JAPANESE MUSIC - View topic 72 pe thegazetteromania.myforum.ro

Japanese Music - Japanese Folk Music, J POP, Japanese Rock Music (J-Rock), Japanese Musical instruments and Japanese Music Links.

“J-pop” means “the popular music among the youths in Japan”.

J-POP word began to be known all over the world since Japanese music industry became big enough to influence Japanese pop culture and young people. Music industry in Japan is now one of the biggest industries in the world and affecting the music scene in other countries. Along with the expansion of Japanese music industry, J-pop has been getting popular in some countries in Asia, Europe and U.S., since internet makes it easier to access any information at home. In fact, some J-pop musicians like Glay often tour around Asia, especially China, Taiwan, Thailand and South Korea. As well as Japanese artists tour around Asia, some Japanese bands tour in Australia. For example, the bands like Softball, Beat crusaders*1, Zoobombs and Suns owl toured in Australia during the last couple of years.

Picture: Koji and Hiromi from "Drink Up The Ocean"

J-pop has been built up in long history. The basics of J-pop are made up from Japanese traditional music and folk music. Japanese music scene has been developed by Japanese artists and influences from overseas artists, mainly from U.S. and U.K. It is interesting that we can find every genre of music we can think of, in the Japanese music scene if we look at the weekly music charts like Orikon.*2

The problem of J-pop music is that they are sometimes identical to the particular American songs. Maybe it cannot be helped to become similar to the music that they were inspired. However, Japan has been importing other cultures, adjusting to them, and then even adding them into a part of Japanese culture since the opening of a country to western countries in 19 century. Even now, Japanese people are doing the same things as before, importing new music from overseas and changing them into a part of J-pop. Once the new music is rooted in Japanese music scene, they are no longer imported music. They are made in Japanese, by Japanese and for Japanese. They all are changed into Japanese flavors.

When you listen to some J-pop songs, you may think “oh, I have heard these songs before…” And then, you will realize that you have never listened to them and they have quite unique sounds somehow. The uniqueness could be an arrangement of the songs, voice of singers, language differences or all of them. All J-pop songs have uniqueness and familiarity in common. It means that they are similar to existent music, but they are different in any ways. Once you listen to J-pop, you will be able to understand its uniqueness. J-pop is worth listening to.

“Bon-odori” is a Japanese traditional summer dance festival. The dance is very simple, you can learn within a few minutes practice! It’s absolutely fun! ”Yukata is a Japanese informal summer kimono. You can see many beautiful competitors from the Yukata competition!
Click on the images to see a larger version.

During summer evenings everywhere in Japan, the local community enjoys Bon-Odori (dance) in the near-by park or playground. This tradition was originated when the farmers thanked the Rice Paddock God for the good summer crop. The Dance movement is simple and repetitive. Of course you can learn these dances at any age!

Taiko Drums
Taiko drums will inspire your movement.
Click here to see a short video.

Of course no matter how big or small you are Taiko drums are great to play!

Sometimes it pays to get a little bit of advice from someone who knows better!

Unless you are too busy looking into the details of other important points of Japanese culture.

Traditional Japanese drums are known as taiko or wadaiko drums. The autentic concept for the large drums came from China over 1,000 years ago. These first drums were made of slats of wood, but produced an inferior sound because of the secondary vibrations and loss of energy through the joins in the slats. The Japanese then developed a new manufacturing method to improve the sound. The improved manufacturing method involved the use of a single piece of wood from the trunk of a very large zelkova tree. The larger drums normally use cow hide for the "heads" of the drums.

Toshinori Sakamoto is an accomplished player and teacher of Wadaiko. He has studied under renowned conductor and lead percussionist of the Kumamoto Philharmonic Orchestra, Takashi Fukuda. Toshi was a founding member of the Kumamoto based Wadaiko group, Rindo Daiko and played with them from 1987 until he moved to Australia in 1995. Since coming to Australia Toshi has performed at Japan Festivals in Melbourne, Sydney, Fiji, the Melbourne International Festival and many group recitals. Toshi performed with Rindo Daiko when they visited Melbourne in November 1996 and in October 1997 at their own concerts and as part of a world music Festival at Melbourne Town hall. He has visited numerous schools throughout Australia to introduce this highly accessible art form to both primary and secondary students.

Toshi is accompanied by his wife Junko who is also an accomplished Wadaiko player and former member of Rindo Daiko in Kumamoto. Together they form Wadaiko Rindo in Melbourne in 2000.

Wadaiko Rindo Japanese drumming lessons
Classes will start on 28th January 2003.

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April 8 2003

Melbourne based shakuhachi (Japanese bamboo flute) player Andrew MacGregor has been selected for Final of the All-Japan National Japanese Music Competition.

Melbourne based shakuhachi (Japanese bamboo flute) player Andrew MacGregor is one of five shakuhachi players selected for the final of the all-Japan National Japanese Music Competition to be held on May 18th. The competition is open to professional and amateur musicians of any age and nationality and Andrew MacGregor is the only non-Japanese in the final.

Andrew MacGregor first heard the sound of the shakuhachi for only a few seconds in 1970s on a recording by rock musician Leon Russell. He was gripped by the soul-penetrating sound. Andrew MacGregor traveled regularly the 900 kilometers to Sydney to learn from his first teacher and then traveled to study in Japan. Andrew MacGregor had his first recital in 1995, and has performed with koto, Japanese drums, classical guitar, violin, mandolin, clarinet, didgeridoo and others.

Andrew MacGregor will play a traditional piece “Sagariha” (falling leaves) for the competition. In addition to traditional music, he has an extended repertoire of contemporary music such as Chopin and Villa Lobos He is passionate to promote Japanese music as high standard classic music and always chooses sympathetic venues for his performances.

Andrew MacGregor had a successful concert series in January this year with Japanese 21 string koto player Haruko Watanabe.

On June 1st, he will present a concert at St. Michael’s Uniting Church with Tadashi Tajima and his group from Japan. This will see the Australian premiere of Stella of Akané M. Angel, a new work by Japanese composer Satoko Maeda which was arranged specially for Andrew MacGregor.

In August, Andrew MacGregor will have his third joint concert series in Australia with Japanese koto player Miho Yamaji, 1999 grand prize winner of this same competition.

Please visit Japan World Music web site at: www.japanworldmusic.com

Winter Classic Concert
Tajima Tadashi & Andrew MacGregor, shakuhachi
with koto, shamisen and shakuhachi players from Japan, plus Andrew MacGregor’s shakuhachi students.

Sunday June 1st , 7.00pm $25
St Michael’s Uniting Church, Collins Street, Melbourne
Spring Classic Concert Series
Andrew MacGregor, shakuhachi with Miho Yamaji, visiting us again from Japan

Sat 9thAugust Montrose Town Centre, 8pm
Wed 13th August Albury, 6pm
Sat 30th August Melba Hall, University of Melbourne, 8pm with Concordia Mandolin & Guitar Ensemble, Yukari Echo Japanese Women’s Choir, massed shakuhachi

The koto is one of the most popular Japanese traditional musical instruments. To many, the character of koto music is evocative of traditional Japan with the attributes of the western harp, dulcimer and lute. (Photographs from the Japan Festival Melbourne 2002. Click on image to enlarge).

Many Japanese legends refer to the origins of the koto. A popular one says that the koto was formed in the shape of crouching dragon, a charmed and mythical creature of ancient Japan and China.

The koto was brought to Japan around the end of the 7th century by Chinese and Korean musicians who came to play in the Japanese court orchestra, gagaku. By the 15th century, solo repertoires for koto, sookyoku began to emerge. In the early Edo period (around the 17th century), sookyoku was a popular source of entertainment for the wealthy merchant classes.

The thirteen strings of the koto are stretched along a soundboard of nearly two metres made of hollowed-out paulownia timber. The strings were traditionally made of silk, nowadays synthetic. It is tuned for different songs by movable bridges of ivory or plastic.

The koto is played with ivory plectrum on the thumb and the first two fingers of the right hand, the left hand applying pressure to vary the pitch. The music ranges from the simplicity of the traditional to the melodic as well as challenging contemporary pieces.

The Sawai International Koto School
The Sawai International Koto School was opened in 1989 under Ms. Odamura Satsuki, as a branch of the Sawai Koto School in Tokyo. Ms. Odamura has pioneered the introduction of teaching and performing of koto to Australian students, musicians and audiences. The Sawai International Koto School has now two branches in Sydney and Melbourne.
The Sawai Koto School, Sawai Sookyoku-in, in Tokyo was founded in 1965 by the late composer and kotoist Sawai Tadao and his wife Sawai Kazue, and is now directed by their son Sawai Hikaru. Both modern and traditional Ikuta-style koto and Jiuta-style sangen are taught in the School.

The Sawais have been instrumental in bringing recognition to the koto as something more than simply a traditional instrument. They perform and teach koto with the concept that it is versatile and many-faceted. The school is noted for its openness to new types of music, innovative playing techniques, and a variety of sounds. This philosophy is reflected in the dynamic performances and diverse compositions of Sawai Tadao and Sawai Hikaru.

Article re-published with permission from Saeko Kitai, The Sawai International Koto School, Melbourne.

Andrew MacGregor
Shakuhachi (Japanese bamboo flute)
Finalist, All-Japan National Music Competition, 2003

Miho YAMAJI
koto, sangen
Grand Prize Winner, All-Japan National
Music Competition, 1999

Andrew MacGregor is a Melbourne-based shakuhachi, bamboo flute player with absolute passion. He considers Japanese music as sophisticated classic music which should be appreciated all over the world like western classic music and is active to promote concerts. He will conduct this year's third concert tour in August with award winning koto player Miho YAMAJI.

"Often Japanese music is introduced with an image of usually old musicians wearing kimono playing traditional pieces with shakuhachi, koto and sangen in kneeling position. There are more abundant and different aspects of Japanese music, but those stereotypical images are very strong.“ says MacGregor. The music I particularly introduce is the more modern and powerful înfățișare of Japanese music.

According to a Japanese composer Minoru MIKI, "it is said all instruments have origins in western Asia. When they were introduced to the west, they developed large symphony orchestras. On the other hand, when they were transmitted to the east, each formed a traditional community in each country and rarely ventured beyond nationalities and ethnicities.

MIKI established Pro Music Nipponia in 1964, an orchestra using only Japanese
instruments. He then composed many masterpieces in order to promote soloists of
Japanese instruments as being equally as capable as virtuosos of western instruments.

"Autumn Fantasy“ performed in January by MacGregor and Haruko WATANABE (21 string koto) is one of those major works by MIKI. MacGregor has been fortunate enough to have the chance to play music by such great modern composers such as Minoru MIKI, Katsutoshi NAGASAWA, and Satoko MAEDA, the
composer of "Stella of Akane M. Angel“ which was premiered in Australia in May this year.
For August's concert, Australian composer Basil Hawkins has arranged Toshio FUNAKAWA's "Double Concerto“ for western orchestra with guitar, mandolin, percussion (Timpani, Taiko), and many shakuhachi. The shakuhachi and koto will be powerful soloists with this western orchestra.

Shakuhachi in Australia has come a long way in such a short time. There was no
shakuhachi teacher here only about 15 years ago. MacGregor met shakuhachi through rock'n roll pianist Leon Russell, and not through Japanese music. Only thirty seconds of the mysterious sound of strange flute on a vinyl record completely captured MacGregor. He then got his first shakuhachi through his Aikido teacher, and started his formal lessons from an American teacher who happened to move to Sydney at that time. He often rode the 900 kilometres from Melbourne a few times a year for his lessons. In 1993, he decided to change his life from successful engineer to shakuhachi player. He has never had teacher nearby other than for the 4 months, when he lived with his teacher in Japan.

” It is quite difficult to keep the shakuhachi spirit alive in isolation. I nearly gave up
a few times.’ MacGregor says. However, even in such difficult circumstances, he was honourably selected as a finalist for the All Japan Japanese Music Competition this year.

He deserves our highest appreciation for his continuing efforts to offer such high
standard Japanese music concerts in Australia. He says ” There are some interesting comments from the last concert in May. From an Australian member of the audience: ”Why don't Japanese people come to Japanese music concerts?’ And then, from a Japanese visitor: ” I did not expect this standard at all, as this
is in Australia, but I was extremely moved as it was truly marvellous!’

Many Japanese have not played any Japan dispozitiv but most of them have played some kind of western instrument, such as recorder, violin, and piano. But now, Japan has introduced Japanese instruments to the school curriculum for the first time since the establishment of the modern education system 120 years ago. A lot of Japanese people have an unreasonable image that Japanese music is old-fashioned and "not-cool“ , without really having an understanding of it. We non-Japanese may also be able to contribute to changing those images, and already it is changing.

Featuring also
Concordia Mandolin & Guitar Ensemble, conductor Basil Hawkins
Yukari Echo, Japanese Women”s choir
Miyama McQueen-Tokita (Sawai International K oto School)
Andrew MacGregor”s shakuhachi students
Percussionists from University of Melbourne Music Department.
Program
Double Concerto FUNAKAWA Toshio
Hito omou uta yonshu FUJII Bondai
Yuki Monogatari (Snow Legend) SAWAI Tadao
Meikyo KINEYA Seiho
Banshu Sankei KO HACHIRO Miyata
Moonlight Fantasy CHIKUSHI Katsuko

Saturday August 30 2003
Melba Hall, Conservatorium of Music
University of Melbourne
Royal Parade, Parkville

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GazeRock Fan~ Joined: 17 Apr 2007 Posts: 297

Do you have some informations about enka...???I`m very curious!!! :unsure:

hmmm... just if i search on the internet