Catégorie : KOTO ĐÀN TRANH NHẬT BẢN

MY FIRST KOTO lesson Wabi Sabi,through traditional KOTO music-how to play japanese instrument

MY FIRST KOTO lesson Wabi Sabi,through traditional KOTO music-how to play japanese instrument

Ajoutée le 26 mai 2012

Experience true hidden secrets of an ancient philosophy of the mind. Through the music you get a glimpse of what is an orginal Wabi-Sabi spirit. Those unique and soft tunes make your mind calm down and create a new chance to find a better reality in your life.
Find out more at http://www.wabisabiinstitute.com

Demonstration of Koto Techniques—Visit her website: KotoWithYoko.DennisF.us

Demonstration of Koto Techniques—Visit her website: KotoWithYoko.DennisF.us

Ajoutée le 11 mai 2012

Yoko demonstrates some of the techniques of playing the Koto. The strings are plucked with three picks, called plectrums, which are attached to the thumb and first two fingers. The pitch of the Koto is determined by the placement of the bridge or oji.
The Koto must be tuned for the key of each piece of music. There are no frets like a guitar. Yoko demonstrates pitch variation, including Hikiiro, Atooshi, and Oshihanashi. She also demonstrates Zuzu, Syu, Walen, Tsukiro, Utsu, Chirashi, Tremolo, Arpeggio and Glissandi.

 

Kumkom Pornprasit: Playing Techniques of New Pieces of Koto Music in Japanese Urban Culture

Playing Techniques of New Pieces of Koto Music in Japanese Urban Culture

Kumkom Pornprasit

 

Abstract

A major element in the social understanding of urban culture is the relationship between social change and its impact on artistic culture. In Japan, the Koto is a musical instrument that plays a major role in Japanese urban society as its character has been dynamically developed along with Japanese urban culture and society. The changes to playing techniques and the birth of new ones along with various tempo changes in melody create a contemporary sound, which reflects more playing freedom. Additionally, differences in the style of switching the playing pressure applied to the strings have occurred as well as the new colorful combination of Koto with opera singing. These above mentioned developments and changes have been directly influenced by social urbanization in direction, degree, and character.

Keywords

Koto; Ikuta-ryu; Yamada-ryu; Playing Technique

DOI: http://dx.doi.org/10.14456/jucr.2010.12

http://www.tci-thaijo.org/index.php/JUCR/article/view/20365

 

 

Copyright (c) 2014 Journal of Urban Culture Research

天如 TENNYO 二十絃箏独奏:山田明美 Japanese KOTO SOLO

天如 TENNYO 二十絃箏独奏:山田明美 Japanese KOTO SOLO

Mise en ligne le 28 août 2011

天如 TENNYO 三木稔作曲 composed by Minoru Miki
二十絃箏独奏:山田明美
21 strings-KOTO solo:Akemi Yamada

2010.1.23 津田ホールにて

<作品について>
二十絃箏ができて最初の独奏曲である。「天」は天空、「如」は理性、すなわち自然の摂­理を意味するという極限のタイトルに臨んだ。
その一つの帰結として、永遠のフォルムともいうべき三部分型式に到達したが、再現され­た主題部分が「段物」的変容の始まりにあたる構成になっている。また、箏として考えら­れる新旧のさまざまな手法を用いたが、技法のための技法に陥らぬよう、それらの唐突な­出現を避けた。

<Commentary>
This is the first solo music for twenty-string Koto ever written since the instrument was introduced.
TENNYO means the law or reason of heaven.The oriental concept of metempsychosis is described by the contrast of the static and dinamic,stillness and motion.
The music is in a ternary form, so constructed that the recapiturated correspond to the beginning of its manifold variations. While a variety of old and new techniques ever invented for a Koto are incorporated here, thier abrupt appearance is intentionally evaded so that they may not be the techniques.

Japanese KOTO

この映像は山田明美がアップしました。
(attached by Akemi Yamada)