| What were the cultural impacts of Japan’s post-war occupation? |
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| mix of old and new, traditional and foreign |
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| What bordering countries influenced Japanes music in the following ways:
a) Religion:
b) Writing System
c) Instruments |
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a) India (Buddism)
b) China
c) China and Korea (Sho) |
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| After 1911 ____________ music became influential, threatening traditional tunes. |
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| Flute music in free rythm |
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playing music in both the dan (highly varied sectional repetitions) and joha-
kyu musical forms. |
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Musical Form– jo-ha-kyu
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Define each part: |
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• Jo– “introduction,” slow beginning section;
• Ha—“breaking apart,” building tempo;
• Kyu—“rushing,” tempo reaches its peak, only to slow before the
piece ends. |
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| sung by a geisha to the accompaniment of shamisen |
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12 division of octave, like western music. Based on Chinese system ,
using rations like Pythagorean system of west. Steps are untempered, and half
steps distances vary by performer, genre and at times instrument. |
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The Japanese aesthetic sense favors the use of a broad range of
sounds and tone qualities in their music. “Unpitched” sounds are commonly
heard in the middle of instrumental melodies. |
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| Diverse melodies
Japanese melodies often contain short motifs that are repeated
traditional music is dominated by heterophonic sound. |
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flexibility of pulse in many pieces. Even
when a steady beat is present, there can be a sense of flexibility. |
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| Three defining characteristics of Japanese music: |
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1) variety of timbres,
including unpitched sounds
(2) heterophonic treatment of voices in an ensemble;
(3) flexibility of pulse found in both solo and ensemble
music |
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| “blowing Zen.”
5 holes, can produce microtones.
Bamboo |
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| from china and adapted, one of most popular traditional instruments. |
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3 string lute, very popular, used to convey emotion and drama.
Used in the theater |
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| Calssical music divisions in India |
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| North– Hindi Hindustani style
South– Dravidian karnataka tradition |
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| Karnataka style
classical songs are mostly devotional
Karnataka Sangeeta
Busier texture, more ornamentation than northern style |
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| Hindusthani
instruments (sitar and tabla)
influenced by Persian and Islamic culture
long improvisations |
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| double headed drum – barrel shaped. Leather heads. Many different sounds |
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| marks the tonal center of the raga. |
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| hundreds of scales (sa ri ga)
“that which colors the mind”-.
Each raga has its own set of rules. Represent colors, emotions, deities, etc.
Raga notes
relate to drone |
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| ornamentation to raga. Orally transmitted |
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| time cycle. Differ from western meters |
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| Adi tala, ata tala, rupaka tala, triputa tala |
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| 4 types of improvisation in karnataka music |
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| Alapana – gradual exploration of the raga and its gamaka.
Tanam – a more rhythmic exposition of the raga, lively and strongly articulated.
Niraval – improvised variation on one phrase or line of a song.
Svara kalpana – imagined notes after the niraval. – middle of the composition—or a fter complete |
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| major form of south Indian concert performance. |
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