Japan's musical tradition: hogaku from prehistory to the present
"What makes Japanese music sound Japanese? Each genre of Japan's pre-Western music (hogaku) morphed from the preceding one with singing at its foundation. In ancient Shinto prayers, words of power recited in a prescribed cadence communicated veneration and community needs to the divine spi...
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Jefferson, North Carolina
McFarland & Company, Inc., Publishers
2020
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Zusammenfassung: | "What makes Japanese music sound Japanese? Each genre of Japan's pre-Western music (hogaku) morphed from the preceding one with singing at its foundation. In ancient Shinto prayers, words of power recited in a prescribed cadence communicated veneration and community needs to the divine spirit (kami). From the prayers, Japan's word-based music gained support with simple percussion and stringed instruments. More sophisticated recitations evolved with biwa, shamisen, and koto accompaniment. This study reveals shortcomings in the usual interpretation of Japanese music from a pitch-based Western perspective and carefully explores how the quintessential musical elements of singing, instrumental accompaniment, scale, and format were transmitted from their Shinto inception through all of Japan's music. Japan's culture, including the iemoto system and teaching methods, served to exactly replicate Japan's music for centuries. Considering Japan's music in the context of its own culture, logic, and sources is essential to gaining a clear understanding of Japan's music and dissipating the mystery of the music's "Japaneseness." Greater appreciation for the music inevitably follows." -- |
| Beschreibung: | xi, 239 Seiten Illustrationen |
| ISBN: | 9781476675596 |
Internformat
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| 505 | 8 | |a Aesthetic heritage -- Ancient music and its properties -- Simple instruments -- Two modes and tuning of the instruments -- Singing the uta (song/poetry) -- The format of continuity in hogaku compositions -- Decorating the melodic line -- Why we are able to hear ancient music today : The Iemoto system -- The west, hogaku today and the future | |
| 520 | 3 | |a "What makes Japanese music sound Japanese? Each genre of Japan's pre-Western music (hogaku) morphed from the preceding one with singing at its foundation. In ancient Shinto prayers, words of power recited in a prescribed cadence communicated veneration and community needs to the divine spirit (kami). From the prayers, Japan's word-based music gained support with simple percussion and stringed instruments. More sophisticated recitations evolved with biwa, shamisen, and koto accompaniment. This study reveals shortcomings in the usual interpretation of Japanese music from a pitch-based Western perspective and carefully explores how the quintessential musical elements of singing, instrumental accompaniment, scale, and format were transmitted from their Shinto inception through all of Japan's music. Japan's culture, including the iemoto system and teaching methods, served to exactly replicate Japan's music for centuries. Considering Japan's music in the context of its own culture, logic, and sources is essential to gaining a clear understanding of Japan's music and dissipating the mystery of the music's "Japaneseness." Greater appreciation for the music inevitably follows." -- | |
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Datensatz im Suchindex
| _version_ | 1804181385965993984 |
|---|---|
| adam_text | Table of Contents Acknowledgments ix Preface 1 Introduction 5 1. Aesthetic Heritage 11 2. Ancient Music and Its Properties 3. Simple Instruments 23 44 4. Two Modes and Tuning of the Instruments 68 5. Singing the Uta (Song/Poetry) 6. The Format of Continuity in Hogaku Compositions 7. Decorating the Melodic Line 82 110 145 8. Why We Are Able to Hear Ancient Music Today: The Iemoto System 159 9. The West, Hogaku Today and the Future 176 Epilogue 188 Glossary Chapter Notes 191 207 Bibliography Index ΎΙΊ 231 vii
|
| adam_txt |
Table of Contents Acknowledgments ix Preface 1 Introduction 5 1. Aesthetic Heritage 11 2. Ancient Music and Its Properties 3. Simple Instruments 23 44 4. Two Modes and Tuning of the Instruments 68 5. Singing the Uta (Song/Poetry) 6. The Format of Continuity in Hogaku Compositions 7. Decorating the Melodic Line 82 110 145 8. Why We Are Able to Hear Ancient Music Today: The Iemoto System 159 9. The West, Hogaku Today and the Future 176 Epilogue 188 Glossary Chapter Notes 191 207 Bibliography Index ΎΙΊ 231 vii |
| any_adam_object | 1 |
| any_adam_object_boolean | 1 |
| author | Yoshikami, Miyuki 1938- |
| author_GND | (DE-588)1211495280 |
| author_facet | Yoshikami, Miyuki 1938- |
| author_role | aut |
| author_sort | Yoshikami, Miyuki 1938- |
| author_variant | m y my |
| building | Verbundindex |
| bvnumber | BV046670441 |
| contents | Aesthetic heritage -- Ancient music and its properties -- Simple instruments -- Two modes and tuning of the instruments -- Singing the uta (song/poetry) -- The format of continuity in hogaku compositions -- Decorating the melodic line -- Why we are able to hear ancient music today : The Iemoto system -- The west, hogaku today and the future |
| ctrlnum | (OCoLC)1164615380 (DE-599)BVBBV046670441 |
| era | Geschichte gnd |
| era_facet | Geschichte |
| format | Book |
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| id | DE-604.BV046670441 |
| illustrated | Illustrated |
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| physical | xi, 239 Seiten Illustrationen |
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| spelling | Yoshikami, Miyuki 1938- Verfasser (DE-588)1211495280 aut Japan's musical tradition hogaku from prehistory to the present Miyuki Yoshikami Jefferson, North Carolina McFarland & Company, Inc., Publishers 2020 xi, 239 Seiten Illustrationen txt rdacontent n rdamedia nc rdacarrier Aesthetic heritage -- Ancient music and its properties -- Simple instruments -- Two modes and tuning of the instruments -- Singing the uta (song/poetry) -- The format of continuity in hogaku compositions -- Decorating the melodic line -- Why we are able to hear ancient music today : The Iemoto system -- The west, hogaku today and the future "What makes Japanese music sound Japanese? Each genre of Japan's pre-Western music (hogaku) morphed from the preceding one with singing at its foundation. In ancient Shinto prayers, words of power recited in a prescribed cadence communicated veneration and community needs to the divine spirit (kami). From the prayers, Japan's word-based music gained support with simple percussion and stringed instruments. More sophisticated recitations evolved with biwa, shamisen, and koto accompaniment. This study reveals shortcomings in the usual interpretation of Japanese music from a pitch-based Western perspective and carefully explores how the quintessential musical elements of singing, instrumental accompaniment, scale, and format were transmitted from their Shinto inception through all of Japan's music. Japan's culture, including the iemoto system and teaching methods, served to exactly replicate Japan's music for centuries. Considering Japan's music in the context of its own culture, logic, and sources is essential to gaining a clear understanding of Japan's music and dissipating the mystery of the music's "Japaneseness." Greater appreciation for the music inevitably follows." -- Geschichte gnd rswk-swf Musik (DE-588)4040802-4 gnd rswk-swf Japan (DE-588)4028495-5 gnd rswk-swf Music / Japan / History and criticism Music Japan Criticism, interpretation, etc Japan (DE-588)4028495-5 g Musik (DE-588)4040802-4 s Geschichte z DE-604 Erscheint auch als Online-Ausgabe, ebk 978-1-4766-3511-8 Digitalisierung BSB München - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032081444&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Yoshikami, Miyuki 1938- Japan's musical tradition hogaku from prehistory to the present Aesthetic heritage -- Ancient music and its properties -- Simple instruments -- Two modes and tuning of the instruments -- Singing the uta (song/poetry) -- The format of continuity in hogaku compositions -- Decorating the melodic line -- Why we are able to hear ancient music today : The Iemoto system -- The west, hogaku today and the future Musik (DE-588)4040802-4 gnd |
| subject_GND | (DE-588)4040802-4 (DE-588)4028495-5 |
| title | Japan's musical tradition hogaku from prehistory to the present |
| title_auth | Japan's musical tradition hogaku from prehistory to the present |
| title_exact_search | Japan's musical tradition hogaku from prehistory to the present |
| title_exact_search_txtP | Japan's musical tradition hogaku from prehistory to the present |
| title_full | Japan's musical tradition hogaku from prehistory to the present Miyuki Yoshikami |
| title_fullStr | Japan's musical tradition hogaku from prehistory to the present Miyuki Yoshikami |
| title_full_unstemmed | Japan's musical tradition hogaku from prehistory to the present Miyuki Yoshikami |
| title_short | Japan's musical tradition |
| title_sort | japan s musical tradition hogaku from prehistory to the present |
| title_sub | hogaku from prehistory to the present |
| topic | Musik (DE-588)4040802-4 gnd |
| topic_facet | Musik Japan |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032081444&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
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