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In the late seventeenth century, a Chinese Buddhist priest named Donggao Xinyue 東皋心越 (1639-1695) introduced a selection of qin 琴 songs (songs accompanied on the qin zither) to Japan.
The article reviews the exhibition "Big Drum: Taiko in the United States," at the Japanese American National Museum in Los Angeles, California from July 14, 2005 to January 8, 2006.
Traditional folk songs (min'yo) from the countryside are strongly linked to their places of origin and continue to play a role there. Today, however, they are also taught as a quasi-art music, arranged for stage and television, quoted in Westernized popular songs and so forth.
Essay looks at Japanese popular music in the 2000s. It compares and contrasts Japanese musical stylistics with that of the corresponding Anglophonic stylistics by looking at four genres.
The three main streams of religion in East Asia—Confucianism, Buddhism, and Daoism—all employ music to express beliefs and ideas. Ancient shamanic practices as well as Christianity and Islam also play a part in the musical histories of China, Korea, and Tibet.
Scholarly and official discourses on Korean music have focused almost exclusively on the range of genres that fall under the broad rubric of ‘‘kugak.’’ Yet it is well known to Koreans and foreign observers alike that kugak is little known and underappreciated by the majority of Koreans today.
The ko˘mun’go (six-string long zither) is unique among Korean instruments in sound and playing technique, with no comparable instrument in Asia or elsewhere. As such it is especially effective in offering a strong Korean ‘‘feel,’’ even in ch’angjak kugak (‘‘creative’’ Korean music) pieces that use many nontraditional techniques.
Recently, South Korean governmental institutions have begun to promote and fund individuals seeking to establish a comprehensive archive for contemporary Korean music; nonetheless, many challenges remain due to the complex nature of music documentation and publishing culture in South Korea.
The term Chinese popular music typically refers to music since the beginning of the twentieth century that is sung in Chinese and usually disseminated through the mass media as a commodity to a mass audience not confined to a particular locale.
In 1974 Tan was sent to live among the peasants of a commune in the vicinity of his hometown Changsha, sharing their daily work, rice-planting, for two years. While he thought he would be forever committed to agricultural life, music offered a “way out.”
One of the most distinctive qualities of China’s musical tradition is its ability to absorb outside influences. Some typical “Chinese” instruments, such as the lute, pipa, and the fiddle, erhu, are foreign imports from Central Asia and Mongolia.
Until the arrival of the “talking machine” in the last decade of the nineteenth century, the only way for the Chinese to hear music was to attend a live performance. The invention of the phonograph (playing wax cylinders) by Thomas Edison (1847–1931) in 1877 and the gramophone (playing flat discs) by Emile Berliner (1851–1929) in 1888 changed this scenario.
The trajectory of the development of Chinese film over the last century can best be evaluated against the backdrop of actual historical events, through a sometimes amorphous institutional setting, and especially by the contribution of an outstanding group of individuals.
Music has historically given unity to Indian society and civilization, often doing so in contrast to the discord among the dominant religions and multiple sects of South Asia.
In late nineteenth-century and early twentieth-century North India, musical instrument shops served as important meeting places where musicians overturned the feudal hierarchy of the royal court, forging bonds of camaraderie across social, musical and familial lines.
Looks at how elite youth dig their roots through expatriate relations in India. Information on the bhangra music; History of the migration of Punjabis; Views on bhangra.
essay explores the connections between traditional Javanese gamelan music ensembles and mystical spirituality. The author asserts that the organizational structure and primary goal of music in Javanese culture is to manifest a mystical experience. Particular focus is given to the implications of the descriptive term "rasa," or "feeling."
Music in Indonesia often has a nondevelopmental, circular, and self-perpetuating nature that may impart an indeterminate and timeless quality to the music—a quality that is, in some areas, clearly related to broader social and religious elements. Many Indonesian music compositions have repeating rhythmic, melodic, tonal, or timbral cycles that can be linked, overlapped, or concatenated.
Article locates historicized developments, recognizes musician agency and focuses on how music, through three distinct performance types, constructs and negotiates Balinese culture on Bali's neighbour island of Lombok.
Traces the history of music composition. Compositional genres in Bali, Indonesia in relation to the island's political landscape; Musical innovation, spirituality and globalization; Dutch colonization in Balinese courts; Composition for the 'gong kebyar.'
Hawaiian cultural elements have engendered a rich community of practice, Hawaiian history and sovereignty initiatives remain key aspects among participants.
The instrument's definitive history, from its discovery by a young Hawaiian royalist named Joseph Kekuku to its revolutionary influence on American and world music.
Focuses on the music industry in Hawaii. Genres of music recorded in Hawaii, including traditional Hawaiian chant, hip-hop, and rock; Success of the music labels, Dancing Cat and Hana Ola; History of Jawaiian music, which was influenced by reggae; Interest of younger musicians in traditional Hawaiian music.
cites that philosophers during the 18th-century turned musical forms and figures of speech as models of universal emotional temperaments and states. It notes the explorations conducted by scholars on the haka dance and musical notations of Maoris and speeches of remote oral culture of New Zealand. It tells the influence of Maori chants on the Bach's symphony and mentions the portrayal of alien figures in Karl Heinrich's music.
Focuses on the technique used by the Archive of Maori and Pacific Music at the University of Auckland to enhance the wax cylinder Maori recordings in New Zealand.
Presents lists of New Zealand and South Pacific Music and musician bibliographies. Catalogue on orchestral works; Surveys of popular music; Collection of writings by New Zealand musicologists.
A remarkably musical and religious continent. All of its countries show vigorous popular and indigenous traditions, which have music and dance as its core.
Carnival ("farewell to flesh") is a pre-Lenten festival celebrated throughout much of Europe and Latin America. Carnival ("farewell to flesh") is a pre-Lenten festival celebrated throughout much of Europe and Latin America. Origins of the festival are diverse.
The most common and popular genre of Andean traditional music, the huayno (wayno, wayñu) is heard with many variations from Ecuador to northern Argentina.
Once illuminated secular and sacred life throughout South America. Today we have nothing but the archaeological remains of musical instruments and iconography, which have been preserved mainly in the Andean region.
Modern African music has a history stretching back more than a century. Although early visitors and travelers brought hitherto unknown musical conventions to Africa, colonization was the main means for the introduction of Western musical instruments and concepts in Africa.
Afropop is a generic term for popular music generated in Africa. Afropop music was formed through the interaction of cultures before and after colonialism, and the different genres of Afropop music reflect the continent's diversity.
The most compelling reason for music making in Africa derives from religious experience, for it is generally believed that the spiritual world is responsive to music and deeply affected by it.
African traditional instruments are designed and built to express African ideas and musical values. Although many of these instruments belong to the same families as other world instruments, and in some cases share common origins, their construction and use are linked with specific African conditions—the musical principles of the continent and its ecology, history, and social organization.
