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It was originally a sōkyoku (Japanese: 箏曲, lit. 'koto music'), a kind of chamber music with the koto playing the leading part, but nowadays the part of the koto is more widely known than the original. The music is made from six columns, hence the name, and there are exactly fifty-two beats in each column, except for the first row, which ...
Yatsuhashi Kengyō (八橋 検校; 1614–1685) was a Japanese musician and composer from Kyoto. The name kengyō is an honorary title given to highly skilled blind musicians. Yatsuhashi, who was born and died in Japan, was originally a player of the shamisen, but later learned the koto from a musician of the Japanese court. While the ...
Haru no Umi (春の海, "The Sea in Spring") is a Shin Nihon Ongaku ('New Japanese Music') piece for koto and shakuhachi composed in 1929 by Michio Miyagi.It is Miyagi's best known piece and one of the most famous for the koto and shakuhachi instruments.
Kimio Eto (衛藤公雄, Etō Kimio) (surname Etō, born 28 September 1924 in Ōita – died 24 December 2012 [1]) was a blind Japanese musician who played the koto.He began musical training at the age of eight with the renowned master Michio Miyagi.
A woman playing a koto, depicted in 1878 by Settei Hasegawa.. Danmono (Japanese: 段物) is a traditional Japanese style of instrumental music for the koto.The few pieces of its repertoire were mostly composed and developed in the seventeenth century, and all follow a strict form of composition.
Yagi was a founding member of the quartet Koto Vortex with fellow Sawai apprentices Yoko Nishi, Miki Maruta and Etsuko Takezawa, [1] as well as Kokoo, a trio which performs originals and progressive rock covers exclusively on traditional Japanese instruments. She was also one-third of the avant-pop girl group Hoahio which recorded two CD's for ...
The koto (箏 or 琴) is a Japanese plucked half-tube zither instrument, and the national instrument of Japan. It is derived from the Chinese zheng and se, and similar to the Mongolian yatga, the Korean gayageum and ajaeng, the Vietnamese đàn tranh, the Sundanese kacapi and the Kazakh jetigen. [1]
The video opens with Sorimachi reacting to clips showing the song effective on children from Japan, Brazil, the U.S., the United Kingdom, and New Zealand. Sorimachi then video calls with the head of the Japan Acoustic Lab [ ja ] , who, similarly to Shimura, theorizes that the high frequency in the intro's rising and falling guitar riff is able ...