Verfügbarkeit: The shamisen | Technische Universität München

The shamisen: tradition and diversity

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Bibliographische Detailangaben
Beteilige Person:	Johnson, Henry (VerfasserIn)
Format:	Buch
Sprache:	Englisch
Veröffentlicht:	Leiden [u.a.] Brill 2010
Schlagwörter:	Geschichte Shamisen / History Musical instruments / Japan / History Musical instruments > Japan > History Shamisen > History Samisenmusik Samisen
Links:	http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=018930166&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA
Beschreibung:	Includes bibliographical references and index
Umfang:	XIX, 145 S. Ill., Notenbeisp. 28 cm
ISBN:	9004181377 9789004181373

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Datensatz im Suchindex

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adam_text	Contents Acknowledgements ....................................................................................................................................................................................... χ List of Tables ................................................................................................................................................................................................... хи Chronology ..................................................................................................................................................................................................... xiii Editorial Notes ............................................................................................................................................................................................... xiv Introduction .................................................................................................................................................................................................... xv 1. HISTORY AND CULTURAL FLOWS .......................................................................................................................... ι The Instrument .................................................................................................................................................................................... ι Etymology ............................................................................................................................................................................................. 2 History and Cultural Setting ............................................................................................................................................................. 3 Transmission to Japan ................................................................................................................................................................... 3 Social Flows .................................................................................................................................................................................... 6 Geographic Flows .......................................................................................................................................................................... 6 Cultural Flows ................................................................................................................................................................................ 7 Global Flows ................................................................................................................................................................................... 9 2. INSTRUMENT TYPES ........................................................................................................................................................... 13 Classification and Morphology ........................................................................................................................................................ 13 Similar and Related Instruments ...................................................................................................................................................... 16 Sanshin .............................................................................................................................................................................................. 16 Rokushin ........................................................................................................................................................................................... 21 Ichigoichie .......................................................................................................................................................................................... 21 Капката Sanshin .............................................................................................................................................................................. 21 Ita Sanshin ........................................................................................................................................................................................ 22 Gottan ............................................................................................................................................................................................... 22 Innovative, Experimental and New Shamisen ................................................................................................................................. 22 3. MANUFACTURE AND COMPONENT PARTS .................................................................................................... 27 Instrument Makers and Manufacturing Process ........................................................................................................................... 27 Form ....................................................................................................................................................................................................... 27 Materials .......................................................................................................................................................................................... 29 Component Parts ................................................................................................................................................................................ 30 Sound Box ....................................................................................................................................................................................... 30 Skin ..................................................................................................................................................................................................... 32; Neck ................................................................................................................................................................................................... 34 Bridges and Sawari .......................................................................................................................................................................... 36 Strings ................................................................................................................................................................................................ 40 Plectrum ............................................................................................................................................................................................ 40 Accessories ............................................................................................................................................................................................. 42 Grades ..................................................................................................................................................................................................... 44 4. PERFORMERS ............................................................................................................................................................................. 47 Blind Performers ................................................................................................................................................................................... 48 vii CONTENTS Gender Associations ............................................................................................................................................................................ 52 Organization, Hierarchy and Learning Contexts ........................................................................................................................... 55 5. PERFORMANCE TRADITIONS AND MUSIC GENRES .............................................................................. 61 Lyrical Styles .......................................................................................................................................................................................... 63 Jiuta ..................................................................................................................................................................................................... 63 Kumiuta .............................................................................................................................................................................................. 64 Nagauta .............................................................................................................................................................................................. 68 Other Lyrical Styles ......................................................................................................................................................................... 70 Narrative Styles ......................................................................................................................................................................................... 71 Jaruri ................................................................................................................................................................................................... 71 GidayuBushi ..................................................................................................................................................................................... 73 ItchuBushiznaBungoBushi ............................................................................................................................................................ 74 ShinnaiBush^TokiwazuBushiTomimotoBushiznaKiyomotoBushi ...................................................................................... 74 KatõBushi.......................................................................................................................................................................................... 76 Géza Music ............................................................................................................................................................................................. 76 New Genres of the Nineteenth and Twentieth Centuries ............................................................................................................. 77 From Folk Music to Neo-Traditional Pop ......................................................................................................................................... 78 6. PERFORMANCE ........................................................................................................................................................................ 83 Playing Positions .................................................................................................................................................................................... 83 Scales and Tunings ................................................................................................................................................................................ 84 Playing Techniques ................................................................................................................................................................................ 86 Right-hand Techniques ................................................................................................................................................................... 86 SukuiBachi ................................................................................................................................................................................... 87 OshiBachi ..................................................................................................................................................................................... 87 Awase Bachi .................................................................................................................................................................................. 87 KaesMBachi ................................................................................................................................................................................. 87 Kasume Bachi ............................................................................................................................................................................... 88 KeshiBachi ................................................................................................................................................................................... 88 Hito Bachi..................................................................................................................................................................................... 88 TatakiBachi .................................................................................................................................................................................. 88 Chirichiri Bachi ............................................................................................................................................................................ 88 Pichikato ....................................................................................................................................................................................... 88 Left-hand Techniques ........................................................................................................................................................................... 88 Hajiki ............................................................................................................................................................................................ 88 HazushiOsae ................................................................................................................................................................................ 88 KeshiBachi ................................................................................................................................................................................... 88 KeshiHajiki .................................................................................................................................................................................. 89 Otoshi ............................................................................................................................................................................................ 89 SukuiHajiki .................................................................................................................................................................................. 89 Suri ................................................................................................................................................................................................ 89 Ura Hajiki ..................................................................................................................................................................................... 90 Utsu ............................................................................................................................................................................................... 91 SuriBachi ..................................................................................................................................................................................... 91 Uchi Awase .................................................................................................................................................................................. 91 Notations ................................................................................................................................................................................................ 91 Kuchi Jamisen Notations .................................................................................................................................................................. 92 Vertical Notations ............................................................................................................................................................................ 93 viii CONTENTS Horizontal Notations ...................................................................................................................................................................... юб Western StaffNotation ................................................................................................................................................................... no 7. CONCLUSION .............................................................................................................................................................................. 112 Endnotes........................................................................................................................................................................................................... 118 Select Character List ...................................................................................................................................................................................... 123 Bibliography ..................................................................................................................................................................................................... 131 Index ................................................................................................................................................................................................................. 140 ix
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title	The shamisen tradition and diversity
title_auth	The shamisen tradition and diversity
title_exact_search	The shamisen tradition and diversity
title_full	The shamisen tradition and diversity Henry Johnson
title_fullStr	The shamisen tradition and diversity Henry Johnson
title_full_unstemmed	The shamisen tradition and diversity Henry Johnson
title_short	The shamisen
title_sort	the shamisen tradition and diversity
title_sub	tradition and diversity
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