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Music for the shamisen can be written in Western music notation, but is more often written in tablature notation. While tunings might be similar across genres, the way in which the nodes on the neck of the instrument (called tsubo (壷) in Japanese) are named is not. As a consequence, tablature for each genre is written differently.
Shamisen – a banjo-like lute with three strings; brought to Japan from China in the 16th century. Popular in Edo's pleasure districts, the shamisen is often used in kabuki theater. Made from red sandalwood and ranging from 1.1 to 1.4 metres (3 ft 7 in to 4 ft 7 in) long, the shamisen has ivory pegs, strings made from twisted silk, and a belly ...
Traditionally, the sanshin was covered with the skin of the Burmese python, but today, due to CITES regulations, the skin of the reticulated python is also used. Python skin is used for the skin of the body of the instrument, in contrast to the cat or dogskin used traditionally on the shamisen.
[2] [3] Many of the "classic" nagauta repertoire was composed in the 19th century, which is the time of the best-known nagauta composers as well. Many pieces are based on Noh theater, partly due to the number of kabuki plays derived from Noh theater pieces, and many were revived during the 19th century. [ 1 ]
The biwa (Japanese: 琵琶) is a Japanese short-necked wooden lute traditionally used in narrative storytelling. The biwa is a plucked string instrument that first gained popularity in China before spreading throughout East Asia, eventually reaching Japan sometime during the Nara period (710–794).
Wagakki Band (Japanese: 和楽器バンド, Hepburn: Wagakki Bando) is a Japanese band that combines rock and metal music with wagakki instruments and Shigin poetries. [ 2 ] [ 3 ] [ 4 ] Their early songs were adapted from Vocaloid , with their music videos for the songs "Tengaku" ( 天樂 ) and " Senbonzakura " ( 千本桜 ) attracting millions ...
Kouta (小唄, lit. ' little songs ') is a type of traditional Japanese music that originated in the red-light districts of Edo period (1603–1868) Japan, before developing further and experiencing wider popularity in the geisha districts that succeeded many red-light districts.
She is accompanied by a man who plays the đàn đáy, a long-necked, 3-string lute used almost exclusively for the ca trù genre. [ 11 ] Last is the spectator (often a scholar or connoisseur of the art) who strikes a trống chầu (praise drum) in praise (or disapproval) of the singer's performance, usually with every passage of the song.
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