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Traditional Music of Japan
Here is some traditional music of
Japan:
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Nonesuch
Released: 1990-10-25
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Arc Music
Released: 2004-05-04
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Oliver Sudden Productions Inc.
Released: 2005-12-06
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Enjoy the soothing sounds of Japanese traditional koto and shakuhachi music as performed by Satomi Saeki & Alcvin Takegawa Ramos. This digital recording is accompanied by a 16 page booklet in English and French. |
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Celestial Harmonies
Released: 2000-08-01
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This recording, the first of four volumes reflecting on the history of the koto, brings together five representative pieces from the classical repertoire for the Japanese koto, composed between the mid-17th and mid-19th century. This corresponds roughly to the period of Japanese history known as the Edo, or Tokugawa period (1600-1868), when the country was ruled by the shoguns of the Tokugawa family from their castle in Edo, the former name of present-day Tokyo. The strict rule of an authoritarian administration and a rigid policy of national seclusion worked together to produce a relatively long period of freedom from the disruption of internal and external strife, during which the country changed and developed dramatically in social, economic and cultural terms.The music on this disc is largely a product of the daimyo, samurai and chonin merchant-class culture of the kamigata region of Kyoto and Osaka. This style of koto playing, known as the Ikuta school after the great master Kengyo Ikuta (1656-1750), also spread to and became popular in Edo and throughout the country soon after its emergence, but the new performance style championed by Kengyo Yamada (1757-1817) from the late years of the 18th century in Edo became extremely popular there, overwhelming the Edo representatives of the Ikuta school. Now the Yamada school is still largely confined to the area around modern Tokyo whereas many Ikuta school players, like Nanae Yoshimura, are also based there, and the Ikuta school dominates the koto-music scene in most other regions of the country. The koto belongs to the family of long zithers, and as with many other Japanese instruments, it can be traced back to the Asian mainland. Its history in Japan spans more than twelve centuries. The slightly convex body of the instrument is a hollow shell made of kiri, or paulownia wood, and its strings are traditionally made of silk, although nylon strings are now in common use. Booklet annotation is provided by Associate Professor Steven G. Nelson, the only Western member of staff at the new Research Centre for Japanese Traditional Music, Kyoto City University of Arts, Kyoto, Japan. |
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RCA
Released: 1990-02-20
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Nonesuch
Released: 2007-09-11
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Much as with the art of Japanese cuisine, each element in the performance of this often centuries-old music has symbolic importance, from the type and shape of the instrument being used to the sound of a player's breath before he or she moves on to the next note. Each is an essential part of an exquisite greater whole. The same can be said for this latest reissue of East Asian recordings from the Nonesuch Explorer Series: the austere cover artwork and the historical liner notes in the CD booklet, along with the music itself, form a deep impression of the nature of Kabuki theatre, its philosophy as well as its sound. That should come as no surprise to the many fans of the Explorer Series, which has been introducing music from around the globe to adventurous listeners for forty years. This particular edition, Kabuki and Other Traditional Music, is a fascinating companion piece to Shakuhachi: A Bell Ringing in the Empty Sky, reissued this spring. Whereas that disc presented spare, contemplative solo works played by Goro Yamaguchi, the highly dramatic tracks here are performed by the eleven-piece Ensemble Nipponia. The group, which formed in 1964, became known around the world for its skill at reviving and preserving traditional Japanese repertoire and for its desire to showcase modern work in a similar mould, employing the same instruments as the musicians who had conjured up these sounds many generations before. These live performances were recorded by Explorer Series producer David Lewiston in October, 1978 at the Academy of Arts and Letters in New York City during Ensemble Nipponia's second American tour. The album's first half consists of excerpts from the naguata ("long song") music that accompanies the dances featured in Kabuki theatre and serves as background music during its narrative portions. Featured throughout is the shamisen, a three-stringed lute not unlike a banjo; in most of the Kabuki pieces, tailored for the concert hall rather than a theatre, the shamisen is the focus. Listen to "Atsumori," however, adapted from an 800 year-old military epic, and one will also hear an impassioned human voice propelling the action. The final two pieces were composed by Ensemble Nipponia leader Minoru Miki, who, in his writing, combines the traditional with the contemporary and, in the process, creates something timeless. |
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Nonesuch
Released: 1995-02-28
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Sony
Released: 1990-05-17
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World Music Network
Released: 1999-05-11
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The inimitable travel mavens at Rough Guides are not offering your average travel fare, and their counterparts in music are also looking for the unusual and the undercovered. This guide to Japanese music sidesteps the obvious shakuachis, kodo drums, and No theater music in favor of taiko-rap, ondo-funk, Okinawa-pop, and some forms yet to be hyphenated, let alone explained. It runs the gamut, from the mediocre pop of Kawachiya Kikusuimaru (toss-off synths and drum machines) to the brilliant avant-garde biwa (lute) and accordion of Yukihiro Goto and the minimalist koto quartet Koto Vortex. Humor abounds in the Surf Champlers' weird Tokyo take on the James Bond movies' theme. Fuzzy electric blues meets Okinawa in the music of An-Chang Project, fronted by the emotive vocals of Yasuba Jun. The set has it all, great, good, bad, and awful in pretty equal amounts, but for the good and great alone it's worth the price, and the bad and awful are certainly enlightening and entertaining. --Louis Gibson |
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