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38 Cards in this Set
- Front
- Back
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Luther Mason
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American music teacher than came to Japan in 1880, brought lots of Western instruments with him, as well as reed organ instructions
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Keiko Fujiie
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trying to foster interest in traditional musics, learned how gagaku functioned historically, the idea of ensemble
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Living National Treasures
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1955: government issued award system, intangible cultural properties
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ongaku
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Japanese word for music, refers to Western classical music
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Karlheinz Stockhausen
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created new sound techniques, composed with gagaku instruments
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Toshiro Maynzumi
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wrote traditional music, respected emperor and nation too much
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Toru Takemitsu
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Japanese composer that became introduced to Western world and abandoned traditional practices
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Nara period
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710-794: Japanese poetry began, Buddhism officially established since 6th century, huge Chinese influence
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Music before Buddhism
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Ainu had zithers with similar playing techniques, many songs before imperial music (sacred songs of Shinto religion trying to appease the gods by making them laugh is earliest record of music in Japan)
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Mimashi
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Korean nationalized Chinese who introduced gigaku to Japan in 612 (masked dances and mimed sequences, many masks still preserved in Buddhist temples)
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Kibi-no-Makibi
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returned with instruments, compositions, and books from China in 735
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King of Silla
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Korean, king sent musicians to perform at funeral for emperor Ingyo in 453
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Heian Period
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900-1100: indigenization, imperial system flourished, high point of Chinese influence on Japan, but still needed to individually process new culture/information; Kyoto is capitol, rise of the samurai class and imperial court, noted for literature and art; gakusei-kaikaku to resystemize music
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Edo/Tokugawa Period
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1603-1867: total isolation from outside world, became feudal society; almost completely extinguished western music, except for Capt. Perry; began experiencing much internal turmoil, tried to dislodge tokugawa clan from power; shogunate officially established, samurai class supported arts (such as No drama and kabuki)
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Meiji Period
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1868-1912: restoration, emperor restored in politics, samurai declined; shogunate attempted to modernize and send embassies abroad to learn about school system, marriage, etc; universalized education for communication (in curriculum to teach discipline and character); combined western and traditional music and combine them to see progress eventually
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Gakusei-Kaikaku
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officialy music changes by Emperors Saga and Nimmyo (800-850); simplified music by reducing number of instruments and modes; music of the left and right
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Taisho Period
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time between 2 world wars; dance fever, learned western dances, offered livelihood for lots of musicians; jazz from Filipinos; new music had a prestige that old/traditional did not
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bugaku
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dance part of gagaku
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kangen
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instrumental part of gagaku
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togaku
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gagaku music of left
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komagaku
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gagaku music of right
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aerophones
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flute, reed, mouth organ
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chordophones
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zither, lute, harp, lyre
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membranophones
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drums
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idiophones
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bell, gong, xylophone
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kakko
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two-headed drum in gagaku; 3 stroke types (sei, katarai, mororai)
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taiko
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bigger drum for gagaku, 2 strokes (zun, do)
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shoko
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small bright drum in gagaku (chin, chi-chin)
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netori
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prelude to gagaku instrumental pieces; special instrument order, ritualized progression (sho, hichiriki, ryuteki/kakko, biwa/koto); rhythmically free, breathing rhythm, very slow; clarity of texture; set drum pattern for each mode
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choshi
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faster gagaku section, more muddled, less clarity
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hyoshi
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gagaku unit of time:
yo = 4 measures ya = 8 measures haya = 4 beats nobe = 8 beats - patterns create aesthetic shape of piece, changing beat between sections of piece |
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progress of gagaku piece
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jo = intro, slow
ha = middle section, more regular patterns kyu = faster, thick percussion |
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intertextual effort of No
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complex play of borrowing, citation, references, substitutions, which substantiates relationship between texts of given culture
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Kan'ami
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father to Zeami
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Zeami
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performed for Yoshimitsu, who fell in love with Zeami; wrote down theories of No, defined them himself; inspired by wealthy men of Zen Buddhism to express elegance and simplicity through theater
- maximum effect from minimum means - wrote down No theories |
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o-tsuzumi
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middle sized No drum
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ko-tsuzumi
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smallest No drum, wooden frame
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nokan
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flute in No drama, can produce higher octave if overblown, the only melodic No instrument
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