (see p. 476). Detail from a iöth-century Namban-
byöbu
24 Music-making in the Dutch factory at Nagasaki (see p. 476). 17dl
Century 473
25 (a) Shadow play: two geisha, one playing the shamisen, and a young man.
By Nishikawa Sukenobu (1671-1751) (seep. 491) 488
(b) Mask of Ryö-wö, Bugaku-tnen no Zu (see p. 505)
(c) Mask of Koinju, Bugaku-tnen no Zu (see p. 505)
26 (a) Beauty with lute (see p. 514). ByToyokuni 1(1769-1825) 489
(b) A geisha cleans the strings of her shamisen (see p. 516). By Kikugawa
Eizan (late 19dl Century)
(c) Sankyoku, three geisha playing koto, shamisen, and kokyü (late Toku-
gawa)(seep.52i)
27 Gakunin performing bugaku (see p. 555) 504
28 Gakunin rehearsing^dfjafc« (see p. 578) 505
29 Gakunin rehearsing Western music 520
30 Longevity dance at the Öta-jinja (see p. 586) 521
31 Rural bunraku on Sado (see p. 591) 536
32 TheGozeofNiigata-ken(seep. 516) 537
The Frontispiece and Plates 18-20, 25 (b), and 25 (c), are reproduced by courtesy of the
Gotö Fine Arts Museum, Tokyo, Plates 5 and 12 (b) by courtesy of the Right Rev. Sögen
Sagawa, Tödaiji Library, Plate 6 by courtesy of Nara National Museum, Plates 8 (b) and
(c) by courtesy of the Right Rev. Y. Ishida, Plate 10 by courtesy of the National Diet
Library, Tokyo, Plate 11 (a) by courtesy of the Güji of Kamigamo, Mr. Yamada, Plate
11 (b) by courtesy of the Right Rev. Genyü Nakayama, Plate 17 (a) and (b) by courtesy
of the Trustees of the British Museum, Plate 22 by courtesy of Sophia University, Tokyo,
Plates 23 (a) and 24 by courtesy of the Municipal Fine Arts Museum, Kobe, Plate 23 (b) by
courtesy of Benridö, Kyoto, Plates 25 (a) and 26 (a), (b), and (c) by courtesy of the Oester-
reichisches Museum für Angewandte Kunst, Vienna, and Plate 32 by courtesy of Mr. Shinji
Ichikawa. The other plates are reproduced by courtesy of the National Museum, Tokyo.
The extracts from the Pelliot manuscript are reproduced by courtesy of the Bibliotheque
Nationale Paris, and from thejinchi-yöroku by courtesy of Kyoto University Library.
|
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| id | DE-604.BV005239584 |
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| indexdate | 2024-07-09T16:25:52Z |
| institution | BVB |
| isbn | 0193162032 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-003255469 |
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| spelling | Harich-Schneider, Eta 1897-1986 Verfasser (DE-588)118545957 aut A history of Japanese music Eta Harich-Schneider London Oxford Univ. Pr. 1973 XVIII, 720 S. Ill., Notenbeisp. 3 Schallpl. (45 cm; 33 1/3 R.P.M.) txt rdacontent n rdamedia nc rdacarrier Musique - Japon - Histoire et critique Muziek gtt Musik Music Japan History and criticism Geschichte (DE-588)4020517-4 gnd rswk-swf Musik (DE-588)4040802-4 gnd rswk-swf Japan (DE-588)4028495-5 gnd rswk-swf Japan (DE-588)4028495-5 g Musik (DE-588)4040802-4 s Geschichte (DE-588)4020517-4 s DE-604 HBZ Datenaustausch application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=003255469&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Harich-Schneider, Eta 1897-1986 A history of Japanese music Musique - Japon - Histoire et critique Muziek gtt Musik Music Japan History and criticism Geschichte (DE-588)4020517-4 gnd Musik (DE-588)4040802-4 gnd |
| subject_GND | (DE-588)4020517-4 (DE-588)4040802-4 (DE-588)4028495-5 |
| title | A history of Japanese music |
| title_auth | A history of Japanese music |
| title_exact_search | A history of Japanese music |
| title_full | A history of Japanese music Eta Harich-Schneider |
| title_fullStr | A history of Japanese music Eta Harich-Schneider |
| title_full_unstemmed | A history of Japanese music Eta Harich-Schneider |
| title_short | A history of Japanese music |
| title_sort | a history of japanese music |
| topic | Musique - Japon - Histoire et critique Muziek gtt Musik Music Japan History and criticism Geschichte (DE-588)4020517-4 gnd Musik (DE-588)4040802-4 gnd |
| topic_facet | Musique - Japon - Histoire et critique Muziek Musik Music Japan History and criticism Geschichte Japan |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=003255469&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT harichschneidereta ahistoryofjapanesemusic |